DOCSLIB.ORG

A Comprehensive Study on the Marketing Factors of the Recent Bengali Films Considering Indian Movie Industry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comprehensive Study on the Marketing Factors of the Recent Bengali Films Considering Indian Movie Industry IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House A COMPREHENSIVE STUDY ON THE MARKETING FACTORS OF THE RECENT BENGALI FILMS CONSIDERING INDIAN MOVIE INDUSTRY Mr. Jyotirmoy Mazumder, Head,Department of BBA (H), Tarakeswar Degree College, West Bengal, India ======================================================= ABSTRACT Bollywood or Tollywood, both use marketing tools for various promotional factors in film business. Hindi movies have gone global with higher gross income, whereas South Indian films have also reached some clusters to grow business. Various genre films have been produced in top six local language films, except Hindi. Distribution has gone digital, along with increase in multiplex, but unfortunate decrease in single screens pan India. Bengali cinema gained some budget & marketing expenditure to boost its business, increasing the gross income, but far behind from even South Indian film success. Hence, various film promotion techniques are used with increase in audience research, where Word of Mouth plays as a major tool across all demographic levels. Keywords: Marketing, Strategy, Film promotion, language film, genre, film industry, single screen, multiplex, research, brand, Word of Mouth. ================================================= 10 IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House Introduction The Journal of the Bengal Motion Pictures Association had coined the word, Tollywood - way back in the thirties- to describe a certain kind of „progressive‟ (read „Westernised‟) cinema produced by Calcutta‟s Tollygunge Studios (Derek Bose 2005). The film industry based in Kolkata, West Bengal, is sometimes referred as "Tollywood", a portmanteau of the words Tollygunge, a neighbourhood of Calcutta where most of the Bengali film studios are located, and Hollywood. Tollywood was the very first Hollywood-inspired name, dating back to a 1932 article in the American Cinematographer by Wilford E. Deming, an American engineer who was involved in the production of the first Indian sound film. He gave the industry the name Tollywood because the Tollygunge district in which it was based rhymed with "Hollywood"(Wikipedia 2012). The prime six big language film markets, as described by National Film Development Corporation (NFDC) in current years, apart from Hindi, are – Telegu, Tamil, Bengali, Marathi, Kannada and Malayalam. The importance of marketing strategy hence arises as compared to Hindi Film Industry. In recent years, The box office collections for Bengali films has started to reach figures as high as Rs 5-6 crore, which is a significant increase from the past half decade. Films such as „Bhuter Bhobiswat‟, „Baishe Shrabon‟, „Autograph‟, „Mishor Rohosso‟, „Chander Pahar‟, „Shobdo‟, „Muktodhara‟ etc. have walked the tightrope between box office and critical fame with dexterity. A good story or script has become a main key for this success. Nevertheless, the mainstream Bengali films also remain more or less successful. Investment by various major producers, in a range up to 6-8 crores, has been seen with a focus to good glossy picturisation to catch the market. Big houses have entered to invest due to which FICCI has come along to help this industry now. A chain of both multiplexes and single theatre movie halls are now used for the promotion and to run the films. But there arise the question of marketing strategy of the films. Bengali films are not that way been marketed as done in Bollywood pattern or any other South Indian Film industry. Producers are not yet ready to spend some money on the promotional activities of the films in larger manner. Their primary focus in only the South Bengal market, neglecting the North Bengal 11 IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House market as the population are low there and rest of the country where Bengali culture remains and other people may also see the films with subtitle. In adverse, the numbers of single theatre halls have come down, piracy has gone up, more tax has been levied and effect of television is diminishing the importance of movie going. In the 1980s & 90s, the Bengal film industry went through a period of turmoil, with a shift from its traditional artistic and emotional inclinations to an approach more imitating the increasingly more popular Hindi films, along with a decline in the audience and critical appreciation. Over the last few years, Bengali cinema has been on the comeback path and produced commercially successful films with original & remake content. The Bengali film industry is moving into a phase where both a good script and proper promotion are required for a film‟s commercial success. Increasingly, as Bengali films vie with Bollywood films for audience pull, film makers need to have a marketing and promotion strategy to attract film buffs. Further, while critically acclaimed films in Bengali have failed to draw crowds largely because of their poor publicity; smaller yet effectively marketed and distributed films are drawing the audiences‟ attention. EIMPA (Eastern India Motion Pictures Association) plays a significant role about all aspects of film in this part of the country to promote and support film industry. Hence, it is important that Bengali films targeted at the urban audience focus on effective promotional activities in addition to the content. Further, investment in exhibition infrastructure, leading to the co- existence of multiplexes and single screens, along with the right price can offer consumers a compelling theatrical experience. Exploring newer content delivery platforms, focusing on digital rights management, effectively promoting films and continuing to focus on local content development are measures that could propel this industry to a luminous future ahead1. Even, opening of new „Prayag Film City‟ or a govt. sponsored new film studio at Uttarpara, is a new face of this industry. From an average of 40-50 films in 2006, now it's producing more than 100 films a year2. The market for Bengali films can be expanded to a 340-million-strong Bengali audience in Bangladesh, West Bengal, Tripura and Assam. The industry could truly flourish if films from this state have a proper distribution 1 FICCI Frames-a symphony of art-media & entertainment in east india-bengal-2011 2 http://in.news.yahoo.com/directors-ideas-power-bengali-cinemas-resurgence-073245236.html; http://ibef.org/entertainment&media_industry 12 IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House network3. So, by looking at this market, it seems very clear that the topic for research is very much neo and relevant for analysis. Lastly, talking about the biggest blockbuster of Bengali movies, „Chander Pahar‟, is important as it crossed the barrier of Rs. 20 crores‟ gross income as the first Bengali movie ever, and ran over 100 days since last week of December, 2014. Objective The objectives of the interest area may be described as given below: To analyse the changing behaviour during last decade To find out the turnaround factors for further development of production To know how the marketing strategies in recent years have been utilized To identify the impact of television and other media among viewers To judge the impact of various promotional factors in film business In essence, the objectives are all related, yet differ from one another to form the findings in an all square manner. Cinema of India The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. In a typical production cycle of a film, these main stages are defined as: Step outline · Film treatment · Script · Screenplay · Film finance · Film Development budgeting · Green-light Breaking down the script · Script breakdown · Storyboard · Production board · Pre-production Production strip · Day Out of Days · Production schedule · One liner schedule · Shooting schedule Cinematography · Principal photography · Videography · Shooting script · Film Production inventory report · Daily call sheet · Production report · Daily production report · Daily progress report · Daily editor log · Sound report · Cost report Post-production Film editing · Re-recording · Sync sound · Soundtrack · Music · Special effect (sound · visual) · Negative cost Distribution Distribution · Film release (wide · limited · delayed) · Road show 3 http://en.wikipedia.org/wiki/Cinema_of_West_Bengal 13 IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters. The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees. The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. At the end of 2010, it was reported that, in terms of annual film output, India ranks first, followed by Hollywood and China. Enhanced technology paved the way for upgrading from established cinematic norms of delivering product, altering the manner in which content reached the target audience, as per regional tastes. Indian cinema found markets in over 90 countries where films from India are screened. The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, Walt Disney Pictures and Warner Bros. etc. Indian enterprises such as Zee, UTV, Viacom 18, Adlabs, Sun Pictures etc. participated in producing and distributing films, sometimes by collaborating with foreign firms also.
Load more

Recommended publications
  • 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality
    3.2 Bullet Time and the Mediation of Post-Cinematic Temporality BY ANDREAS SUDMANN I’ve watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. —Morpheus in The Matrix Digital computers, these universal machines, are everywhere; virtually ubiquitous, they surround us, and they do so all the time. They are even inside our bodies. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction—or, in short, events). Without a doubt, computers have become crucial actants in determining our situation. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture. How, then, can we describe the affective and temporal experience of digital media, whose algorithmic processes elude conscious thought and yet form the (im)material conditions of much of our life today? In order to address this question, this chapter examines several examples of digital media works (films, games) that can serve as central mediators of the shift to a properly post-cinematic regime, focusing particularly on the aesthetic dimensions of the popular and transmedial “bullet time” effect. Looking primarily at the first Matrix film | 1 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality (1999), as well as digital games like the Max Payne series (2001; 2003; 2012), I seek to explore how the use of bullet time serves to highlight the medial transformation of temporality and affect that takes place with the advent of the digital—how it establishes an alternative configuration of perception and agency, perhaps unprecedented in the cinematic age that was dominated by what Deleuze has called the “movement-image.”[1] 1.
    [Show full text]
  • SYLLABUS “If You Want to Speak to the World,” Said Tolstoy, “Speak Of
    Powers !1 of !20 Syllabus 529 SYLLABUS Wells Writing Division CTWR 529 Fall 2017 Intermediate Screenwriting Wednesdays, 7:00pm – 10:00pm CSA 362 INSTRUCTOR INFORMATION" Lecturer: Wayne Powers" Phone: 424-666-4443" Email: (awaiting USC email address)" O#ce Hours: 5-7 and 10-11 Wednesdays BY APPOINTMENT ONLY" “If you want to speak to the world,” said Tolstoy, “speak of your own village.” GOALS OF THE COURSE:" In this intermediate screenwriting course, I will combine what I learned as a student at USC Film School, my alma mater, with what I learned in my professional career in film and television starting when I was twenty-three years old. " There are 293 ways to make change for a dollar, and probably more ways to write a screenplay. I will focus on ways that have worked for me (usually) and that coincide Powers !2 of !20 Syllabus 529 with USC philosophies like that character is more important than plot, and how to make personal scripts even if you’re writing a genre motion picture. " This course aims to sharpen your storytelling and screenwriting skills through practical writing experience in the short-film form, leading to an extensive introduction to shaping a feature film story. You will further explore your abilities to write screenplays that follow the Western narrative tradition: A strong premise; clear focus on all your characters wants versus their needs; writing through visuals; a three act structure; creating sequences; learning “approaches” and using other tools of the craft in both short films and features." You will learn through discussions to evaluate scripts and how to give constructive feedback." I will give lectures, have in-class exercises, give tips on how to pitch, and watch films that highlight our topics, and, in a safe supportive environment we will workshop your assignments.
    [Show full text]
  • The Conference Brochure
    The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda.
    [Show full text]
  • Peculiarities of Indian English As a Separate Language
    Propósitos y Representaciones Jan. 2021, Vol. 9, SPE(1), e913 ISSN 2307-7999 Special Number: Educational practices and teacher training e-ISSN 2310-4635 http://dx.doi.org/10.20511/pyr2021.v9nSPE1.913 RESEARCH ARTICLES Peculiarities of Indian English as a separate language Características del inglés indio como idioma independiente Elizaveta Georgievna Grishechko Candidate of philological sciences, Assistant Professor in the Department of Foreign Languages, Faculty of Economics, RUDN University, Moscow, Russia. ORCID: https://orcid.org/0000-0002-0799-1471 Gaurav Sharma Ph.D. student, Assistant Professor in the Department of Foreign Languages, Faculty of Economics, RUDN University, Moscow, Russia. ORCID: https://orcid.org/0000-0002-3627-7859 Kristina Yaroslavovna Zheleznova Ph.D. student, Assistant Professor in the Department of Foreign Languages, Faculty of Economics, RUDN University, Moscow, Russia. ORCID: https://orcid.org/0000-0002-8053-703X Received 02-12-20 Revised 04-25-20 Accepted 01-13-21 On line 01-21-21 *Correspondence Cite as: Email: [email protected] Grishechko, E., Sharma, G., Zheleznova, K. (2021). Peculiarities of Indian English as a separate language. Propósitos y Representaciones, 9 (SPE1), e913. Doi: http://dx.doi.org/10.20511/pyr2021.v9nSPE1.913 © Universidad San Ignacio de Loyola, Vicerrectorado de Investigación, 2021. This article is distributed under license CC BY-NC-ND 4.0 International (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peculiarities of Indian English as a separate language Summary The following paper will reveal the varieties of English pronunciation in India, its features and characteristics. This research helped us to consider the history of occurrence of English in India, the influence of local languages on it, the birth of its own unique English, which is used in India now.
    [Show full text]
  • Harrisons Malayalam Limited
    Harrisons Malayalam Limited Instruments Amounts Rating Action (Rs. Crore1) (August 2016) Long-term - Fund based facilities 37.00 [ICRA]BB+(Stable) / withdrawn Long-term - Proposed facilities 6.10 Short-term - Non-fund based facilities 4.26 [ICRA]A4+ / withdrawn Long-term - Term loans 65.64 [ICRA]BB+(Stable) / outstanding ICRA has withdrawn the long-term rating of [ICRA]BB+ (pronounced ICRA double B plus)2 outstanding on the Rs. 37.00 crore fund based facilities, the Rs. 6.10 crore proposed facilities and the short-term rating of [ICRA]A4+ (pronounced ICRA A four plus) outstanding on the Rs. 4.26 crore non-fund based facilities of Harrisons Malayalam Limited (HML / the company), which was under notice of withdrawal, at the request of the company following the receipt of no dues letter from the bankers. The ratings for the aforementioned facilities are withdrawn as the period of notice of withdrawal ended. ICRA has long-term rating of [ICRA]BB+ (pronounced ICRA double B plus) with stable outlook outstanding for the Rs. 65.64 crore term loan facilities of the company. Company Profile HML is part of RPG Enterprises Ltd, an established group with interests in tyre, carbon black, power transmission, telecommunications, retail and entertainment. Incorporated in 1978, HML is primarily a rubber and tea producer, which contribute major share to the operating income. With eleven rubber plantations spread over 7,306 hectares of land in Kerala, HML is one of the major rubber plantation companies in India with a production of over 9,500 MT during FY2015. The Company is also one of the larger tea producers in South India, producing 15-18 million kgs of CTC and Orthodox teas in its thirteen tea gardens annually, the same spread over 6,021 hectares of land primarily in Kerala and some in Tamil Nadu.
    [Show full text]
  • Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction.
    [Show full text]
  • Satya 13 Ram Gopal Varma, 1998
    THE CINEMA OF INDIA EDITED BY LALITHA GOPALAN • WALLFLOWER PRESS LO NOON. NEW YORK First published in Great Britain in 2009 by WallflowerPress 6 Market Place, London WlW 8AF Copyright © Lalitha Gopalan 2009 The moral right of Lalitha Gopalan to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transported in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the copyright owners and the above publisher of this book A catalogue record for this book is available from the British Library ISBN 978-1-905674-92-3 (paperback) ISBN 978-1-905674-93-0 (hardback) Printed in India by Imprint Digital the other �ide of 1 TRUTH l Hl:SE\TS IU\ffi(W.\tYEHl\"S 1 11,i:1111111,1:11'1111;1111111 11111111:U 1\ 11.IZII.IH 11.1\lli I 111 ,11 I ISll.lll. n1,11, UH.Iii 236 24 FRAMES SATYA 13 RAM GOPAL VARMA, 1998 On 3 July, 1998, a previously untold story in the form of an unusual film came like a bolt from the blue. Ram Gopal Varma'sSatya was released all across India. A low-budget filmthat boasted no major stars, Satya continues to live in the popular imagination as one of the most powerful gangster filmsever made in India. Trained as a civil engineer and formerly the owner of a video store, Varma made his entry into the filmindustry with Shiva in 1989.
    [Show full text]
  • Understanding Meaning, Mood & Message
    Children's Comprehension of Video Effects: Understanding Meaning, Mood & Message by Nell Breyer Msc. Cognitive Neuroscience Oxford University Oxford, UK 1997 Submitted to the Program of Media Arts and Sciences, School of Architecture and Planning, In partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute for Technology June, 2002 © Massachusetts Institute for Technology, June 2002. All Rights Reserved. Author/Nll krey r (/ Program in Media Arts and Sci ces May 10, 2002 Certified by --Brian K. Smith, Assistant Professor, MIT Media Laboratory ((/ Accepted by - Anarew B. Lippman Chairman Departmental Committee on Graduate Studies MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2.7 230?2 ROTCH 1 LIBRARIES Children's Comprehension of Video Effects: Understanding Meaning, Mood & Message by Nell Breyer Submitted to the Program of Media Arts and Sciences, School of Architecture and Planning, In partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute for Technology Abstract Children's comprehension of special effects was examined in a series of digital video workshops designed for 9-14 year olds. Children assessed illusions in film, TV and video. They made observations about a mood or message conveyed through these magical "tricks" and effects, and generated hypotheses about techniques underlying their production. Children then tested their preconceptions, building action-based stories with effects in the workshop. Children's explanations and videos were compared. Film elements conveying narrative meaning and mood are described. Mechanisms driving change in understanding are discussed. Initially, children described features or instances of effects, but not their context or purpose.
    [Show full text]
  • Translation | Fiction Classic | Adventure `350 Pb Isbn: 978
    ISBN: 978-93-89136-38-8 TRANSLATION | FICTION IMPRINT: THORNBIRD CLASSIC | ADVENTURE `350 PB NIYOGI BOOKS PRIVATE LIMITED Block D, Building No. 77, Okhla Industrial Area, Phase-1, New Delhi-110020, INDIA Phone: 011 26816301, 26818960, Email: [email protected], Website: www.niyogibooksindia.com KOLKATA OFFICE & BOOKSTORE 12/1A, 1st Floor, Bankim Chatterjee Street, Kolkata - 700073, West Bengal, INDIA Ph: 033 22410001 • e-mail: [email protected] TRANSLATION | FICTION CLASSIC | ADVENTURE `350 by ISBN: 978-93-89136-38-8 Size: 190mm x 132mm; 176pp Book print paper Black and White Paperback ountain of the Moon is a story about taking a chance—a dare which, with its wings of imagination, leads you to the silver lining after a storm. Shankar, an ordinary young boy from a rural Indian Mvillage, crosses many skies and seas to explore an altogether different world, that is Africa. This land of unknowns never fails to entrance him with its whole gamut of mystery, magic and mayhem. But is all that toil worthy of the journey? Moreover, will Shankar get to the peak of his mountain of dreams? Bibhutibhushan Bandopdhay, who himself had never crossed the boundaries of his dear land, took just another leap where a little faith blends with a magical fantasy, creating a kingdom of its own. But who would have thought that this kingdom would live in the core of the heart of the generations to come? Relive this classic adventurous narrative in English that will lead you again to an era of picaro, when one dared to dream. Bibhutibhushan Bandopadhyay (1894-1950), a leading Bengali writer, was both popular and critically acclaimed.
    [Show full text]
  • The History of India : As Told by Its Own Historians. the Muhammadan Period
    wmmmimmB::::::: President White Library, Cornell UNivER'SfTY. f\,^»m^^ »ff^t CORNELL UNIVERSITY LIBRARY 3 1924 073 036 786 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924073036786 THE HISTORY OF INDIA. THE HISTORY OF INDIA, BY ITS OWS HISTORIAl^S. THE MUHAMMADAN PERIOD. THE POSTHUMOUS PAPEES OF THE LATE SIR H. M. ELLIOT, K.O.B.. EDITED AND CONTINUED BY PEOFESSOE JOHN D0W80N, M.E.A.S., STAFF COLLEGE, SAMDHXJRST. YOL, YIII. LONDON: TEiJBJSTEE AND CO., 57 and 59, LUDGATE HILL. 1877. [_All rights reserved.l 'H /\. I O'^Tt"^ STEPHEN AUSTIN AND SONS, PRINTERS, HERTFORD. PREFACE. Eleven years have elapsed since the materials collected by Sir BE. M. Elliot for this work were first placed in my hands for revision and publication. In bulk the papers seemed sufficient and more than sufficient for the projected work, and it was thought that an Editor would have little to do beyond selecting extracts for publication and revising the press. "With this belief I undertook the work, and it was announced as preparing for publication under my care. When the papers came into my possession, and the work of selection was entered upon, I soon found that the MSS., so far from being superabundant, were very deficient, and that for some of the most important reigns, as those of Akbar and Aurangzeb, no provision had been made. The work had been long advertised, and had received the support of the Secretary of State for India, not as a series of Selections from the Papers of Sir H.
    [Show full text]
  • Gb 1456 Thomas
    GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production.
    [Show full text]
  • LALITHA GOPALAN Spring 2019 Department of Radio-Television
    LALITHA GOPALAN Spring 2019 Department of Radio-Television-Film 1 University Station A0800 The University of Texas at Austin Austin, Texas 78712 Affiliate Faculty Department of Asian Studies Core Faculty Center for Women and Gender Studies Telephone: 512-471-4071 Email: [email protected] EMPLOYMENT Associate Professor, Department of Radio-Television–Film and Department of Asian Studies, University of Texas at Austin, Fall 2007-present. Visiting Associate Professor, Department of East Asian Languages and Cultures, University of California, Berkeley, Spring 2009 and Spring 2011. Associate Professor, School of Foreign Service and Department of English, Georgetown University, 2002-2007. Assistant Professor, School of Foreign Service and Department of English, Georgetown University, 1992-2002. Visiting Faculty, Digital Media Summer Institute, UT Austin/Portugal, Porto, Summer 2018. Visiting Faculty, iNova Media Lab, UT Austin/Portugal, Lisboa, Summer 2018. EDUCATION Ph.D. University of Rochester, Comparative Literature Program, Department of Foreign Languages, Literatures, and Linguistics M.A. University of Rochester, Anthropology M.A. Delhi School of Economics, Sociology B.A. Madras Christian College, Economics 2 PUBLICATIONS BOOKS Cinema of India. Edited. London: Wallflower Press. 2010. (Distributed in the USA by Columbia University Press) Bombay. BFI Modern Classics. London: British Film Institute. December 2005. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute Publishing. 2002. (Indian Reprint Delhi: Oxford University Press, 2002) ARTICLES AND ESSAYS ‘Roundtable discussion on Experimental Cinemas in India.’ In World Experimental Films. Ed. Federico Windhausen. London: Wiley Blackwell. Submitted January 2018. Forthcoming. ‘Beginnings and Children.’ In The Child in World Cinema. Ed. Karen Lury. London:BFI/Bloomsbury.
    [Show full text]