Trump's Jerusalem Decision Evokes Mixed Reaction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Raamlaxman Hum Saath Saath Hain Mp3, Flac, Wma
Raamlaxman Hum Saath Saath Hain mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Folk, World, & Country / Stage & Screen Album: Hum Saath Saath Hain Country: India Released: 2017 Style: Bollywood, Soundtrack, Hindustani MP3 version RAR size: 1302 mb FLAC version RAR size: 1249 mb WMA version RAR size: 1966 mb Rating: 4.3 Votes: 605 Other Formats: VOX APE MP1 MOD MP4 XM DMF Tracklist –Kavita Krishnamurthy, Hariharan, Anuradha Paudwal, Kumar Sanu, A1 Mhare Hiwda Mein Alka Yagnik, Udit Narayan A2 –Hariharan, Hema Sardesai, Shankar Mahadevan, Udit Narayan Abcdefghi…I Love You A3 –Hariharan, Ghanshyam Vaswani, Pratima Rao, Santosh Tiwari Yeh To Sach Hai Ki A4 –Kavita Krishnamurthy, Udit Narayan, Kumar Sanu Chhote Chhote Bhaiyon Ke B1 –Kavita Krishnamurthy, Alka Yagnik, Anuradha Paudwal Maiyya Yashoda –Roopkumar Rathod, Pratima Rao, Udit Narayan, Kavita B2 Sunoji Dulhan Ek Baat Krishnamurthy, Sonu Nigam –Hariharan, Anuradha Paudwal, Kumar Sanu, Alka Yagnik, Udit B3 Hum Saath Saath Hain Narayan, Kavita Krishnamurthy Companies, etc. Copyright (c) – Saregama India Limited Phonographic Copyright (p) – Saregama India Limited Distributed By – Sony DADC Manufacturing India Pvt. Ltd. Marketed By – Sony DADC Manufacturing India Pvt. Ltd. Pressed By – DMS Ltd. Credits Music By – Raamlaxman* Notes Soundtrack of Hindi Film "Hum Saath Saath Hain" On Front Cover: Digitally Re-Mastered, 180 GSM High Quality Vinyl Barcode and Other Identifiers Barcode: 8907011113281 Other versions Category Artist Title (Format) Label Category Country Year Hum Saath Saath RPG, RPG CDF 110113 Raamlakshman* CDF 110113 India 1999 Hain (2xCD) Music Hum Saath-Saath His Master's NHF 810366 Raamlakshman* NHF 810366 India 1999 Hain (Cass, Album) Voice GNM-UK Hum Saath-Saath GNM-UK Raamlakshman* Saregama UK 1999 610058 Hain (Cass, Album) 610058 Related Music albums to Hum Saath Saath Hain by Raamlaxman Rajesh Roshan, Ibrahim Ashq · Nasir Faraaz · Dev Kohli - Koi.. -
Assets.Kpmg › Content › Dam › Kpmg › Pdf › 2012 › 05 › Report-2012.Pdf
Digitization of theatr Digital DawnSmar Tablets tphones Online applications The metamorphosis kingSmar Mobile payments or tphones Digital monetizationbegins Smartphones Digital cable FICCI-KPMG es Indian MeNicdia anhed E nconttertainmentent Tablets Social netw Mobile advertisingTablets HighIndus tdefinitionry Report 2012 E-books Tablets Smartphones Expansion of tier 2 and 3 cities 3D exhibition Digital cable Portals Home Video Pay TV Portals Online applications Social networkingDigitization of theatres Vernacular content Mobile advertising Mobile payments Console gaming Viral Digitization of theatres Tablets Mobile gaming marketing Growing sequels Digital cable Social networking Niche content Digital Rights Management Digital cable Regionalisation Advergaming DTH Mobile gamingSmartphones High definition Advergaming Mobile payments 3D exhibition Digital cable Smartphones Tablets Home Video Expansion of tier 2 and 3 cities Vernacular content Portals Mobile advertising Social networking Mobile advertising Social networking Tablets Digital cable Online applicationsDTH Tablets Growing sequels Micropayment Pay TV Niche content Portals Mobile payments Digital cable Console gaming Digital monetization DigitizationDTH Mobile gaming Smartphones E-books Smartphones Expansion of tier 2 and 3 cities Mobile advertising Mobile gaming Pay TV Digitization of theatres Mobile gamingDTHConsole gaming E-books Mobile advertising RegionalisationTablets Online applications Digital cable E-books Regionalisation Home Video Console gaming Pay TVOnline applications -
Aapke Dil Mein Rehna Hai
Aapke dil mein rehna hai Continue Pehle kabhi na humne kaha lo aaj sanam eh kehte hain pehle kabhi na humne kaha lo aah sanam yeh kehte hain hum aapke dil mein rehte hain aapke dil mein rehte hain pehle kabhi na Humne kaha lo aahte sanam yeh kehte hain pehle kabhi na humne kaha lo aaj sanam yeh kehte hahte hum aapke dil mein rehte hahte hum aapke dil mein rehte hain sach ho gayi dua. Apna Milan hua. Ab na kabhi rehna juda Milke chalo vaada karo aa. Chhup jao aankhon mein Bas jao saanson mein Dhadkan ki hai sadaa Ik pal kabhi jo door huye Dard hazaaron sehte hain hum aapke dil mein rehte hain aapke dil mein rehte hain hum aapke dil mein rehte hain Hum aapke dil mein rehte hain Donon jahan ko bhula ke Bas tumko karna hai haasil Kitni mohabbat hai tumse Tumko batana hai mushkil Kya zindagi hai hamaari Yeh hai amaanat tumhaari Bas ab yehi hai tamanna Saansein tumhein de de Doon saari Honge kabhi hum na Judas Rag meen lahu banke behte hain Hum aapke dil mein rehte hain aapke dil mein rehte hain pehle kabhi na humne kaha lo aaj sanam yeh kehte hain Hum aapke dil mein rehte hain aape d'e. Kinsey Promes, quincy Promes, Hum Aapke Dil Dil Rein, director of Satish Kaushik ProducedD. Rama NaiduKonoKono JainSatish KaushikStoribhoopathi RajaPodavit naPavitra Bandham (Telugu)StarringAnil KapoorKajolAnupam KherShakti KapoorParmeet SethiSatish KaushikJonnny Levergrasi SinghMusic PoAn. M. LehaCinematographyCabir Lalatemed E.M. MadhavanChaitanya TannaMarthand K. VenkateshProductioncompany Suresh ProductionsRelease Date January 22₹, 1999 (1999-01-22) CountryIndiaLanguageHinBud. -
War on Terror Partnership and Growing/Mounting/Increasing
Journal of Indian Studies Vol. 5, No. 1, January – June, 2019, pp. 119 – 130 Pakistan in the Bollywood Movies: A Discourse Analysis Nauman Sial International Islamic University, Islamabad, Pakistan. Yasar Arafat International Islamic University, Islamabad, Pakistan. Abid Zafar International Islamic University, Islamabad, Pakistan. ABSTRACT Pakistan and India had been the rival nations after the partition of Sub-continent in 1947. Both countries have fought many wars against each other including the 1948 Kashmir war, 1965 war, 1971 war and the Kargil war in 1999. But yet the relations remain on the conflicting peak. Indian government has always used the Hindi language cinema i.e. Bollywood as their main weapon. This research is being carried out to analyze the image of Pakistan that is being presented in the Bollywood Movies after the attacks on the Indian city Mumbai on November 26, 2008. Also, how the image of Pakistanis, the military forces/intelligence agencies and the religious groups of Pakistan are being shown in the Bollywood movies. Three films have been selected in this research which portrayed the image of Pakistan. Discourse analysis has been used as a research design for this study. The dialogues of all the movies have been analysed and interpreted which show that movies have portrayed a negative image of Pakistan, its people and also its military/intelligence agencies and religious groups. The five filters of propaganda model by Herman and Chomsky have also been observed and proved in this research work. Key Words: Film, Propaganda, Bollywood, A Propaganda Model, Inter-Services Intelligence (ISI), Research and Analysis Wing (RAW) Introduction Film or movie is an art that has borrowed itself from the other arts i.e. -
Danielle Macdonald Shines in Netflix's Beauty Pageant
13 SATURDAY, FEBRUARY 23, 2019 2- TOTAL DHAMAAL (PG-13) (HINDI/COMEDY/ADVEN- 10-ALONE / TOGETHER (PG-15) (FILIPINO/ROMANTIC/ DAILY AT: 12.15 + 3.00 + 5.45 + 8.30 + (11.15 PM THURS/FRI) OASIS JUFFAIR TURE) NEW DRAMA) NEW AJAY DEVGN, MADHURI DIXIT, ANIL KAPOOR LIZA SOBERANO, ENRIQUE GIL, JASMINE CURTIS 3- THE KNIGHT OF SHADOWS: BETWEEN YIN AND 1-FIGHTING WITH MY FAMILY (15+) (DRAMA/COME- FROM THURSDAY 21ST 7.00 PM ONWARDS DAILY AT: 11.00 AM + 1.30 + 4.00 + 6.30 + 9.00 + 11.30 PM YANG (PG-13) (ACTION/COMEDY/FANTASY) NEW DY/BIOGRAPHY) NEW DAILY AT: 10.30 AM + 1.00 + 3.45 + 6.30 + 9.15 PM + 12.00 MN JACKIE CHAN, ELANE ZHONG, ETHAN JUAN DWAYNE JOHNSON, FLORENCE PUGH, JACK LOWDEN 11-ALITA: BATTLE ANGEL (PG-15) (ACTION/ADVEN- DAILY AT: 10.45 AM + 1.00 + 6.15 + (11.30 PM THURS/FRI) DAILY AT: 12.30 + 5.00 + 9.30 PM 3- DUMPLIN (15+) (COMEDY/DRAMA) NEW TURE/ROMANTIC) DAILY AT (VIP): 10.45 AM + 3.30 + 8.15 PM DANIELLE MACDONALD, JENNIFER ANISTON, ROSA SALAZAR, CHRISTOPH WALTZ, JENNIFER CONNELLY 4-ALITA: BATTLE ANGEL (PG-15) (ACTION/ADVEN- LUKE BENWARD DAILY AT: 11.30 AM + 2.00 + 4.30 + 7.00 + 9.30 PM + 12.00 MN TURE/ROMANTIC) 2-TOTAL DHAMAAL (PG-13) (HINDI/COMEDY/ADVEN- DAILY AT: 12.00 + 2.15 + 4.30 + 6.45 + 9.00 + 11.15 PM ROSA SALAZAR, CHRISTOPH WALTZ, JENNIFER CONNELLY TURE) NEW 12-GULLY BOY (PG-15) (HINDI/DRAMA/MUSICAL) DAILY AT: 6.00 + 8.30 + (11.00 PM THURS/FRI) AJAY DEVGN, MADHURI DIXIT, ANIL KAPOOR 4- UPGRADE (15+) (ACTION/THRILLER) NEW ALIA BHAT, RANVEER SINGH, SIDDHANT CHATURVEDI FROM THURSDAY 21ST 7.00 PM ONWARDS LOGAN MARSHALL-GREEN, RICHARD -
Pop Compact Disc Releases - Updated 08/29/21
2011 UNIVERSITY AVENUE BERKELEY, CA 94704, USA TEL: 510.548.6220 www.shrimatis.com FAX: 510.548.1838 PRICES & TERMS SUBJECT TO CHANGE WITHOUT NOTICE INTERNATIONAL ORDERS ARE NOW ACCEPTED INTERNATIONAL ORDERS ARE GENERALLY SHIPPED THRU THE U.S. POSTAL SERVICE. CHARGES VARY BY COUNTRY. WE WILL ALWAYS COMPARE VARIOUS METHODS OF SHIPMENT TO KEEP THE SHIPPING COST AS LOW AS POSSIBLE PAYMENT FOR ORDERS MUST BE MADE BY CREDIT CARD PLEASE NOTE - ALL ITEMS ARE LIMITED TO STOCK ON HAND POP COMPACT DISC RELEASES - UPDATED 08/29/21 Pop LABEL: AAROHI PRODUCTIONS $7.66 APCD 001 Rawals (Hitesh, Paras & Rupesh) "Pehli Nazar" / Pehli Nazar, Meri Nigahon Me, Aaja Aaja, Me Dil Hu, Tujhko Banaya, Tujhko Banaya (Sad), Humne Tumko, Oh Hasina, Me Tera Hu Diwana (ADD) LABEL: AUDIOREC $6.99 ARCD 2017 Shreeti "Mere Sapano Mein" (Music: Rajesh Tailor) Mere Sapano Mein, Jatey Jatey, Ek Khat, Teri Dosti, Jaan E Jaan, Tumhara Dil - 2 Versions, Shehenayi Ke Soor, Chalte Chalte, Instrumental (ADD) $6.99 ARCD 2082 Bali Brahmbhatt "Sparks of Love" / Karle Tu Reggae Reggae, O Sanam, Just Between You N Me, Mere Humdum, Jaana O Meri Jaana, Disco Ho Ya Reggae, Jhoom Jhoom Chak Chak, Pyar Ke Rang, Aag Ke Bina Dhuan Nahin, Ja Rahe Ho / Introducing Jayshree Gohil (ADD) LABEL: AVS MUSIC $3.99 AVS 001 Anamika "Kamaal Ho Gaya" / Kamaal Ho Gaya, Nach Lain De, Dhola Dhol, Badhai Ho Badhai, Beetiyan Kahaniyan, Aa Bhi Ja, Kahaan Le Gayee, You & Me LABEL: BMG CRESCENDO (BUDGET) $6.99 CD 40139 Keh Diya Pyar Se / Lucky Ali - O Sanam / Vikas Bhalla - Dhuan, Keh Diya Pyar Se / Anaida - -
Digital Dawn
Digitization of theatr Digital DawnSmar Tablets tphones Online applications The metamorphosis kingSmar Mobile payments or tphones Digital monetizationbegins Smartphones Digital cable FICCI-KPMG es Indian MeNicdia anhed E nconttertainmentent Tablets Social netw Mobile advertisingTablets HighIndus tdefinitionry Report 2012 E-books Tablets Smartphones Expansion of tier 2 and 3 cities 3D exhibition Digital cable Portals Home Video Pay TV Portals Online applications Social networkingDigitization of theatres Vernacular content Mobile advertising Mobile payments Console gaming Viral Digitization of theatres Tablets Mobile gaming marketing Growing sequels Digital cable Social networking Niche content Digital Rights Management Digital cable Regionalisation Advergaming DTH Mobile gamingSmartphones High definition Advergaming Mobile payments 3D exhibition Digital cable Smartphones Tablets Home Video Expansion of tier 2 and 3 cities Vernacular content Portals Mobile advertising Social networking Mobile advertising Social networking Tablets Digital cable Online applicationsDTH Tablets Growing sequels Micropayment Pay TV Niche content Portals Mobile payments Digital cable Console gaming Digital monetization DigitizationDTH Mobile gaming Smartphones E-books Smartphones Expansion of tier 2 and 3 cities Mobile advertising Mobile gaming Pay TV Digitization of theatres Mobile gamingDTHConsole gaming E-books Mobile advertising RegionalisationTablets Online applications Digital cable E-books Regionalisation Home Video Console gaming Pay TVOnline applications -
Jammu Tuesday April 24 2018
CyanMagentaYellowBlack K Price 2.00 Pages : 12 K M M Y Y C C JAMMU TUESDAY APRIL 24 2018 VOL. 33 | NO. 112 RNI No. 43798/87 REGD. NO. : JM/JK 118/15 /17 epaper.glimpsesoffuture.com Email: [email protected] WORLD NATIONAL SPORTS US hunts semi-nude Cong trying to run Gowtham knock gunman disarmed by country through sponsored was a life-time experience: 'hero' after 4 killed litigation: Prasad Samson Sushma Swaraj meets Xi ‘Ministerial reshuffle; Amit Shah to ahead of Wuhan summit meet JK BJP core group tomorrow’ Srinagar, Apr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eijing, Apr 23 (PTI) B5CD?6D85C5F5>6?B597>=9> !1C8=9B81BD9I1 1>D1 /5CD?@<5145BC?6D85 & #9>9CDBIK65F5BID89>77?5C 3EC549>B1@51>4=EB45B?6 D?<4!$)?F5B@8?>58?G5F &AE?D1 9CD5BC?6D85)%89>1B5 &1BDI9>5<89D?=?BB?GD? 6B?=D85 1==E1>4 G5<<D85B5C8E66<51>4?1D8 I51B?<4>?=1479B<9> 5B494>?D49FE<75D85175>41 #51>G89<5C?EB35CC194 HD5B>1<6619BC#9>9CD5B 71B4C2??CD9>7D8545F5<?@ 69>1<9J5D85>1=5C?6@1BDI -
The Partition of India and Pakistan in the Novels of Selected Writers in South Asian Countries
International Journal of Linguistics, Literature and Culture (Linqua- IJLLC) August 2014 edition Vol.1 No.1 THE PARTITION OF INDIA AND PAKISTAN IN THE NOVELS OF SELECTED WRITERS IN SOUTH ASIAN COUNTRIES G.Sankar Assistant Professor Department of English Vel Tech Dr.RR& Dr.SR Technical University Chennai-600062 India Abstract The partition of India and the associated bloody riots inspired many creative minds in India and Pakistan to create literary/cinematic depictions of this event.[1] While some creations depicted the massacres during the refugee migration, others concentrated on the aftermath of the partition in terms of difficulties faced by the refugees in both side of the border. Even now, more than 60 years after the partition, works of fiction and films are made that relate to the events of partition.Literature describing the human cost of independence and partition comprises Khushwant Singh's Train to Pakistan (1956), several short stories such as Toba Tek Singh (1955) by Saadat Hassan Manto, Urdu poems such as Subh-e-Azadi (Freedom’s Dawn, 1947) by Faiz Ahmad Faiz, Bhisham Sahni's Tamas (1974), Manohar Malgonkar's A Bend in the Ganges (1965), and Bapsi Sidhwa's Ice-Candy Man (1988), among others.[2][3] Salman Rushdie's novel Midnight's Children (1980), which won the Booker Prize and the Booker of Bookers, weaved its narrative based on the children born with magical abilities on midnight of 14 August 1947.[3] Freedom at Midnight (1975) is a non-fiction work by Larry Collinsand Dominique Lapierre that chronicled the events surrounding the first Independence Day celebrations in 1947. -
Indian Films on Partition of India
PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Manoj Sharma, 2017 Volume 3 Issue 3, pp. 492 - 501 Date of Publication: 15th December, 2017 DOI-https://dx.doi.org/10.20319/pijss.2017.33.492501 This paper can be cited as: Sharma, M. (2017). Cinematic Representations of Partition of India. PEOPLE: International Journal of Social Sciences, 3(3), 492-501. This work is licensed under the Creative Commons Attribution-Non-commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. CINEMATIC REPRESENTATIONS OF PARTITION OF INDIA Dr. Manoj Sharma Assistant Professor, Modern Indian History, Kirori Mal College, University of Delhi, Delhi-110007 – India [email protected] ________________________________________________________________________ Abstract The partition of India in August 1947 marks a watershed in the modern Indian history. The creation of two nations, India and Pakistan, was not only a geographical division but also widened the chasm in the hearts of the people. The objective of the paper is to study the cinematic representations of the experiences associated with the partition of India. The cinematic portrayal of fear generated by the partition violence and the terror accompanying it will also be examined. Films dealing with partition have common themes of displacement of thousands of masses from their homelands, being called refugees in their own homeland and their struggle for survival in refugee colonies. They showcase the trauma of fear, violence, personal pain, loss and uprooting from native place. -
Copyright by Peter James Kvetko 2005
Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute.