DOCSLIB.ORG

Online Appendix: Advertisements of SLT Brand Stretching Products

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Online Appendix: Advertisements of SLT Brand Stretching Products BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) Tob Control Online Appendix: Advertisements of SLT brand stretching products Smokeless Tobacco Industry’s Brand Stretching and Surrogate Advertisements in India Amit Yadav,1 Pamela M Ling,2 Stanton A Glantz3 1Postdoctoral Scholar, Center for Tobacco Control Research and Education (CTCRE), University of California, San Francisco 2Division of General Internal Medicine, Department of Medicine, Center for Tobacco Control Research and Education, University of California, San Francisco, California, USA. 3Division of Cardiology, Department of Medicine, Center for Tobacco Control Research and Education, Cardiovascular Research Institute, University of California, San Francisco, California, USA. Figure A-1: BABA Elaichi (silver coated cardamom seeds) ad seen in industry’s trade magazine which has same colour and brand name as BABA red 600 brand of chewing tobacco. (Available from http://tobaccoplusindia.com accessed on September 3rd 2019). Page 1 of 6 Yadav A, et al. Tob Control 2020; 29:e147–e149. doi: 10.1136/tobaccocontrol-2019-055382 BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) Tob Control Figure A-2: This image from the company’s website shows Bollywood superstar Mr Akhsay Kumar endorsing the BABA Elaichi (cardamom seeds) which has same colour and brand name as BABA red 600 brand of chewing tobacco. (Available from: http://www.baba.in/products/oral- gratifier/baba-elaichi.html?view=detail&productid=19 accessed on September 3rd, 2019). Page 2 of 6 Yadav A, et al. Tob Control 2020; 29:e147–e149. doi: 10.1136/tobaccocontrol-2019-055382 BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) Tob Control Figure A-3: Poster of BABA Elaichi sponsored ‘live in concert’ on Saturday 2nd November 2019 at Gachibowli Stadium in Hyderabad. Besides Salman Khan the poster mentions eight other Bollywood stars who are going to perform at the concert. (Available from Facebook account dedicated to the event ‘DaBangg The Tour – Hyderabad’ https://www.facebook.com/pg/DaBanggTourHyd/posts/ accessed on September 4, 2019) Page 3 of 6 Yadav A, et al. Tob Control 2020; 29:e147–e149. doi: 10.1136/tobaccocontrol-2019-055382 BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) Tob Control Figure A-4: On 19th August 2019 Bollywood Superstar Salman Khan tweeted this poster of BABA Elaichi sponsored ‘live in concert’. (Available from: https://twitter.com/BeingSalmanKhan/status/1163440820072009730 accessed on September 6, 2019) Page 4 of 6 Yadav A, et al. Tob Control 2020; 29:e147–e149. doi: 10.1136/tobaccocontrol-2019-055382 BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) Tob Control Figure A-5: BABA Supari (areca nut) ad in industry’s trade magazine which has same colour and brand name as BABA blue 160 brand of chewing tobacco. (Available from http://tobaccoplusindia.com accessed on September 4, 2019) Page 5 of 6 Yadav A, et al. Tob Control 2020; 29:e147–e149. doi: 10.1136/tobaccocontrol-2019-055382 BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) Tob Control Figure A-6: BABA Nauratan Pan Masala (mouth freshener) ad in industry’s trade magazine which has same colour and brand name as BABA Nauratan Qiwam brand of tobacco paste. Available from http://tobaccoplusindia.com accessed on September 4, 2019). Page 6 of 6 Yadav A, et al. Tob Control 2020; 29:e147–e149. doi: 10.1136/tobaccocontrol-2019-055382.
Load more

Recommended publications
  • A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R.
    [Show full text]
  • Interlingual and Intersemiotic Transfer of Indian Cinema in Hong Kong
    Indian Journal of Comparative Literature and Translation Studies | 45 Author(s): Andy Lung Jan CHAN Published by: Indian Journal of Comparative Literature and Translation Studies (IJCLTS) Issue Number: Volume 2, Number 1, February, 2014 ISSN Number: 2321-8274 Issue Editor: Rindon Kundu Editor : Mrinmoy Pramanick & Md Intaj Ali Website Link: http://ijclts.wordpress.com/ Interlingual and Intersemiotic Transfer of Indian Cinema in Hong Kong Abstract The history of Indian immigration to Hong Kong can be traced to the 1840s, when Hong Kong became a colony of the British Empire. However, Hong Kong Chinese people‟s knowledge of the local Indian community is limited. The stereotyping of Indian culture in the Hong Kong movie Himalaya Singh shows that Indian people and culture are often distorted and negatively portrayed in the media, and the secluded Indian community in Hong Kong is marginalised and neglected in the mainstream media. In recent years, Indian cinema has gained popularity in Hong Kong, but this survey of the Chinese movie titles, trailer subtitles and other publicity materials of four Indian movies (Slumdog Millionaire; 3 Idiots; English, Vinglish; and The Lunchbox) show that the films have to be recast and transfigured during interlingual and intersemiotic transfers so that it can become more accessible to Hong Kong Chinese audiences. 1. Introduction The history of Indian immigration to Hong Kong can be traced to the 1840s, when Hong Kong became a colony of the British Empire. In the social and economic development during the early colonial days, Indian people played an important role. Some Indian families have lived in the territory for generations and consider Hong Kong their home.
    [Show full text]
  • Responses to 100 Best Acts Post-2009-10-11 (For Reference)
    Bobbytalkscinema.Com Responses/ Comments on “100 Best Performances of Hindi Cinema” in the year 2009-10-11. submitted on 13 October 2009 bollywooddeewana bollywooddeewana.blogspot.com/ I can't help but feel you left out some important people, how about Manoj Kumar in Upkar or Shaheed (i haven't seen that) but he always made strong nationalistic movies rather than Sunny in Deol in Damini Meenakshi Sheshadri's performance in that film was great too, such a pity she didn't even earn a filmfare nomination for her performance, its said to be the reason on why she quit acting Also you left out Shammi Kappor (Junglee, Teesri MANZIL ETC), shammi oozed total energy and is one of my favourite actors from 60's bollywood Rati Agnihotri in Ek duuje ke Liye Mala Sinha in Aankhen Suchitra Sen in Aandhi Sanjeev Kumar in Aandhi Ashok Kumar in Mahal Mumtaz in Khilona Reena Roy in Nagin/aasha Sharmila in Aradhana Rajendra Kuamr in Kanoon Time wouldn't permit me to list all the other memorable ones, which is why i can never make a list like this bobbysing submitted on 13 October 2009 Hi, As I mentioned in my post, you are right that I may have missed out many important acts. And yes, I admit that out of the many names mentioned, some of them surely deserve a place among the best. So I have made some changes in the list as per your valuable suggestion. Manoj Kumar in Shaheed (Now Inlcuded in the Main 100) Meenakshi Sheshadri in Damini (Now Included in the Main 100) Shammi Kapoor in Teesri Manzil (Now Included in the Main 100) Sanjeev Kumar in Aandhi (Now Included in Worth Mentioning Performances) Sharmila Togore in Aradhana (Now Included in Worth Mentioning Performances) Sunny Deol in Damini (Shifted to More Worth Mentioning Performances) Mehmood in Pyar Kiye Ja (Shifted to More Worth Mentioning Performances) Nagarjun in Shiva (Shifted to More Worth Mentioning Performances) I hope you will approve the changes made as per your suggestions.
    [Show full text]
  • Will Chulbul's 'Swag' Override Memories of Thunder?
    Will Chulbul's 'swag' override memories of Thunder? Pepsi's new face and Dabangg star Salman Khan a.k.a Chulbul Pandey has been a face for rival cola brand Thums Up. We speak to experts Rohit Ohri, KV Sridhar, Darshana Bhalla and Manish Bhatt for their take on this interesting development. There was a ruffle in the advertising and marketing fraternity around a recent piece of news concerning Pepsi. The flagship beverage brand from PepsiCo has just announced its association with Bollywood superstar and former Thums Up face Salman Khan. Brand faces change over time depending on objectives, but Pepsi's partnership with the Dabangg star flags two key points – the endorser's former association with rival cola brand Thums Up and Pepsi's recent positioning as a youth facing brand, placing itself alongside college students and within campuses. Why did Thums Up choose Salman Khan back in the day? This high octane cola brand from Coca Cola has always worn macho faces, including the likes of Suniel Shetty, Akshay Kumar, Chiranjeevi, Mahesh Babu and more recently Ranveer Singh. All the film stars have had action packed roles in their parallel presence on the silver screen and this was extended to the ad communications. After all, it had to be about the 'Thunder'. Coca-Cola India signed Salman Khan for Thums Up in 2012. The company had then tied up with Khan's movie Dabangg 2 which released on December 21 the same year. The action movie features Khan as Chulbul Pandey, a witty but strong-handed police officer.
    [Show full text]
  • Smooth Sailing: Why the Indian Film Industry Remains Extremely Successful in the Face of Massive Piracy
    \\jciprod01\productn\H\HLS\5-1\HLS103.txt unknown Seq: 1 1-MAY-14 14:00 Smooth Sailing: Why the Indian Film Industry Remains Extremely Successful in the Face of Massive Piracy Brandon Hammer* TABLE OF CONTENTS I. INTRODUCTION ........................................ 148 R II. INDIA’S ROBUST COPYRIGHT REGIME ..................... 155 R A. Ample Protection ................................... 156 R B. A Host of Remedies ................................. 159 R C. Concerns About the Regime ........................... 165 R III. LACK OF ENFORCEMENT ................................. 167 R A. The Ineffectiveness of Judicial Proceedings ............... 167 R B. Lack of Police Cooperation ........................... 170 R C. Lack of International Cooperation ..................... 171 R IV. ENFORCEMENT-BASED STRATEGIES ....................... 172 R A. Enforcement Agencies ................................ 173 R B. John Doe Orders .................................... 174 R C. Limited Success ..................................... 176 R V. NON -LEGAL STRATEGIES ................................ 178 R A. Increased Distribution ............................... 179 R B. Interference with the Piracy Supply Chain .............. 181 R C. Education Campaigns ............................... 182 R * Brandon Hammer received his J.D. magna cum laude from Harvard Law School in 2013. He is currently clerking on the United States Court of Appeals for the Fifth Circuit. Brandon would like to thank Phil Malone, Christopher Bavitz, the Berkman Center for Internet & Society, the Linklaters India Internship Program, the HLS Program on the Legal Profession, Ashish Nanda, Rachel Gibson, and Khaitan & Co for their immense assistance and invaluable guidance and for making this article possible. \\jciprod01\productn\H\HLS\5-1\HLS103.txt unknown Seq: 2 1-MAY-14 14:00 148 Harvard Journal of Sports & Entertainment Law / Vol. 5 VI. AN ALTERNATIVE EXPLANATION: INDIA’S THEATRICAL CULTURE ............................................. 184 R VII. CONCLUSION .......................................... 186 R I.
    [Show full text]
  • Curriculum Vitae Nandini Bhattacharya Department Of
    Curriculum Vitae Nandini Bhattacharya Department of English 1502 Hunter Creek Drive MS 4227 TAMU College Station, TX 77845 Texas A&M University ph: 419.699.9015 College Station, TX 77843 Email: [email protected] Education Ph.D., University of Rochester, June 1992 M.A., University of Rochester, May 1989 B.A., Presidency College, University of Calcutta, April 1986 Employment History Professor, Department of English, and affiliate of Women’s Studies, Film Studies and Africana Studies programs, Texas A&M University, 2009- Director of Graduate Studies, English department, 2012- Associate Professor, Department of English, and Women’s Studies program, Texas A&M University, 2006-2009 Chair and Associate Professor, Department of Women's and Gender Studies, University of Toledo, 2003-2006 Assistant Professor, Department of English and Gender Studies Program, Valparaiso University, 1992-1999; Associate Professor and Director of Gender Studies Program, 1999-2003 Publications Books Hindi Cinema: Repeating the Subject (London: Routledge, 2012; published as part of the series “Intersections: Colonial and Postcolonial Histories,” ed. Gyan Pandey) Slavery, Colonialism and Connoisseurship: Gender and Eighteenth-Century 2 Literary Transnationalism (Ashgate Press, 2006); review at http://res.oxfordjournals.org/content/58/237/739.full Reading the Splendid Body: Gender and Consumerism in Eighteenth-century British Writing on India (University of Delaware Press, 1998) Articles in Refereed Journals and Collections “George Colman’s Colourful Inkle and Yarico,” in the Oxford Handbook to the Georgian Playhouse (Ed. David Taylor), forthcoming. INVITED “Nation Misplaced: Film, Time and Space in South Asian Decolonization,” (Interventions: International Journal of Postcolonial Studies 13:4 [Dec 2011]: 588-609. “Annu Palakunnathu Matthew’s Alien: Copy with a Difference” (Meridians: feminism, race, transnationalism [Winter 2005]: 82-110) INVITED.
    [Show full text]
  • Hathway Fta Pack
    HATHWAY FTA PACK DELHI DELHI FTA Total Channels 142 SD + 0 HD LANG - GENRE CHANNEL_NAME SD/HD Assamese - Gec DD ArunPrabha SD Assamese - Gec DD ASSAM SD Assamese - News PRAG NEWS SD Bengali - Gec AAKASH AATH SD Bengali - Gec DD BANGLA SD Bengali - Gec RUPASI BANGLA SD Bengali - Movie ENTERR10 MOVIES SD Bengali - Music SANGEET BANGLA SD Bengali - News ABP ANANDA SD Bhojpuri - Gec DANGAL SD Bhojpuri - Movie BHOJPURI CINEMA SD Bhojpuri - Movie PITAARA SD Bhojpuri - Movie SURYA BHOJPURI SD Bhojpuri - Music SANGEET BHOJPURI SD English - Devotional PEACE OF MIND SD English - Lifestyle FASHION TV SD English - News REPUBLIC TV SD Gujarati - Gec DD GIRNAR SD Haryanvi - Gec RAGNI SPECIAL SD Haryanvi - Music APNA HARYANA SD Hindi - Devotional AASTHA SD Hindi - Devotional AASTHA BHAJAN SD Hindi - Devotional ARIHANT SD Hindi - Devotional DIVINE SD Hindi - Devotional HARE KRSNA TV SD Hindi - Devotional HINDU DHARMAM SD Hindi - Devotional LORD BUDDHA TV SD Hindi - Devotional PARAS SD Hindi - Devotional SANSKAR SD Hindi - Devotional SATSANG SD Hindi - Devotional SHRADDHA MH ONE SD Hindi - Devotional SHUBHSANDESH SD Hindi - GEC A1TV SD Page 1 of 47 Hindi - Gec ABZY COOL SD Hindi - Gec CCC SD Hindi - Gec DD BIHAR SD Hindi - Gec DD MADHYA PRADESH SD Hindi - Gec DD NATIONAL SD Hindi - Gec DD RAJASTHAN SD Hindi - Gec DD UTTAR PRADESH SD Hindi - GEC DISHUM SD Hindi - Gec ENTERR10 SD Hindi - Gec HATHWAY HARYANVI SD Hindi - GEC KISHORE MANCH SD Hindi - GEC PANINI SD Hindi - GEC SHARDA SD Hindi - GEC SHEMAROO TV SD Hindi - Infotainment DD BHARATI SD Hindi - Infotainment
    [Show full text]
  • DT Page 01 Dec 29.Indd
    THURSDAY 29 DECEMBER 2016 COMMUNITYCOMM | 6 FOOD | 10 BOLLYWOODD | 1111 KarwanKarw e Urdu Flatbread supports Saif praises Dangal,angal, Qatar hholdso poetry a quick saute at the terms Aamir KKhanhan symposium end of the day ‘phenomenal’ Email: [email protected] Running in the cold must be a matter of careful calibration, or you might find your hands numb and your face chapped from high winds. P | 4-5 WINTER RUNNING 03 THURSDAY 29 DECEMBER 2016 CAMPUS Commuting to college by bullet train? There’s a subsidy for that in Japan growing number of Shizuoka city has struggled to local governments prevent its young people from mov- across Japan are subsi- ing to the Tokyo metropolitan area, dising commuting on and this year it introduced a loan high-speed Shinkansen system to help students who com- Atrains for university students in a mute to the capital on the Tokaido bid to prevent them from moving Shinkansen Line. The city loans to big cities to pursue their one-third of a student’s commut- studies. ing costs (up to a maximum of Students and parents have wel- 30,000 yen per month), but the stu- comed the financial assistance, dent does not have to repay the because living at home is cheaper money if they live and work in Shi- than living alone and gives their zuoka after they graduate. family peace of mind. Local gov- This year, 164 students are using ernments hope more students will the system; the city expects 300 to find jobs in their local region after use it next fiscal year.
    [Show full text]
  • Just Dance / जट डाॊस, Boogie Woogie / फूगी वूगी
    PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 15 KATHAK AS VOCATION For long has dance been a vocation in India. Both men and women have been ritual dance specialists associated with temples and monasteries. The story of the Devadasis, Maibis and Maharis / भहायी is well known. There are monk dancers in Assam called bhakats who are examples of males who dedicate their lives to the performance of dance as an offering and a ritual in a temple. There were also public platforms, where for entertainment purposes men and women danced. Chhau / छाऊ, Raibenshe / यैफᴂशे, Yakshagana / मऺगान, Kuchipudi / कु चिऩुड़ी, etc are examples of how and when traditionally males’ danced. Some of the women belonging to specific communities were associated with dancing for entertainment. For instance the Kalbelia / कारफेलरमा, Rai / याइ and Bedia / फेडडमा women were for centuries known to dance for entertainment. It is believed that the Bedia women danced for the laborers from different parts of the word who had collected at Taj Ganj at the time of the building of the Taj Mahal. Later they were among the communities and tribes that entertained the British troupes. Today many Bedia girls are among the Bar dancers of Mumbai. Apart from these girls there was also a group of traditional performers called by various names- Tawaif / तवामप, baijis / फाईजी, 1 etc. They were a whole range of professional dancing girls, some so talented that they had access to the highest centres of power, like the palace and the courtly setting, and were well integrated with the royals and the aristocracy.
    [Show full text]
  • Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
    DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr.
    [Show full text]
  • Venus Music Acquired by Paris-Based Music Giant Believe Now Rebranded As Ishtar
    For Immediate Dissemination Press Release Venus Music Acquired By Paris-Based Music Giant Believe Now Rebranded As Ishtar Mamta Sharma And Shaheer N Sheikh Collaborate To Recreate Saajan Film Song As First Project Under Ishtar India, 5th August 2021 - Leading Indian music record label company, Venus Music from the Venus Worldwide conglomerate which was acquired by leading Paris based digital music company Believe in 2019 will now be rebranded as Ishtar as part of this 100% acquisition. The acquisition covers all music rights of Venus Music which has a strong catalog of non-film music as well as Indian film music and entails categories such as Bollywood, regional, pop, classical, ghazals, qawwalis, devotional and instrumental. As part of this strategic move, Venus Music will now not be limited to dominance in the domestic circles but will also parallelly enjoy global leverage through Believe’s extensive international affiliations. Vivek Raina, Managing Director, Believe India states, “This rebranding exercise represents a significant step in the company’s evolution. The reputation and equity built by Venus Music over the years is an asset for Believe and with this rebranding, it will evolve the service offerings through new content creation, independent artist association, promotions across television and media, music distribution and other media in India and overseas market. We are also looking at leveraging the catalog to promote and support talent as well as music”. This announcement will be helmed with the release of the very first project under the newly formed moniker by Indian playback singer Mamta Sharma best known for her tracks ‘Munni Badnaam Hui’ and ‘Fevicol Se’ in the film Dabangg.
    [Show full text]
  • Popular Award Category Nomiees
    POPULAR AWARD CATEGORY NOMIEES Best Screenplay Sr. No. Entries Film 1 Anurag Basu &Tani Basu Barfi ! 2 Gauri Shinde English Vinglish 3 Juhi Chaturvedi Vicky Donor Sanjay Chouhan &Tigmanshu 4 Dhulia Paan Singh Tomar 5 Sujoy Ghosh Kahaani Best Story Sr. No. Entries Film 1 Anurag Basu & Tani Basu Barfi ! 2 Bhavesh Mandalia & Umesh Shukla OMG - Oh My God 3 Gauri Shinde English Vinglish 4 Juhi Chaturvedi Vicky Donor Sanjay Chouhan & Tigmanshu 5 Dhulia Paan Singh Tomar 6 Sujoy Ghosh & Advaita Kala Kahaani Best Dialogue Sr. No. Entries Film 1 Bhavesh Mandalia & Umesh Shukla OMG - Oh My God 2 Gauri Shinde English Vinglish 3 Juhi Chaturvedi Vicky Donor 4 Ritesh Shah Kahaani 5 Sanjeev Datta Barfi ! Zuisham Quadri, Akhilesh, Sachin Ladia & Anurag 6 Kashyap Gangs of Wasseypur Best Choreography Sr. No. Entries Song Film 1 Bosco - Caesar Daaru Desi Cocktail Chinta Ta Ta Chita 2 Bosco - Caesar Chita Rowdy Rathore 3 Farah Khan Radha Student Of The Year 4 Ganesh Acharya Chikni Chameli Agneepath Vaibhavi 5 Merchant Ishq Shava Jab Tak Hai Jaan Best Lyrics Sr. No. Entries Song Film Ayushmann Khurrana & Rochak 1 Kohli Paani Da Rang Vicky Donor 2 Gulzar Saans Jab Tak Hai Jaan 3 Irshad Kamil Tum Hi Ho Bandhu Cocktail Talaash - The Answer Lies 4 Javed Akhtar Jee Le Zaraa Within 5 Sayeed Quadri Phir Le Aya Dil Barfi ! 6 Varun Grover Womaniya Gangs of Wasseypur Best Music Sr. No. Entries Film 1 A.R. Rahman Jab Tak Hai Jaan 2 Ajay - Atul Agneepath 3 Pritam Barfi ! 4 Pritam Cocktail 5 Sneha Khanwalkar Gangs of Wasseypur Best Male Singer Sr.
    [Show full text]