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Bollywood celebrities were either blessed with a baby or spilled the news of their pregnancy. Here is a look at top 10 celebrity Parents of 2011. 1) Aishwarya Rai Bachchan and Abhishek Bachchan: the biggest news in Bollywood this year was Beti B, the latest addition to the Bachchan family. Aishwarya and Abhishek were blessed with a baby girl on 16th November at Seven Hills Hospital, Mumbai. Abhi and Ash tied the knot on 20th April, 2007. 2) Aamir Khan and Kiran Rao: Aamir and Kiran became proud parents of a baby boy on 1st December. The baby was born to a surrogate mom via IVF. The child was born in Mumbai at a private clinic. They have named their child Azad Rao Khan. This name has been kept after the freedom fighter and Maulana Abdul Kalam Azad, Aamir’s great grand uncle. 3) Konkona Sen Sharma and Ranveer Shorey: this couple was blessed with a baby boy on 15th March, 2011 in a hospital in South Mumbai. The excited Konkona even flaunted her baby bump at the cover page of OK magazine’s April issue. Konkona has named her child Haroon which means protector or chief in Arabic. Konkona and Ranveer entered wedlock on 3rd September, 2011 at a private ceremony. 4) Mandira Bedi and Raj Kaushal: Mandira and Raj became proud parents of a cute baby boy on 17th June. The child was born at Mumbai’s Lilavati Hospital. They have named their child Vir. The two tied the knot on 14th February, 1999. An elated Raj expressed his joy of turning a father through the medium of Twitter. 5) Sohail Khan and Seema Sachdev: Sohail and Sachin became proud parents of their second child. The couple has named their child Yohan. Their first son is named Nirvaan. 6) Barkha Bisht and Indraneil Sengupta: Barkha and Indraneil turned parents of a cute boy on 10th October. They have named their child Meira. The two tied the knot on 2nd March 2007. 7) Anoushka Shankar and Joe Wright: this celebrity couple were blessed with a cute boy on 22nd February, 2011. They have named their son Zubin Shankar Wright. Anoushka and Joe tied the knot on September 26th, 2010. Preeti Jhangiani and Parvin Dabas: Preeti and Parvin were blessed with a cute boy on 11th April, 2011. The two tied the knot on 23rdMarch, 2008. 9) Rituparna Sengupta and Sanjay Chakrabarty: Rituparna and Sanjay turned proud parents of their second child on 14th July, 2011. Rituparna gave birth to a cute girl on 14th July. They were earlier blessed with a son Ankan. Childhood sweethearts Rituparna and Sanjay entered wedlock on 13th December, 1999. 10) Zayed Khan and Malaika Khan: Malaika and Zayed turned proud parents of baby boy for second time on 23rd September, 2011. 11) Shilpa Shetty: Shilpa Shetty, married to Raj Kundra announced recently that she is pregnant. Shilpa will deliver towards the end of 2012. 12) Neha Bajpai /Shabana Raza: Shabana Raza or Neha Bajpai as we know her gave birth to a beautiful baby girl on February 23rd at a private hospital. They named their daughter Ava Nayla Bajpayee. 13) Industrialist Mukesh Ambani and Nita Ambani and columnist,novelist Shobhaa De,Farah Khan and Manyata Dutt..

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Page 01 Dec 24.Indd
WEDNESDAY 24 DECEMBER 2014 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Japanese COMMUNITY reptile takes on • AMU Alumni observes founder’s birth anniversary Hollywood rival P | 4 P | 8-9 MARKETPLACE • AlFaisal Without Borders flies students to Beijing P | 5 ART AND CULTURE • Rome’s Maxxi art museum aims to build Cancer patients are paying private labs to breed mice that creativity out of crisis carry bits of their own tumours so treatments can be tried first on the customised rodents. The idea is to see which drugs might work best on a specific person’s specific P | 6 cancer. FOOD • Shawarma sizzles Indian city of Hyderabad P | 7 HEALTH • Medical tourism CANCER PATIENTS booms in Asia TURN TO RATS FOR P | 11 LEARN ARABIC • Learn commonly used Arabic words CURE and their meanings P | 13 2 PLUS | WEDNESDAY 24 DECEMBER 2014 COVER STORY Cancer patients testing drugs on mouse Charles Cook, manager of facilities and operations at Champions Oncology, opens a plastic cage containing mice carrying bits of a cancer patient’s tumour in a lab in Baltimore. By Marilyn Marchione hey are paying a private lab to breed mice that carry bits of their own tumours so treat- Tments can be tried first on the customised rodents. The idea is to see which drugs might work best on a specific person’s specific cancer. The mice may help patients make what can be very hard choices under difficult circumstances. Studies can suggest a certain chemotherapy may help, but patients wonder whether it will work for them.
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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films.
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Sunny Singh London Metropolitan University [email protected]
The Road to Rāmar ājya : Analysing Shah Rukh Khan’s Parallel Text in Commercial Hindi Cinema Sunny Singh London Metropolitan University [email protected] This paper attempts to trace the construction of Shah Rukh Khan’s parallel text with explicit references to the Hindu epic Rāmāyana through an analysis of key cinematic texts produced from 1995 to 2007. The analysis follows the development of Shah Rukh Khan’s star text as a growing narrative drawn from, and interacting with, the epic and its protagonist, Rāma , and his idealised reign, Rāmar ājya , which is used in India to refer to an epoch of social stability. In addition, the paper explores how the star’s parallel text intersects the aspirations of a nation poised at the edge of monumental change, and the ways in which it challenges and subverts the popularly accepted notions of the growth of Hindu nationalist politics in the country in the late-1990s, finally leading to the assertion of a new, post-Hindutva, post-globalization identity as an Indian Muslim. Keywords: Shah Rukh Khan; India; stars; Bollywood; Rāmāyana . Este estudio intenta delinear la construcción del texto paralelo del actor Shah Rukh Khan con referencias explícitas al clásico épico hindú Rāmāyana por medio de análisis de textos cinematográficos del actor producidos entre 1995 y 2007. El análisis demuestra el desarrollo del texto paralelo de Khan como una narrativa basada en—y dialogando con—el clásico épico, su protagonista, Rāma , y su reino ideal, el Rāmar ājya . Además, el ensayo explora las maneras en que dicho texto llega a representar las pretensiones de una nación al borde de cambios monumentales, y las formas en las que desafía y subvierte las ideas generalmente aceptadas del desarrollo de nacionalismo hindú en el país durante la década de los noventa.
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From “ghetto” to mainstream: Bollywood in South Africa . HASEENAH EBRAHIM Wits School of Arts University of the Witwatersrand [email protected] Abstract This essay explores two aspects of the Bollywood “phenomenon” as it has played out, in the past decade, in South Africa — a part of the Indian diaspora where the popularity of Hindi-language Indian cinema has an established history. Firstly, the article maps the expansion of Bollywood beyond the Indian diasporic audience to so-called “crossover” audiences, a phenomenon I have labelled the “mainstreaming” of Bollywood in South Africa. Secondly, it examines developments in relation to the expansion of Bollywood — South African film industry co-operation, including Bollywood’s use of South Africa for location shooting. Bollywood is apparently trapped in some sort of in South Africa. Most South Africans coming purgatory of global cultural expectations; at any from Tamil- and Telegu-speaking (i.e. South given time, it’s too “Indian” to be accessible to Indian) backgrounds seem eagerly to consume Western audiences, too north Indian-centric for the %ROO\ZRRG¿OPVDQGPXVLFGHVSLWHDVRPHWLPHV rest of South Asia, too imitative of Hollywood to vocal South Indian dissident view. Any be appreciated as authentic Indian cinema among perceived imitativeness of Hollywood does not North Americans seeking something exotic, too VHHP WR KDYH GHÀHFWHG IURP LWV DSSHDO DPRQJ potent of an imposition of an Indian version of its South African fans; on the contrary, most modernity on other traditional societies, or too low- cite its “wholesomeness” (usually referring to culture to qualify as real art for snobs of all national Bollywood’s lack of explicit sex and excessive origins.
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The Road to Rāmar ājya : Analysing Shah Rukh Khan’s Parallel Text in Commercial Hindi Cinema Sunny Singh London Metropolitan University [email protected] This paper attempts to trace the construction of Shah Rukh Khan’s parallel text with explicit references to the Hindu epic Rāmāyana through an analysis of key cinematic texts produced from 1995 to 2007. The analysis follows the development of Shah Rukh Khan’s star text as a growing narrative drawn from, and interacting with, the epic and its protagonist, Rāma , and his idealised reign, Rāmar ājya , which is used in India to refer to an epoch of social stability. In addition, the paper explores how the star’s parallel text intersects the aspirations of a nation poised at the edge of monumental change, and the ways in which it challenges and subverts the popularly accepted notions of the growth of Hindu nationalist politics in the country in the late-1990s, finally leading to the assertion of a new, post-Hindutva, post-globalization identity as an Indian Muslim. Keywords: Shah Rukh Khan; India; stars; Bollywood; Rāmāyana . Este estudio intenta delinear la construcción del texto paralelo del actor Shah Rukh Khan con referencias explícitas al clásico épico hindú Rāmāyana por medio de análisis de textos cinematográficos del actor producidos entre 1995 y 2007. El análisis demuestra el desarrollo del texto paralelo de Khan como una narrativa basada en—y dialogando con—el clásico épico, su protagonista, Rāma , y su reino ideal, el Rāmar ājya . Además, el ensayo explora las maneras en que dicho texto llega a representar las pretensiones de una nación al borde de cambios monumentales, y las formas en las que desafía y subvierte las ideas generalmente aceptadas del desarrollo de nacionalismo hindú en el país durante la década de los noventa.
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February 22, 2005 Ms. Sharmila Tagore
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The Development and Implementation of Tobacco-Free Movie Rules in India
THE DEVELOPMENT AND IMPLEMENTATION OF TOBACCO-FREE MOVIE RULES IN INDIA Amit Yadav, Ph.D. Stanton A. Glantz, Ph.D. Center for Tobacco Control Research and Education School of Medicine University of California, San Francisco San Francisco, CA 94143-1390 December 2020 THE DEVELOPMENT AND IMPLEMENTATION OF TOBACCO-FREE MOVIE RULES IN INDIA Amit Yadav, Ph.D. Stanton A. Glantz, Ph.D. Center for Tobacco Control Research and Education School of Medicine University of California, San Francisco San Francisco, CA 94143-1390 December 2020 This work was supported by National Cancer Institute grant CA-087472, the funding agency played no role in the conduct of the research or preparation of the manuscript. Opinions expressed reflect the views of the authors and do not necessarily represent the sponsoring agency. This report is available on the World Wide Web at https://escholarship.org/uc/item/75j1b2cg. 1 EXECUTIVE SUMMARY • The Indian film industry releases the largest number of movies in the world, 1500-2000 movies in Hindi and other regional languages, which are watched by more than 2 billion Indian moviegoers and millions more worldwide. • The tobacco industry has been using movies to promote their products for over a century. • In India, the Cinematograph Act, 1952, and Cable Television Networks Amendment Act, 1994, nominally provide for regulation of tobacco imagery in film and TV, but the Ministry of Information and Broadcast (MoIB), the nodal ministry, has not considered tobacco imagery. • The Cigarettes and Other Tobacco Products Act, 2003 (COPTA), enforced by the Ministry of Health and Family Welfare (MoHFW), prohibited direct and indirect advertisement of tobacco products.
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