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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
You Are Not Welcome Among Us: Pirates and the State
International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring. -
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PUBLIC NOTICE It Is Hereby Circulated for Information to All Concerned That Hon'ble the Chief Justice, on the Recommendation of Hon'ble
07.11.2019 SUPPLEMENTARY LIST SUPPLEMENTARY LIST FOR TODAY IN CONTINUATION OF THE ADVANCE LIST ALREADY CIRCULATED. THE WEBSITE OF DELHI HIGH COURT IS www.delhihighcourt.nic.in INDEX PRONOUNCEMENT OF JUDGMENTS -----------------> 01 TO 01 REGULAR MATTERS ----------------------------> 01 TO 135 FINAL MATTERS (ORIGINAL SIDE) --------------> 01 TO 12 ADVANCE LIST -------------------------------> 01 TO 94 APPELLATE SIDE (SUPPLEMENTARY LIST)---------> 95 TO 112 APPELLATE SIDE (SUPPLEMENTARY LIST-MID)-----> 113 TO 115 ORIGINAL SIDE (SUPPLEMENTARY I)-------------> 116 TO 123 COMPANY ------------------------------------> 124 TO 124 SECOND SUPPLEMENTARY -----------------------> 125 TO 130 MEDIATION CAUSE LIST -----------------------> 01 TO 02 PRE-LOK ADALAT------------------------------> 01 TO 02 THIRD SUPPLEMENTARY -----------------------> - TO NOTES 1. Mentioning of urgent matters will be before Hon'ble DB-I at 10:30 a.m.. PUBLIC NOTICE It is hereby circulated for information to all concerned that Hon'ble the Chief Justice, on the recommendation of Hon'ble Information Technology Committee, has been pleased to award the digitization work on outsource basis to an outside agency for scanning/digitization at both Filing Counters of Delhi High Court for Litigants/Advocates@ Rs. 0.49 per page plus 18% GST equivalent to a rate of Rs. 0.58 per page(rounded off) (including taxes) with effect from 30.10.2019. DELETIONS 1. BAIL APPL. 2307/2018, 2316/2018, 2436/2018 & 2621/2018 listed before Hon'ble Mr. Justice Sanjeev Sachdeva from item Nos.48 to 51 respectively are deleted as the same are listed before Hon'ble Mr. Justice Suresh Kumar Kait. 2. CRL.M.C. 5002/2019 listed before Hon'ble Mr. Justice Chander Shekhar at item No.6 is deleted as the same is fixed for 27.11.2019. -
Semi-Supervised Automatic Generation of Wikipedia Articles for Named Entities
The Workshops of the Tenth International AAAI Conference on Web and Social Media Wiki: Technical Report WS-16-17 Semi-Supervised Automatic Generation of Wikipedia Articles for Named Entities Yashaswi Pochampally Kamalakar Karlapalem Navya Yarrabelly IIIT Hyderabad, India IIIT Hyderabad / IIT Gandhinagar, India IIIT Hyderabad , India [email protected] [email protected] [email protected] Abstract would help in maintaining similarity of article structure across articles of a Wikipedia category, but at the cost of We investigate the automatic generation of Wikipedia articles as an alternative to its manual creation. We pro- losing uncommon headings that might be important for the pose a framework for creating a Wikipedia article for topic chosen. For instance, the common headings for film ac- a named entity which not only looks similar to other tors are early life, career, filmography and awards. But the Wikipedia articles in its category but also aggregates Wikipedia article generated by this method for some expired the diverse aspects related to that named entity from the actor, say Uday Kiran, while including the aforementioned Web. In particular, a semi-supervised method is used headings still would not contain information about his death. for determining the headings and identifying the con- An unsupervised approach which clusters text related to the tent for each heading in the Wikipedia article generated. topic into various headings would include all topic-specific Evaluations show that articles created by our system for headings and solve the issue, but at the cost of losing simi- categories like actors are more reliable and informative larity in article structure (common headings) across articles compared to those generated by previous approaches of Wikipedia article automation. -
Bollywood Bourgeois Author(S): Rachel Dwyer Source: India International Centre Quarterly, Vol
Bollywood Bourgeois Author(s): Rachel Dwyer Source: India International Centre Quarterly, Vol. 33, No. 3/4, India 60 (WINTER 2006-SPRING 2007), pp. 222-231 Published by: India International Centre Stable URL: http://www.jstor.org/stable/23006084 . Accessed: 07/11/2013 09:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. India International Centre is collaborating with JSTOR to digitize, preserve and extend access to India International Centre Quarterly. http://www.jstor.org This content downloaded from 146.96.128.36 on Thu, 7 Nov 2013 09:20:14 AM All use subject to JSTOR Terms and Conditions INDIA 60 Bollywood Bourgeois cliche of Indian cinema being the domain of the escapist fantasies of the Indian masses can now be safely put to rest. While this may have been true for The the 1980s, when the study of Indian cinema began to grow, the present cinema audiences, who are willing to pay Rs. 200 and upwards for a cinema ticket, are from various sections of the Indian middle classes and elites. These classes now dominate the public sphere in India and film is one of the major media which they are producing and consuming. -
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HRITHIK ROSHAN the New Emperor of Bollywood
BOLLYWOOD HRITHIK ROSHAN The New Emperor of Bollywood n all the clamour made about the ban- to the latest ‘Jodhaa Akbar’, he has essayed zling depiction of the mysterious Mr. A in ning of the Hindi period romance roles that are as diverse and wide as the ‘Dhoom-2’ — Roshan has displayed an ‘Jodhaa Akbar’ by the Indian states of gamut of emotions and acting skills that he is amazing repertoire of histrionics and Rajasthan, Madhya Pradesh (MP) and capable of exhibiting. breathed life into his on-screen personas so UttarI Pradesh, the subsequent lifting of the Be it any role — a romantic hero much so that you get to see the reel charac- ban by the MP High Court, the protests Rohit/Raj in ‘Kaho Na Pyar Hai’, where he ters and not Roshan, the actor. staged by a motley group in Maharashtra made his stunning debut and caught the But it was as Akbar in Ashutosh against the movie, and about the box-office imagination of the nation, or a convincing Gowariker’s ‘Jodhaa Akbar’ that the true mag- collections that the movie has raked in world- portrayal of a terrorist in ‘Fiza’, or a mind- nificence of Hrithik emerges. wide (about Rs. 740 million worldwide with- blowing interpretation of a growth retarded Roshan as Emperor Jalaluddin Akbar looks in 10 days of its release), one gets a feeling man-child in ‘Koi Mil Gaya’, or a fantastic absolutely larger than life. The film made by that something is not being given the atten- Indian superman avatar in ‘Krrish’, or a daz- Ashutosh Gowiraker is today hailed as one of tion that it richly deserves. -
In the High Court of Judicature at Bombay Ordinary Original Civil Jurisdiction Notice of Motion (L) No
901-NMSL502-2014.DOC agk IN THE HIGH COURT OF JUDICATURE AT BOMBAY ORDINARY ORIGINAL CIVIL JURISDICTION NOTICE OF MOTION (L) NO. 502 OF 2014 IN SUIT NO. 219 OF 2014 MANSOOB HAIDER, Aged 44 years, of Mumbai, Indian inhabitant, having address at 301-A Block, Benston, Behind i!vi College, Off Carter Road, Bandra $%est&, Mumbai 400 050 ( Plaintiff versus 1. YASHRAJ FILMS PVT LTD A com*any duly incor*orated under the Com*anies Act, 195, having its address at 5, Shah Industrial Estate, Veera Desai oad, Andheri (%est&, Mumbai 400 053 2. ADITYA CHO RA, Of Mumbai, Indian inhabitant having address at 5, Shah Industrial .state, /eera Desai Road, Andheri Bombay$%est&, Mumbai 400 High053 Court !. VIJAY "RISHNA ACHARYA, Of Mumbai, Indian inhabitant having office at 5, -hah Industrial .state, /eera Desai Road, Andheri $%est&, Mumbai 400 053 1 #$ !1 ::: Downloaded on - 14/07/2014 14:20:45 ::: 901-NMSL502-2014.DOC 4. MULTI SCREEN MEDIA VT LTD, $)opularly kno1n as 2-ony 3/4& address at Interface Building No.7, 4th Floor, Off Malad Link oad, Malad (%est&, Mumbai 400 0,4 5. MSM SATELLITE (SINGA ORE) TE LTD, Having address at 5, Tam*ines Central 6, #0<-19, Tele*ark Building, Singa*ore 5<+4=< 666 0efendants APPEARANCES FOR THE PLAINTIFF M%. C&'%() M#*', with Mr. Ashok Purohit, Ms. Shalaka Mali, i/b Ashok Purohit & Co., FOR DEFENDANTS NOS. M%. V. R. D&#+*, Seni#% A*.#/(0-, with 1-3 Mr. Rashmin Khandekar, i/b Keystone Partners, FOR DEFENDANTS NOS. 4 M%. R.M. K(*(1, Seni#% A*.#/(0-, with & 5 Mr. -
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