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Conference on "Towards New Visions: Women in Films, Media
Towards New Visions: Women in Films, Media and Beyond Virtual Conference, 11-12 March 2021 http://uoguel.ph/circleconference01 Organizers Aysha Iqbal Viswamohan, Indian Institute of Technology, Madras Sharada Srinivasan, University of Guelph Host Canada India Research Centre for Learning and Engagement (CIRCLE) Sponsor Shastri Indo-Canadian Institute’s Golden Jubilee Conference and Lecture Series Grant (GJCLSG) Day 1, 11 March 2021 7: 00p.m.-12:30a.m. IST/ 8:30a.m.-2:00p.m. EST Opening session 7:00-7:45p.m. Welcome: Dr. Sharada Srinivasan, Director, CIRCLE Introduction to the conference: Dr. Aysha Iqbal Viswamohan Opening remarks: Dr. Charlotte Yates, President & Vice-Chancellor, University of Guelph Opening remarks: Dr. Prachi Kaul, Director, SICI Plenary Session-1 8:00-9:00p.m. Parallel Session-1 9:55- 11:55p.m. Women’s Success Stories in Films and Media Women’s Empowerment on Screen, and New Media: Feminist Screen Chair: Aysha Iqbal Viswamohan Cultures in the Age of Digital Technologies Aswiny Iyer Tiwari Chair: Madhuja Mukherjee Pooja Ladha Surti 1. Collaborative Praxis: Feminisms and Empowerment in Contemporary Popular Bengali Cinema, Smita Bannerjee 2. Indian Women Rising: Female Star Portfolios in the Era of Digital Platforms, Akriti Rastogi 3. No Country for Aunties: A Feminist Inquiry into Intersectional Self- Fashioning in Popular Visual Culture, Shromona Das 4. Rethinking Stereotypes: Embodiment of the Female Aging Self in Select Bengali films, Debashrita Dey 5. Exonerating Disruptive Mothers and Rebellious Daughters: New Discourses of Femininity in Shakuntala Devi and Tribhanga-Tedhi Medhi Crazy, Sanchari Basu Chaudhury Plenary Session-2 9:10-9:45p.m. -
Press Note: Apeejay Kolkata Literary Festival 2016 – Day 2
Press Note: Apeejay Kolkata Literary Festival 2016 – Day 2 Event: A Fierce Beauty Launch of ‘Goddesses of Kathmandu Valley: Grace, Rage, Knowledge’ by Arun Gupto Kolkata, 15th January, 2016: Apeejay Kolkata Literary Festival 2016 hosted the launch of ‘Goddesses of Kathmandu Valley: Grace, Rage, Knowledge’ penned by Arun Gupto. The book was released by Aparna Sen, Award winning filmmaker, screenwriter and actor, who graced the occasion as the Chief Guest. This book maps the diverse identities of goddesses through metaphors of grace, rage and knowledge, and offers an in-depth insight into femininity, sexual politics, ritual worships, religion, ecology and gender. Grace manifests as motherly sublimity, warring protectors, and varying personifications of sexuality. Rage encapsulates the fearful aspects of goddesses and independent identities of women. Knowledge evokes associations with order, reason and intellect in conflating gendered binaries of body/mind and nature/culture. The volume explores how these deity attributes are expressed and embedded through anthropomorphic as well as inorganic forms of nature, beautiful women, multi-legged and many-armed animals, epistemic selves, demonic beings, glamorous personifications as also grotesque sub-humans. The launch was followed by a captivating discussion with Aparna Sen and Kalyan Ray, writer and Professor of Literature bringing about insights into methodological combination of critical theory, mythological and philosophical concepts, along with religious studies, cultural studies, folklore, art, literature, sociology and gender studies, especially those interested in Nepal and Hinduism. About Apeejay Kolkata Literary Festival (AKLF) 2016 Apeejay Kolkata Literary Festival (AKLF) is Kolkata’s pioneering literary festival. Instituted in 2010 by the Apeejay Surrendra Group and its heritage Oxford Bookstore on Park Street, AKLF grew out of the bookstore’s year round involvement with books, writers & publishers. -
O Przygodach Bengalczyków W Indyjsko-Japońskim Ogrodzie Fikcji
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Monika Browarczyk Uniwersytet Adama Mickiewicza w Poznaniu O przygodach Bengalczyków w indyjsko-japońskim ogrodzie fi kcji The Japanese Wife Aparny Sen i Kunala Basu Europejskie stereotypy na wyrafi nowanego kulturalnie erudytę i intelektuali- stę namaszczają Francuza; na subkontynencie indyjskim jego odpowiednikiem w obiegowej opinii jest Bengalczyk postrzegany jako przedstawiciel inteligen- cji i awangardy artystycznej – jeśli nie twórca, to choćby subtelny koneser sztuk. Źródła intelektualnego wysublimowania mieszkańców Bengalu indyj- ski – a szczególnie północnoindyjski vox populi, choć populi ogranicza się do niewielkiej stosunkowo grupy odbiorców kultury – odnajduje w pionierskim i bliskim kontakcie Bengalu z kulturą brytyjskich kolonizatorów. Kontakt ten inspirował twórców regionu do wprowadzenia nowatorskich przemian w róż- nych dziedzinach sztuki, co z kolei stało się natchnieniem dla artystów z innych części subkontynentu, zwłaszcza zaś właśnie z północy. W licznym panteonie wybitnych autorów bengalskich szczególne miejsce zajmują oddaleni od siebie w czasie Rabindranath Tagore (wym. Tagor) (1861−1941) i Satyajit Ray (wym. Satjadźit Raj) (1921−1992), którzy w swoich dziedzinach – literaturze i fi lmie1 – stali się rozpoznawanymi i docenianymi w całym świecie ikonami kultury nawet nie bengalskiej, ale indyjskiej2. Co więcej, Ray sięgał wielokrotnie do twórczości Rabindranatha Tagore’a, przekładając jego literaturę na swój własny język kina autorskiego. 1 Choć nie ograniczali się tylko do twórczości w jednej dyscyplinie. Ray pisał również opo- wiadania i powieści, a Rabindranath Tagore, najsławniejszy indyjski poeta, był także powieściopi- sarzem, nowelistą, dramaturgiem, eseistą, kompozytorem i malarzem. Por. Elżbieta Walter, Wpro- wadzenie, w: Rabindranath Tagore. Poeta świata, red. -
Le Indie Del Cinema
Se il termine Bollywood è ormai familiare, meno note sono MAIN SPONSOR CONVERSATIONS probabilmente le avventurose circostanze che hanno reso WITH possibile la nascita di un’industria cinematografica divenuta CONTEMPORARY così imponente come quella indiana. INDIA sogno e realtà, tra conscio e subconscio si confonde nella febbrile A colmare questa lacuna è il primo titolo di questa immaginazione di Kalyappan ubriaco. La caratterizzazione stessa rassegna, La fabbrica di Harishchandra (2010), che racconta è piena di contrasti: la corda del boia, che uccide il condannato, come Dhundiraj Govind Phalke (1870-1944, superando ha il potere di curare i malati, dicotomia sottolineata in tutto il l’insuperabile, sia riuscito nel 1913 a realizzare il suo sogno: film. Il passare del tempo ha un ruolo cruciale La corda del boia dare all’India un proprio cinema. che si accorcia, i solchi che si allungano sul viso devastato di Ma torniamo a Bollywood: il termine, invece di indicare Kaliyappan e l’eterea qualità del flauto dell’orfano evocano un soltanto il cinema hindi popolare, prodotto a Bombay (ora senso di atemporalità quanto indicano l’inesorabilità della marcia Mumbai), è diventato sinonimo di cinema indiano tout court. Info del Tempo. Sono questi momenti di magia che rendono il cinema Invero, la realtà è un pochino più complessa. L’India, infatti, [email protected] di Adoor una tale sfida. Ma impongono anche pressanti domande [email protected] allo spettatore.” (Saibal Chatterjee, da Hindustan Times) è una Unione di stati federali, ognuno dei quali, come gli Le Indie www.unive.it/cfz stati europei, si distingue per la sua storia, la sua cultura e la sua lingua (o più di una). -
Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/The Rest Is Personal
Utopian Art and Literature from Modern India How to Cite: Sen, S 2019 Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/The Rest is Personal. Open Library of Humanities, 5(1): 14, pp. 1–27. DOI: https://doi. org/10.16995/olh.410 Published: 08 February 2019 Peer Review: This article has been peer reviewed through the double-blind process of Open Library of Humanities, which is a journal published by the Open Library of Humanities. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Library of Humanities is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Sanghita Sen, ‘Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/ The Rest is Personal’ (2019) 5(1): 14 Open Library of Humanities. DOI: https://doi.org/10.16995/olh.410 UTOPIAN ART AND LITERATURE FROM MODERN INDIA Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/The Rest is Personal Sanghita Sen University of St Andrews, UK [email protected] This article investigates the role of utopian and dystopian spaces in the construction of social realism in Bakita Byaktigato/The Rest is Personal (Pradipta Bhattacharya, 2013). -
Sati, House of Memories, and 15 Park Avenue
Gender and Women’s Studies RESEARCH ARTICLE Disability, Agency, and Subjectivity in Aparna Sen’s Three Disability Films: Sati, House of Memories, and 15 Park Avenue Sreerupa Sengupta Department of English, Auburn University, USA Abstract This paper focuses on three films directed by Indian-Bengali filmmaker Aparna Sen: Sati (1989) (Bengali), Paromitar Ekdin (subtitled as House of Memories) (2000) (Bengali), and 15 Park Avenue (English) (2006). Set in three different time periods and geopolitical spaces, these films experiment with the tabooed concept of female disability in India. Through a close reading and detailed analysis of the films, this paper argues that disability in the subcontinent has an altogether different implication for women because they are more valued in terms of their bodies’ cultural, social, and familial profitability or exchange value than their individual qualities. While disabled men are seen as unfortunate and objects of pity, disabled women are held culpable for shaming their family, community, and nation. In the subcontinent, disability is conveniently used to stigmatize women deviating from the normative duties their bodies should fulfill, including bearing children and being satisfactory sexual partners. This paper claims that disability is occasionally used as a discriminatory term irrespective of its medical validity. Sen does not forget to reiterate the fact that medical diagnosis is not a valid method in determining the lack of functionality of an individual. Uma, Khuku, and Mithi, are the specially-abled characters who are marginalized due to their deviation from “socially and politically constructed able-bodied or neurotypical norm” (Fraser 6). This chapter shows how Sen denies binary identity categories, such as abled-disabled, normal-abnormal, through a recognition of alternative ways of being. -
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02-2018 108 TEERTH YATRA Sony Wah TV004 07-05-2017 1234 Zee Talkies HD TV005 18-06-2017 13 NO TARACHAND LANE Zee Bangla HD TV006 27-09-2015 13 NUMBER TARACHAND LANE Zee Bangla Cinema TV007 25-08-2016 2012 RETURNS Zee Action TV008 02-07-2015 22 SE SHRAVAN Jalsha Movies TV009 04-04-2017 22 SE SRABON Jalsha Movies HD TV010 24-09-2016 27 DOWN Zee Classic TV011 26-12-2018 27 MAVALLI CIRCLE Star Suvarna Plus TV012 28-08-2016 3 AM THE HOUR OF THE DEAD Zee Cinema HD TV013 04-01-2016 3 BAYAKA FAJITI AIKA Zee Talkies TV014 22-06-2017 3 BAYAKA FAJITI AIYKA Zee Talkies TV015 21-02-2016 3 GUTTU ONDHU SULLU ONDHU Star Suvarna TV016 12-05-2017 3 GUTTU ONDU SULLU ONDU NIJA Star Suvarna Plus TV017 26-08-2017 31ST OCTOBER STAR Gold Select HD TV018 25-07-2015 3G Sony MIX TV019 01-04-2016 3NE CLASS MANJA B COM BHAGYA Star Suvarna TV020 03-12-2015 4 STUDENTS STAR Vijay TV021 04-08-2018 400 Star Suvarna Plus TV022 05-11-2015 5 IDIOTS Star Suvarna Plus TV023 27-02-2017 50 LAKH Sony Wah TV024 13-03-2017 6 CANDLES Zee Tamil TV025 02-01-2016 6 MELUGUVATHIGAL Zee Tamil TV026 05-12-2016 6 TA NAGAD Jalsha Movies TV027 10-01-2016 6-5=2 Star Suvarna TV028 27-08-2015 7 O CLOCK Zee Kannada TV029 02-03-2016 7 SAAL BAAD Sony Pal TV030 01-04-2017 73 SHAANTHI NIVAASA Zee Kannada TV031 04-01-2016 73 SHANTI NIVASA Zee Kannada TV032 09-06-2018 8 THOTAKKAL STAR Gold HD TV033 28-01-2016 9 MAHINE 9 DIWAS Zee Talkies TV034 10-02-2018 A Zee Kannada TV035 20-08-2017 -
Saregama India Limited Will Be Held at G
SAREGAMA INDIA LTD. Board of Directors Dr. R. P. Goenka Company Secretary Chairman & Head Legal Mr. Tony Paul Mr. S. Goenka Vice Chairman Auditors Price Waterhouse Chartered Accountants Mrs. S. Goenka Legal Advisors Khaitan & Company Mr. D. Basu Registrars and Share Transfer Agents Mr. H. Neotia MCS Limited 77/2A, Hazra Road Kolkata - 700 029 Mr. S. Banerjee Bankers United Bank of India Mr. P. K. Mohapatra State Bank of India ICICI Bank Limited Mr. A. Nagpal Registered Office Managing Director ‘The Studios@Dum Dum’ 33, Jessore Road Dum Dum Kolkata - 700 028 ANNUAL REPORT 2009-10 CORPORATE INFORMATION Registered Office & Studios 'The Studios @ Dum Dum' 33, Jessore Road Kolkata - 700 028 Phone : (033) 2551 2984, 4773 Fax No. : (033) 2551 2461, 2550 0817 e-mail : [email protected] Corporate Office Millennium City Information Technology Park Regional Offices DN-62, Block B, 3rd Floor 2, Chowringhee Approach Sector V, Salt Lake, Kolkata - 700 091 Kolkata - 700 072 Phone : (033) 3012 0150 Phone : (033) 3292 0167, 6550 2113 Fax No. : (033) 3012 0157 Fax No. : (033) 2212 8911 e-mail : [email protected] e-mail : [email protected] Visit us at : www.saregama.com High Tide, 1st Floor Plot No. B 30, Juhu Tara Road Santacruz (W), Mumbai - 400 049 CONTENTS Phone : (022) 6688 6200 Fax No. : (022) 2661 0059 Page e-mail : [email protected] Notice 3 Report of the Directors & M 56, 2nd Floor Management Discussion and Analysis 5 M - Block Market Report on Corporate Governance 16 Greater Kailash - 2 New Delhi - 110 048 Auditors’ Report 27 Phone : (011) 4608 1720 - 26 Balance Sheet 30 Fax No : (011) 4608 1731 Profit & Loss Account 31 e-mail : [email protected] Schedules to the Accounts 32 Door No. -
VOL. LVIV September-October2015 No. 9-10 HIGHLIGHTS
VOL. LVIV September-October2015 No. 9-10 HIGHLIGHTS Court is India’s official entry for Oscars Angry Indian Goddesses wins award at Toronto Court, Konkona win major awards Swara Bhaskar bags best actress award Shah Rukh Khan honoured with a doctorate 8th CMS Vatavaran Film Festival held 12th Jeevika: Asia Livelihood Film Festival held Ravindra Jain, Aadesh Srivastava, Manorama and E Nageswara Rao are no more NATIONAL DOCUMENTATION CENTRE ON MASS COMMUNICATION NEW MEDIA WING (FORMERLY RESEARCH, REFERENCE AND TRAINING DIVISION ) MINISTRY OF INFORMATION AND BROADCASTING Room No.437-442, Phase IV, Soochana Bhavan, CGO Complex, New Delhi-3 Compiled, Edited & Issued by National Documentation Centre on Mass Communication NEW MEDIA WING (Formerly Research, Reference & Training Division) Ministry of Information & Broadcasting Chief Editor L. R. Vishwanath Editor Alka Mathur CONTENTS FILM AWARDS International 1-3 Private 5-6 FESTIVALS Busan 3 Danish 7 Jeevika 6-7 London 2 Silk Road 2 Toronto 1 Vatavaran 4-5 Venice 3 Washington DC South Asian 2 OBITUARIES 8-12 PUBLICATIONS 8 AWARDS/FESTIVALS Court is India’s official entry for the Oscars Debutant director Chaitanya Tamhane’s Marathi film Court that has bagged number of International awards along with national awards in the best feature film category has now been selected as India’s official entry to the Best Foreign Language Film category of the 2016 Academy Awards or the Oscars. The film was selected by a jury headed by Amol Palekar. Hindustan Times (24 September 2015) Hindu (24 September 2015) Deccan Herald (24 September 2015) Indian Express (24 September 2015) Asian Age (24 September 2015) Times of India (24 September 2015) Angry Indian Goddesses wins award at Toronto Pan Nalin’s Angry Indian Goddesses was declared the first runner up for the Grolsch People’s Choice Awards at the Toronto International Film Festival. -
Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/The Rest Is Personal
Utopian Art and Literature from Modern India How to Cite: Sen, S 2019 Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/The Rest is Personal. Open Library of Humanities, 5(1): 14, pp. 1–27. DOI: https://doi. org/10.16995/olh.410 Published: 08 February 2019 Peer Review: This article has been peer reviewed through the double-blind process of Open Library of Humanities, which is a journal published by the Open Library of Humanities. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Library of Humanities is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Sanghita Sen, ‘Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/ The Rest is Personal’ (2019) 5(1): 14 Open Library of Humanities. DOI: https://doi.org/10.16995/olh.410 UTOPIAN ART AND LITERATURE FROM MODERN INDIA Interweaving Dystopian and Utopian Spaces, Constructing Social Realism on Screen: Bakita Byaktigato/The Rest is Personal Sanghita Sen University of St Andrews, UK [email protected] This article investigates the role of utopian and dystopian spaces in the construction of social realism in Bakita Byaktigato/The Rest is Personal (Pradipta Bhattacharya, 2013). -
Mr and Mrs Iyer English Dubbed Download
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The Japanese Wife and Udaan Abhijit Ghosh-Dastidar
Frontier Autumn Number Vol.43 No.12-15, October 3-30, 2010 FILMS The Japanese Wife and Udaan Abhijit Ghosh-Dastidar The Japanese Wife Aparna Sen takes Kunal Basu’s short story to the screen in “The Japanese Wife” (colour, Bengali / English, 100 mins). The modern day weepie springs from a beguiling romance, where star-crossed pen friends battle a vast geographical distance. Rain and thunder introduces the Sundarbans atmosphere. Snehamoy (Rahul Bose), a Bengali school teacher, who speaks English in a heavy Bengali accent, introduces himself to Miyage (Chigusa Takaku), through letters. As the ornate visuals glide over emotions and the rural scenario, voice over reading the letter composed in English, acts as dialogue. Even though repetitious, the letters and the gift parcels, create a visual rhythm. Snehamoy explains the meaning of names, and emphasizes that pronunciation is to be practiced by rolling the tongue. There are cuts to Kolkata’s road traffic. Snehamoy’s parents were killed by floods in the Matla river, and was brought up by an affectionate aunt/‘mashi’(Moushumi Chatterjee). A boat full of people, conveys a huge box from Japan. A child recites a limerick recalling the Japanese dropping bombs on Calcutta. As Snehamoy’s English ability is poor, he has to translate Bengali to English, after consulting a dictionary. Miyage has an elder brother who works in a big store in Yokohomma. She lives in the old family house in Tokyo, with her mother, who is ill. Her father died a year earlier. She is curious about India, and her father had visited India once, during a kite festival.