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Govind Nihalani's 'Hazaar Chaurasi Ki
Reclaiming Her /histories), reclaiming Lives: Govind Nihalani’s ‘Hazaar Chaurasi ki Ma’ and Mahashweta Devi’s Mother of 1084. Baruah Baishali Assistant Professor. Dept. of English Satyawati College (D) University of Delhi India Mahashweta Devi’s story is about the reawakening of a mother proselytized by the death of her son against the backdrop of the systematic “annihilation” of the Naxalites in the 1970’s Bengal. The uncanny death forces the apolitical mother to embark on a quest for the discovery of her ‘real’ son which eventually leads to her own self-discovery. The discovery entails the knowledge of certain truths or half truths about the particular socio-political milieu in which the characters are located. Sujata conditioned to play the submissive, unquestioning wife and mother for the major part of her life gains a new consciousness about her own reality (as a woman) and her immediate context (the patriarchal / feudal order). She therefore pledges to refashion herself by assimilating her son’s political beliefs of ushering in a new egalitarian world without centre or margin. In Govind Nihalani’s own words his film is “a tribute to that dream”. The symbiotic relation of the mother and the son which is shown to be more than just blood relation is done full justice by Nihalani. Jaya Bacchan plays to the hilt the traumatized mother (Sujata) who finds herself locked within her “solitary cell” and constantly assailed by the guilt of not knowing her son adequately when alive. The information about her son (Brati) that surfaces by her association with one Somu’s mother (Seema Biswas) and Nandini (played by Nandita Das) help her discover Brati his idealism, and shed her complacency about the arrangements of the hierarchised structure that underline every interpersonal (man- woman) and social (class/caste) relationship. -
Download the Complete Issue Here
Theatre for Change 1 Editorial ‘The very process of the workshop does so much for women. The process is an end in itself. For women who are not given to articulating their views, women who are not given to exploring their bodies in a creative way, for feeling good, for feeling fresh. Just doing physical and breathing exercises is a liberating experience for them. Then sharing experiences with each other and discovering that they are not insane, you know, discovering that every woman has dissatisfaction and negative feelings, touching other lives . When you come together in a space, you develop a trust, sharing with each other, enjoying just being in this space, enjoying singing and creating, out of your own experiences, your own plays’—Tripurari Sharma Theatre as process—workshopping—is an empowering activity. It encourages self- expression, develops self-confidence and communication skills, and promotes teamwork, cooperation, sharing. It is also therapeutic, helping individuals to probe within and express—share—deeply emotional experiences. Role-playing enables one to ‘enact’ something deeply personal that one is not otherwise able to express, displacing it and rendering it ‘safe’, supposedly ‘fictionalized’. In short, workshopping can be a liberatory experience. For women who, in our society especially, are not encouraged to develop an intimacy with their bodies, who are conditioned to be ashamed or uncomfortable about their physicality, the process of focusing on the body, on exercises which change one’s awareness of and relationship with and deployment of one’s body, offers an additional benefit, opening up a dimension of physicality which is normally out of bounds. -
Group Housing
LIST OF ALLOTED PROPERTIES DEPARTMENT NAME- GROUP HOUSING S# RID PROPERTY NO. APPLICANT NAME AREA 1 60244956 29/1013 SEEMA KAPUR 2,000 2 60191186 25/K-056 CAPT VINOD KUMAR, SAROJ KUMAR 128 3 60232381 61/E-12/3008/RG DINESH KUMAR GARG & SEEMA GARG 154 4 60117917 21/B-036 SUDESH SINGH 200 5 60036547 25/G-033 SUBHASH CH CHOPRA & SHWETA CHOPRA 124 6 60234038 33/146/RV GEETA RANI & ASHOK KUMAR GARG 200 7 60006053 37/1608 ATEET IMPEX PVT. LTD. 55 8 39000209 93A/1473 ATS VI MADHU BALA 163 9 60233999 93A/01/1983/ATS NAMRATA KAPOOR 163 10 39000200 93A/0672/ATS ASHOK SOOD SOOD 0 11 39000208 93A/1453 /14/AT AMIT CHIBBA 163 12 39000218 93A/2174/ATS ARUN YADAV YADAV YADAV 163 13 39000229 93A/P-251/P2/AT MAMTA SAHNI 260 14 39000203 93A/0781/ATS SHASHANK SINGH SINGH 139 15 39000210 93A/1622/ATS RAJEEV KUMAR 0 16 39000220 93A/6-GF-2/ATS SUNEEL GALGOTIA GALGOTIA 228 17 60232078 93A/P-381/ATS PURNIMA GANDHI & MS SHAFALI GA 200 18 60233531 93A/001-262/ATS ATUULL METHA 260 19 39000207 93A/0984/ATS GR RAVINDRA KUMAR TYAGI 163 20 39000212 93A/1834/ATS GR VIJAY AGARWAL 0 21 39000213 93A/2012/1 ATS KUNWAR ADITYA PRAKASH SINGH 139 22 39000211 93A/1652/01/ATS J R MALHOTRA, MRS TEJI MALHOTRA, ADITYA 139 MALHOTRA 23 39000214 93A/2051/ATS SHASHI MADAN VARTI MADAN 139 24 39000202 93A/0761/ATS GR PAWAN JOSHI 139 25 39000223 93A/F-104/ATS RAJESH CHATURVEDI 113 26 60237850 93A/1952/03 RAJIV TOMAR 139 27 39000215 93A/2074 ATS UMA JAITLY 163 28 60237921 93A/722/01 DINESH JOSHI 139 29 60237832 93A/1762/01 SURESH RAINA & RUHI RAINA 139 30 39000217 93A/2152/ATS CHANDER KANTA -
Interview with Govind Nihalani Rukmavati Ki Haveli:: Creating
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 12 (2016) INTERVIEW WITH GOVIND NIHALANI RUKMAVATI KI HAVELI: CREATING EMOTIONAL LANDSCAPES Amparo Rodrigo Mateu University of Mumbai, India [email protected] 25 years after filming Rukmavati Ki Haveli (1991), the Hindi movie adaptation of Lorca's play La casa de Bernarda Alba (Federico García Lorca, 1936), Mumbai-based Indian filmmaker and former cameraman Govind Nihalani (Karachi, 1940) vividly remembers the effect it had on him and relates how he adapted the play from Lorca's Spanish Andalusia to a film with an Indian background. 1 -Why did you choose Lorca and, among all his works, what attracted you to La casa de Bernarda Alba? I always liked theater and I was very close to a well-known Hindi theatre director. His name was Satyadev Dubey. He used to do English plays and he spoke to me a lot about some plays from Europe. Among them, he spoke about Lorca and this particular play. I had not read it but he described it as a strong play, so I became curious. I bought an English translation and I read it. I liked FOTOCINEMA, nº 13 (2016), E-ISSN: 2172-0150 321 the play very much because of its theme: authoritarianism and the rebellion against authoritarianism. I read it, I liked it and, then, I forgot about it. One day, I went to Jaisalmer, in Rajasthan. As I was going up the fort, I saw a group of Rajasthani women walking down. All of them -they must have been a particular tribe- were dressed in brown petticoats, brown skirts and black duppatas1 and chadars2, and wearing old silver jewelery. -
Book 1 Peshi Register from 01-02-2014 to 10-02-2014
PESHI REGISTER Peshi Register From 01-02-2014 To 10-02-2014 Book No. 1 No. S.No. Reg.No. IstParty IIndParty Type of Deed Address Value Stamp Book No. Paid Bara Hindu Rao 12237 -- Mohd Asif Khali Qamar SALE , SALE WITHIN MC Bara Hindu Rao , House No. 6631-32 369,500.00 22,170.00 1 AREA ,Road No. Chamelian road, Mustail No. , Khasra , Area1 11, Area2 0, Area3 0 Bara Hindu Rao Civil Line 22287 -- Ankita Goel Madhav Goel RELINQUISHMENT DEED Civil Line, House No. 3 ,Road No. 0.00 100.00 1 , RELINQUISHMENT Court Road, Mustail No. , Khasra , DEED Area1 0, Area2 0, Area3 0 Civil Line Roshanara Road 32394 -- Anil Kumar Dharmender Kumar SALE , SALE WITHIN MC Roshanara Road , House No. 8491 1,000,000.00 60,000.00 1 AREA To 8493 (new) ,Road No. Gali Abdula Beg, Mustail No. , Khasra , Area1 44, Area2 0, Area3 0 Roshanara Road Subzi Mandi 42421 -- Ashok Kumar Anand Jindal TRANSFER OF LEASE , Subzi Mandi , House No. 30 ,Road 2,830,000.00 84,900.00 1 Luthra TRANSFER OF LEASE No. Indra Mkt, Mustail No. , Khasra , Area1 22, Area2 0, Area3 0 Subzi Mandi Village Burari 5-- 901 Rakesh Kumar Jain Nem Chand Jain , RELINQUISHMENT DEED Village Burari , House No. ,Road 0.00 100.00 1 , C-64 Ph-1 Ashok C-64 Ph-1 Ashok , RELINQUISHMENT No. Extended lal Dora, Mustail No. , Vihar delhi Vihar delhi DEED Khasra 472/1, Area1 0, Area2 10, Area3 0 Village Burari Roop Nagar 6-- 902 Kashmiri Lal Sanjna , 8/5 Roop SALE , SALE WITHIN MC Roop Nagar, House No. -
Université De Montréal /7 //F Ç /1 L7iq/5-( Dancing Heroines: Sexual Respectability in the Hindi Cinema Ofthe 1990S Par Tania
/7 //f Ç /1 l7Iq/5-( Université de Montréal Dancing Heroines: Sexual Respectability in the Hindi Cinema ofthe 1990s par Tania Ahmad Département d’anthropologie Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.Sc. en programme de la maîtrise août 2003 © Tania Ahrnad 2003 n q Université (1111 de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. -
Reflections of Radical Political Movements on the Silver Screen: an Analysis
Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Reflections of Radical Political Movements on the Silver Screen: An Analysis Aakash Shaw Assistant Professor and Head, Department of Journalism and Mass Communication Vivekananda College (Affiliated to the University of Calcutta) [email protected] Abstract Jean – Louis Comolli and Jean Narboni described film as a particular product, manufactured within given economic relations, and involving labour to produce. This is a condition to which ‘independent film-makers’ and the ‘new cinema’ are subject, involving a number of workers and as a material product it is also considered as an ideological product of the system. No film makers can by individual efforts, change the economic relations governing the manufacture and distribution of her/his films. The radical political movements which culminated from the peasant uprising in 1967, spread like firestorm and eventually turned out to be an urban phenomenon. Films invoke current evaluations founded upon new criteria which are marked by the representation of power structures, authoritative institutions, engaging contestations and ideological apparatuses frozen in a specific time and space. Film reproduces reality that is an expression of prevailing ideology and seeks to re-interpret or find inferences and possible explications of the discourse from the past. In the context of radical political movements, the paper seeks to understand and analyze cinematic portrayal of Naxalite movement not only as peasants uprising but as a socio-economic approach arising as a response to the exploitation and subjugation prevalent in the semi-feudal and semi-colonial socio-economic structure. -
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. -
Türkġye Cumhurġyetġ Ankara Ünġversġtesġ Sosyal Bġlġmler Enstġtüsü Doğu Dġllerġ Ve Edebġyatlari Anabġlġmdali
TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Hatice Ġlay Karaoğlu ANKARA-2019 TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Hazırlayan Hatice Ġlay Karaoğlu Tez DanıĢmanı Prof. Dr. Korhan Kaya ANKARA-2019 TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Tez DanıĢmanı: Prof. Dr. Korhan Kaya Tez Jüri Üyerileri: Adı Soyadı Ġmzası ………………………… ..…………………………. …………………………. …………………………… …………………………. …………………………… …………………………. ……………………………. …………………………. ……………………………. Tez Sınav Tarihi………………… TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜDÜRLÜĞÜNE Bu belge ile bu tezdeki bütün bilgilerin akademik kurallara ve etik davranıĢ ilkelerine uygun olarak toplanıp sunulduğunu beyan ederim. Bu kural ve ilkelerin gereği olarak, çalıĢmada bana ait olmayan tüm veri, düĢünce ve sonuçları andığımı ve kaynağını gösterdiğimi ayrıca beyan ederim. (24/06/2019) Tezi Hazırlayan Öğrencinin Adı ve Soyadı Hatice Ġlay Karaoğlu Ġmzası ÖNSÖZ Bir sinema filmi, yazılı bir eserin konusundan yararlanabildiği gibi konunun eserdeki sunumundan da yararlanabilmektedir. Burada bahsi geçen sunum, hikâyenin -
Coalition Between Politics & Entertainment in Hindi Films: A
Journal of Education & Social Policy Vol. 1 No. 1; June 2014 Coalition between Politics & Entertainment in Hindi Films: A Discourse Analysis Dr. C. M. Vinaya Kumar Assistant Professor & Head Department of Journalism and Mass Communication Krishna University Machilipatnam-521 001 91-9985085530 Romesh Chaturvedi Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, 91-9721964685 India Shruti Mehrotra Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, India 91-9451177264 Abstract The study attempts to explore dynamics of political discourse as reflected in Hindi films. Political messages in most Hindi films are concealed within entertainment. Films use thrilling & entertaining plots mixed with political content in order to convey their messages to the public. Films not only reflect reality but also construct the political ideology. The public is generally unaware of the extent to which they are being influenced, managed and conditioned by the political discourses in Hindi films. This study attempts to conduct the discourse analysis on the Hindi film “Chakravyuh” to find how politics and entertainment are merged together to influence public opinion. The film is based on the dark, largely-unexposed world of the Naxalites fighting for their land and dignity. Discourse analysis of the film will help in exploring how an entertaining film can carry a meaningful message. For over 40 years in India, since the emergence of the Naxalite rebellion, cinema has drawn inspiration from the rupture caused by this iconic movement in Indian political history. Hindi films seem to have woken up to Naxalism, or Maoism, as it is more commonly known today. -
Preuzmi Publikaciju (PDF)
reuters Goran Tomašević / Goran Tomašević Prosvjednik stoji pred barikadom u plamenu za vrijeme demonstracija u Kairu 28. siječnja 2011. Policija i demonstranti vodili su bitke na ulicama Kaira u petak na četvrti dan nezapamćenih prosvjeda desetaka tisuća Egipćana koji su zahtijevali kraj vladavine predsjednika Hosnija Mubaraka, koja je trajala trideset godina. reuters Goran Tomašević / Goran Tomašević Pristaša oporbe maše cipelom u znak nepoštovanja, nedugo nakon klanjanja molitve petkom na Trgu Tahrir u Kairu 4. veljače 2011. Desetci tisuća Egipćana klanjali su u petak na kairskom Trgu Tahrir (Trg oslobođenja) za kraj tridesetogodišnje vladavine predsjednika Hosnija Mubaraka, u nadi da će im se pridružiti još milijun građana na dan koji su nazvali “Danom odstupanja.” reuters Goran Tomašević / Goran Tomašević Mubarakovi pristaše marširaju prema anti-vladinim prosvjednicima na Trgu Tahrir u Kairu 2. Veljače 2011. Protivnici i pristaše egipatskog predsjednika Hosnija Mubaraka borili su se šakama, kamenjem i palicama u Kairu u srijedu u sukobu koji je, izgleda, bio pokušaj snaga vjernih egipatskom vođi da okončaju prosvjede kojima se zahtijeva njegova ostavka. reuters Goran Tomašević / Goran Tomašević Pristaše oporbe klanjaju molitvu petkom pokraj tenkova pred pedsjedničkom palačom u Kairu 11. veljače 2011. Razgnjevljeni odlučnošću predsjednika Hosnija Mubaraka da ostane na vlasti, Egipćani marširaju u znak protesta pred njegovom palačom u Kairu, odbacujući jamstvo vojske za prijelaz na slobodne izbore ocjenivši taj korak nedovoljnim. reuters -
Dtp1april14.Qxd
DLD‰‰†‰KDLD‰‰†‰DLD‰‰†‰MDLD‰‰†‰C Crooning glory: Extra effort: THE TIMES OF INDIA Minogue hits a Manya’s focus Monday, April 14, 2003 classical note is for real... Page 7 Page 8 TO D AY S LUCKY 878 Lay then straight Diamond Jubilee 875 842 W inny the Pooh House with bamboo door 854 Your Dambola Ticket available in Delhi Times on 13th April, 2003 OF INDIA Numbers already announced : 72, 9, 23, 85 MANOJ KESHARWANI There’s something fishy about smuggling The use of rotten fish as a decoy for smuggling drugs is the latest trick up the smuggler’s sleeve ARUN KUMAR DAS If you haven’t guessed and heroin don’t find a menti- where drugs have been hidden within Times News Network already, innovation is the on in the smuggler’s hand- wheel-chairs and dead bodies. There is name of the game. Smugg- book. ‘‘New methods of sm- no guessing the exact modus operandi.’’ hings are definitely getting curi- ling of drugs was never uggling have been adopted Bhargav, on his part, maintains that ouser and curiouser. We’re talk- such an intellectual cat- for hashish and heroin. For officialdom is a step ahead — but only Ting about the artful dodgers of and-mouse game as it is instance, specially-made just. ‘The part played by our intelligen- the smuggling world, who have taken to now. Smugglers have re- wooden handicraft items, ce network is of utmost importance. We camouflaging cocaine within rotten fi- peatedly changed their complete with cavities, are would never have been able to make the sh and packets of suji.