Study of Portrayal of Male Lead Characters in Anurag Kashyap Films
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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 -
Media Release Reliance Entertainment and Phantom Films
Media Release Reliance Entertainment and Phantom Films’ Super 30 to release on 23rd Nov, 2018 Directed by Vikas Bahl, “Super 30” will star Hrithik Roshan Mumbai, November 4, 2017: Anil D. Ambani led Reliance Entertainment and Phantom Films’ “Super 30” directed by Vikas Bahl and starring Hrithik Roshan in the lead role will release on 23rd November 2018. Super 30 is a story of a mathematics genius from a modest family in Bihar, Anand Kumar, who was told that only a king’s son can become a king. But he went on to prove how one poor man could create some of the world’s most genius minds. Anand Kumar’s training program is so effective that students post cracking IIT have gone on to become some of the most successful professionals. Many students trained under the Super 30 program have joined some of the top global companies like Adobe, Samsung Research Institute, Amazon etc. Anand Kumar said, “I trust Vikas Bahl with my life story and I believe that he will make a heartfelt film. I am a rooted guy so I feel some level of emotional quotient is required to live my life on screen. I have seen that in Hrithik – on and off screen. I have full faith in his capabilities.” Vikas Bahl, truly inspired by Anand Kumar’s initiative, said, “Super 30 is a story of the struggles of those genius kids who have one opportunity and how those 30 amongst thousands of others redefine success. The film will focus on the Super 30 program that Kumar started, which trains 30 IIT aspirants to crack its entrance test.” Vikas Bahl is one of the most critically and commercially acclaimed directors of our country. -
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. -
Intellectual Resonance
Intellectual Resonance DCAC Journal of Interdisciplinary Studies Volume III, Issue No. 4, September 2016 ISSN: 2321-2594 Published and Printed by: DELHI COLLEGE OF ARTS AND COMMERCE (UNIVERSITY OF DELHI) NETAJI NAGAR, NEW DELHI-110023 Phone: 011-24109821, 26116333 Fax: 26882923 email: [email protected] website: http://www.dcac.du.in © Intellectual Resonance The views expressed in the articles are those of the authors Editorial Advisory Board, Intellectual Resonance (IR) 1) Prof. Daing Nasir Ibrahim 2) Prof. Jancy James Vice-Chancellor Former Vice-Chancellor University of Malaysia Central University of Kerala [email protected] [email protected] 3) Prof. B.K. Kuthiala 4) Dr. Daya Thussu Vice-Chancellor Prof. Department of Journalism and Makhanlal Chaturvedi Rashtriya Mass Communication Patrakarita Vishwavidyalaya University of Westminster (UK) [email protected] [email protected] 5) Prof. Dorothy Figueira 6) Prof. Subrata Mukherjee Professor, University of Georgia Rtd. Professor, Department of Honorary President, International Political Science Comparative Literature Association University of Delhi [email protected] [email protected] 7) Prof. Anne Feldhaus 8) Prof. Partha S. Ghosh Prof. Department of Religious Studies Senior Fellow Arizona State University Nehru Memorial Museum and Library (NMML) [email protected] [email protected] 9) Prof. B.P. Sahu 10) Dr. Anil Rai Professor, Department of History Professor, Universityof Delhi University of Delhi [email protected] [email protected] 11) Dr. Roswitha M. King 12) Dr. Gautam Rajkhowa Associate Professor, Senior Assistant Professor Department of Economics Chester Business School Ostfold University College, Norway University of Chester, Westminster [email protected] [email protected] 13) Sandy Das Sharma Research Head, Hansdhwani Foundation [email protected] Academic Executive Committee (AEC, DCAC) And Editorial Board, Intellectual Resonance (IR) 1) Dr. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
Masaan-Press-Kit.Pdf
MACASSAR PRODUCTIONS, PATHÉ ET AND DRISHYAM FILMS PRÉSENTENT PRESENT Durée Length : 1H43 Photos et dossier de presse téléchargeables sur www.pathefilms.com Material can be downloaded on www.patheinternational.com DISTRIBUTION FRENCH DISTRIBUTION & INTERNATIONAL SALES PATHÉ DISTRIBUTION 2, rue Lamennais – 75008 Paris Tél. : 01 71 72 30 00 www.pathefilms.com www.patheinternational.com À CANNES IN CANNES INTERNATIONAL SALES Boutique Bodyguard Résidences du Grand Hôtel - IBIS Entrance 45, la Croisette Apartement 4 A/E - 4th floor Jardins du Grand Hôtel Tél. : +33 4 93 68 24 31 06400 Cannes [email protected] Tél. : 04 93 99 91 34 RELATIONS PRESSE INTERNATIONAL PRESS LE PUBLIC SYSTÈME CINÉMA Céline PETIT, Clément REBILLAT, Celia MAHISTRE & Anne-Sophie TRINTIGNAC 40, rue Anatole France – 92594 Levallois-Perret Cedex Tél. : 01 41 34 23 50 [email protected] À CANNES IN CANNES RELATIONS PRESSE FRANCE & INTERNATIONAL LE PUBLIC SYSTÈME CINÉMA Céline PETIT, Clément RÉBILLAT, Celia MAHISTRE & Anne-Sophie TRINTIGNAC 29, rue Bivouac Napoléon – 06400 Cannes Tél. : +33 7 86 23 90 85 [email protected] [email protected] [email protected] [email protected] Bénarès, la cité sainte au bord du Gange, punit cruellement ceux qui jouent Benares, the holy city on the banks of the Ganges, reserves a cruel punishment avec les traditions morales. Deepak, un jeune homme issu des quartiers for those who play with moral traditions. Deepak, a young man from a poor pauvres, tombe éperdument amoureux d’une jeune fille qui n’est pas de la neighborhood, falls hopelessly in love with a young girl from a different caste. même caste que lui. -
Magazine1-4Final.Qxd (Page 2)
Comical and illogical...Page 4 SUNDAY, NOVEMBER 27, 2016 INTERNET EDITION : www.dailyexcelsior.com/magazine Why disrespect....Page 3 TALWARA goes organic Dr. Banarsi Lal Jammu and Kashmir is a mountainous state in which Jammu region is predominantly sub-tropical while Kashmir and Ladakh regions are temperate. The total geographical area of Jammu & Kashmir state is 2, 22, 236 sq. km and its population is 1, 25, 48,926 as per 2011 Census. Agriculture is the mainstay of Jammu and Kashmir state. This sector provides employment to about 70 per cent of the state population. Agriculture contributes about 65 per cent of the state revenue which signi- fies the overdependence of the state on agriculture. The average size of land holding of the state is only 0.67 hectare against 1.33 hectares' land holding size on national basis. Organic farming is picking up pace in the state and there is need of awareness and trainings of farmers for organic farming. J&K has huge potential for organic farming as the large area in the state is already under semi- organic cultivation in hilly districts of the state due to the lack of availability of chemical fertilizers in these areas and the farmers of these areas avoid to apply the chemical fertilizers. Basmati rice of R. S. Pura, rajmash of Bhaderwah, pota- to of Gurez and Machil and red rice of Tangdar, Kupwara, ginger and turmer- ic of Pouni, Reasi are major exportable organic products in the state and have the potential to fetch more returns in the market. Organic farming means holis- tic production systems which refer earth friendly methods for cultivation and food processing. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Gangs of Wasseypur As an Active Archive of Popular Cinema
M A D H U J A M U K H E R J E E Of Recollection, Retelling, and Cinephilia: Reading Gangs of Wasseypur as an Active Archive of Popular Cinema This paper studies Gangs of Wasseypur (Parts 1 and 2, 2012) as a definitive text via which Anurag Kashyap’s style became particularly provocative and pointed. While a range of films (both directed and produced by Kashyap) seemingly bear a certain ‘Kashyap mark’ in the manner in which they tackle subjects of violence and belligerent speech with an unpredictable comic sense, I argue that, more importantly, these films work within a particular visual framework with regard to its mise-en- scène (including the play of light, camera movement, modes of performance), as well as produce recognisable plot structures (involving capricious and realistic events), settings and locations (like the city’s underbelly, police stations, etc.), and so on. Indeed, Kashyap has made a set of films—including Paanch (unreleased), No Smoking (2007) and Ugly (2014)—which deal with similar issues, and explore contemporary cityscapes, especially Mumbai, with fervidness, thereby commenting on urban dystopia.1 Furthermore, these films speak to what has been analysed as the ‘Bombay noir’ mode by Lalitha Gopalan, by means of thoughtful art and set design, engaging (and often hand-held) camera movements and swish-pans, uses of blue or yellow filters, character prototypes, and reflective performances, which generate a world that is engulfed by a deep sense of disquiet and distress. This paper draws attention to such stylistic explorations, especially JOURNAL OF THE MOVING IMAGE 91 to the ways in which it has developed through Kashyap’s recent films. -
“The Wire, Seriality, Media and Global Politics”
English Department Doctoral Program in English and American Literary Studies “The Wire, Seriality, Media and Global Politics” Workshop, 16-17 May 2015 PLH-1-102, Plattenstr. 47 This workshop on television and seriality looks at the portrayal of the African American urban underclass in The Wire and identifies analogies between the show and Bombay cinema, even while investigating the limits of such a cultural cross- mapping. In the final analysis it asks why TV-series like The Wire have become so important in the twenty-first century. All students, members of staff and other interested parties are cordially invited to the workshop. Please register by sending an e-mail to Elizabeth Kollmann ([email protected]). 1 Saturday, 16 May (PLH-1-102, Plattenstr. 47) 10:00-10:30 Opening: Lars Koch (Dresden) & Elisabeth Bronfen (Zurich) Lars Koch and Elisabeth Bronfen will be opening the workshop by talking about the network they are setting up on issues of series and seriality. 10:30-12:30 Anupama Rao (Barnard) “Bombay to Baltimore (and back): Space, Capital, and the Subaltern-Urban“ (Lecture and discussion) The Wire’s cult status is now global, and not merely local. Some of this is to do with its function as urban ethnography that references, yet updates concerns that began with the “Chicago school” of urban sociology of the interwar; concerns with the relationship of space and social difference, of the city and its racialized underclass. By exploring the convergent histories of sociological theory, visual culture (photography, and now film and television), public housing, and subaltern social life across India and the United States, Bombay and Baltimore, Prof. -
Historical Disjunctures and Bollywood Audiences in Trinidad: Negotiations of Gender and Ethnic Relations in Cinema Going1
. Volume 16, Issue 2 November 2019 Historical disjunctures and Bollywood audiences in Trinidad: Negotiations of gender 1 and ethnic relations in cinema going Hanna Klien-Thomas Oxford Brookes University, UK Abstract: Hindi cinema has formed an integral part of the media landscape in Trinidad. Audiences have primarily consisted of the descendants of indentured workers from India. Recent changes in production, distribution and consumption related to the emergence of the Bollywood culture industry have led to disruptions in the local reception context, resulting in a decline in cinema-going as well as the diminishing role of Hindi film as ethnic identity marker. This paper presents results of ethnographic research conducted at the release of the blockbuster ‘Jab Tak Hai Jaan’. It focuses on young women’s experiences as members of a ‘new’ Bollywood audience, characterised by a regionally defined middle class belonging and related consumption practices. In order to understand how the disjuncture is negotiated by contemporary audiences, cinema-going as a cultural practice is historically contextualised with a focus on the dynamic interdependencies of gender and ethnicity. Keywords: Hindi cinema, Caribbean, Bollywood, Indo-Trinidadian identity, Indian diaspora, female audiences, ethnicity Introduction Since the early days of cinema, Indian film productions have circulated globally, establishing transnational and transcultural audiences. In the Caribbean, first screenings are reported from the 1930s. Due to colonial labour regimes, large Indian diasporic communities existed in the region, who embraced the films as a connection to their country of origin or ancestral homeland. Consequently, Hindi speaking films and more recently the products of the global culture industry Bollywood, have become integral parts of regional media landscapes. -
Anurag Kashyap's Female Characters
International Journal of Current Research in Education, Culture and Society Vol. 3, Issue 1 - 2019 ANURAG KASHYAP’S FEMALE CHARACTERS - PORTRAYING INDIVIDUALISM IN CONTEMPORARY TIMES MAHESH KUMAR *, PARMOD BHATNAGAR * ABSTRACT Anurag Kashyap, a name synonymous to path-breaking cinema in India, has always portrayed women as independent and strong-headed. Kashyap’s movies create a woman in freehold, a wild spirit truly living its own breath. She demands, craves, yearns and fights, does whatever is required to keep him individualism and belief intact. The movies like Dev D, Gulaal, Gangs of Wasseypur and Manmarziyaan bring about a wide variety of treatment of the female characters. Anurag Kashyap’s craftsmanship outshines as he liberates each of these women from the traditional and conservative bounds of women being the second sex.The present paper discusses the roles of women in Anurag Kashyap’s movies namely; ‘Gulaal’, ‘Dev D’, ‘Manmarziyaan’, ‘That Girl in Yellow Boots’ and ‘The Gangs of Wasseypur’. KEYWORDS: Women Characters, Anurag Kashyap’s Characters, Bollywood. “Cinema is much more than heroes and villains”. Anurag Kashyap INTRODUCTION From drama to cinema the journey of evolution huge industry that thrives on supply and demand. of art as a medium of connection between people (Chhetry 2015) has had many twists and turns. Cinema stands as a strong ideological tool to influence the minds of Cinema has always had a reflection of the time it has been created. The art of acting and the the masses. Cinema with a history of more than a hundred years has now turned into the biggest subject matter acted is directly proportional to form of entertainment that affects people all the social-cultural reflection of the society it images.