The Feminine Eye: Lecture 5: WATER: 2006: 117M
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History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted
History Timeline from 13.7 Billion Years ago to August 2013. 1 of 588 pages This PDF History Timeline has been extracted from the History World web site's time line. The PDF is a very simplified version of the History World timeline. The PDF is stripped of all the links found on that timeline. If an entry attracts your interest and you want further detail, click on the link at the foot of each of the PDF pages and query the subject or the PDF entry on the web site, or simply do an internet search. When I saw the History World timeline I wanted a copy of it for myself and my family in a form that we could access off-line, on demand, on the device of our choice. This PDF is the result. What attracted me particularly about the History World timeline is that each event, which might be earth shattering in itself with a wealth of detail sufficient to write volumes on, and indeed many such events have had volumes written on them, is presented as a sort of pared down news head-line. Basic unadorned fact. Also, the History World timeline is multi-faceted. Most historic works focus on their own area of interest and ignore seemingly unrelated events, but this timeline offers glimpses of cross-sections of history for any given time, embracing art, politics, war, nations, religions, cultures and science, just to mention a few elements covered. The view is fascinating. Then there is always the question of what should be included and what excluded. -
Myth and Patriarchy in Deepa Mehta's Heaven on Earth
223 Manjeet Roden: Deepa Mehta Myth and Patriarchy in Deepa Mehta’s Heaven on Earth Manjeet Ridon University of Nottingham _______________________________________________________________ This article analyses how Heaven on Earth (2008) uses Indian mythology to expose the reality of culturally driven violence against Sikh Punjabi women in Canada, occurring as a result of transnational marriages between diaspora-based Non-Resident Indian (hereafter NRI) men and Sikh Punjabi women. Referring to Bruce Lincoln’s theory of myth as ideology, I argue that the film explores how some of these women have experienced marginalisation and how a discourse of abuse can be challenged through myth. _____________________________________________________________ My analysis of Deepa Mehta’s Heaven on Earth (2008) focuses on the fictional depiction of a poor, working-class, first-generation Indian family, living in Brampton, Ontario, which provides a microcosm of the pressures and realities of everyday immigrant life affecting the family from within. The text represents the ancient Indian myth of the Sheesh Naag, the King Cobra, with the ability to shape-shift and transform into human form, to raise awareness about the issue of culturally driven violence against women in South Asian Canadian communities, which is on the increase in Canada’s immigrant communities (Papp) and, along with the incidence of gang rape,1 an even more alarming trend in India (Lakhani). Mehta’s interpretation of the myth is based on Naga-Mandala (1994), a popular play by Girish Karnad, a South Indian dramatist heavily influenced by ancient Indian mythology. Karnad’s play is a story about the mythical figure of a cobra, which, in human form, rescues a lonely bride from an abusive husband and empowers her through storytelling. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
1 Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 Am-‐1:00Pm JRH
Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 am-1:00pm JRH 205 Office Hours: Thursday: 10am-12:30pm, LA 211 e-mail: [email protected] SOUTH ASIAN CINEMA AND TELEVISION: FROM THE APU TRILOGY TO SLUMDOG MILLIONAIRE AND THE MINDY PROJECT. “When I Was groWing up in the nineties, no one on my favorite shoWs ever looked like me.” -- Manori Ravindran There's been a recent revolution in mainstream moviemaking and American and Canadian television (although, it has happened much earlier for BBC). Outside of Bollywood’s narrative formulas, more and more South Asians and South Asian descent actors are populating the film and television industry. In addition to acting, they are producing, directing, writing scripts, and creating their own television shoWs. Even so, it is still difficult to unpack the racial stereotypes of Indians from the subcontinent: Are they edgy characters or unsettling, exaggerated portraits inconsistent with reality? What are our narrative discourses around the subcontinent and South Asian immigrant culture? What has it looked like and What does the 21st century South Asian media culture outside of India Want to accomplish? This class Will explore the representations of South Asians in filmmaking and television from mid-twentieth century to the present day. We will Watch Richard Attenborough’s Gandhi, several of Satyajit Ray's films and figure out hoW they differ from Merchant Ivory Productions. We Will discuss Peter Sellar’s character in The Party; We Will explore Hanif Kureishi's My Beautiful Laundrette, Jhumpa Lahiri & Mira Nair’s The Namesake, the Harold and Kumar trilogy and phenomenon, Gurinder Chadha’s Bend it Like Beckham, Danny Boyle’s Slumdog Millionaire, Salman Rushdie and Deepa Mehta’s Midnight Children, Umesh Shukla's Oh My God, and television shows and series like The Far Pavilions (1984), The Mindy Project, Parks and Recreation, Community, and The Good Wife to figure out the range in characters and over-arching themes for South-Asians today. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Indi@Logs Vol 8 2021, Pp 11-28, ISSN: 2339-8523
Indi@logs Vol 8 2021, pp 11-28, ISSN: 2339-8523 https://doi.org/10.5565/rev/indialogs.178 -------------------------------------------------------------------------------------------- “IS GANDHI THE HERO?”: A REAPPRAISAL OF GANDHI’S VIEWS ABOUT WOMEN IN DEEPA MEHTA’S WATER PILAR SOMACARRERA-ÍÑIGO Universidad Autónoma de Madrid [email protected] Received: 26-11-2020 Accepted: 31-01-2021 ABSTRACT Set in 1938 against the backdrop of India’s anti-colonial movement led by Gandhi, the film Water (2005) by Deepa Mehta crudely exposes one of the most demeaning aspects of the patriarchal ideology of Hinduism: the custom of condemning widows to a life of self-denial and deprivation at the ashrams. Mehta has remarked that figures like Gandhi have inspired people throughout the ages. Nonetheless, in this essay I argue that under an apparent admiration for the figure of Gandhi in the context of the emancipation of India in general and widows in particular, Water questions whether Gandhi’s doctrines about the liberation of women were effective or whether, on the contrary, they contributed to restricting women to the private realm by turning them into personifications of the Indian nation. In this context of submission and oppression of women in India, Gandhi did try to improve their conditions though he was convinced that gender is destiny and that women’s chastity is connected to India’s national honour. I argue that Mehta’s film undermines Gandhi’s idealism by presenting images of him and dialogues in which he is the topic. As a methodological approach, I propose a dialogic (Bahktin 1981) reading of the filmic text which analyses how a polyphony of voices praise and disparage the figure of Gandhi in Water. -
Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.793 (IIFS)
Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.793 (IIFS) THE CULTURAL GEOGRAPHY OF PUBLIC SPACE IN DEEPA MEHTA’S ELEMENTS TRILOGY Abhilash Dey M.Phil Scholar Department of English University of Burdwan, West Bengal, India Abstract The following article takes up the representation of heterotopic public places and lived spaces in the visual story arcs of (celebrated Indian- Canadian filmmaker) Deepa Mehta for a closer probe. She has made her mark in the map of world cinema with her outstanding and thought- provoking feminist movies such as Water, Fire and Earth. A spokesperson of Indian women's plight, she leaves no stone unturned in portraying the telling helplessness of Indian women, in times past and times present. This paper also travels across the theories propounded by Foucault, Marc Augé and Ray Oldenburg and frequently seeks its sustenance from the matchless erudition of film-critic, Roger Ebert. The lived experiences of the pivotal protagonists involved in the sad-glad process of lives and times take place more in the public space than in the home space, and therein lies the crux of this proposed investigation. The spatiality of the relationship dynamic that attains fruition in the home space actually finds its fountainhead in the public space abroad. Deepa Mehta's visual rhetoric adduces support to the points driven home in this article. This is the epoch of space, the epoch of simultaneity and juxtaposition—to reiterate Foucault from his 1967-published treatise on discursive other space, “Of Other Spaces: Utopias and Heterotopias”. -
Bureaucrats and Movie Czars: Canada's Feature Film Policy Since
Media Industries 4.2 (2017) DOI: 10.3998/mij.15031809.0004.204 Bureaucrats and Movie Czars: Canada’s Feature Film Policy since 20001 Charles Tepperman2 UNIVERSITY OF CALGARY c.tepperman [AT] ucalgary.ca Abstract: This essay provides a case study of one nation’s efforts to defend its culture from the influx of Hollywood films through largely bureaucratic means and focused on the increasingly outdated metric of domestic box-office performance. Throughout the early 2000s, Canadian films accounted for only around 1 percent of Canada’s English-language market, and were seen by policy makers as a perpetual “problem” that needed to be fixed. Similar to challenges found in most film-producing countries, these issues were navigated very differently in Canada. This period saw the introduction of a new market-based but cultural “defense” oriented approach to Canadian film policy. Keywords: Film Policy, Production, Canada Introduction For over a century, nearly every film-producing nation has faced the challenge of competing with Hollywood for a share of its domestic box office. How to respond to the overwhelming flood of expensively produced and slickly marketed films that capture most of a nation’s eye- balls? One need not be a cultural elitist or anti-American to point out that the significant presence of Hollywood films (in most countries more than 80 percent) can severely restrict the range of films available and create barriers to the creation and dissemination of home- grown content.3 Diana Crane notes that even as individual nations employ cultural policies to develop their film industries, these efforts “do not provide the means for resisting American domination of the global film market.”4 In countries like Canada, where the government plays a significant role in supporting the domestic film industry, these challenges have political and Media Industries 4.2 (2017) policy implications. -
Why I Became a Hindu
Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita -
New York AIDS Film Festival
GIRL BEHIND THE CAMERA PRODUCTIONS IS PROUD TO PRESENT THE FILMS OF THE 2007 NEW YORK AIDS FILM FESTIVAL 5th ANNIVERSARY FOR IMMEDIATE RELEASE ============================================================================== FILMS OF THE 2007 NY AIDS FILM FESTIVAL OPENING NIGHT – NOV 29th UNITED NATIONS HEADQUATERS SATURDAY DEC 1 & 2ND 2007 – WORLD AIDS DAY SCREENINGS PRESENTED BY -NEW YORK UNIVERSITY TICKETS: FREE REFRESHMENTS: FREE ============================================================================== King Juan Carlos I of Spain Center 53 Washington Square South ============================================================================= Contact: [email protected] 212 591 1434 OPENING NIGHT –NOVEMBER 29TH 2007 UNITED NATIONS HEADQUATERS INVITE ONLY!!! National Geographic & Youth AIDS Indias Hidden Plague Starring Ashley Judd ( FEATURE PRESENTATION) Mirabai Films Mira Nair – AIDS Jaago ( Migration) ( SHORT FILM) Awards will be presented to: Christiane Amanpour ( CNN), Mira Nair ( MIRABAI FILMS), Paolo Monaci ( Golden Graal), Kate Roberts ( Youth AIDS) Actor/Activist -Gloria Reuben Celebrity and VIP Presenters including: actor Josh Lucas, Steve Villano (cable positive), Supermodel Greta Cavazzoni and more. SATURDAY DECEMBER 1st 2007 PROGRAM WORLD AIDS DAY 9:30 – 10:45am MTV STAYING ALIVE- 48 FEST KENYA DOC & SHORTS 48 Fest took place on 3rd of July in the robust city of Nairobi in Kenya at the first ever Women’s Summit on Leadership on HIV and AIDS. 30 young people who attended the summit were given the opportunity to produce these short films. How did it all work? Participants had two days to produce their films from scratch. The brief was to look at the many challenges of HIV and AIDS, but with a female slant. However, the films aren’t just targeted atwomen; in fact everyone might learn something. A panel of expert judges, including acclaimed director Bryan Barber gave their opinions on all six films, and chose an overall winner.Considering all films were shot on zero budget, they really are an amazing feat. -
The Reluctant Fundamentalist
Mongrel Media Presents The Reluctant Fundamentalist A film by Mira Nair (128 min., USA, 2012) Language: English and Urdu Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS 2011, Lahore. At a café a Pakistani man named Changez (Riz Ahmed) tells Bobby (Liev Schreiber), an American journalist, about his experiences in the United States. Roll back ten years, and we find a younger Changez fresh from Princeton, seeking his fortune on Wall Street. The American Dream seems well within his grasp, complete with a smart and gorgeous artist girlfriend, Erica (Kate Hudson). But when the Twin Towers are attacked, a cultural divide slowly begins to crack open between Changez and Erica. Changez’s dream soon begins to slip into nightmare: he is transformed from a well-educated, upwardly mobile businessman to a scapegoat and perceived enemy. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul, The Reluctant Fundamentalist is a story about conflicting ideologies where perception and suspicion have the power to determine life or death. A MULTI-LAYERED VISION “Looks can be deceiving.” Changez Khan “An Indian director making a film about a Pakistani man. That’s not an easy thing to do,” says novelist and co-screenwriter Mohsin Hamid of The Reluctant Fundamentalist, the new film from award-winning filmmaker Mira Nair, based on Hamid’s acclaimed novel of the same name. -
Adirondack Recreational Trail Advocates (ARTA)
Adirondack Recreational Trail Advocates (ARTA) Proposal for the Adirondack Rail Trail Photo: Lake Colby Causeway, Lee Keet, 2013 Submitted by the Board of Directors of ARTA Tupper Lake: Hope Frenette, Chris Keniston; Maureen Peroza Saranac Lake: Dick Beamish, Lee Keet, Joe Mercurio; Lake Clear: David Banks; Keene: Tony Goodwin; Lake Placid: Jim McCulley; Beaver River: Scott Thompson New York State Snowmobile Association: Jim Rolf WWW.TheARTA.org Adirondack Recreational Trail Advocates P.O. Box 1081 Saranac Lake, N.Y. 12983 Page 2 This presentation has been prepared by Adirondack Recreational Trail Advocates (ARTA), a not-for- profit 501(c)(3) corporation formed in 2011 and dedicated to creating a recreational trail on the largely abandoned and woefully underutilized rail corridor . © 2013, Adirondack Recreational Trail Advocates, Inc. Page 3 Contents Executive Summary ...................................................................................................................................... 6 Original UMP Criteria Favor the Rail Trail .................................................................................................. 7 Changing the Status of the Corridor ........................................................................................................... 10 Classification as a Travel Corridor ......................................................................................................... 10 Historic Status ........................................................................................................................................