A Study on Rajkumar Hirani's Directorial Films
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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
The Life Ad Afterlife of the Mahatma
Indi@logs Vol 1 2014, pp. 103-122, ISSN: 2339-8523 ------------------------------------------------------------------------------------------------ GADHI ISM VS . G ADHI GIRI : THE LIFE AD AFTERLIFE OF THE MAHATMA 1 MAKARAND R. P ARANJAPE Jawaharlal Nehru University [email protected] Received: 11-05-2013 Accepted: 01-10-2013 ABSTRACT This paper, which contrasts Rajkumar Hirani’s Lage Raho Munna Bhai (2006) with Richard Attenborough’s Gandhi (1982), is as much a celebration of Bollywood as of Gandhi. It is to the former that the credit for most effectively resurrecting the Mahatma should go, certainly much more so than to Gandhians or academics. For Bollywood literally revives the spirit of Gandhi by showing how irresistibly he continues to haunt India today. Not just in giving us Gandhigiri—a totally new way of doing Gandhi in the world—but in its perceptive representation of the threat that modernity poses to Gandhian thought is Lage Raho Munna Bhai remarkable. What is more, it also draws out the distinction between Gandhi as hallucination and the real afterlife of the Mahatma. The film’s enormous popularity at the box office—it grossed close to a billion rupees—is not just an index of its commercial success, but also proof of the responsive chord it struck in Indian audiences. But it is not just the genius and inventiveness of Bollywood cinema that is demonstrated in the film as much as the persistence and potency of Gandhi’s own ideas, which have the capacity to adapt themselves to unusual circumstances and times. Both Richard Attenborough’s Oscar-winning epic, and Rajkumar Hirani’s Lage Raho Munna Bhai show that Gandhi remains as media-savvy after his death as he was during his life. -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
POWERFUL and POWERLESS: POWER RELATIONS in SATYAJIT RAY's FILMS by DEB BANERJEE Submitted to the Graduate Degree Program in Fi
POWERFUL AND POWERLESS: POWER RELATIONS IN SATYAJIT RAY’S FILMS BY DEB BANERJEE Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master’s of Arts ____________________ Chairperson Committee members* ____________________* ____________________* ____________________* ____________________* Date defended: ______________ The Thesis Committee of Deb Banerjee certifies that this is the approved version of the following thesis: POWERFUL AND POWERLESS: POWER RELATIONS IN SATYAJIT RAY’S FILMS Committee: ________________________________ Chairperson* _______________________________ _______________________________ _______________________________ _______________________________ Date approved:_______________________ ii CONTENTS Abstract…………………………………………………………………………….. 1 Introduction……………………………………………………………………….... 2 Chapter 1: Political Scenario of India and Bengal at the Time Periods of the Two Films’ Production……………………………………………………………………16 Chapter 2: Power of the Ruler/King……………………………………………….. 23 Chapter 3: Power of Class/Caste/Religion………………………………………… 31 Chapter 4: Power of Gender……………………………………………………….. 38 Chapter 5: Power of Knowledge and Technology…………………………………. 45 Conclusion…………………………………………………………………………. 52 Work Cited………………………………………………………………………... 55 i Abstract Scholars have discussed Indian film director, Satyajit Ray’s films in a myriad of ways. However, there is paucity of literature that examines Ray’s two films, Goopy -
Chapter I Introduction
CHAPTER I INTRODUCTION A. Background of the Study Life is struggle, sacrifice, and worthy. On the other side, the people say that life means study or effort. People must struggle their right and obligation too. The struggling, sacrificing, and affording are one of requisites for acquiring their appreciations, dreams, and aims. The appreciation is the last destination that is brought into reality by the people. So everyone needs appreciation in their life. The appreciation is like a dream, goal or destination. It is a soul in proving something done by people. Appreciation can give the spirit and energy for someone in reaching their aim in their life. Many people that have acquired appreciation, they would be proud and satisfy both for themselves and another people in surrounding. However, sometimes the people have wrong ways to prove their appreciations. Appreciation need includes self actualization of human needs. Self actualization is one fundamental need in humanistic psychological theory. This need is part of hierarchy need in humanistic psychological theory. Humanistic psychology views humans as active creature with freedom. Abraham Maslow had explained the humanistic analysis in the psychological theory. The theory of Maslow is the hierarchy of needs that are the 1 2 psychological needs, safety needs, love and belonging needs and esteem needs. The four points above is the deficient needs or the basic needs. Maslow next had explained the growth needs as a motivation of human. The growth needs include self actualization (Clearer perception of reality, Acceptance of self, Other and nature, Spontaneity, Problem-centering, Detachment and the need for solitude, Autonomy, Independent of culture and environment, Continued fresher of appreciation, The mystic experience, the oceanic feeling, Oneness with humanity, Deep interpersonal relations, Democratic character structure, Ethical means towards moral ands, Philosophical, Creativeness). -
Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
An Indian Summer: Corruption, Class, and the Lokpal Protests
Article Journal of Consumer Culture 2015, Vol. 15(2) 221–247 ! The Author(s) 2013 An Indian summer: Reprints and permissions: sagepub.co.uk/journalsPermissions.nav Corruption, class, and DOI: 10.1177/1469540513498614 the Lokpal protests joc.sagepub.com Aalok Khandekar Department of Technology and Society Studies, Faculty of Arts and Social Sciences, Maastricht University, The Netherlands Deepa S Reddy Anthropology and Cross-Cultural Studies, University of Houston-Clear Lake, USA and Human Factors International Abstract In the summer of 2011, in the wake of some of India’s worst corruption scandals, a civil society group calling itself India Against Corruption was mobilizing unprecedented nation- wide support for the passage of a strong Jan Lokpal (Citizen’s Ombudsman) Bill by the Indian Parliament. The movement was, on its face, unusual: its figurehead, the 75-year- old Gandhian, Anna Hazare, was apparently rallying urban, middle-class professionals and youth in great numbers—a group otherwise notorious for its political apathy. The scale of the protests, of the scandals spurring them, and the intensity of media attention generated nothing short of a spectacle: the sense, if not the reality, of a united India Against Corruption. Against this background, we ask: what shared imagination of cor- ruption and political dysfunction, and what political ends are projected in the Lokpal protests? What are the class practices gathered under the ‘‘middle-class’’ rubric, and how do these characterize the unusual politics of summer 2011? Wholly permeated by routine habits of consumption, we argue that the Lokpal protests are fundamentally structured by the impulse to remake social relations in the image of products and ‘‘India’’ itself into a trusted brand. -
Title a Revival of Gandhism in India? : Lage Raho Munna Bhai and Anna
A Revival of Gandhism in India? : Lage Raho Munna Bhai and Title Anna Hazare Author(s) ISHIZAKA, Shinya Citation INDAS Working Papers (2013), 12: 1-13 Issue Date 2013-09 URL http://hdl.handle.net/2433/178768 Right Type Research Paper Textversion author Kyoto University INDAS Working Papers No. 12 September 2013 A Revival of Gandhism in India? Lage Raho Munna Bhai and Anna Hazare Shinya ISHIZAKA 人間文化研究機構地域研究推進事業「現代インド地域研究」 NIHU Program Contemporary India Area Studies (INDAS) A Revival of Gandhism in India? Lage Raho Munna Bhai and Anna Hazare Shinya Ishizaka∗ A 2006 record hit Bollywood comedy film, Lage Raho Munna Bhai, where a member of the Mumbai mafia began to engage in Gandhigiri (a term meaning the tenets of Gandhian thinking, popularised by this film) by quitting dadagiri (the life of a gangster) in order to win the love of a lady, was sensationalised as the latest fashion in the revival of Gandhism. Anna Hazare (1937-), who has used fasting as an effective negotiation tactic in the anti-corruption movement in 2011, has been more recently acclaimed as a second Gandhi. Indian society has undergone a total sea change since the Indian freedom fighter M. K. Gandhi (1869-1948) passed away. So why Gandhi? And why now? Has the recent phenomena of the success of Munna Bhai and the rise of Anna’s movement shown that people in India today still recall Gandhi’s message? This paper examines the significance of these recent phenomena in the historical context of Gandhian activism in India after Gandhi. It further analyses how contemporary Gandhian activists perceive Anna Hazare and his movement, based upon interviews conducted with them during fieldwork in India in the period August-September 2011. -
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. -
Representation of Sikh Character in Bollywood Movies:A Study on Selective Bollywood Movies
PJAEE, 17(6) (2020) REPRESENTATION OF SIKH CHARACTER IN BOLLYWOOD MOVIES:A STUDY ON SELECTIVE BOLLYWOOD MOVIES Navpreet Kaur Assistant Professor University Institute of Media Studies, Chandigarh University, Punjab, India [email protected] Navpreet Kaur, Representation Of Sikh Character In Bollywood Movies: A Study On Selective Bollywood Movies– Palarch’s Journal of Archaeology of Egypt/Egyptology 17(6) (2020), ISSN 1567-214X. Keywords: Bollywood, Sikh, Sikh Character, War, Drama, Crime, Biopic, Action, Diljit Dosanhj, Punjab Abstract Sikhs have been ordinarily spoken to in mainstream Hindi film either as courageous warriors or as classless rustics. In the patriot message in which the envisioned was an urban North Indian, Hindu male, Sikh characters were uprooted and made to give entertainment. Bollywood stars have donned the turban to turn Sikh cool, Sikhs view the representation of the community in Bollywood as demeaning and have attempted to revive the Punjabi film industry as an attempt at authentic self-representation. But with the passage of time the Bollywood makers experimented with the role and images of Sikh character. Sunny Deol's starrer movie Border and Gadar led a foundation of Sikh identity and real image of Sikh community and open the doors for others. This paper examines representation of Sikhs in new Bollywood films to inquire if the romanticization of Sikhs as representing rustic authenticity is a clever marketing tactic used by the Bollywood. Introduction Bollywood is the sobriquet for India's Hindi language film industry, situated in the city of Mumbai, Maharashtra. It is all the more officially alluded to as Hindi film. The expression "Bollywood" is frequently utilized by non-Indians as a synecdoche to allude to the entire of Indian film; be that as it may, Bollywood legitimate is just a piece of the bigger Indian film industry, which incorporates other creation communities delivering films in numerous other Indian dialects. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Chevalior Sivaji Ganesan‟S Tamil Film Songs Not Only Emulated the Quality of the Movie but Also Contains Ethical Imports That
Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 20 Issue 10 Version 1.0 Year 2020 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X Chevalior Sivaji Ganesan‟S Tamil Film Songs Not Only Emulated the Quality of the Movie but also Contains Ethical Imports that can be Compared with the Ethical Theories – A Retrospective Reflection By P.Sarvaharana, Dr. S.Manikandan & Dr. P.Thiyagarajan Tamil Nadu Open University Abstract- This is a research work that discusses the great contributions made by Chevalior Shivaji Ganesan to the Tamil Cinema. It was observed that Chevalior Sivaji film songs reflect the theoretical domain such as (i) equity and social justice and (ii) the practice of virtue in the society. In this research work attention has been made to conceptualize the ethical ideas and compare it with the ethical theories using a novel methodology wherein the ideas contained in the film song are compared with the ethical theory. Few songs with the uncompromising premise of patni (chastity of women) with the four important charateristics of women of Tamil culture i.e. acham, madam, nanam and payirpu that leads to the great concept of chastity practiced by exalting woman like Kannagi has also been dealt with. The ethical ideas that contain in the selection of songs were made out from the selected movies acted by Chevalier Shivaji giving preference to the songs that contain the above unique concept of ethics. GJHSS-A Classification: FOR Code: 190399 ChevaliorSivajiGanesanSTamilFilmSongsNotOnlyEmulatedtheQualityoftheMoviebutalsoContainsEthicalImportsthatcanbeComparedwiththeEthicalTheo riesARetrospectiveReflection Strictly as per the compliance and regulations of: © 2020.