NINASAM TIRUGATA: Report 2012-13
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Syllabus for M.Sc. (Film Production)| 1
Syllabus for M.Sc. (Film Production)| 1 Detailed Syllabus for Master of Science (Film Production) (Effective from July 2019) Department of Advertising & Public Relations Makhanlal Chaturvedi National University of Journalism and Communication B-38, Press Complex, M.P. Nagar, Zone-I, Bhopal (M.P.) 462 011 Syllabus for M.Sc. (Film Production)| 2 MAKHANLAL CHATURVEDI NATIONAL UNIVERSITY OF JOURNALISM AND COMMUNICATION (DEPARTMENT OF ADVERTISING AND PUBLIC RELATIONS) Master of Science (Film Production) (Effective from July 2019) Marks Distribution Subject Theory Practic Intern Total Credit al al CCC-1 Evolution of Cinema 80 00 20 100 6 CCC-2 Origin and Growth of Media 80 00 20 100 6 Introduction to Socio CCC-3 80 00 20 100 6 Economic Polity Sem - I CCE-1 Art of Cinematography 50 30 20 OR OR 100 6 CCE-2 Storyboarding 50 30 20 OE-1 Understanding Cinema 25 15 10 50 3 CCC-4 Drama & Aesthetics 50 30 20 100 6 CCC-5 Lighting for Cinema 50 30 20 100 6 CCC-6 Audiography 50 30 20 100 6 Sem - II CCE-3 Art of Film Direction 50 30 20 OR OR 100 6 CCE-4 Film Journalism 50 30 20 OE-2 Ideation and Visualization 25 15 10 50 3 CCC-7 Multimedia Platform 50 30 20 100 6 Editing Techniques & CCC-8 50 30 20 100 6 Practice CCC-9 Film Research 50 30 20 100 6 Sem - III Screenplay Writing for CCE-5 50 30 20 Cinema OR 100 6 OR CCE-6 50 30 20 Advertisement Film Making OE-3 Film Society & Culture 40 00 10 50 3 CCC-10 Film Business & Regulations 80 00 20 100 6 CCC-11 Cinematics 50 30 20 100 6 CCC-12 Project Work on Film Making 00 80 20 100 6 Sem - Literature & Cinema CCE-7 80 00 20 IV OR OR 100 6 Film Management & CCE-8 80 00 20 Marketing OE-4 Documentary Film Making 25 15 10 50 3 Syllabus for M.Sc. -
IFFLA Showcases Film As a Powerful Creative Force. India Journal. April
IFFLA Showcases Film as A Powerful Creative Force indiajournal.com /filmi-buzz/iffla-showcases-film-as-a-powerful-creative-force 4/23/2015 The 13th annual Indian Film Festival of Los Angeles(IFFLA) not only honored gifted, daring film makers but was a unique blend of narrative, social commentary, humor, and unusual perspectives on life. Chaired by visionary , Christin Marouda the Festival is inarguably the most influential. non profit organization devoted to recognizing cinematic perspectives from India and the Indian diaspora. This year Marouda collaborated with Artistic Director Jasmine Jaisinghani and Producer Rukmani Bachal.The films represented 10 different languages from six countries ranging from Hindi and Tamil to English, Spanish and German. They were enthralling, funny, moving and chronicled the masters of film art bridging the gap between the two largest entertainment industries in the world Hollywood and India. One hopes that these films with no star power or big budgets will be taken up by distributors who will recognize the creativity , talent, skill, ambition and commitment of the filmmakers who shoot in a backyard, in a lonely field, a slum, a crowded road, or a cramped studio. The Festival was five Days of pure film pleasure with packed auditoriums and appearances by film makers and actors. Here are a few films worth mentioning. ‘Labor Of Love’ An eloquent and extraordinary film with nuanced performances(Ritwick Chakrborty, Basabdutta Chatterjee) and directed by the brilliant Aditya Vikram Sengupta. He is also the screenwriter, editor and cinematography credits go to him and Mahendra Shetty. There is no dialogue. With swaggering self confidence ,the Director demands us to listen to merely the sounds of their lives. -
Dist. Name Name of the NGO Registration Details Address Sectors Working in Shimoga Vishwabharti Trust 411, BOOK NO. 1 PAGE 93/98
Dist. Name Name of the NGO Registration details Address Sectors working in Agriculture,Animal Husbandry, Dairying & Fisheries,Biotechnology,Children,Education & NEAR BASAWESHRI TEMPLE, ANAVATTI, SORABA TALUK, Literacy,Aged/Elderly,Health & Family Shimoga vishwabharti trust 411, BOOK NO. 1 PAGE 93/98, Sorbha (KARNATAKA) SHIMOGA DIST Welfare,Agriculture,Animal Husbandry, Dairying & Fisheries,Biotechnology,Children,Civic Issues,Disaster Management,Human Rights The Shimoga Multipurpose Social Service Society "Chaitanya", Shimoga The Shimoga Multipurpose Social Service Society 56/SOR/SMG/89-90, Shimoga (KARNATAKA) Education & Literacy,Aged/Elderly,Health & Family Welfare Alkola Circle, Sagar Road, Shimoga. 577205. Shimoga The Diocese of Bhadravathi SMG-4-00184-2008-09, Shimoga (KARNATAKA) Bishops House, St Josephs Church, Sagar Road, Shimoga Education & Literacy,Health & Family Welfare,Any Other KUMADVATHI FIRST GRADE COLLEGE A UNIT OF SWAMY Shimoga SWAMY VIVEKANANDA VIDYA SAMSTHE 156-161 vol 9-IV No.7/96-97, SHIKARIPURA (KARNATAKA) VIVEKANANDA VIDYA SAMSTHE SHIMOGA ROAD, Any Other SHIKARIPURA-577427 SHIMOGA, KARNATAKA Shimoga TADIKELA SUBBAIAH TRUST 71/SMO/SMG/2003, Shimoga (KARNATAKA) Tadikela Subbaiah Trust Jail Road, Shimoga Health & Family Welfare NIRMALA HOSPITALTALUK OFFICE ROADOLD Shimoga ST CHARLES MEDICAL SOCIETY S.No.12/74-75, SHIMOGA (KARNATAKA) Data Not Found TOWNBHADRAVATHI 577301 SHIMOGA Shimoga SUNNAH EDUCATIONAL AND CHARITABLE TRUST E300 (KWR), SHIKARIPUR (KARNATAKA) JAYANAGAR, SHIKARIPUR, DIST. SHIMOGA Education & Literacy -
CENTRE for ENGLISH STUDIES SYLLABUS at a GLANCE Semester I
CENTRE FOR ENGLISH STUDIES SYLLABUS AT A GLANCE Semester I Course Type Course No. Course Title Credits ENG 403 Literature of the British Renaissance 4 Core ENG 404 Literature of the Neoclassical Period 4 ENG 421 Indian Writing in English 4 ENG 422 Introduction to Linguistics 4 ENG 426 Social Movements and Literature 4 Optional ENG 427 Graphic Narrative 4 ENG 428 Life Writing 4 ENG 429 Theory and Practice of Women’s Writing 4 Project ENG 441 Project Work I 2 Total Required Number of Credits Per Semester 18 Semester II Course Type Course No. Course Title Credits ENG 453 Literature of the Romantic Period 4 Core ENG 454 Literary Criticism 4 ENG 471 Modern Indian Literature in English 4 Translation ENG 472 Introduction to ELT 4 ENG 474 Nation and Literature 4 Optional ENG 476 Visual Culture 4 ENG 477 Traditions of Republicanism: Ideas, Practices, 4 and Institutions ENG 478 Multiculturalism and Canadian Literary 4 Imagination Project ENG 491 Project Work II 2 Total Required Number of Credits Per Semester 18 1 Page Semester III Course Type Course No. Course Title Credits ENG 503 Literature of the Victorian Period 4 Core ENG 504 Key Directions in Literary Theory 4 ENG 526 Comparative Literary Studies 4 ENG 527 Discourse Analysis 4 ENG 528 Literatures of the Margins 4 Optional ENG 529 Film Studies 4 ENG 530 Literary Historiography 4 ENG 531 Race in the American Literary Imagination 4 ENG 532 Asian Literatures 4 Project ENG 541 Project Work III 2 Total Required Number of Credits Per Semester 18 Semester IV Course Type Course No. -
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. -
Été Indien 10E Édition 100 Ans De Cinéma Indien
Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde. -
Le Indie Del Cinema
Se il termine Bollywood è ormai familiare, meno note sono MAIN SPONSOR CONVERSATIONS probabilmente le avventurose circostanze che hanno reso WITH possibile la nascita di un’industria cinematografica divenuta CONTEMPORARY così imponente come quella indiana. INDIA sogno e realtà, tra conscio e subconscio si confonde nella febbrile A colmare questa lacuna è il primo titolo di questa immaginazione di Kalyappan ubriaco. La caratterizzazione stessa rassegna, La fabbrica di Harishchandra (2010), che racconta è piena di contrasti: la corda del boia, che uccide il condannato, come Dhundiraj Govind Phalke (1870-1944, superando ha il potere di curare i malati, dicotomia sottolineata in tutto il l’insuperabile, sia riuscito nel 1913 a realizzare il suo sogno: film. Il passare del tempo ha un ruolo cruciale La corda del boia dare all’India un proprio cinema. che si accorcia, i solchi che si allungano sul viso devastato di Ma torniamo a Bollywood: il termine, invece di indicare Kaliyappan e l’eterea qualità del flauto dell’orfano evocano un soltanto il cinema hindi popolare, prodotto a Bombay (ora senso di atemporalità quanto indicano l’inesorabilità della marcia Mumbai), è diventato sinonimo di cinema indiano tout court. Info del Tempo. Sono questi momenti di magia che rendono il cinema Invero, la realtà è un pochino più complessa. L’India, infatti, [email protected] di Adoor una tale sfida. Ma impongono anche pressanti domande [email protected] allo spettatore.” (Saibal Chatterjee, da Hindustan Times) è una Unione di stati federali, ognuno dei quali, come gli Le Indie www.unive.it/cfz stati europei, si distingue per la sua storia, la sua cultura e la sua lingua (o più di una). -
CURRICULUM VITAE Chandan Gowda
CURRICULUM VITAE Chandan Gowda ADDRESS Azim Premji University (Tel) 91-80-66145100 PESSE Campus, Electronics City (Fax) 91-80-66145103 Hosur Road Email: [email protected] Bengaluru – 560100 [email protected] PRESENT POSITION 2011 – Present Professor of Sociology, Azim Premji University, Bengaluru 2008 – 2011 Associate Professor of Sociology, National Law School of India, Bengaluru EDUCATION 2007 PhD, Sociology, University of Michigan 1998 PhD Certificate, Cultural Studies, University of Pittsburgh 1996 MA, Sociology, University of Hyderabad 1994 BA, Social Science, St. Joseph’s College, Bengaluru 1993 Diploma, French, Alliance Francaise, Bengaluru DISSERTATION Title Development, Elite Agency and the Politics of Recognition in Mysore State, 1881-1947 Committee Jeffery Paige (co-chair), George Steinmetz (co-chair), Sumathi Ramaswamy, Margaret Somers, Julia Adams (Yale University) 1 HONOURS AND AWARDS Visiting Fellow, Watson Institute for International Studies, Brown University, USA, March-May 2015. Schomburg Fellow, Ramapo College, USA, October 2013. Dissertation Research Grant, National Science Foundation, 2003-2004 Rackham Predoctoral Fellowship, University of Michigan, 2002-2003 Dissertation Fieldwork Fellowship, American Institute of Indian Studies, 2002-2003 International Predissertation Research Award, International Institute, University of Michigan, 1999 Regent’s Fellowship, University of Michigan, 1998-1999 Junior Research Fellowship, University Grants Commission, 1996. Gold Medal, MA Sociology, University of Hyderabad, 1996 AREAS OF RESEARCH AND TEACHING INTEREST Social Theory; Cultural Sociology; History of Development Thought; South Asian History and Culture; Caste; Indian Normative Traditions; and Kannada Literature and Cinema PUBLICATIONS Books A Life in the World: UR Ananthamurthy in conversation with Chandan Gowda (Harper Collins-India, October, 2019). Editor, Sahitya Sahavasa (Lectures by UR Ananthamurthy), Shimoga: Aharnishi Prakashana (Forthcoming, August 2019). -
April-June 2009 No
India Foundation for the Arts Quarterly Newsletter, April-June 2009 No. 12 Recent Projects New Grants Filmmaker-photographer-painter KM Madhusudhanan, performer Jyoti Dogra, and filmmaker Vaibhav Abnave are recipients of recent grants under our Extending Arts Practice programme, which supports artists whose projects emerge from reflections on the larger contexts of their practice. KM Madhusudhan is making a 16mm fictional film on the Indian magic lantern or Shambharik Kharolika, a late 19th century innovation involving the use of painted images on glass to create cinema projections. Through his work, Madhusudhanan has consistently sought to highlight the forgotten continuities between painting, photography, and cinema and its precursors. In making this film, he is both drawing attention to a forgotten technique and reminding us about the overlaps between what are often considered distinct visual genres. Film, television and theatre actor, Jyoti Dogra created The Doorway, an exploration of real and imagined stories in the tradition of Grotowski’s Theatre Laboratory. Jyoti’s performance was a response to current theatre practice which, she says, is “either a coldly intellectual activity, at Meanwhile, filmmaker Vaibhav Abnave is exploring the history one extreme, or else a spectacle, at the other.” By using of experimentation in Marathi theatre with special reference to gestures, mumblings, sounds, and body images, she playwright Mahesh Elkunchwar. He is interested in how sought “to cultivate more intuitive acts of understanding experimentation itself can create orthodoxies and how [in theatre].” Elkunchwar consistently challenged these. Vaibhav’s film will itself challenge the ‘real’ by merging enacted scenes from The Doorway premiered in May at Gallerie Beyond in Elkunchwar’s plays with depictions of the playwright’s inner Mumbai. -
'The Psychiatry Ward Became a School of Acting for Me.'
'The psychiatry ward became a school of acting for me.' Mohan Agashe MOHAN AGASHE the reputed stage and film actor, is also a psychiatrist. This free-flowing interview for STQ, with SAMIK BANDYOPADHYAY in August 1995, captures the flavour of conversation and explores, amongst other things, the links between psychiatry and theatre. STQ: Maybe if you start with a little bit of the Marathi theatre setting ... what theatre you first saw, or even personal stuff, growing up and that kind of thing ... 'My theatre career ... had an insidious onset' MA: That makes sense to me, I'll tell you why, because, just as some diseases have an insidious onset, my theatre career-you could say-had an insidious onset. For a pretty long time 1 I did not know what I was doing or why I was doing it. Almost about 10 to 15 years later I suddenly found I had serious interest in theatre. And generally you put these questions to test when you have to make a choice. Till then you're just playing about. At each point of time, I realized, you are making a decision which is irreversible. When you reach that point, then you seriously think about it, whether it is theatre, marriage or studies, whatever it is. That's why I say it is insidious-for most of the theatre practitioners it generally starts very early in life. For me it started with school because I used to do mimicries. I loved it and I imitated most of my teachers. I was very keen to perform in Ganesh Festivals, Durga Puja festivals-I used to cry if my item was left out. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप. -
Country Profile:INDIA
www.worldcp.org/world-cp-asia.php Country Profile: INDIA Authors Ashish RAJADHYAKSHA P.Radhika Raghavendra TENKAYALA COUNTRY PROFILE: INDIA Published by: International Federation of Arts Council and Culture Agencies (IFACCA) About the WorldCP-International Database of Cultural Policies WorldCP (worldcp.org) is a central web-based and continuously updated database of country-specific profiles of cultural policies modelled on the Council of Europe/ERICArts Compendium – Cultural Policies and Trends in Europe (culturalpolicies.net). WorldCP-Asia is a central component of the international WorldCP project and documents the arts and cultural policies of Asian countries (worldcp.org/world-cp-asia.php). The cultural policy profiles for India, South Korea and Viet Nam were published in 2013. The profiles of Cambodia, Mongolia, the Philippines and Singapore are currently in preparation. WorldCP-Asia is co-odinated by a partnership between IFACCA and the Asia-Europe Foundation (ASEF) (asef.org). ASEF serves as the Regional Secretariat of WorldCP-Asia. For more information on WorldCP-Asia, contact Ms. Anupama SEKHAR, Director, Culture Department at [email protected] About the India profile: Authors: Ms. P. Radhika, Mr. Ashish RAJADHYAKSHA, & Mr. Raghavendra TENKAYALA Regional Editor: Mr. Anmol VELLANI Published in: 2013 (1st edition) This profile is available online at: www.worldcp.org/india.php This profile is based on official and non-official sources addressing current cultural policy issues. The opinions expressed in this profile are those of the authors and are not official statements of the government or of the WorldCP-Asia partners. If the entire profile or relevant parts of it are reproduced in print or in electronic form including in a translated version, for whatever purpose, a specific request has to be addressed to the Asia-Europe Foundation (ASEF) who may authorise the reproduction in consultation with International Federation of Arts Councils and Culture Agencies (IFACCA).