What Is It Called Good Friday? Joy Ruskin: Agency.On This His Own Sacrifice
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Tribute to Kishore Kumar
Articles by Prince Rama Varma Tribute to Kishore Kumar As a child, I used to listen to a lot of Hindi film songs. As a middle aged man, I still do. The difference however, is that when I was a child I had no idea which song was sung by Mukesh, which song by Rafi, by Kishore and so on unlike these days when I can listen to a Kishore song I have never heard before and roughly pinpoint the year when he may have sung it as well as the actor who may have appeared on screen. On 13th October 1987, I heard that Kishore Kumar had passed away. In the evening there was a tribute to him on TV which was when I discovered that 85% of my favourite songs were sung by him. Like thousands of casual music lovers in our country, I used to be under the delusion that Kishore sang mostly funny songs, while Rafi sang romantic numbers, Mukesh,sad songs…and Manna Dey, classical songs. During the past twenty years, I have journeyed a lot, both in music as well as in life. And many of my childhood heroes have diminished in stature over the years. But a few…..a precious few….have grown……. steadily….and continue to grow, each time I am exposed to their brilliance. M.D.Ramanathan, Martina Navratilova, Bruce Lee, Swami Vivekananda, Kunchan Nambiar, to name a few…..and Kishore Kumar. I have had the privilege of studying classical music for more than two and a half decades from some truly phenomenal Gurus and I go around giving lecture demonstrations about how important it is for a singer to know an instrument and vice versa. -
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 -
A Case of Street Vendor Evictions in Bengaluru
The Role of Informality in Shaping Public Space in India: A Case of Street Vendor Evictions in Bengaluru (Mohandas, Meghna) ([email protected]) 1 Abstract: The unequal treatment of citizens based on identity, class and income is a phenomenon that can be observed in most countries of the world, including democracies. In the particular case of street vending, which is a socially and economically relevant informal activity that is prevalent in both rural and urban areas of India, the issue of evictions from public spaces by authorities is a regular phenomenon. In recent years, multiple civil society organizations have formed coalitions and developed a voice to protect street vendors from exploitation by various groups that hold positions of power (Lintelo, 2010). Their efforts have resulted in policies and acts that aim to regulate the act of street vending in India. However, the legal systems introduced by the government to resolve issues of street vendors have many loopholes. Some of these drawbacks have been utilized by people in positions of power to evict street vendors from their locations of work. An example of this is the evictions of street vendors from outside the Lakshmi Devi Park, Bengaluru, that was orchestrated by the local resident’s association, along with the police force. This article aims to raise questions on the illegal status of street vending in India, and its relevance in a neo-liberal context of growing inequality. Keywords: Street Vending, Informality, Public Space, Urban 2 “The cities everyone wants to live in should be clean and safe, possess efficient public services, be supported by a dynamic economy, provide cultural stimulation, and also do their best to heal society's divisions of race, class, and ethnicity. -
Volume-13-Skipper-1568-Songs.Pdf
HINDI 1568 Song No. Song Name Singer Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14040 Aa Hosh Mein Sun Suresh Wadkar Vidhaata Volume-9 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13617 Aadmi Zindagi Mohd Aziz Vishwatma Volume-9 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 14132 Aah Ko Chajiye Jagjit Singh Mirza Ghalib Volume-9 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 13620 Aaina Mujhse Meri Talat Aziz Suraj Sanim Daddy Volume-9 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj -
ED Likely to Seize Bank Accounts of Celebrities in Drugs Case
Follow us on: @TheDailyPioneer facebook.com/dailypioneer RNI No. TELENG/2018/76469 Established 1864 ANALYSIS 7 MONEY 8 SPORTS 12 Published From CASTE CENSUS: STERILE INDIA’S PLAYING XI HYDERABAD DELHI LUCKNOW GST MOP UP TOPS RS 1L-CR FOR BHOPAL RAIPUR CHANDIGARH IDEAS OF POLITICIANS SECOND STRAIGHT MONTH IN AUG IN FOCUS BHUBANESWAR RANCHI DEHRADUN VIJAYAWADA *LATE CITY VOL. 3 ISSUE 313 HYDERABAD, THURSDAY, SEPTEMBER 2, 2021; PAGES 12 `3 *Air Surcharge Extra if Applicable VISHAL SIGNS PAN-INDIA FILM { Page 11 } www.dailypioneer.com FISHERMAN NETS ‘FISH WITH HEART OF ACTRESS SAIRA BANU, ADMITTED TO ROAD AHEAD MAY BE BUMPIER THAN POPE FRANCIS SAYS NOT RESIGNING, GOLD', TAKES HOME OVER RS 1 CRORE HINDUJA HOSPITAL, CURRENTLY IN ICU HOPED: SUNDAR PICHAI TO GOOGLE LIVING ‘NORMAL LIFE’ AFTER SURGERY fisherman from Maharashtra's Palghar, near Mumbai, had eteran actress Saira Banu, who was admitted to Mumbai's an Francisco, United States: Google on Tuesday extended ope Francis is not thinking of resigning and is living "a never imagined that he would make a fortune with his Hinduja Hospital a couple of days ago after she the option for its employees to work from home into next totally normal life" following intestinal surgery in July, he Acatch and earn crores overnight. Chandrakant Tare, a Vcomplained of blood pressure-related issues, has been Syear due to the pandemic. Returning to Google campuses Psaid in a radio interview on Wednesday. Francis, 84, fisherman from Murbe village in Palghar district, took his boat moved to the Intensive Care Unit (ICU) ward of the hospital on will remain voluntary globally through January 10, with local dismissed an Italian newspaper report that he might step to the sea for the first time on August 28 after the monsoon Wednesday, reports news agency ANI. -
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. -
The Hindu, the Muslim, and the Border In
THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Filmography Dilip Kumar – the Substance and the Shadow
DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya -
Meena Kumari - Poems
Classic Poetry Series Meena Kumari - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Meena Kumari(1 August 1932 - 31 March 1972) Meena Kumari (Hindi: ???? ??????), born Mahjabeen Bano, was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today. Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972. Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story. <b> Early Life </b> Meena Kumari was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours. Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. -
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. -
Reel Number 13
Reel Number 13 Gayathri Prabhu and Nikhil Govind (from Shadow Craft: Visual Aesthetics of Black and White Hindi Cinema, Bloomsbury Academic, 2021) Meena Kumari in Abrar Alvi’s Sahib Bibi Aur Ghulam (1962) Source: National Film Archive of India The decision to write this book emerged from our artistic and academic trajectories intersecting over the question of how to develop a vocabulary to speak about the visual aesthetics of a cinema that had left an indelible imprint on the infancy of the nation. The same aesthetics made its presence felt in the terrain of our childhoods in the 1980s when these movies and film-makers continued to be celebrated in popular culture via reruns on television and cassettes played on VHS (Video Home Systems). Kamal Amrohi, Madhubala, Meena Kumari, Ashok Kumar, Raj Kapoor, Bimal Roy, Guru Dutt, Nargis, Nutan and Abrar Alvi, came to represent a wistfully exhumed cinematic footprint. More recently, the iconic black-white- grey images from that time, stark to our colour-biased internet-weary eyes, reminded us that perhaps we had not given sufficient thought to what those assertive visual articulations represented to a collective consciousness that had shaped several decades of artists and viewers in India. The irony of this preoccupation with visual form, at a time when our engagement with the format was as far removed as possible from the original format of the cinema (35 mm), was not lost on us. Even though neither of us was born at the time of the films’ first theatrical release, our viewings were from television telecasts and cassettes played at home—for me it was the highlight of summer vacations in Mangalore (with gratitude to that archaic institution called the video rental library) and for Nikhil Govind these were viewings during school years in Burma (he wonders if the films were smuggled/pirated).