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THE BUCHAREST UNIVERSITY of ECONOMIC STUDIES The
THE BUCHAREST UNIVERSITY OF ECONOMIC STUDIES The Faculty of International Business and Economics The Department of Modern Languages and Business Communication of ASE Iuliu Hațieganu University of Medicine and Pharmacy Cluj- Napoca 7th International Conference: Synergies in Communication Bucharest, Romania, 22 - 23 November 2018 BEHIND THE SCREENS: A STUDY OF THE FILMS OF THREE INDIAN WOMEN DIRECTORS Minouti NAIK1 Abstract Indian films, even after 76 years of independence and 105 years of Indian Cinema, are a predominantly male domain. The percentage of women film makers, in the industry, is a mere 9.1%. Despite this, the films directed by women have compelled audiences to take notice, because of the wide spectrum of issues they have touched upon. Three women directors, whose movies have left an indelible mark on the audiences, include Tanuja Chandra, Meghna Gulzar and Gauri Shinde. This paper analyses the work of these three women directors, for the uniqueness of their themes and the characters they have sketched, and attempts to find out, what has led to their films being etched deeply, into the consciousness of their audience. This will be analysed against the backdrop of the realities of the society from which these films emerge, and as a reflection of the gender dynamics existing in Indian society. Keywords: Indian cinema, women, themes, characters, uniqueness 1. Introduction Men have sight, women insight. - Victor Hugo Victor Hugo‟s observation, penned down in his memoirs, might be an apt point to begin with, when one reflects upon films made by Indian women filmmakers. Despite films forming a very important facet of the Indian society and the fact that India completed 105 years of cinema, this year, the number of women making films in India is very small. -
Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai
Copyright © 2012 by Katherine Boo All rights reserved. Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York. RANDOM HOUSE and colophon are registered trademarks of Random House, Inc. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Boo, Katherine. Behind the beautiful forevers : life, death, and hope in a Mumbai undercity / Katherine Boo. p. cm. eISBN: 978-0-679-64395-1 1. Urban poor—India—Mumbai. I. Title. HV4140.M86B66 2011 305.5’690954792—dc23 2011019555 www.atrandom.com v3.1 For two Sunils and what they’ve taught me about not giving up Cover Title Page Copyright Dedication PROLOGUE between roses PART ONE undercitizens 1. Annawadi 2. Asha 3. Sunil 4. Manju PART TWO the business of burning 5. Ghost House 6. The Hole She Called a Window 7. The Come-Apart 8. The Master PART THREE a little wildness 9. Marquee Effect 10. Parrots, Caught and Sold 11. Proper Sleep PART FOUR up and out 12. Nine Nights of Dance 13. Something Shining 14. The Trial 15. Ice 16. Black and White 17. A School, a Hospital, a Cricket Field AUTHOR’S NOTE ACKNOWLEDGMENTS About the Author July 17, 2008—Mumbai Midnight was closing in, the one-legged woman was grievously burned, and the Mumbai police were coming for Abdul and his father. In a slum hut by the international airport, Abdul’s parents came to a decision with an uncharacteristic economy of words. The father, a sick man, would wait inside the trash-strewn, tin-roofed shack where the family of eleven resided. -
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168 Maharjan, History of Cinema Censor Board
Bodhi, 4 (1), 168-190. ISSN 2091-0479. © 2010 Kathmandu University 168 Maharjan, History of cinema censor board ---------------------------------------------------------------------- Machinery of state control: History of cinema censor board in Nepal1 - Harsha Man Maharjan Inside film industry, film censor board is a small but important institution. In Nepal, this institution always works as the structure to fulfill the interest of the state. Sex, violence and politics are main reasons of cinema censorship but meaning and acceptance of these issues are changing in Nepal. This article argues that it is right time to rethink the work of the censor board. Instead of scissoring cinemas, it has to grade them. Introduction Cinema/Film Censor Board is a small entity of a film industry, and it is a global practice. However, who forms this entity differs among countries. For example, in Britain and the US, film industries have established this mechanism. But in countries like India and Nepal, the state has established the censor board and the board is basically the machinery of state control. It orders to scissor the scenes which it feels objectionable/harmful to the society and the state. It even denies certification to movies and dubs them banned if the whole cinema is assumed to be unsuitable for the state and society. 1 This article is a longer version of what I published in Republica (Maharjan, 2010) . Here I have corrected some factual errors I did in newspaper article due to the lack of data. I am indebted to Shiva Regmi for providing information and documents I used in this study. -
Anthems of Resistance
A Celebration of Progressive Urdu Poetry Anthems of Resistance So what if my pen has been snatched away from me I hav dipped my fingers in the blood of my heart So what if my mouth has been sealed, I have turned Every link of my chain in to a speaking tonge Ali Husain Mir & Raza Mir 1 Anthems of Resistance A Celebration of Progressive Urdu Poetry Ali Husain Mir & Raza Mir IndiaInk 2 Brahma’s Dream ROLI BOOKS © Ali Husain Mir and Raza Mir, 2006 First published in 2006 IndiaInk An imprint of Roli Books Pvt. Ltd. M-75, G.K. II Market New Delhi 110 048 Phones: ++91 (011) 2921 2271, 2921 2782 2921 0886, Fax: ++91 (011) 2921 7185 E-mail: [email protected]; Website: rolibooks.com Also at Varanasi, Bangalore, Jaipur Cover : Arati Subramanyam Layout : Narendra Shahi ISBN: 81-86939-26-1 Rs. 295 Typeset in CentSchbook BT by Roli Books Pvt. Ltd. and printed at Syndicate Binders, New Delhi 3 CONTENTS Acknowledgements A Note on Translation and Transliteration Preface 1 Over Chinese Food: The Progressive Writers’ Association 2 Urdu Poetry and the Progressive Aesthetic 3 Saare Jahaan Se Achcha: Progressive Poets and the Problematic of Nationalism 4 From Home to the World: The Internationalist Ethos 5 Dream and Nightmare: The Flirtation with Modernity 6 Progressive Poetry and Film Lyrics 7 Voh Yaar Hai Jo Khushboo Ki Taraah, Jis Ki Zubaañ Urdu Ki Taraah 8 An Exemplary Progressive: The Aesthetic Experiment of Sahir Ludhianvi 9 Javed Akhtar’s Quiver of Progressive Arrows: A Legacy Survives 10 New Standard Bearers of Progressive Urdu Poetry: The Feminist Poets 11 A Requiem .. -
Times.US PAGE 1 Times.US Globally Recognized Editor-In-Chief: Azeem A
APRIL 2018 www.Asia Times.US PAGE 1 www.Asia Times.US Globally Recognized Editor-in-Chief: Azeem A. Quadeer, M.S., P.E. APRIL 2018 Vol 9, Issue 4 Congratulations Shawkat Mohammed 90% of work-permits given to Shawkat Mohammed (Dallas) Achieved Prestigious Million Dollar Round Table ( Top of the Table ) membership H-1B visa-holders’ spouses are again this year. Indians Membership is Exclusive to World’s Leading 30 Mar 2018: 90% of work- The H-4 visa holders don’t were women, and the vast Financial Professionals. permits given to H-1B get a social security num- majority, 93%, were from visa-holders’ spouses are ber, and hence cannot be India, while 4% were from Indians employed. But they can get China.” Congratulations Shawkat Mohammed on achieving MDRT for the 6th time in a row! The United States has Your achievement is the greatest endorsement given work permits to over of your hard work and the trust your clients 71,000 spouses of H-1B visa holders, 90% of whom have put in you. are Indians. In 2015, the Obama government began issu- ing work authorization to spouses of H-1B visa holders. a driver’s license, pursue Spouses of H-1B visa hold- education and open bank Most likely yes: Will things ers who had been living account. change now that Donald in the US for six years, Trump is POTUS? and were in the process of In 2015, 80% of 1,25,000 applying for green cards, people who were issued Donald Trump in his were eligible for this pro- H-4 visas were Indians. -
English-Hindi a Discovery Journey अंग्रेजी-िह ी खोज की
ENGLISH-HINDI A DISCOVERY JOURNEY अंग्रेजी-िह�ी खोज की यात्रा angrejee-hindee khoj kee yaatra © Gurmentor Inc. Content Prepared by Gurmentor, Inc. The text provided here is about 20% of the library content of the Encore!!! Language Learning app. You can get the full content when you download the app. Please contact us on our website if you need more information to get the content of the library. ENGLISH-HINDI: A DISCOVERY JOURNEY © Gurmentor Inc. 1 ŕ Ġ Ě -ĔĄŢ Ě : İ ķ ∂ Ďŝ Ď 2 ENGLISH-HINDI: A DISCOVERY JOURNEY © Gurmentor Inc. 3 TABLE OF CONTENTS INTRODUCTION 13 VOCABULARY 19 NOUNS: 19 सं�ा sangya NOUNS: PLACES 19 सं�ा: जगह sangya: jagah NOUNS: EDUCATION 23 सं�ा: िश�ा sangya: shiksha NOUNS: WEATHER 26 सं�ा: मौसम sangya: mausam NOUNS: ANIMALS 29 सं�ा: पशु sangya: pashu NOUNS: BODY 31 सं�ा: शरीर sangya: shareer NOUNS: ENTERTAINMENT 33 सं�ा: मनोरं जन sangya: manoranjan NOUNS: FOOD 37 सं�ा: भोजन sangya: bhojan NOUNS: HEALTH 40 ŕ Ġ Ě -ĔĄŢ Ě : İ ķ ∂ Ďŝ Ď 4 सं�ा: �ा� sangya: svaasthy NOUNS: HOUSE 42 सं�ा: घर sangya: ghar NOUNS: RELATIONS 46 सं�ा: संबंधी sangya: sambandhee NOUNS: WORK 48 सं�ा: काम sangya: kaam NOUNS: WEARABLES 52 सं�ा: �ा पहनना है sangya: kya pahanana hai NOUNS: POLITICS 54 सं�ा: राजनीितक sangya: raajaneetik VERBS 56 िक्रया kriya PRONOUNS 79 सव�नाम sarvanaam ADJECTIVES 84 िवशेषण visheshan ADVERBS 92 िक्रया िवशेषण kriya visheshan ENGLISH-HINDI: A DISCOVERY JOURNEY © Gurmentor Inc. 5 PREPOSITIONS 95 पूव�सग� poorvasarg CONJUNCTIONS 97 संयोजन के �प sanyojan ke roop CARDINAL NUMBERS 99 गणन सं�ा ganan sankhya ORDINAL NUMBERS -
279 a Aadukalam, 239 Aag, 28, 33 Aaj Tak, 210 Aamir, 13 Aayega
Index A Anand, Vijay, 94 Aadukalam, 239 The Anatomy of National Aag, 28, 33 Fantasy:Hawthorne, Utopia, and Aaj Tak, 210 Everyday Life (Lauren Berlant), Aamir, 13 230n5 aayega aanewala melody, 121–2, see also Andaz, 47, 190–1 Mangeshkar, Lata Anjali, 91 Abachetan, 86n18 antinomies of culinary, 225–8 Abhishapta Chambal (The Accursed Apsara Film & Television Producers Chambal), 22 Guild Awards, 176n32 Abraham, John, 165, 173n3, 213 Apte, Shanta, 52–4 acousmetre, notion of, 134n21 Arabian Nights, 141 action films, 165, 187, 192, 215, Aravindan, G, 244 231n25, 251n5 The Archive and the Repertoire: Performing action-masala film of 1980s, 12 Cultural Memory in the Americas Actress, 140 (Diana Taylor), 40n26 Advani, Nikhil, 237 archiving Bollywood, 218–21 ad world, Hindi film stars migration to, Arroyo, José, 258 97 Art and Agency: An Anthropological Theory Agamavagisa, Krishnananda, 107, 109 (Alfred Gell), 37n10 Agneepath, 12, 172 Arundale, Rukmini, 144 Agyaat, 208 Asoka, 173n3 Ajab Prem Ki Ghazab Kahani, 210 Asperger’s syndrome, 93, see also My Ajnabee, 153 Name is Khan Akhtar, Farhan, 166, 169, 208–9 Athaiya, Bhanu, 48 Akhtar, Zoya, 209, 230n11 Auro, 93, 97, see also Bachchan, Ali, Imtiaz, 222 Amitabh; Paa Allen, Richard, 246 Aurora, Malaika, 216 alternative, sources of, 242–46 Australia, 255 always-graphic image, 25 Avatar, 266n1 Aman, Zeenat, 17n20, 23, 57–8, 152–4 avatars, 259–60 Amar Akbar Anthony, 193 Awara, 47 Amar Jyoti (The Immortal Flame), 141 Aya Toofan (The Typhoon), 144 American Idol, 185 An American in Paris, 220 B Amitabh: The -
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Magico-Religious Beliefs Among Primary Care Takers of Manic Patients
J Psychiatrists’ Association of Nepal Vol .2, No.1, 2013 ORIGINAL ARTICLE Magico-Religious beliefs among primary care takers of manic patients. Sapkota N1, Pandey AK2, Adhikari BR3, Shyangwa PM4, Shakya R5 1.Associate Professor, Department of psychiatry BPKIHS, Dharan 2. Additional Professor, Department of psychiatry, BPKIHS, Dharan 3. Assistant Professor, Department of Psychiatry, BPKIHS, Dharan 4. Professor, Department of psychiatry, Dharan 5. Associate Professor, Department of Psychiatry, PAHS, Kathmandu, Nepal E-mail *Corresponding author: [email protected] Abstract Introduction: Mania is one of the commonest psychiatric disorders that require immediate interventions. There is a wide held belief that co-occurrence of mental disorders and underlying religious or spiritual problems is found. Local and community belief in such phenomena appeared to be a factor in influencing the decision to seek Magico- Religious treatment. The study was done with the objective to determine the attitudes of the primary care taker with respect to Magico-Religious beliefs which can have impact on treatment seeking behavior and timely consultation to the psychiatrist for underlying condition. Materials and Method: Consecutive fifty primary care takers who accompanied the patient and gave consent were included in the study. The supernatural Attitude questionnaire developed to study the magico religious beliefs was applied to the primary care taker. Both parametric and non parametric statistical tools were applied to analyze the variables. Results: About 48% believed that performing magico-religious rituals could improve the behavior of the patients and 76% of the primary caretakers visited faith healer for this purpose. Association between Magico-religious treatment group and non-magico-religious treatment group with different variables like Age, Sex, Religion, Socio- Economic Status, Education and Occupation, were compared, which shows that, all the variables were comparable and the P-value was not significant. -
History of Indian Cinema 12-15
Project report on Movie Marketing By Mr. Punit Ketan Thakkar T.Y.B.M.S. Div – B Roll No – 109 Academic year 2010-2011 Project Guide Prof. Pankaj Natu DATE OF SUBMISSION 30TH September, 2010 SVKM’s Narsee Monjee College of Commerce and Economics Vile Parle (W), Mumbai-400053 - 1 - DECLARATION I, Punit Thakkar of SVKM’s Narsee Monjee College of Commerce and Economics of TYBMS, hereby declare that I have completed the project on Movie Marketing in the academic year 2010-2011 The information is true and original to the best of my knowledge. Punit Thakkar - 2 - CERTIFICATE I, Mr. Pankaj Natu, hereby certify that PUNIT THAKKAR of SVKM’s Narsee Monjee college of Commerce and Economics of TYBMS (Semester V) has completed the project on “Movie Marketing” in the academic year 2010-11 under my guidance. Prof. Pankaj Natu Prof. Sunil B Mantri ( Project Guide) (Principal) N.M. College N.M. College Acknowledgement - 3 - I would like to acknowledge the following for being the idealistic channel and fresh dimension in the completion of this project. I take this opportunity to thank the University of Mumbai for giving me a chance to do this project. I wish to appreciate the SVKM management for providing the state of the art facilities, the Principal Prof Sunil B. Mantri for his dynamic leadership and the library staff for their support in providing academic content, and the teaching and supporting staff of N.M. College, for providing the entire state of the art infrastructure and resources to enable the completion and enrichment of my project. -
The Security Aesthetic in Bollywood's High-Rise Horror
The Security Aesthetic in Bollywood’s High-Rise Horror Author(s): Bishnupriya Ghosh Source: Representations, Vol. 126, No. 1, Special Issue: Financialization and the Culture Industry (Spring 2014), pp. 58-84 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/rep.2014.126.1.58 . Accessed: 25/04/2014 21:24 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Representations. http://www.jstor.org This content downloaded from 128.111.121.42 on Fri, 25 Apr 2014 21:24:58 PM All use subject to JSTOR Terms and Conditions BISHNUPRIYA GHOSH The Security Aesthetic in Bollywood’s High-Rise Horror T HE IMAGES SHOWN IN FIGURES 1 and 2 occupy the two poles of ‘‘accumulation by dispossession,’’ David Harvey’s term for a set of inter- twined processes of financial globalization.1 The story unfolding between them is that of real estate speculation, the turning of land into fictitious capital. The first image articulates the future as a new home in a postindustrial utopia, while the second documents an anonymous figure on its periphery.