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Beneath the Divided Sky Cinema, Parallel Cinema
- Arts Illustrated June & July 2016 - Section - 7 Cinema I wanted to start with this whole It’s actually an understanding of winning is always considered to term of ‘parallel cinema’ that’s my society. In fact, when Marx be with power and force – always associated with your work. used that term, it’s a bit conde- whereas Gandhi said that one Do you think this is a very scending, I thought. This ‘village can also win over people by intellectual tag? Does it bother you? idiocy’ itself… there is no ‘urban sacrificing, by Satyagraha or else idiocy’. So they seem to think by negotiating. Hasina is totally When we are making a film, you that the villages lack some kind of Satyagraha, she goes and sits in know, these things do not bother intellectual capacity to under- front of a mosque and asks for us at all. What we concentrate on stand things, which is not true. justice. Nagi (Dweepa) tries to are the characters, the situations, My characters are actually my negotiate and wins; she doesn’t the politics, the images. We don’t attempt to understand what, in think it is demeaning, or losing even bother if it’s going to be a Sanskrit, we call ‘dharanai’, her principles. And Thaayi commercial success, whether it’s which is something that is there, Sahiba, by sacrificing her land, going to be branded as popular which makes you carry on with sacrificing her zamindari, she cinema, commercial cinema, art your life. Similarly, all the wins over the affection of her Beneath the divided sky cinema, parallel cinema. -
Malayalam Biopics: from Books to Films
MALAYALAM BIOPICS: FROM BOOKS TO FILMS Gayatri Binu Registered Number: 1324032 A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree Department of Media Studies II Authorship Christ University Declaration Department of Media Studies This is to certify that I have examined this copy of a master’s thesis by Gayatri Binu Registered Number: 1324032 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ _____________________________________________________ Date: __________________________________ III IV I, Gayatri Binu, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: V VI Abstract Malayalam Biopics: From Books to Films Gayatri Binu MS in Communication, Christ University, Bangalore This article talks about the difficulties that emerge when considering biographical films that are focused around biographical or autobiographical works of writing utilizing careful investigations of three Malayalam films. -
Girish Kasaravalli Film Festival 25 / 26 / 27 / 28 / 29 July 2015
Bharatiya Vidya Bhavan Bengaluru Presents Girish Kasaravalli Film Festival 25 / 26 / 27 / 28 / 29 July 2015 • Gulabi Talkies • Naayi Neralu • Kraurya • Thayi Saheba • Ghatashraddha • Tabarana Kathe • Dweepa • Kanasembo Kudureyaneri • Haseena • Koormavatara Photo Exhibition on Girish Kasaravalli organised by Sri. K.S. Rajaram, Noted Photographer Venue : Khincha Auditorium, Bharatiya Vidya Bhavan, Race Course Road, Bengaluru - 560 001 All are cordially Invited Girish Kasaravalli Girish Kasaravalli (December 3, 1950) is a ilm director of the Kannada cinema, and a pioneer of the parallel cinema movement. Known internationally, he has won the National Film Award for Best Feature Film four times - Ghatashraddha (1977), Tabarana Kathe (1986), Thaayi Saheba (1997) and Dweepa (2002). In 2011, he was awarded Padma Shri, the fourth highest civilian award by Government of India. A gold medalist from the Film and Television Institute of India, Pune, Kasaravalli started his career in ilms with Ghatashraddha (1977). Over the next 30 years he directed 11 ilms and a tele serial. The ilm he made to fulill his diploma, Avashesh, was awarded the Best Student Film and the National Film Award for Best Short Fiction Film for that year. He has received thirteen National Film Awards. The International Film Festival of Rotterdam held a retrospective of Girish Kasaravalli's ilms in 2003. Girish Kasaravalli Film Festival - 2015 - Calendar of Events July 25, 2015, Saturday Programme 10.30 a.m. Inauguration : Smt. Umashri Hon’ble Minister for Kannada and Culture, Women and Child Development, Govt. of Karnataka Chief Guests : Dr. L. Hanumanthaiah, Ex MLC, Chairman, Kannada Development Authority Dr. Vijaya, Noted Film Journalist Smt. -
Your Gateway to the Film Industry
MIT SCHOOL OF FILM & TELEVISION at Raj Kapoor Memorial, Pune MITSFT - your Gateway to the Film Industry www.mitsft.in PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor VISION MIT School of Film and Television, MIT School of Film and Television, Rajbaug, Pune is committed to providing Rajbaug, Pune envisages a 'niche position' advanced training and thus nurturing for Indian films, film m‘ akers and ‘ knowledge-driven visionary filmmakers ‘ ‘ technicians in the world of cinema, where who will have great potential and creative they will be considered as a benchmark of SION abilities and who will make the finest films quality all across the globe. in world cinema, while exhibiting their talent in all departments of film making. MIS 1) RajbaugCONTENTS – The Garden of The King...........................................................................................................04 16) Art Direction and Production Design...........................................................................................................30 2) Raj Kapoor Memorial...............................................................................................................................07 17) Television Production.................................................................................................................................32 3) Raj Kapoor – The Legend, The Man..........................................................................................................08 18) Admission Procedure................................................................................................................................33 -
Annual Report 2016-17 Thunchath Ezhuthachan Malayalam University
THUNCHATH EZHUTHACHAN MALAYALAM UNIVERSITY ANNUAL REPORT 2016-17 THUNCHATH EZHUTHACHAN MALAYALAM UNIVERSITY ANNUAL REPORT CONTENTS 1. Vice Chancellor’s note 2. Aims and objectives 3. Milestones 4. ‘Akhsaram’ Campus 5. Academic activities 6. Library 7. Student’s welfare, hostels 8. Activities with social commitment 9. International co-operation., Gundert Chair 10. Projects 11. 11. Publications 12. Administration 13. Appendix Editor: Dr. P.B.Lalkar English Translation Team Prof. Madhu Eravankara ( Co-ordinator) Dr. M. Vijayalakshmy, Dr. A.P Sreeraj, Dr. Jainy Varghese, Sri K.S Hakeem Design & Lay-out : Lijeesh M.T. Printing : K.B.P.S. Kakkanad, Kochi P R E FA C E Justice (Retd.) P Sathasivam Prof. C Ravindranath K Jayakumar Chancellor Pro Chancellor Vice Chancellor It is with great pleasure that I am presenting the Annual Report of Malayalam University up to March 31, 2017. The university started functioning in 2012 and the admission formalities of the first batch of students were completed in August 2013. Initially we started with 5 M.A courses. When we look back in 2017, it is worthy to note that the university has achieved tremendous growth both in infrastructure and academic level. Within this short span of time, we could start 10 M.A. Courses and Research Programmes. The first two batches of M.A and one batch of M.Phil students are out. Amenities like Library, Studio and Theatre claims self sufficiency. 28 permanent teachers were also appointed. The year 2016-17 witnessed so many important developments. The new library- research block and Heritage Museum, were opened. The year was marked with variety of academic activities and visit of several dignitaries. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
Festival Catalogue 2015
Jio MAMI 17th MUMBAI FILM FESTIVAL with 29 OCTOBER–5 NOVEMBER 2015 1 2 3 4 5 12 October 2015 MESSAGE I am pleased to know that the 17th Jio MAMI Mumbai Film Festival is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from 29th October to 5th November 2015. Mumbai is the undisputed capital of Indian cinema. This festival celebrates Mumbai’s long and fruitful relationship with cinema. For the past sixteen years, the festival has continued promoting cultural and MRXIPPIGXYEP I\GLERKI FIX[IIR ½PQ MRHYWXV]QIHME TVSJIWWMSREPW ERH GMRIQE IRXLYWMEWXW%W E QYGL awaited annual culktural event, this festival directs international focus to Mumbai and its continued success highlights the prominence of the city as a global cultural capital. I am also happy to note that the 5th Mumbai Film Mart will also be held as part of the 17th Mumbai Film Festival, ensuring wider distribution for our cinema. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision and wish the 17th Jio MAMI Mumbai Film Festival and Mumbai Film Mart grand success. (CH Vidyasagar Rao) 6 MESSAGE Mumbai, with its legacy, vibrancy and cultural milieu, is globally recognised as a Financial, Commercial and Cultural hub. Driven by spirited Mumbaikars with an indomitable spirit and great affection for the city, it has always promoted inclusion and progress whilst maintaining its social fabric. ,SQIXSXLI,MRHMERH1EVEXLM½PQMRHYWXV]1YQFEMMWXLIYRHMWTYXIH*MPQ'ETMXEPSJXLIGSYRXV] +MZIRXLEX&SPP][SSHMWXLIQSWXTVSPM½GMRHYWXV]MRXLI[SVPHMXMWSRP]FI½XXMRKXLEXE*MPQ*IWXMZEP that celebrates world cinema in its various genres is hosted in Mumbai. -
E:\Secretariat\Secretariat 5-6
SECRETARIAT ASSISTANT PRELIMINARY EXAM Exam held on 05-06-2004 Time: 75 min. Max: 100 marks Questions 1 to 5: Choose synonymous word 1. To surprise somebody greatly: (a) Appraise (b) Antonyms (c) Astonish (d) Reveal 2. To make something more important that it really: (a) Excess (b) Elaborate (c) Stress upon (d) Exaggerate 3. Express one's opinion without evidence or full knowledge: (a) Specify (b) Speculate (c) Concede (d) Sensing 4. An event that will happen soon: (a) Imminent (b) Damnsure (c) Immense (d) Immutable 5. To lead somebody to do something: (a) Persuade (b) Placate (c) Persecute (d) Perpend Questions 6 to 10: Four words are given in each. Three of them can be grouped together applying a principle. One word does not belong to the group. Find it out. 6. (a) Violet (b) Blue (c) Magenda (d) Green 7. (a) Cucumber (b) Carrot (c) Brinjal (d) Ladies finger 8. (a) Yaswanth Sinha (b)Jaswant Singh (c) Shatrugnan Sinha (d) Manmohan Singh 9. (a) Cancel (b) Nullify (c) Void (d) Confirm 10. (a) G. Sankarakuruppu (b) O.N.V. Kuruppu (c) S.K. Pottekkadu (d) Thakazhi Sivasankarapillai Questions 11 to 13: Three words are given. There is a relationship between the first two words. Select a word that expresses a similar relationship with the third word from the given alternatives. 11. Pather Panjali : Sathyajith Ray; Athithi : (a) K.P. Kumaran (b) M.T. Vasudevan Nair (c) T.V. Chandran (d) P.A. Backer 12. Pareekkutty : Madhu; Chemban Kunju : (a) P.J. Antony (b) Jose Prakash (c) Govindankutty (d) Kottarakara Sreedharan Nair 13. -
Parichya Patra.P65
Student Paper PARICHAY PATRA Spectres of the New Wave : The State of the Work of Mourning, and the New Cinema Aesthetic in a Regional Industry 1 Introduction My title refers to Derrida’s controversial account of his concern with Marx amidst the din and bustle of the ‘end of history’. Time was certainly out of joint and the pluralistic outlook of the great thinker was pitted against the monolith that orthodox communists used to uphold. My primary concern in the paper would be an account of the Malayalam film industry in its post-New Wave phase as well as a handful of filmmakers whose works seem to be difficult to categorize. Within the domain of the popular and amidst the mourning from the film society circle for the movement that lasted no longer than a decade, these films evoke the popular memory of the New Wave. Though up in arms against the worthy ancestors, these filmmakers are unable to conceal their indebtedness to the latter. The New Wave too was not without its heterogeneity, and the “disjointed now” that I am talking about is something “whose border would still be determinable”. I would like to consider the possibility of moving towards translocal contexts without shifting our focus from a specific site of inquiry which, in this case, is Malayalam cinema. The paper will concentrate upon the phenomenon known JOURNAL OF THE MOVING IMAGE 81 as the resurfacing/resurgence of art cinema aesthetics in Indian cinema. Recent scholarly interest in the history of this forgotten film movement is noticeable, more so because it was ignored in the age of disciplinary incarnation of cinematic scholarship in India. -
Schedule Screening
THIRUVANANTHAPURAM SCREENING SCHEDULE PARTNERS NISHAGANDHI | TAGORE | KALABHAVAN KAIRALI | SREE | NILA | DHANYA | REMYA NEW THEATRE SCREEN 1, SCREEN 2, SCREEN 3 SREE PADMANABHA | SPI KRIPA CINEMAS IN ASSOCIATION WITH KSBCDC KERALA STATE BACKWARD CLASSES DEVELOPMENT Directorate of CORPORATION Kerala State Lotteries KERALA STATE YOUTH COMMISSION Dec. 07 FRIDAY 2018 09:00 am 11:30 am 03:00 pm 09:45 am 12:15 pm 03:15 pm Jumpman / Podbrosy Foxtrot One Step Behind the Working Woman Ray & Liz Maya Dir: Ivan I. Tverdovskiy Dir: Samuel Maoz Seraphim / Un Pas în /Isha Ovedet Dir:Richard Billingham Dir:Mia Hansen-Løve Urma Serafimior (Russia, Lithuania, (Israel, Switzerland, Dir: Daniel Sandu Dir:Michal Aviad (UK/108/2018) (France, Germany/ Ireland, Germany, (Romania, Germany, (Israel/94/2018) 107/2018) France/95/2018) France/113/2017) REMYA KAIRALI Bulgaria, France, Czech Republic/150/2018) 07KA01 WC 07KA02 WC 07KA03 WC 07RE01 WC 07RE02 WC 07RE03 WC 09:15 am 12:00 pm 03:15 pm 09:15 am 11:45 am 02:45 pm August at Akiko's Black Peter/Cerný Petr The World is Yours / Suleiman Mountain/ The Heiresses/ Namme Dir:Christopher Dir: Miloš Forman Le Monde Est A Toi Sulayman Too Las herederas Dir: Zaza Khalvashi Makoto Yogi (Czechoslovakia/85/1964) Dir: Romain Gavras Dir:Elizaveta Stishova Dir:Marcelo Martinessi (Georgia/91/2017) SREE (USA/75/2018) (France/100/2018) (Russia, Kyrgyzstan (Paraguay, Germany, /101/2017) Uruguay, Brazil, Norway, France/98/2018 07SR01 07SR02 07SR03 07NA01 07NA02 07NA03 WC RMF WC SCREEN 1 NEW WC WC WC 09:30 am 11:45 am 03:30 pm 06:30 -
Filmske Pocitnice Na Kino Otoku! Film Holidays on Isola Cinema! ˆ
25-29 5 2004 ˆ filmske pocitnice na kino otoku! no. 1 film holidays on isola cinema! festival filma Afrike Azije Latinske Amerike Vzhodne Evrope s prijatelji festival del cinema Africa Asia America Latina Europa dell'Est con gli amici festival of African Asian Latin American Eastern European cinema with friends organizator: Zavod Otok soorganizatorji: Center za kulturo, {port in prireditve Izola Kinodvor Slovenska kinoteka partnerji: Klub izolskih {tudentov in dijakov – KI[D Multimedijski center PINA Dru{tvo zaveznikov mehkega pristanka – DZMP Kr{ko Luksuz produkcija Kr{ko Klub [tudentov ob~ine Koper – KŠOK Kinoatelje Gorica partnerski festivali: Internationales Film Festival Innsbruck Bozner Filmtage/Bolzano cinema Festival international de films de Fribourg Crossing Europe Far East Film festivalsko mostvo/festival team predsedstvo festivala/festival presidency pomo~niki tehni~nega vodje / assistant technical Breda Pe~an, `upanja ob~ine Izola directors Silvan Furlan, direktor Slovenske kinoteke Lorena Pavli~, Ognjen Dizdarevi}, Ur{ka Kos Jan Cvitkovi~, filmski ustvarjalec postavitev letnega kina in kina Gledali{~e/open air v.d. direktorja in programski direktor/managing and cinema artistic director Stichting openlucht bioscoop Vlado [kafar operaterji/projectionists pomo~nica direktorja/assistant director Martin van Broekhoven, Joop van Langen, Ervin van Phart, Ervin Mateja Zorn Kontrec, Bojan Bajsi~, Polona Kuzman programski svetovalec/program adviser videopodnaslavljanje/videosubtitling Koen van Daele Art Servis d.o.o. 2 Ernest Grun, -
Geographies of the Ethnic Minority Children in Chinese Cinema (1990S and 2000S)
Geographies of the ethnic minority children in Chinese cinema (1990s and 2000s): rurality, ethnicity and nationalism Zhenhui Yan A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Humanities and Languages Faculty of Arts and Social Sciences June 2018 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Yan First name: Zhenhui Other name/s: Abbreviation for degree as given in the University calendar: PhD School: School of Humanities and Languages Faculty: Faculty of Arts and Social Sciences Title: Geographies of the ethnic minority children in Chinese cinema (1990s and 2000s): rurality, ethnicity and nationalism Abstract 350 words maximum: (PLEASE TYPE) The subject of ethnic minority children and childhoods has attracted Chinese filmmakers over the past three decades, yet relevant research is rare. The thesis draws on theories in cinematic landscape and children’s geographies to explore how ethnic minority childhood experience is constructed cinematically. What in particular is made of rurality versus urban living, how are such geographies imagined, and how do these vistas and landscapes facilitate the understanding of the children’s identities and reflect certain ideological agendas of filmmakers in the context of a Han-dominated multi-ethnic nation during its rapid social-political transformations in the 1990s and 2000s? In individual chapters, various theoretical approaches are also deployed, such as the idea of natural space in a musical, a rural idyllic childhood, focalisation in film narrative, relational construction of space, transitional space of play and media’s impact on identity construction. The thesis concludes that, in different historical periods, the ethnic minority children’s connections with rural space carry different connotations.