'Movietonne' Launched Bringing Cinema to People's Courtyard
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
P. Anbarasan, M.Phil, Phd. Associate Professor Department of Mass Communication and Journalism Tezpur University Tezpur – 784028
P. Anbarasan, M.Phil, PhD. Associate Professor Department of Mass communication and Journalism Tezpur University Tezpur – 784028. Assam. [email protected] [email protected] Mobile: +91-9435381043 A Brief Profile Dr. P. Anbarasan is Associate Professor in the Dept. of Mass Communication and Journalism of Tezpur Central University. He has been teaching media and communication for the last 15 years. He specializes in film studies, culture & communication studies, and international communication. He has done his doctorate from Jawaharlal Nehru University, New Delhi. Earlier he had studied in University Madras and Bangalore University. Before becoming teacher he worked in All India Radio and some newspapers. He has published books on Gulf war and European Radio European identity and Culture in addition to other culture and communication research works. His interest area is media and the marginalized. 1 Work Presently Associate Professor in Mass Communication and Experience Journalism, at Tezpur central University since March 2005. Earlier worked as Lecturer in the Department of Mass communication & Journalism, Assam University, Silchar, Assam from September 2000 to March 2005. Prior to that worked as Junior officer of the Indian Information Service, from 1995 to 2000 and was posted at the Central Monitoring Service, New Delhi ( March 1995 to Sept. 2000). 2 Education Obtained PhD from at Jawaharlal Nehru University, New Delhi on the topic: “The European Union’s Cultural and Audiovisual Policy: A Discourse towards Integration beyond Borders” in 2012. Earlier completed M Phil in 1997 at Jawaharlal Nehru University on a topic, “Gulf Crisis and European Media: A study of Radio coverage and Its Impact”. -
Dr. Bhabendra Nath Saikia: a Versatile Legend of Assam
PROTEUS JOURNAL ISSN/eISSN: 0889-6348 DR. BHABENDRA NATH SAIKIA: A VERSATILE LEGEND OF ASSAM NilakshiDeka1 Prarthana Dutta2 1 Research Scholar, Department of Assamese, MSSV, Nagaon. 2 Ex - student, Department of Assamese, Dibrugarh University, Dibrugarh. Abstract:The versatile personality is generally used to refer to individuals with multitalented with different areas. Dr. BhabendraNathSaikia was one of the greatest legends of Assam. This multi-faceted personality has given his tits and bits to both the Assamese literature, as well as, Assamese cinema. Dr. BhabendraNathSaikia was winner of Sahitya Academy award and Padma shri, student of science, researcher, physicist, editor, short story writer and film director from Assam. His gift to the Assamese society and in the fields of art, culture and literature has not yet been adequately measured.Saikia was a genius person of exceptional intellectual creative power or other natural ability or tendency. In this paper, author analyses the multi dimension of BhabendraNathSaikias and his outstanding contributions to make him a versatile legendary of Assam. Keywords: versatile, legend, cinema, literature, writer. 1. METHODOLOGY During the research it collected data through secondary sources like various Books, E-books, Articles, and Internet etc. 2. INTRODUCTION BhabendraNathSaikia was an extraordinary talented genius ever produced by Assam in centuries. Whether it is literature or cinema, researcher or academician, VOLUME 11 ISSUE 9 2020 http://www.proteusresearch.org/ Page No: 401 PROTEUS JOURNAL ISSN/eISSN: 0889-6348 BhabendraNathSaikia was unbeatable throughout his life. The one name that coinsures up a feeling of warmth in every Assamese heart is that of Dr. BhabendraNathSaikia. 3. EARLY LIFE, EDUCATION AND CAREER BhabendranathSaikia was born on February 20, 1932, in Nagaon, Assam. -
A Study of Neorealism in Assamese Cinema
A Study of Neorealism in Assamese Cinema INDRANI BHARADWAJ Registered Number: 1424030 A dissertation submitted in partial fulfilment of the requirements for the degree of Master of Arts in Communication and Media Studies CHRIST UNIVERSITY Bengaluru 2016 Program Authorized to Offer Degree: Department of Media Studies ii CHRIST UNIVERSITY Department of Media Studies This is to certify that I have examined this copy of a master’s thesis by Indrani Bharadwaj Registered Number: 1424030 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: _____________________________________________________ [AASITA BALI] _____________________________________________________ Date: __________________________________ iii iv I, Indrani Bharadwaj, 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 CHRIST UNIVERSITY ABSTRACT A Study of Neorealism in Assamese Cinema Indrani Bharadwaj The following study deals with the relationship between Assamese Cinema and its connection to Italian Neorealism. Assamese Cinema was founded in 1935 when Jyoti Prasad Agarwala released his first film “Joymoti”. -
Print This Article
The world of Assamese celluloid: ‘yesterday and today’ Violet Barman Deka, Delhi University, [email protected] Volume 9. 1 (2021) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2021.358 | http://cinej.pitt.edu Abstract The study explores the entire journey of the Assamese cinema, which means a journey that will narrate many stories from its past and present, furthermore also will try to analyze its future potential. This paper deals with the trends emerging in genres, technical advancement, and visual representation along with a cult that emphasized the commercial success of cinema by toeing the style of Bollywood and world cinema. It explores the new journey of Assamese cinema, which deals with small budgets, realistic approaches, and portraying stories from the native lanes. It also touches upon the phase of ‘freeze’ that the Assamese cinema industry was undergoing due to global pandemic Covid-19. Keywords: Assamese cinema; Regional cinema; Jyotiprasad Agarwala; Regional filmmaker; Covid-19; OTT platform New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press The world of Assamese celluloid: ‘yesterday and today’ Voilet Barman Deka Introduction Is there any transformation in the craft of Assamese cinema or it is the same as it was in its beginning phase? Being a regional cinema industry, has the Assamese cinema been able to make its space in the creative catalog of Indian and world cinema? Is there anything radical that it has contributed towards the current and the next generation who is accepting and appreciating experimental cinema? This paper aims to explore the elongated journey of the Assamese cinema, a journey that will narrate many stories from its past and present as well analyze its future potential. -
Signed Mou of Assam State Film (Finance & Development) Corpn Ltd..Pdf
signed-mou-asf_fd_cl MEMORANDUM OF UNDERSTANDING (M o U) BETWEEN ASSAM STATE FILM (F INANCE & DEVELOPMENT ) C ORPORATION LTD . AND CULTURAL AFFAIRS DEPARTMENT Government of Assam For the Financial Year 2006-07 signed-mou-asf_fd_cl PREAMBLE The Assam State Film (Finance and Development) Corporation Ltd. was incorporated on 4 th September, 1974 with an Authorized Share Capital of Rupees Ten Lakh only with 1000 equity Shares @ Rs.1000.00 each. The Corporation was registered under the Companies Act, 1956. The Corporation has staff strength of eleven employees excluding the Managing Director. The Corporation is engaged in financing Loan to the Producers of Asomiya Films, organizing Film Festivals and Film appreciation Courses for encouragement of Assamese Film Lovers and has been trying to focus the rich Cultural heritage to the rest of our Country through this media. MISSION Promotion of Asomiya Film Industry & also widely acclaimed non-Asomiya Films along with preservation of cultural heritage. OBJECTIVES 1. To finance production of Assamese Films by advancing loans, subsidies, grants etc. or by extending financial assistance in any other related matter. 2. To encourage, foster, aid establish and maintain institutions for imparting knowledge and instructions on all matters connected with and allied to Film Industry. 3. To carry on the business of production of Films. 4. To carry on the business of financers, producers, distributors, exhibitors, agents of cinema Films and other allied Industry. 5. To construct, run and manage Cinema Show House, Theatre Halls, auditoriums etc. on modern line. 6. To give awards, subsidies and to hold film festivals etc, for the improvement and encouragement of better quality Films. -
9. Bharati Bharali-Assamese Cinematic Narratives
E-CineIndiaE-CineIndiaE-CineIndia July-September July-September July-September 2020 2020 2020 ISBN:ISBN:ISSN: 2582-2500 2582-2500 2582-2500 Assamese Cinematic Narratives: The Changing Landscape Article Dr. Bharati Bharali Assamese Cinematic Narratives: The Changing Landscape Dr. Bharati Bharali Introduction What constitutes a cinema and how its meaning or magnitude is constructed have captivated the film theorists for long. David Bordwell in his book Poetics of Cinema proposes that in narrative there are three dimensions that constitute the totality of narrative structure. These are Story world (its agent, circumstances and surroundings), plot structure (the arrangement of the parts of the narrative), and narration (moment by moment flow of information about the story world, 88). Defining what narrative is, Bordwell further says that it is ‘a process by which the film prompts the viewer to construct the fabula (the story’s state of affairs and event) on the basis of syuzet (the arrangement of the story’s state of affair in the narrative) organization and stylistic patterning’ (98). Narrative may be treated as a representation, considering the story’s world, its portrayal of reality and its broader meanings. Secondly, narrative has a structural value depending on a particular way of combining parts to make a whole. Thirdly narrative is a process; the activity of selecting, arranging and rendering story material in order to achieve specific time- bound effects on a perceiver. In visual analysis, images are considered as representation that gives ideas and meaning to the world of cinema. This is because, any kind of film and television product construct time and space with the conventions of the media and point of view of the director. -
Preservation of Culture Through Promotion of Linguistic Cinema In
International Journal of Advanced Mass Communication and Journalism 2020; 1(1): 33-38 E-ISSN: XXXX-XXXX P-ISSN: XXXX- XXXX IJAMCJ 2020; 1(1): 33-38 Preservation of culture through promotion of © 2020 IJAMCJ www.masscomjournal.com linguistic Cinema in India: A critical analysis Received: 08-11-2019 Accepted: 09-12-2019 Dr. Neeraj Karan Singh and Ambar Pandey Dr. Neeraj Karan Singh Faculty of Journalism & Mass Communication, Swami Abstract Vivekenand Subharti In India, cinema is very near to the lives of people or we can say that it is in the heart of the people. University, Meerut, The large screen provides an alternative, an escape from the realities of day-to-day life. People cry, Uttar Pradesh, India. laugh, sing, dance and enjoy emotions through cinema. The Cinema of India comprises of films made from corner to corner in India. Film has huge acclaim in the nation. Upwards of 1800 motion pictures Ambar Pandey in various languages are framed in consistently. The quantity of movies made and the quantity of Faculty of Journalism & Mass tickets are selling. Indian film is the biggest film industry on the planet in 2011 over 3.5 billion tickets Communication, Swami were sold over the world. Indian movies have an expansive all through Southern Asia and are realistic Vivekenand Subharti in standard films crosswise over different pieces of Asia, Europe, the Greater Middle East, North University, Meerut, America, Eastern Africa, and somewhere else. Indian film is viewed as the world's biggest film Uttar Pradesh, India. industry with profound respect to the quantity of movies it produce and the quantity of individuals working inside the film government. -
ANNUAL REPORT 2016 15 March Final.Pdf
INDIA INTERNATIONAL CENTRE 2015-2016 INDIA INTERNATIONAL CENTRE Board of Trustees Mr. Soli J. Sorabjee, President Justice (Retd.) B.N. Srikrishna Prof. M.G.K. Menon Mr. Vipin Malik Dr. (Smt.) Kapila Vatsyayan Dr. R.K. Pachauri Mr. N.N. Vohra Executive Committee Mr. Soli J. Sorabjee, Chairman Mr. K.N. Rai Air Marshal Naresh Verma (Retd.), Director Mr. Suhas Borker Cmde. Ravinder Datta, Secretary Smt. Shanta Sarbjeet Singh Mr. Dhirendra Swarup, Hony. Treasurer Dr. Surajit Mitra Mr. K. Raghunath Dr. U.D. Choubey Finance Committee Justice (Retd.) B.N. Srikrishna, Chairman Air Marshal Naresh Verma (Retd.), Director Dr. U.D. Choubey Cmde. Ravinder Datta, Secretary Mr. Rajarangamani Gopalan Mr. Ashok K. Chopra, CFO Mr. Dhirendra Swarup, Hony. Treasurer Medical Consultants Dr. K.A. Ramachandran Dr. Rita Mohan Dr. Mohammad Qasim Dr. Gita Prakash IIC Senior Staff Ms Omita Goyal, Chief Editor Ms Hema Gusain, Purchase Officer Dr. S. Majumdar, Chief Librarian Mr. Vijay Kumar Thukral, Executive Chef Mr. Amod K. Dalela, Administration Officer Mr. Inder Butalia, Sr. Finance & Accounts Officer Ms Premola Ghose, Chief, Programme Division Mr. Rajiv Mohan Mehta, Manager, Catering Mr. Arun Potdar, Chief, Maintenance Division Annual Report 2015–2016 This is the 55th Annual Report of the India International Centre for the year commencing 1 February 2015 to 31 January 2016. It will be placed before the 60th Annual General Body Meeting of the Centre, to be held on 31 March 2016. Elections to the Executive Committee and the Board of Trustees of the Centre for the two-year period, 2015–2017, were initiated in the latter half of 2014. -
South Asian Film & Television 16 + Guide
SOUTH ASIAN FILM & TELEVISION 16 + GUIDE www.bfi.org.uk/imagineasia This and other bfi National Library 16+ guides are available from http://www.bfi.org.uk/16+ IMAGINEASIA - SOUTH ASIAN FILM & TELEVISION Contents Page IMPORTANT NOTE ........................................................................................ 1 GENERAL INFORMATION ............................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst.................................. 4 INTRODUCTION ............................................................................................ 6 BANGLADESH............................................................................................... 7 Focus on Filmmakers: Zahir Raihan................................................................. 9 BHUTAN, NEPAL & TIBET.............................................................................. 9 PAKISTAN..................................................................................................... 10 Focus on Filmmakers: Jamil Dehlavi ................................................................ 16 SRI LANKA .................................................................................................... 17 Focus on Filmmakers: Lester James Peries ..................................................... 20 INDIA · General References............................................................................ 22 · Culture, Society and Film Theory ......................................................... 33 · Film -
Routledge Handbook of Indian Cinemas
ROUTLEDGE HANDBOOK OF INDIAN CINEMAS Edited by K. Moti Gokulsing and Wimal Dissanayake Editorial Assistant Rohit K. Dasgupta Routledge R Taylor &. Francis Group LONDON AND NEW YORK CONTENTS List of illustrations List of contributors Acknowledgements 1 Introduction K. Moti Gokulsing and Wimal Dissanayake PART I Historical analysis 2 From cultural backwardness to the age of imitation: An in film history M. Madhava Prasad 3 The Indian New Wave Ira Bhaskar 4 Regional cinemas 4.1 'Bengali' cinema: Its making and unmaking Sharmistha Gooptu 4.2 Assamese cinema: Dreams, reality and dichotomies Manoj Barpujari 4.3 Odia cinema at seventy-five Shyamhari Chakra Contents 4.4 Marathi cinema: The exile, the factory and fame 72 Amrit Qangar 4.5 Gujarati cinema: Stories of sant, sati, shethani and sparks so few 88 Amrit Gangar 4.6 Matriliny to masculinity: Performing modernity and gender in Malayalam cinema 102 Meena T. Pillai 4.7 Kannada cinema and Princely Mysore 115 M.K. Raghavendra 4.8 The star-politicians of Tamil Nadu: The origin and emergence 127 S. Theodore Baskaran 4.9 Beyond the star: Telugu comedy films and realpolitik in Andhra Pradesh 137 Joe Christopher 4.10 Mapping the invisible world of Bhojpuri cinema and its changing audience 150 Ratnakar Tripathy 4.11 From Lahore to Bombay ... to Vancouver: The checkered journey of Punjabi cinema 162 Prabhjot Parmar PART II Themes and perspectives 177 5 The evolution of representing female sexuality in Hindi cinema 1991-2010 179 Shoma A. Chatterji 6 Queer times in Bollywood 193 Rama Srinivasan 7 The -
History of Indian Cinema.Pdf
CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895. -
Download File
International Journal of Current Advanced Research ISSN: O: 2319-6475, ISSN: P: 2319-6505, Impact Factor: 6.614 Available Online at www.journalijcar.org Volume 8; Issue 04 (C); April 2019; Page No.18198-18201 DOI: http://dx.doi.org/10.24327/ijcar.2019.18201.3472 Research Article RENAISSANCE OF INDIAN CINEMA AND ITS IMPACT ON ASSAMESE CINEMA Chayanika Borah* Department of Assamese, Dibrugarh University P.O – Rojabheta, Dibrugarh Pin- 786004 State – Assam, ARTICLE INFO ABSTRACT Article History: Cinema is a strong mass-media, blended by Science and Technology, Music, Literature and Received 13th January, 2019 the realizations of life. As an art-media, it does not only reflect the thinking of its producer, Received in revised form 11th but also it reflects the spiritual development, sense of beauty, level of imagination of the February, 2019 inherent society as well as the Nation. The outbreak and development of Indian Cinema is Accepted 8th March, 2019 almost simultaneous to the history of the World Cinema. From its outbreak, the Indian Published online 28th April, 2019 cinema has been eclipsing different forms and so on the basis of these forms, the evolution of Indian cinema can be divided into several sorts. In real sense, the development of Indian Key words: cinema came to start from the mid of 20th century and this era can be declared as the Renaissance of Indian cinema. This era has played an important effort to make Indian Assamese, Cinema, Impact, Indian, cinema more closely to people by taking it as an art form. In the context of Assam also, the Renaissance.