Prospectus 2011 Final Aw.FH10

Total Page:16

File Type:pdf, Size:1020Kb

Prospectus 2011 Final Aw.FH10 ROOPKALA KENDRO Film and Social Communication Institute, Govt. of West Bengal Sector-V, Block-GM, Salt Lake City, Kolkata - 700 091 MODEL QUESTIONS Please note that the question papers of the earlier Admission test have been enclosed for reference only. For the Combined Group comprising Direction, Motion Picture Photography, Editing and Sound Design, there will be one single Specialisation Question Paper for the Admission test in the Academic Session 2011-2013. For Development Communication and Animation Creation & Direction, there will be separate Specialisation Question Papers like earlier times. 17 Essay : Paper I Full Marks : 100 Time : 3 Hours Write an essay on any of the topics within 1000 words. Candidates have to choose the topic from his/her own stream. Animation Creation & Direction 1. My most favourite BABY - so funny and lovable. 2. Small birds and small animals the world around us. 3. The Novel that I like most. Direction 1. All art must be primarily truthful .... Truth does not make any work a piece of art, but without truth, no art is worth its salt. 2. Documentary is the highest medium to express the reality of the marginalized people. 3. Documentary filmmaking poses more challenges to filmmaker than a fiction film. Editing 1. Reality changes. In order to represent it, modes of representation must change. 2. Editing freed cinema from the dependence of time and space, and allowed it to create new space, new time, another geography and impossible people. 3. Documentary filmmaking poses more challenges to a filmmaker than a fiction film. Motion Picture Photography 1. Visual memories of my childhood and my coming days with the camera. 2. Photography is the best medium of communication today. 3. One winter day in a room with 3 windows my experiences with day light. Sound Design 1. Sound can make a good cinema bad or a bad cinema watchable. Development Communication 1. We have got the kind of media we deserve. 2. Mainstream Media and Marginal people : is there a space? 3. Development is not possible without people mobilisation and free flow of information. 18 Discipline : Development Communication Full Marks : 200 Time : 3 Hours Answer ten questions from the following: 1. What in your view will be the attributes that a person trained as a Development Communication professional will possess and what performance outputs will s/he be expected to deliver? (20 Marks) 2. As a journalist, you are responsible for a social reporting section in the newspaper. Your work requires your association with organizations working on media advocacy. As you are well aware the cut-throat competition of the print media necessitates that your reporting is appealing and creates an impression even as Page 3 glamourises uneventful news. Mention 10 creative and innovative ways to promote media advocacy. (20Marks) 3. Folk media are being increasingly used in development communication campaign. Do you think that this will destroy the originality of its form and content or will this fusion be a value-addition? Suggest the folk medium being used in mass awareness campaigns and state your arguments to support your stand. (20 Marks) 4. Films, audio programmes, posters, leaflets, ready reckoners, brochures are different types of communication materials designed and used for different target groups. These materials could be cost intensive and low cost based on available resources. However, no matter how low-cost, other locally viable communication means and materials could also supplement these materials like miking etc. Can you suggest and explain at least five such materials. (20 Marks) 5. In an era of new media the immense potentiality of the Internet is being explored in multiple ways. As a new entrant to a development organization, you have been assigned to prepare the concept plan for the home-page design and content. Suggest the look of your website. What are the major links and menu under which you would like to design your profile? (20 Marks) 6. You are a coordinator in a Gender Sensitization camp in a village where 60% of girls get married below the age of 16 years. Who will primarily be your target group? Why? What will be your strategy to communicate? [You can use Print and / or Video / any local art form] (20 Marks) 7. What according to you are the characteristics of a promotional film for urban audience? Write a concept of a promotional film of 60 seconds on anything of your choice. (20 Marks) 8. Choose a developmental theme of your choice. Write concepts notes for one commercial advertisement and one social spot of 60 seconds concerning the theme. (20 Marks) 19 9.1) Relate A with B: (10 Marks) A. a) Ratan Thiyam, B. a) News Personality, b) Brinda Karat, b) Film Maker, c) Nagesh Kukunur, c) Documentary Filmmaker d) Mahesh, Sarita d) Baul Singer, e) Anand Patwardhan, e) Theatre Personality, f) Girija Vyas, f) Social Activist, g) Pronnoy Roy, g) Chairperson, NCW, h) Prahlad Kakkar h) Writer, i) Mahasweta Devi, i) Ad. Filmmaker. j) Paban Das 9.2) Write full forms and basic objectives in brief (any five) (5 X 2) =10 ICDS SSA BPL JFM SHG EPC SGSY 10. Popular films can also evoke social awareness. Do you agree? Give at least two examples in support of your answer. (20 Marks) 11. Write notes on (any four) (5X4) =20 Marks Hegemony Civil Society Feminism Globalisation Gender Modernism Orientalism Realism 12. Does the mass media reflect social reality or create it? Answer the question with reasons. 20 Discipline : Direction Full Marks : 200 Time : 3 Hours 1. Name you favourite film or television programme with explanatory notes. (26 Marks) 2. Assume that you are travelling by a state bus on a long route. Due to break down, the bus has to take a halt near a village for almost an hour. Narrate your experience through audiovisual expressions of your own. (530 words) (40 Marks) 3. How do you react to this photograph / painting? Explain your views. (200 words) (40 Marks) 4. Match the following: (8 X 3) = 24 Marks a. Palatak Ritwik Ghatak b. 36 Chowringhee Lane Bimal Roy c. Garam Hawa Hrishikesh Mukherjee d. Satranj Ki Khiladi Tarun Majumder e. Pyasaa Aparna Sen f. Meghe Dhaka Tara M.S. Sathyu g. Anand Satyajit Ray h.Do Bigha Zamin Guru Dutt 5. Write any one of the following: (40 Marks) a. A romantic narrative involving a boy and a girl. OR b. Write with reasons about your most favourite book. 6. Write any one of the following: (30 Marks) a. Give your views on the effect of censorship in television programme and advertisement. OR b. Analyze briefly any sequence from any film of your choice. 21 Discipline: Motion Picture Photography Full Marks : 200 Time : 3 Hours Photography (Total Marks: 100) 1. Why you had chosen photography as your discipline? Justify your answer. (15 Marks) 2. Photography is a combination of Arts and Sciences. Justify your answer. (15 Marks) 3. Evaluate the photograph from different aspects e.g. composition, lighting and contrast. 4. Write in detail on any one of the under-mentioned films for its excellence in photography. (10 Marks) Meghe Dhaka Tara Charulata Chokher Bali Shatranj Ke Khiladi Abar Aranya 5. Differentiate the following from photographic point of views with at least 5 different views. (5 X 2 = 10 Marks) a. Documentary film and feature film. b. Black & White image & color image of a same subject. 6. Write the answer of the following within 7-10 sentences (5X4 = 20 Marks) a. What precautions should you take before you click for an SLR still camera? b. Write at least 5 valuable points regarding the attitude of a photographer while photographing an accident occurred in a busy street. c. Write your observations for light during a sunny day and a cloudy day. d. Write your photographic observations for photographing a subject in available sunlight and with a flash gun. 7. Match the following (5X1 = 5 Marks) a. Sun 1. Antihallation backing b. Lens 2. Shutter speed c. Fish eye 3. Glare d. Film 4. Aperture e. 90 5. Flare 6. Wide angle 22 8. Fill in the blanks (10X1 = Marks) a. Yellow + Magenta + Cyan -------------------------------------- b. Blue + Yellow Cyan -------------------------------------- c. Sodium thiosulphate is used as ------------------------------------ d. In a transparency film green color is represented as ------------------------- color. e. Human eye is more sensitive to -------------------------------------- color. f. Size of an image formed in a 35 mm still photography negative is ---------- mm x ---------- mm. g. Number of sprockets used in one frame of a still photography negative is -------------- h. Number of sprockets used in one frame of a motion picture negative is ---------------- i. On -------------- of human eye image is formed. j. In an aim and shoot camera the taking lens is --------------- as the viewing lens. Film History (Total Marks: 40) 1. Answer the followings briefly a. Satyajit Ray made two documentaries Inner Eye and Bala on two great personalities. Mention the names and their credits. b. Ritwik Ghatak made a documentary on a famous sculptor. Mention his name and the name of the documentary. c. Why Lumiere brothers are famous? What is their contribution towards world cinema? d. Name five films directed by Akira Kurosawa. e. Name five films directed by Ritwik Ghatak. f. Name five films photographed by Sri Subrata Mitra g. Name five films photographed by Sri Radhu Karmakar. h. Name five films where Uttam Kumar and Suchitra Sen have worked together. i. Name five films made from the stories of Sri Rabindranath Tagore. j. Name five films made from the stories of Sri Sarat Chandra Chattopadhyay. 2. Fill in the Blanks (1 X 10 = 10 Marks) a. MUKHAMUKHAM is directed by b.
Recommended publications
  • Lions Film Awards 01/01/1993 at Gd Birla Sabhagarh
    1ST YEAR - LIONS FILM AWARDS 01/01/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR TAPAS PAUL for RUPBAN BEST ACTRESS DEBASREE ROY for PREM BEST RISING ACTOR ABHISEKH CHATTERJEE for PURUSOTAM BEST RISING ACTRESS CHUMKI CHOUDHARY for ABHAGINI BEST FILM INDRAJIT BEST DIRECTOR BABLU SAMADDAR for ABHAGINI BEST UPCOMING DIRECTOR PRASENJIT for PURUSOTAM BEST MUSIC DIRECTOR MRINAL BANERJEE for CHETNA BEST PLAYBACK SINGER USHA UTHUP BEST PLAYBACK SINGER AMIT KUMAR BEST FILM NEWSPAPER CINE ADVANCE BEST P.R.O. NITA SARKAR for BAHADUR BEST PUBLICATION SUCHITRA FILM DIRECTORY SPECIAL AWARD FOR BEST FILM PREM TELEVISION BEST SERIAL NAGAR PARAY RUP NAGAR BEST DIRECTOR RAJA SEN for SUBARNALATA BEST ACTOR BHASKAR BANERJEE for STEPPING OUT BEST ACTRESS RUPA GANGULI for MUKTA BANDHA BEST NEWS READER RITA KAYRAL STAGE BEST ACTOR SOUMITRA CHATTERHEE for GHATAK BIDAI BEST ACTRESS APARNA SEN for BHALO KHARAB MAYE BEST DIRECTOR USHA GANGULI for COURT MARSHALL BEST DRAMA BECHARE JIJA JI BEST DANCER MAMATA SHANKER 2ND YEAR - LIONS FILM AWARDS 24/12/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR CHIRANJEET for GHAR SANSAR BEST ACTRESS INDRANI HALDER for TAPASHYA BEST RISING ACTOR SANKAR CHAKRABORTY for ANUBHAV BEST RISING ACTRESS SOMA SREE for SONAM RAJA BEST SUPPORTING ACTRESS RITUPARNA SENGUPTA for SHWET PATHARER THALA BEST FILM AGANTUK OF SATYAJIT ROY BEST DIRECTOR PRABHAT ROY for SHWET PATHARER THALA BEST MUSIC DIRECTOR BABUL BOSE for MON MANE NA BEST PLAYBACK SINGER INDRANI SEN for SHWET PATHARER THALA BEST PLAYBACK SINGER SAIKAT MITRA for MISTI MADHUR BEST CINEMA NEWSPAPER SCREEN BEST FILM CRITIC CHANDI MUKHERJEE for AAJKAAL BEST P.R.O.
    [Show full text]
  • Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
    Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide
    [Show full text]
  • The Cinema of Satyajit Ray Between Tradition and Modernity
    The Cinema of Satyajit Ray Between Tradition and Modernity DARIUS COOPER San Diego Mesa College PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written perrnission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Sabon 10/13 pt. System QuarkXpress® [mg] A catalog record for this book is available from the British Library Library of Congress Cataloging in Publication Data Cooper, Darius, 1949– The cinema of Satyajit Ray : between tradition and modernity / Darius Cooper p. cm. – (Cambridge studies in film) Filmography: p. Includes bibliographical references and index. isbn 0 521 62026 0 (hb). – isbn 0 521 62980 2 (pb) 1. Ray, Satyajit, 1921–1992 – Criticism and interpretation. I. Title. II. Series pn1998.3.r4c88 1999 791.43´0233´092 – dc21 99–24768 cip isbn 0 521 62026 0 hardback isbn 0 521 62980 2 paperback Contents List of Illustrations page ix Acknowledgments xi Introduction 1 1. Between Wonder, Intuition, and Suggestion: Rasa in Satyajit Ray’s The Apu Trilogy and Jalsaghar 15 Rasa Theory: An Overview 15 The Excellence Implicit in the Classical Aesthetic Form of Rasa: Three Principles 24 Rasa in Pather Panchali (1955) 26 Rasa in Aparajito (1956) 40 Rasa in Apur Sansar (1959) 50 Jalsaghar (1958): A Critical Evaluation Rendered through Rasa 64 Concluding Remarks 72 2.
    [Show full text]
  • Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
    University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema.
    [Show full text]
  • Details of Shareholders for Transfer of Shares to Iepf
    Precision Wires India Limited Statement of Unclaimed dividend amount consecutively for 7 years, whose shares are to be transferred to IEPF Suspense Account Final Final Final Final 2009- 1st Interim 2010- 1st Interim Final 2011- 1st Interim Final 2012- 1st Interim 2nd Interim Final 2013- 1st Interim 2nd Interim 2014- 1st Interim 2nd Interim 2015- 1st Interim Base Current FolioNo name 2010 2010-2011 2011 2011-2012 2012 2012-2013 2013 2013-2014 2013-2014 2014 2014-2015 2014-2015 2015 2015-2016 2015-2016 2016 2016-2017 Holding Holding IEPF Holding 000158 SHUVASHISH BANERJEE 200 240 360 180 120 250 150 400 400 200 200 100 250 250 150 250 250 100 200 200 000159 SHUVASHISH BANERJEE 200 240 360 180 120 250 150 400 400 200 200 100 250 250 150 250 250 100 200 200 000254 SULBHA PATHARE 200 240 360 180 120 250 150 400 400 200 200 100 250 250 150 250 250 100 200 200 000352 HIMATLAL JIVRAM UPADHYAY 200 240 360 180 120 250 150 400 400 200 200 100 250 250 150 250 250 100 200 200 000399 SURENDRA DURLABHRAM GANDHI 400 480 720 360 240 500 300 800 800 400 400 200 500 500 300 500 500 200 400 400 000441 KUSUMBEN JITENDRA KADAKIA 600 720 1080 540 360 750 450 1200 1200 600 600 300 750 750 450 750 750 300 600 600 000483 BHASKAR BANDHU SEN 800 960 1440 720 480 1000 600 1600 1600 800 800 400 1000 1000 600 1000 1000 400 800 800 000513 SESHADERI GIRIDHAR 400 480 720 360 240 500 300 800 800 400 400 200 500 500 300 500 500 200 400 400 000599 CHIMANLAL HARIDAS KAKAIYA 1000 1200 1800 900 600 1250 750 2000 2000 1000 1000 500 1250 1250 750 1250 1250 500 1000 1000 000650
    [Show full text]
  • Satyajit Ray Season Reveals the Enduring Versatility and Masterly Satyajit Ray: Part Two Style of the Indian Director
    22 The second part of our major Satyajit Ray season reveals the enduring versatility and masterly Satyajit Ray: Part Two style of the Indian director. But his later output is marked by a darkening mood that reflects Ray’s This second part of Ray’s career begins And his exquisite historical drama about on a sunny note. The Adventures of the British military takeover of Lucknow ambivalence towards the society he lived in, Goopy and Bagha was his most popular in 1856, The Chess Players, was equally argues Andrew Robinson. film in Bengal, with children and adults concerned with individual morality singing its Bengali songs on the streets as with political systems. But his two for months. ‘Maharaja, We Salute You’ detective films, The Golden Fortress was spontaneously sung by the crowds and The Elephant God, based on his at Ray’s funeral in 1992. own Holmes-and-Watson-style Bengali But then his mood darkened, first into the duo, betrayed a declining belief in official wincing irony of Days and Nights in the justice. In Deliverance, a stark attack on Forest, afterwards into a political trilogy: the cruelty of Untouchability, Ray moved The Adversary, Company Limited about as far from the hopefulness of and The Middleman. From 1969, the Pather Panchali as it was possible to go. Naxalite movement inspired by Maoism Ray’s last three films, though not without rocked Bengal through terrorist acts his trademark comedy, were urgent by young Bengalis, followed by horrific warnings to his fellow citizens against police and army reprisals, and a period religious fundamentalism and social of national Emergency declared by Indira corruption.
    [Show full text]
  • A Comparative Study of Satyajit Ray's Women
    postscriptum: An Interdisciplinary Journal of Literary Studies, Vol: 1 (January 2016) Online; Peer-Reviewed; Open Access www.postscriptum.co.in Ganguly, Chandreyee. “Captivity, Emancipation and beyond: … ” pp. 35-49 Captivity, Emancipation and beyond: Time and Society – a Comparative Study of Satyajit Ray’s Women Chandreyee Ganguly The author pursued both her bachelor’s and master’s degrees in English from the University of Burdwan. Her areas of specialization are Indian English literature and Post 1950s British Literature. She is passionate about movies, both western and eastern. Abstract Women, the mystic- the exotic and the nurturer, are a reservoir of binaries. Female psyche possesses such fascinating opposites that might either demean or out rightly subjugate them in one hand; simultaneously, on the other hand, at times, the docile femininity itself might reverberate with extraordinary promises to establish a meek- submissive woman in budding magnificent ‘New Woman’. The struggle of women in an austerely gendered society is beyond the boundaries of spatio-temporal particularities. The prolonged incarceration of their spirit results in a crushed and crumbled locus of identity, totally exterior and alien to the women themselves. Within a high ‘phallocentric’ ambience the feminine eccentricities are stoned and denied to breathe and germinate. While the periodic time gradually moves forward, the general outlook towards women moderated scarcely. In spite of that, the ‘second sex’, largely succumbed to the overpowering presence of their male counterparts, or society per se, rejuvenates with new hopes to overturn the age old speculations and customs which chain them down. Satyajit Ray, the iconoclast who was responsible for the revolutions in the field of cinema, portrays these dualities of women subtly and marvellously in two of his classics, Devi and Mahanagar.
    [Show full text]
  • Madhabi Mukherjee on 'Charulata'
    BOOK EXCERPT Madhabi Mukherjee on ‘Charulata’, its enigmatic last scene, and the sea that returned an offering On the occasion of Satyajit Ray’s birth centenary, a flashback to one of his masterpieces. Madhabi Mukherjee May 01, 2021 · 10:30 am Madhabi Mukherjee in Charulata (1964) | RD Bansal The last day of shooting for Mahanagar took place on a street in the Alipur area of Calcutta. When we were done Manik-da said, “When do you think we can work together again?” The phone call came a few days later. “Read Noshtonir.” “I’ve read it.” “Read it again. I’m sending you a copy.” I used to live on Grey Street Extension in Hatibagan, which was where Manik-da sent me the book. I read it once more; then Manik-da sent for me to read the script to me. It didn’t, however, spell out the last scene. “How will the film end?” I asked. “I’ll tell you later,” he said. But he didn’t. When we went directly to shoot the final scene, we performed the way Manik-da instructed us to. Shailen-babu held out his hand, and I held out mine. “There must be a small gap,” Manik-da said. “Your hands mustn’t touch.” That was how it was. Madhabi Mukherjee and Sailen Mukherjee in Charulata (1964). Courtesy RD Bansal. I didn’t understand then just what the director was trying to say. Afterwards, when the entire film was played for us in the projection room, complete with background music and dialogue, I understood the whole thing.
    [Show full text]
  • The Lunchbox (2013) an NFDC Film Krrish 3 (2013)
    The Lunchbox (2013) an NFDC Film Hindi - 104 min - Drama | Romance "Dabba" (original title) Director: Ritesh Batra The Dabbawalas (lunchbox service) of Mumbai deliver 170’000 lunchboxes every day and according to a Harvard study, only one in a million ever goes astray. This movie is the story of that one mistaken delivery which connects a young housewife Ila to a lonely widower Saajan in the dusk of his life as they build a fantasy world together through notes in the lunchbox…. Both find a dream to hold on to. Ila begins a fantastical affair with a mystery suitor, pouring her heart into cooking meals for him. Saajan looks forward to lunch box deliveries from a mystery woman every day. As the lunchbox goes back and forth, this fantasy becomes so elaborate that it threatens to overwhelm their reality. The film is the story of the life of which we dream versus the life we live in, and of the courage it takes to turn out fantasies into reality. The film was released in February 2014 in the US and the New York Times described it as “A perfect balance of tact and sentimentality”. Cast: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui Krrish 3 (2013) Hindi - 152 min - Action | Sci-Fi Director: Rakesh Roshan Krishna aka Krrish is living a happy married life in India with his wife Priya and scientist dad Rohit, while helping the masses with his superpowers and struggling to keep a steady job. In another part of the world, an evil handicapped man named Kaal has used his DNA to generate a team of human-animal mutants, particularly the ruthless chameleon mutant Kaya who can assume any form she wants.
    [Show full text]
  • In the High Court at Calcutta Appellate Side
    IN THE HIGH COURT AT CALCUTTA APPELLATE SIDE Notification No. 1268-RG. Dated, the 31 ST May, 2014. In terms of the Court’s Employment Notice No. 1855-RG dated 30th April, 2013, the preliminary screening test was held on 9th February, 2014. Upon consideration of the marks obtained by the candidates who appeared at the preliminary screening test (40% marks being fixed as the qualifying marks), 6656 candidates have secured 40 or more marks out of total 100 marks and found eligible provisionally for appearance at the competitive written test. The names of the successful candidates are listed below. The competitive written test will be held on Sunday, the 22nd June, 2014 at different centres in and around Kolkata from 12.00 noon to 3.00 p.m. The competitive written test shall comprise of the following :- (i) Arithmetic - Full Marks - 100 (ii) English Essay and Precis - Full marks - 100 and (iii) General Knowledge - Full Marks - 100 The Admit Cards to the candidates who have qualified for the competitive written test will be issued soon. The candidates who will secure qualifying marks in each of the three subjects comprising the competitive test (40% in each subject and 50% in aggregate) and selected in order of merit shall be required to appear at a viva-voce test (full marks 50). This is for general information of all concerned. For further information, if any, all concerned are requested to visit the Court’s website www.calcuttahighcourt.nic.in and may contact the Recruitment Cell of the High Court at Calcutta (Phone No.
    [Show full text]
  • Ward No: 014 ULB Name :KOLKATA MC ULB CODE: 79
    BPL LIST-KOLKATA MUNICIPAL CORPORATION Ward No: 014 ULB Name :KOLKATA MC ULB CODE: 79 Member Sl Address Name of Family Head Son/Daughter/Wife of BPL ID Year No Male Female Total 1 226/A/3 B.M.ROAD A. BAIRAGI REDDY ADAIYA REDDY 3 2 5 1 2 110 MURARI PUKUR ROAD ABANI CH. KARMAKAR LT. NEPAL CH. KARMAKAR 3 3 6 2 3 46/1 M P ROAD ABHA MONDAL LT. PANCHANAN MONDAL 0 3 3 3 4 20/1 M P ROAD ABHA SAHA LT. GUPI MOHAN SAHA 0 1 1 4 5 4 MURARI PUKUR ROAD ABHIJIT DAS TARAK DAS 1 1 2 5 6 29 HARISH NEYOGI ROAD ABHIJIT KUNDU GOKUL CH KUNDU 4 5 9 6 7 41/A/40 MURARI PUKUR ROAD KOL-67 ABHIJIT PRAJAPATI GANGARAM PRAJAPATI 2 1 3 7 8 110 ULTADANGA MAIN ROAD ABIN KALSHA LAKHI KALSHA 1 2 3 8 9 30/6 HARISH NEOGI ROAD ACHINTYA KM HAZRA MANINDRA NATH HAZRA 2 0 2 9 10 18 CANEL EAST ROAD, KOL-67 ADALAT PRAJAPATI SHIB PRAJAPATI 2 5 7 10 11 MANICK TALA MAIN ROAD 38/H/10 MANICK TALA MAIN ROAD ADHIR DEY GURUCHARAN DEY 6 3 9 11 12 SETH BAGAN 21/H/15 CANAL EAST ROAD ADHOK DAS LT J DAS 2 2 4 13 13 226/A/40 B.M.ROAD AGARDIP SINGH LT. RAMSAGAR SINGH 2 1 3 14 14 23/3 CANAL STREET ROAD AGHOR BISWAS LT S.K.BISWAS 1 1 2 15 15 18 C E ROAD AGNI PRASAD LT.
    [Show full text]
  • List of Names Drawing Central Samman Pension Sl No
    List of Names drawing Central Samman Pension Sl no. Name State ANDAMAN AND NICOBAR 1 MRS. JAMUNA KUMARI ISLANDS 2 BOLLAM NAGALAXMI ANDHRA PRADESH 3 KOMPALLY RADHMMA W/O LATE BAANDHRA PRADESH 4 A HANUMANTHA RAO ANDHRA PRADESH 5 KALYANAPU ANASURYAMMA ANDHRA PRADESH 6 RAMISETTI VENKATA MAHA LAXMI ANDHRA PRADESH 7 LAGADAPATI CHENCHAIAH ANDHRA PRADESH 8 DAMULURI VENKATESWARLU ANDHRA PRADESH 9 N SUBHADRAMMA W/O LATE KOTEANDHRA PRADESH 10 LAGADAPATI KAMALAMMA ANDHRA PRADESH 11 LAGADAPATI NARASIMHA RAO ANDHRA PRADESH 12 LAGADAPATI PAKEERAIAH ANDHRA PRADESH 13 VUNNAM VENKATESWARLU ANDHRA PRADESH 14 VUTUKURU YASODASMMA W/O LATANDHRA PRADESH 15 J BUTCHAIAH ANDHRA PRADESH 16 AKKINENI NIRMALA ANDHRA PRADESH 17 LAGADAPATI NAGESWARA RAO ANDHRA PRADESH 18 YERNENI VENKATA RAVAMMA ANDHRA PRADESH 19 K DHNALAXMI W/O LATE BASAVAIAANDHRA PRADESH 20 RAMISETTI PEDDA VENKATESWARLANDHRA PRADESH 21 KOPPU GOVINDAMMA ANDHRA PRADESH 22 GADDE SATYANARAYANA ANDHRA PRADESH 23 NIRUKONDA KOTESWARA RAO ANDHRA PRADESH 24 KOLLI BHARATHA VENKATA ANDHRA PRADESH 25 GADDE RAGHAVAIAH ANDHRA PRADESH 26 KOTA VENKATA RAVAMMA ANDHRA PRADESH 27 CHIRUMAMILLA SATYANARAYANA ANDHRA PRADESH 28 CHERUKURI KAMALAMMA ANDHRA PRADESH 29 S SUSEELAMMA DEVI W/O LATE SU ANDHRA PRADESH 30 SURYADEVARA V KR MURTHY ANDHRA PRADESH 31 DANTALA SEETHAMMA W/O LATE DANDHRA PRADESH 32 CHAVALA NAGAMMA W/O LATE HAVANDHRA PRADESH 33 SURYADEVARA CHANDRASEKHARAANDHRA PRADESH 34 BAHUDODDA KONDAIAH ANDHRA PRADESH 35 BANDI SATYANARAYANA ANDHRA PRADESH 36 ANUMALA ASWADHA NARAYANA ANDHRA PRADESH 37 KESARI PERAMMA ANDHRA
    [Show full text]