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Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Current Affairs Mcqs – 26 June 2018 “Get Unlimited Mock Tests for One Year at Rs
Current Affairs MCQs – 26 June 2018 “Get Unlimited Mock Tests For One Year at Rs. 599 Only” For Daily Updates Follow Our Telegram Channel and Group: https://t.me/govjobadda https://t.me/bank_ssc_preparation Q1. The 15th India-Australia Joint Ministerial Commission (JMC) was held on 25th June 2018, in A. New Delhi B. Mumbai C. Sydney D. Canberra Answer: D Explanation: The 15th India-Australia Joint Ministerial Commission (JMC) was held on 25th June 2018, in Canberra, Australia. The meeting was jointly chaired by Minister of Commerce & Industry and Civil Aviation, Suresh Prabhu and Australian Minister for Trade, Tourism and Investment Steven Ciobo. The JMC took place after a gap of 4 years in a very warm and cordial atmosphere. The Ministers discussed at length on ways to increase two-way investment flows between the two countries. In this regard, both sides agreed to have greater collaboration between Austrade, the Australian Trade and Investment Commission and Invest-India, which is the National Investment Promotion and Facilitation Agency of India. The talks culminated in the signing of a MoU between Austrade and Invest-India in order to facilitate bilateral investment flows. Q2. International Day against Drug Abuse and Illicit Trafficking is observed on A. 23 June B. 24 June C. 25 June D. 26 June Answer: D Explanation: The General Assembly decided to observe 26 June as the International Day against Drug Abuse and Illicit Trafficking as an expression of its determination to strengthen action and cooperation to achieve the goal of an international society free of drug abuse. The theme for 2018 is: "Listen First - Listening to children and youth is the first step to help them grow healthy and safe. -
TIARA Research Final-Online
TIARAResearch Insight Based Research Across Celebrities Indian Institute of Human Brands 2020 About IIHBThe Indian Institute of Human Brands (IIHB) has been set up by Dr. Sandeep Goyal, India’s best known expert in the domain of celebrity studies. Dr. Goyal is a PhD from FMS-Delhi and has been researching celebrities as human brands since 2003. IIHB has many well known academicians and researchers on its advisory board ADVISORY Board D. Nandkishore Prof. ML Singla Former Global Executive Board Former Dean Member - Nestlé S.A., Switzerland FMS Delhi Dr. Sandeep Goyal Chief Mentor Dr. Goyal is former President of Rediffusion, ex-Group CEO B. Narayanaswamy Prof. Siddhartha Singh of Zee Telefilms and was Founder Former Managing Director Associate Professor of Marketing Chairman of Dentsu India IPSOS and Former Senior Associate Dean, ISB 0 1 WHY THIS STUDY? Till 20 years ago, use of a celebrity in advertising was pretty rare, and quite much the exception Until Kaun Banega Crorepati (KBC) happened almost 20 years ago, top Bollywood stars would keep their distance from television and advertising In the first decade of this century though use of famous faces both in advertising as well as in content creation increased considerably In the last 10 years, the use of celebrities in communication has increased exponentially Today almost 500 brands, , big and small, national and regional, use celebrities to endorse their offerings 0 2 WHAT THIS STUDY PROVIDES? Despite the exponential proliferation of celebrity usage in advertising and content, WHY there is no organised body of knowledge on these superstars that can help: BEST FIT APPROPRIATE OR BEST FIT SELECTION COMPETITIVE CHOOSE BETTER BETWEEN BEST FITS PERCEPTION CHOOSE BASIS BRAND ATTRIBUTES TRENDY LOOK AT EMERGING CHOICES FOR THE FUTURE 0 3 COVERAGE WHAT 23 CITIES METRO MINI METRO LARGE CITIES Delhi Ahmedabad Nagpur (incl. -
Hindu-Muslim Relationship in Bollywood in Post 26/11: a Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3
Hindu-Muslim Relationship in Bollywood in post 26/11: A Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3 1. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran (Corresponding author) ([email protected]) 2. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran ([email protected]) 3. M. A. in Indian Studies, University of Tehran, Tehran, Iran ([email protected]) (Received: Jan. 2, 2019 Revised: Feb. 28, 2019 Accepted: Ma r. 28, 2019) Abstract This study investigates the representations of Hindu-Muslim relationship in Bollywood movies from 2008 to 2018. It is assumed that after 2008 Mumbai terrorist attacks, which are known as 26/11, conflicts between Hindus and Muslims have escalated. Since Indian people are extreme fans of movies, especially Bollywood movies, in this regard, it is expected that media could play a significant role in increasing or alleviating the conflicts by influencing people’s attitudes and opinions. This research seeks to examine the extent and modality of the representation of Hindu-Muslim relationships in Bollywood after the 2008 Mumbai attacks. The study was conducted through a content analysis of 11 Bollywood movies, which were selected from 70 Muslim-characters-based movies. Favorable, unfavorable, neutral and unclear were the four factors through which the movies’ contents were analyzed. The overall analysis of these factors indicate that 66.17% of the scenes were favorable, 14.70% were unfavorable, 2.94% were neutral, and 16.17% presented unclear images of Hindu-Muslim relationship in Bollywood movies. -
Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham.. -
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Cannes Film Festival, Marché Guests Will Require Masks and Digital Health Passes to Attend
Sommario Rassegna Stampa Pagina Testata Data Titolo Pag. Rubrica Anica Web Huffingtonpost.it 20/05/2021 CIAK SI GIRA I CINEMA PROVANO A RESISTERE CON IL 3 CROWDFUNDING Rubrica Cinema V Avvenire 21/05/2021 CRONENBERG OSPITE A MATERA 5 23 Il Messaggero 21/05/2021 CINEMA IL DIVIN CODINO, COSI' LA STORIA DI BAGGIO DIVENTA UN 6 FILM (G.Satta) 11 Il Venerdi' (La Repubblica) 21/05/2021 VISIONI INTERIORI (V.Lingiardi) 8 107 Il Venerdi' (La Repubblica) 21/05/2021 IL CINEMA COREANO SI METTE IN MOSTRA (T.Lo Porto) 9 114/17 Il Venerdi' (La Repubblica) 21/05/2021 QUEL POMERIGGIO DI UN GIORNO DA NERI (M.Consoli) 10 120/21 Il Venerdi' (La Repubblica) 21/05/2021 ARRIVO SUL SET E DIVENTO UNA BESTIA (M.Capuani) 13 32/33 La Repubblica 21/05/2021 ARRIVERANNO I NUOVI ANNI. RUGGENTI (A.Ginori) 15 34 La Repubblica 21/05/2021 Int. a J.Malkovich: JOHN MALKOVICH "DANTE E' INACCESSIBILE IN 17 TEATRO NON LO FARO'" (A.Finos) 22/23 La Stampa 21/05/2021 Int. a C.Chatrian: "C'E' TANTO BISOGNO DI COMMEDIE PER LEGGERE 19 LA REALTA' IN MODO LEGGERO" (U.Audino) 12/13 La Verita' 21/05/2021 LA FATA MADRINA NEL NUOVO FILM "CENERENTOLA" SARI UN 20 NERO GENDER FLUID (E.Verrengia) 27 L'Economia (Corriere della Sera) 21/05/2021 NOTORIOUS DIVERSIFICARE E' UN BEL CINEMA (G.Marvelli) 21 19 Libero Quotidiano 21/05/2021 IL CINEMA SPIEGA IL VATE: PIU' LIBERTARIO CHE FASCISTA 22 (G.Veneziani) 25 QN- Giorno/Carlino/Nazione 21/05/2021 CANTANTE E ATTRICE DA OSCAR UN BIOPIC IN VISTA PER CHER 24 25 QN- Giorno/Carlino/Nazione 21/05/2021 TOKARCZUK, CARRE'RE, GROSSMAN TRIS D'ASSI PER IL TAOBUK -
Madaari Mania Hits North America
www.WeeklyVoice.com BOLLYWOOD Friday, June 21, 2019 | B-9 Madaari Mania Hits North America Enter to win Movie Passes TORONTO: Madaari Mania is hit- ting fans from the across the world with millions of hits from people of all de- mographics and crossing all age barri- ers. Sung by Vishal Dadlani and Nikhita Gandhi and music by Amit Trivedi, the Madaari song, that has everyone swinging and tapping their toes, is from the ilm The Extraordinary Journey of the Fakir that will be released in cin- and wa emas in Canada June 21. Renowned South Indian actor Dha- nush stars as the lead in the internation- al ilm co-produced by France, India and Belgium. Directed by Ken Scott, the ilm also features Berenice Bejo, Barkhad Abdi, Erin Moriarty and Abel Jafri as well as Gérard Jugnot, Ben A scene from the ilm “The Extraordinary Journey of the Fakir.” Miller, Sarah-Jeanne Labrosse, and Who played Jamuna in Stefano Cassetti. written by Puértolas and Luc Bossi But he is also a character who most Dhanush plays Ajatashatru Lavash who is also producing through his Par- viewers can identify with, because he Dilip Kumar’s ‘Ganga Patel, a poor boy who grows up to be is-based company Brio Films. Other is truly philosophical about life - and a street magician and embarks on an co-producers include Vamonos Films, doesn’t hesitate to take off on a mind- Jamuna?’ extraordinary voyage across Europe in Little Red Car Films, Scope Pictures, blowing adventure. search of his estranged father. M! Capital Ventures, Impact Films and Dancing: It’s an art that is an integral Email to: [email protected] During his trip, he inds love in a Golden Ratio Films. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
The Winning Woman of Hindi Cinema
ADVANCE RESEARCH JOURNAL OF SOCIAL SCIENCE A CASE STUDY Volume 5 | Issue 2 | December, 2014 | 211-218 e ISSN–2231–6418 DOI: 10.15740/HAS/ARJSS/5.2/211-218 Visit us : www.researchjournal.co.in The winning woman of hindi cinema Kiran Chauhan* and Anjali Capila Department of Communication and Extension, Lady Irwin College, Delhi University, DELHI (INDIA) (Email: [email protected]) ARTICLE INFO : ABSTRACT Received : 27.05.2014 The depiction of women as winners has been analyzed in four sets of a total of eleven films. The Accepted : 17.11.2014 first two sets Arth (1982) and Andhi (1975) and Sahib Bibi aur Ghulam (1962), Sahib Bibi aur Gangster (2011), Sahib Bibi aur Gangster returns (2013), explore the woman in search for power within marriage. Arth shows Pooja finding herself empowered outside marriage and KEY WORDS : without any need for a husband or a lover. Whereas in Aandhi, Aarti wins political power and Winning Woman, Hindi Cinema returns to a loving marital home. In Sahib Bibi aur Ghulam choti bahu after a temporary victory of getting her husband back meets her death. In both films Sahib Bibi aur Gangster and returns, the Bibi eliminates the other woman and gangster, deactivates the husband and wins the election to gain power. she remains married and a Rani Sahiba. In the set of four Devdas makes and remakes (1927–2009) Paro is bold, shy, glamorous and ultimately liberated (Dev, 2009). Chanda moves from the looked down upon, prostitute, dancing girl to a multilingual sex worker who is empowering herself through education and treating her occupation as a stepping stone to HOW TO CITE THIS ARTICLE : empowerment. -
A Political Ontology of the Affective Image in India
www.thecine-files.com A Political Ontology of the Affective Image in India Amit S. Rai The embodiment of media in postcolonial cities returns us to the project of an ontology of the affective image. In these contexts of global and local relations of power and mechanisms of value extraction, questions of bodily intensities, techno-perceptual assemblages, and urban piracy infrastructures insistently pose the question of the ontological relations of image ecologies. Recall that, for Bergson, an image is half-way between a representation and a thing, and if it has a “life,” it is through the temporal and material correlation of non-coinciding resonant unities, or moving wholes, which could be durations, a neural network, or assemblages of assemblages, or many other things besides. In diagramming practices of the image as sensory motor circuits in ecological feedback with assemblages of matter, bacteria, speed, and technology (and so on), what is at stake for the question of a method of experiments in affect? Here I want to turn to the collective assemblages of these experiments, and consider their political ontologies. One of the great challenges of Gilles Deleuze’s work on affect is to resituate the question of the political ontology of capital, what Massumi calls its specific ontopower.1 Hence, if affect is autonomous, one line of flight for this multiplicity is the political itself. In this short piece, I would like to follow the autonomy in affect through a consideration of political subjectivity in a film about media piracy in Mumbai, Videokaaran (2011).2 Jagannathan Krishnan’s Videokaaran begins with a scene of a get together between working class male fans of Indian cinema. -
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