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Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
Malayalam Biopics: from Books to Films
MALAYALAM BIOPICS: FROM BOOKS TO FILMS Gayatri Binu Registered Number: 1324032 A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree Department of Media Studies II Authorship Christ University Declaration Department of Media Studies This is to certify that I have examined this copy of a master’s thesis by Gayatri Binu Registered Number: 1324032 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ _____________________________________________________ Date: __________________________________ III IV I, Gayatri Binu, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: V VI Abstract Malayalam Biopics: From Books to Films Gayatri Binu MS in Communication, Christ University, Bangalore This article talks about the difficulties that emerge when considering biographical films that are focused around biographical or autobiographical works of writing utilizing careful investigations of three Malayalam films. -
33°C—45°C Today D
Community Community Lamjung Art Service conservators Society- use their P7Qatar elects a new P16 multitude of skills to working committee preserve artworks as at its recent 12th close to the artist’s convention. original intent as possible. Wednesday, July 5, 2017 Shawwal 11, 1438 AH DOHA 33°C—45°C TODAY LIFESTYLE/HOROSCOPE 11 PUZZLES 12 & 13 Under a cloud COVER Field tests show how STORY pesticides can wreak havoc on honeybees. P4-5 2 GULF TIMES Wednesday, July 5, 2017 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 3.19am Shorooq (sunrise) 4.48am Zuhr (noon) 11.38am Asr (afternoon) 3.02pm Maghreb (sunset) 6.30pm Isha (night) 8.00pm USEFUL NUMBERS The Mummy (Annabelle Wallis) try to excavate the fi ndings, the resurrected DIRECTION: Alex Kurtzman Ahmanet emerges from her sarcophagus with a plot to enslave CAST: Sofi a Boutella, Tom Cruise, Annabelle Wallis humanity. Russell Crowe, Jake Johnson, and Courtney B SYNOPSIS: Soldier of fortune Nick Morton (Tom Cruise) Vance co-star in this action-horror hybrid from director Alex Emergency 999 accidentally discovers the tomb of a female pharaoh of ancient Kurtzman, which is an entry in a shared cinematic universe Worldwide Emergency Number 112 Egypt named Ahmanet (Sofi a Boutella) during a fi refi ght based on the iconic Universal monsters. Kahramaa – Electricity and Water 991 in the Middle East. But when he and a British Egyptologist THEATRES: The Mall, Landmark, Royal Plaza Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat -
Analysing Structures of Patriarchy
LESSON 1 ANALYSING STRUCTURES OF PATRIARCHY Patriarchy ----- As A Concept The word patriarchy refers to any form of social power given disproportionately to men. The word patriarchy literally means the rule of the Male or Father. The structure of the patriarchy is always considered the power status of male, authority, control of the male and oppression, domination of the man, suppression, humiliation, sub-ordination and subjugation of the women. Patriarchy originated from Greek word, pater (genitive from patris, showing the root pater- meaning father and arche- meaning rule), is the anthropological term used to define the sociological condition where male members of a society tend to predominates in positions of power, the more likely it is that a male will hold that position. The term patriarchy is also used in systems of ranking male leadership in certain hierarchical churches and ussian orthodox churches. Finally, the term patriarchy is used pejoratively to describe a seemingly immobile and sclerotic political order. The term patriarchy is distinct from patrilineality and patrilocality. Patrilineal defines societies where the derivation of inheritance (financial or otherwise) originates from the father$s line% a society with matrilineal traits such as Judaism, for example, provides, that in order to be considered a Jew, a person must be born of a Jewish mother. Judaism is still considered a patriarchal society. Patrilocal defines a locus of control coming from the father$s geographic/cultural community. Most societies are predominantly patrilineal and patrilocal, but this is not a universal but patriarchal society is characteri)ed by interlocking system of sexual and generational oppression. -
Calcutta Notebook Shoummo
Frontier Vol. 44, No. 7, Aug 28 -Sept 3, 2011 Calcutta Notebook Shoummo Lastly, silence: I believe, this is the most symbolic.... (Ritwik Ghatak on sound in films) KOLKATA WAS ALWAYS well known for its discourse on cinema facilitated in no small way by film clubs or film societies. The activity levels of these clubs have ebbed of late and the reasons could be many. Digital technology has empowered film lovers to enjoy cinema within the confines of their homes along with friends and fellow film buffs. Queuing up outside Sarala Ray Memorial hall, best suited for foreign films with subtitles because of abysmal auditorium acoustics, has been passé for the past ten years in the least. It must be mentioned that at least two film societies, namely Cine Central and Eisenstein Film Club have ridden the digital crest very well and many a time these societies have screened films with the aid of digital gadgets, in better auditoriums. Kolkata film societies have also been prolific publishers and again, even if the level of activity may have ebbed, there has been an intermittent flow of film society periodicals as well as scripts of notable films and anthology of important articles. One such publication that readily comes to mind is Film Polemics by Cine Club of Calcutta. It is a collection of letters and a few articles that drew attention on the pages of Kolkata newspapers and periodicals between 1958 and 1991. Some of the articles and letters appeared in newspapers and periodicals published from elsewhere like The Times of India, Mainstream and the now defunct Illustrated Weekly of India. -
Annual-Report-2014-2015-Ministry-Of-Information-And-Broadcasting-Of-India.Pdf
Annual Report 2014-15 ANNUAL PB REPORT An Overview 1 Published by the Publications Division Ministry of Information and Broadcasting, Government of India Printed at Niyogi offset Pvt. Ltd., New Delhi 20 ANNUAL 2 REPORT An Overview 3 Ministry of Information and Broadcasting Annual Report 2014-15 ANNUAL 2 REPORT An Overview 3 45th International Film Festival of India 2014 ANNUAL 4 REPORT An Overview 5 Contents Page No. Highlights of the Year 07 1 An Overview 15 2 Role and Functions of the Ministry 19 3 New Initiatives 23 4 Activities under Information Sector 27 5 Activities under Broadcasting Sector 85 6 Activities under Films Sector 207 7 International Co-operation 255 8 Reservation for Scheduled Castes, Scheduled Tribes and other Backward Classes 259 9 Representation of Physically Disabled Persons in Service 263 10 Use of Hindi as Official Language 267 11 Women Welfare Activities 269 12 Vigilance Related Matters 271 13 Citizens’ Charter & Grievance Redressal Mechanism 273 14 Right to Information Act, 2005 Related Matters 277 15 Accounting & Internal Audit 281 16 CAG Paras (Received From 01.01.2014 To 31.02.2015) 285 17 Implementation of the Judgements/Orders of CATs 287 18 Plan Outlay 289 19 Media Unit-wise Budget 301 20 Organizational Chart of Ministry of I&B 307 21 Results-Framework Document (RFD) for Ministry of Information and Broadcasting 315 2013-2014 ANNUAL 4 REPORT An Overview 5 ANNUAL 6 REPORT Highlights of the Year 7 Highlights of the Year INFORMATION WING advertisements. Consistent efforts are being made to ● In order to facilitate Ministries/Departments in promote and propagate Swachh Bharat Mission through registering their presence on Social media by utilizing Public and Private Broadcasters extensively. -
Annual Report 2016-17 Thunchath Ezhuthachan Malayalam University
THUNCHATH EZHUTHACHAN MALAYALAM UNIVERSITY ANNUAL REPORT 2016-17 THUNCHATH EZHUTHACHAN MALAYALAM UNIVERSITY ANNUAL REPORT CONTENTS 1. Vice Chancellor’s note 2. Aims and objectives 3. Milestones 4. ‘Akhsaram’ Campus 5. Academic activities 6. Library 7. Student’s welfare, hostels 8. Activities with social commitment 9. International co-operation., Gundert Chair 10. Projects 11. 11. Publications 12. Administration 13. Appendix Editor: Dr. P.B.Lalkar English Translation Team Prof. Madhu Eravankara ( Co-ordinator) Dr. M. Vijayalakshmy, Dr. A.P Sreeraj, Dr. Jainy Varghese, Sri K.S Hakeem Design & Lay-out : Lijeesh M.T. Printing : K.B.P.S. Kakkanad, Kochi P R E FA C E Justice (Retd.) P Sathasivam Prof. C Ravindranath K Jayakumar Chancellor Pro Chancellor Vice Chancellor It is with great pleasure that I am presenting the Annual Report of Malayalam University up to March 31, 2017. The university started functioning in 2012 and the admission formalities of the first batch of students were completed in August 2013. Initially we started with 5 M.A courses. When we look back in 2017, it is worthy to note that the university has achieved tremendous growth both in infrastructure and academic level. Within this short span of time, we could start 10 M.A. Courses and Research Programmes. The first two batches of M.A and one batch of M.Phil students are out. Amenities like Library, Studio and Theatre claims self sufficiency. 28 permanent teachers were also appointed. The year 2016-17 witnessed so many important developments. The new library- research block and Heritage Museum, were opened. The year was marked with variety of academic activities and visit of several dignitaries. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
To Get the File
The Indian Emergency 231 THE INDIAN EMERGENCY 9 Aesthetics of State Control A confirmed plagiarist speaks of some of the FFC’s significant produc- tions as third-rate copies of third-rate foreign films. A globe-trotting socialite whose sole claim to be a critic is her access to people and places (and who ecstacizes over Manoj Kumar’s Shor) aids the big sharks by her learned associations. A self-confessed amateur, applau- ded for his bold themes, speaks of films as ‘formal exercises’ when they are not in his own blundering idiom. Others disguise their con- cern for financial return (on both ‘public’ and ‘private’ money!) in terms of mass communication. Yet another old hand at bringing humanism to the box office in outrageous costumes advises the gov- ernment to nationalize cinema before it finances films which make an attempt at speaking a radical language. Utopian ideas always subvert their own declared purpose. Even in the unlikely event of nationalization, given the honesty of our bureaucrats and the social- ism of our system, one can visualize what new monsters will emerge. Some of these suggestions and comments may, indeed, be well inten- tioned, but it is becoming increasingly difficult to sift out the cinema’s enemies from its friends. – Kumar Shahani (1974) 1 Most of these stories featured the then Information and Broadcasting Minister, Vidya Charan Shukla. D.R. Mankekar The June 1975 declaration by Indira Gandhi’s government of a ‘grave and Kamala Mankekar (1977: 81) write: ‘With the vulnerable film emergency [whereby] the security of India . threatened by exter- industry [V.C.] Shukla played ducks and drakes. -
Bulletin Online 06.2019
bulletin online 06.2019 Freddy Buache (1924-2019) © Carine Roth / Cinémathèque suisse bulletin online 06.2019 01 Editorial If you need evidence of how busy our worldwide community has been in the first half of this year, read the following pages of this FBO. The high point of the last six months was no doubt the 75th FIAF Congress, which took place at the Casino de Montbenon in Lausanne from 7-13 April 2019. It was one of the best-attended Congresses in the history of FIAF – 462 people were officially registered, and in the end 442 were present. 88 film archives were represented, as well as 60 different countries. The week was full of memorable moments. To name but a few, the impressive opening night at the Olympic Museum, the high-quality debates of the two-day symposium, the presentation ceremony for our esteemed Honorary Members, Jean-Luc Godard’s rare public appearance to receive the 2019 FIAF Award, the once-in-a-lifetime collective Swiss fondue dinner in a sports hall in Penthaz, the introduction of electronic voting (at last!) at the FIAF General Assembly and the election of a new Executive Committee, the closing party in ECAL’s film stu- dio, and the various excursions to wrap up a busy Congress week. The most moving moment of the week was no doubt the warm tribute paid by the hundreds of Congress delegates to our Honorary Members present at the Congress – Roger Smither, David Francis, Vladimir Opela, and, last but not least, Christophe Dupin Freddy Buache, who had organized the two previous FIAF Congresses in Lausanne… in 1954 and 1979! The 94-year-old former Director of the Cinémathèque suisse – the last representative of the first generation of film archivists – attended some of the ses- sions of the Symposium, and was also there to welcome back Jean-Luc Godard to the Cinémathèque, 40 years after the 1979 Congress. -
E:\Secretariat\Secretariat 5-6
SECRETARIAT ASSISTANT PRELIMINARY EXAM Exam held on 05-06-2004 Time: 75 min. Max: 100 marks Questions 1 to 5: Choose synonymous word 1. To surprise somebody greatly: (a) Appraise (b) Antonyms (c) Astonish (d) Reveal 2. To make something more important that it really: (a) Excess (b) Elaborate (c) Stress upon (d) Exaggerate 3. Express one's opinion without evidence or full knowledge: (a) Specify (b) Speculate (c) Concede (d) Sensing 4. An event that will happen soon: (a) Imminent (b) Damnsure (c) Immense (d) Immutable 5. To lead somebody to do something: (a) Persuade (b) Placate (c) Persecute (d) Perpend Questions 6 to 10: Four words are given in each. Three of them can be grouped together applying a principle. One word does not belong to the group. Find it out. 6. (a) Violet (b) Blue (c) Magenda (d) Green 7. (a) Cucumber (b) Carrot (c) Brinjal (d) Ladies finger 8. (a) Yaswanth Sinha (b)Jaswant Singh (c) Shatrugnan Sinha (d) Manmohan Singh 9. (a) Cancel (b) Nullify (c) Void (d) Confirm 10. (a) G. Sankarakuruppu (b) O.N.V. Kuruppu (c) S.K. Pottekkadu (d) Thakazhi Sivasankarapillai Questions 11 to 13: Three words are given. There is a relationship between the first two words. Select a word that expresses a similar relationship with the third word from the given alternatives. 11. Pather Panjali : Sathyajith Ray; Athithi : (a) K.P. Kumaran (b) M.T. Vasudevan Nair (c) T.V. Chandran (d) P.A. Backer 12. Pareekkutty : Madhu; Chemban Kunju : (a) P.J. Antony (b) Jose Prakash (c) Govindankutty (d) Kottarakara Sreedharan Nair 13. -
Parichya Patra.P65
Student Paper PARICHAY PATRA Spectres of the New Wave : The State of the Work of Mourning, and the New Cinema Aesthetic in a Regional Industry 1 Introduction My title refers to Derrida’s controversial account of his concern with Marx amidst the din and bustle of the ‘end of history’. Time was certainly out of joint and the pluralistic outlook of the great thinker was pitted against the monolith that orthodox communists used to uphold. My primary concern in the paper would be an account of the Malayalam film industry in its post-New Wave phase as well as a handful of filmmakers whose works seem to be difficult to categorize. Within the domain of the popular and amidst the mourning from the film society circle for the movement that lasted no longer than a decade, these films evoke the popular memory of the New Wave. Though up in arms against the worthy ancestors, these filmmakers are unable to conceal their indebtedness to the latter. The New Wave too was not without its heterogeneity, and the “disjointed now” that I am talking about is something “whose border would still be determinable”. I would like to consider the possibility of moving towards translocal contexts without shifting our focus from a specific site of inquiry which, in this case, is Malayalam cinema. The paper will concentrate upon the phenomenon known JOURNAL OF THE MOVING IMAGE 81 as the resurfacing/resurgence of art cinema aesthetics in Indian cinema. Recent scholarly interest in the history of this forgotten film movement is noticeable, more so because it was ignored in the age of disciplinary incarnation of cinematic scholarship in India.