DOCSLIB.ORG

Catalogue 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue 2011 Equipo Cines del Sur Director José Sánchez-Montes I Relaciones institucionales Enrique Moratalla I Director de programación Casimiro Torreiro I Asesores de programación Esteve Riambau, Gloria Fernández I Programador cinesdelsur. ext y Extraño Tanto Mar José Luis Chacón I Gerencia Elisabet Rus I Coordinadora de programación, comunicación, difusión Índice y prensa María Vázquez Medina I Departamento de Comunicación Ramón Antequera Rodríguez-Rabadán I Coordinadora de invitados Marichu Sanz de Galdeano I Coordinador Producción Enrique Novi I Departamento Producción Christian Morales, Juan Manuel Ríos I Jefa de prensa Nuria Díaz I Prensa Nuria García Frutos, Neus Molina I Publicaciones Carlos Martín I Catálogo y revista Laura Montero Plata I Gestión de tráfico de copias Reyes Revilla I Protocolo María José Gómez, Manuel 6 Presentación_Welcome Dominguez I Documentación Audiovisual Festival Jorge Rodríguez Puche, Rafael Moya Cuadros I Coordinador de traducción e interpretación Pedro Jesús Castillo I Traducción Pedro Jesús Castillo, Alexia Weninger, Hiroko Inose, Jesús de Manuel Jerez 11 Jurado_Jury I Secretario Jurado Oficial Toni Anguiano I Imagen del cartel Ángel Lozano I Diseño del premio Luis Jarillo I Cabecera LZ Producciones I +Factor Humano Antonio José Millán I Voluntarios José Ángel Martínez I Jefe técnico de proyecciones José Antonio Caballero Soler I Equipo técnico de proyecciones José Antonio Caballero Martín, José Domingo Raya, 19 Programación_Programming José Antonio Caballero Solier I Diseño Catálogo: Ángel Lozano, Juan Gómez, Pauline Lozano, Juan González y Lucía Moreno I 21 Secciones Oficial e Itinerarios_Official and Itineraries Sections Subtítulos Sublimage, Marta Lima, Manuel Soubiès, Nouchine Mote Bassem I Gestión copias Cayco I Depósito Legal GR-1.293/07 26 Sesión Inaugural_Opening Session Consejería de Cultura de la Junta de Andalucía Consejero de Cultura Paulino Plata Cánovas I 28 Sesión de Clausura_Ending Session Viceconsejera de Cultura Dolores Carmen Fernández Carmona I Secretario General de Políticas Culturales Bartolomé Ruiz 31 Sección Oficial_Official Section González I Director de la Agencia de Instituciones Culturales Luis Miguel Jiménez Gómez 53 Itinerarios_Itineraries DIPutación DE GRAnADA Ayuntamiento de GRAnADA 59 Retrospectivas_Retrospectives 61 Andrés Di Tella El Legado Andalusí Directora Francisca Pleguezuelos I Dpto. Financiero Inmaculada López, Ana Ruiz Valera, Pilar López López 75 Bollywood en negro_Bollywood in black Textos Casimiro Torreiro, Gloria Fernández, Laura Montero, José Luis Chacón, José Sánchez-Montes, Antonio José Millán, Carlos Martín 91 El cine premiado en Fespaco_The Award-winning Films from FESPACO Agradecimientos Madita Lorente, Benito Herrera, Mónica Pavón, Agustín Santamaría, Iti Agarwal, Ángel Aguilera, Carlos 101 Sesiones Especiales_Special Sessions Alberdi, Francisco Javier Álvarez, Pilar Aranda, Abbas Arnaout, Pedro Benzal, Fernando Bueno, José Luis Carmona, Pilar Carrasco, 103 Memoria del Sur_Memory of the South Miguel Castellano, José Luis Chacón, Shivajee Chandrabhushan, Mane Cisneros, Rosario Corral, Carlos Cuadros, Paco Cuenca, Antonio Delgado, José Antonio de Ory, Andrés Di Tella, Shlomi Eldar, Jorge Endrino, Esco, María Escudero, Escuela Internacional 111 + Factor Humano_+ Human Factor de Protocolo, Víctor Espigares, Rosy Fernandes, Jesús Fernández, Lola Fernández Palenzuela, Miguel Galadí, Enrique Gámez, 117 Extraño Tanto Mar_Strange so Much Sea Enrique Garcelán, Nuria García, Pablo García Casado, Juan García Montero, Menene Gras, Juan Guardiola, Mike Hostench, Charo 133 cinesdelsur.ext Jiménez, Pablo Juliá, Rishi Kaul, Sylvia Koniecki, Jesús Lens Espinosa de los Monteros, Ángel Lozano, Pauline Lozano, Consuelo Martínez, José Millán, César Maranghello, José Manuel Moreno, Alberto Mulas, Milagros Muñoz, Bahva Mistry, Esaú Moreno Camacho, Olga Olmedo, José Manuel Peña, Juan Ignacio Pérez, María Dolores Pérez Cotarelo, Personal del Corral del Carbón, 141 Publicaciones_Publications Personal de El legado andalusí, Miguel Ángel Pinto, Santiago Pérez, Manuel Piñeiro Souto, Piluca Querol, Ana Rejón, Nuria Rico, Abigail Rodrígues, Alejandro Rodríguez, Carlos Rojas, Carlos Rosado, Jorge Ruffinelli, Antonio Rus, Antonio Rus Martínez, Carmen Saenz, Eduardo Trías, Hiroyuki Ueno, Viajes Occidente, María del Mar Villafranca, Sakura Wakita, Antonio Weinrichter 145 Reglamento 2011_Regulations 2011 6 7 ón Presentación ón TACI TACI n n PRESE Welcome PRESE Paulino Plata Cánovas Consejero de Cultura de la junta de andaluCía Minister of Culture of the regional governMent of andalusia entidades granadinas que trabajan por la cultura. the involvement of the various bodies in Granada that Por tanto deseo agradecer el apoyo de la Univer- work on behalf of culture. I would like to express my or quinto año consecutivo, el Festival de Gra- or the fifth year in a row, the Granada Film sidad de Granada, del Patronato de la Alhambra gratitude for the support of the University of Granada, nada Cines del Sur se configura como una Festival Cines del Sur continues in its endeav- y el Generalife, de la Diputación de Granada y del of the Governing Board of the Alhambra and Generalife, P apuesta para el entendimiento entre civiliza- F our to deepen understanding between civili- Ayuntamiento de la capital por mantener activa esta of the provincial government of Granada and of course ciones a través del arte audiovisual. El cine nos pro- sations by using audiovisual art. Film provides us with iniciativa que ensancha la ya de por sí amplia oferta the City Council, for keeping alive this initiative that porciona un vehículo de comunicación universal que a vehicle for universal communication that overcomes cultural granadina. broadens the city’s already extensive cultural offerings. supera las barreras lingüísticas y las fronteras físicas linguistic barriers as well as physical and intellectual e intelectuales. Estamos, pues, ante una iniciativa que borders. The Festival is, in fact, an initiative that seeks El Festival de Granada Cines del Sur se ha conso- The Cines del Sur Festival of Granada has become busca lo social a través del arte. social aims through art. lidado por su variada oferta cinematográfica pero, a consolidated event thanks to its wide-ranging film sobre todo, por el apoyo del público, cuya asistencia proposals but, above all else, thanks to the support of Durante una semana tendremos la ocasión de ver For one week we will have the chance to see films from crece año a año. Por ello llamo a los aficionados al audiences, which grow year after year. I thus urge film películas de países de Asia, África y Latinoamérica countries of Asia, Africa and Latin America, never be- cine de Granada y Andalucía a que respalden con su fans in Granada and Andalusia to continue to express inéditas en España, tanto en las secciones compe- fore seen in Spain, in both the competitive sections asistencia esta oportunidad de conocer y compren- their support for it, by attending and making the most titivas como en las de exhibición. Se trata de pro- and the informative sections. They are productions off der otras realidades y, por qué no, de disfrutar de of this opportunity to get to know and understand ducciones alejadas de los circuitos comerciales, con the commercial circuit, often with little-known actors buen cine. other realities and, of course, to enjoy good films. actores y directores desconocidos a los que cuesta and directors that face great difficulty in reaching gen- llegar al gran público. Todo ello junto a las secciones eral audiences. All of them, together with the parallel paralelas, conferencias, mesas redondas y encuen- sections, lectures, round tables and meetings, give us tros nos acercará a visiones de otros pueblos desde a glimpse of the visions of other peoples, from their lo autóctono, miradas desgarradoras a veces, plenas own particular vantage points. The stories they tell, de esperanza otras, y nos ayudará a sensibilizarnos sometimes heartrending and sometimes full of hope, con la diversidad. increase our awareness and understanding of diversity. Este certamen no habría sido posible sin la cola- This event would never have been possible without boración institucional, sin la implicación de las the collaboration of a number of institutions, without 8 9 ón Presentación ón TACI TACI n n PRESE Welcome PRESE Festival de Granada Cines del Sur Granada Film Festival Cines del Sur Jafar Panahi o Gael García Bernal; a muchos otros and Gael García Bernal. For many others the festival el festival les ha ayudado a abrirse nuevas puertas y has helped them open new doors and create new ines del Sur nació hace ya cinco años como ines del Sur came to life five years ago as an ex- posibilidades. possibilities. un ejemplo de apuesta rotunda de la Junta de ample of how the Andalusian Regional Govern- C Andalucía por el cine invisible, por la necesi- C ment has made a priority of supporting invis- Y siempre hemos contado con el apoyo de Andalucía And we have always felt the support of Andalusia and dad de contar con un Festival Internacional inédito en ible cinema, of giving Spain a new kind of international y de Granada, del público de la ciudad que ha enten- of Granada, of the city’s audiences who understood nuestro país que nos permitiera a todos abrir los ojos festival that helps all of us open our eyes and under- dido de inmediato la importancia de las historias que right away the importance of the compelling stories y entender lenguas y miradas de tierras remotas. stand the languages and viewpoints
Load more

Recommended publications
  • Movie Aquisitions in 2010 - Hindi Cinema
    Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
    [Show full text]
  • THE ISSUE of NATIONAL INTEGRATION in BOLLYWOOD with SPECIAL REFERENCE to LAGAAN and CHAK DE! INDIA By: Shashi Prajapati
    Episteme: an online interdisciplinary, multidisciplinary & multi-cultural journal Bharat College of Arts and Commerce, Badlapur, MMR, India Volume 8, Issue 2 September 2019 THE ISSUE OF NATIONAL INTEGRATION IN BOLLYWOOD WITH SPECIAL REFERENCE TO LAGAAN AND CHAK DE! INDIA By: Shashi Prajapati Abstract: India is a country of diverse identity where each individual identifies himself/herself with regard to his/ her class, caste, religion, gender, language, region etc. Sometimes these identities lead to the conflicting situations especially when one is obsessed with any particular identity. This may sometimes lead to the threat to our national integrity. In such a case, maintaining the togetherness becomes a tough task. The contribution of Bollywood in this regard is not encouraging especially in the last few decades. The obsession of Bollywood with hero worship has done the huge damage to our society. Most of the films in the name of national integration create a narrow vision of Hindu-Muslim harmony. Films based on public participation are rare to find. Keeping these facts into consideration, the present paper picks up two classic Bollywood movies of 21st century - Lagaan and Chak De! India which relate the story of public participation. Keywords: National Integration, Nation building process, Patriarchy, Bollywood. 60 BCAC-ISSN-2278-879 Episteme: an online interdisciplinary, multidisciplinary & multi-cultural journal Bharat College of Arts and Commerce, Badlapur, MMR, India Volume 8, Issue 2 September 2019 Introduction The date, 14th August 1947, doesn't mark the independence of India and Pakistan alone. There were 565 princely states formerly under the British control, became independent too. These princely states had two options; either to form an independent country of its own or to merge with India or Pakistan.
    [Show full text]
  • Page2.Qxd (Page 3)
    SATURDAY, FEBRUARY 28, 2015 (PAGE 4) DAILY EXCELSIOR, JAMMU f}rh; iq.; frfFk@ J)k¡tfy India placed orders worth iwtuh; ekrk Jh th “kr~ “kr ~ ueu! ek¡ nks o’kZ iwoZ vki çHkqpj.kksa esa lek xbZ FkhA thoudky ds 75 o’kZ ns”k lsok] lkekftd /kkfeZd ,oa jktuhfrd dk;ksZa easa vkius vxz.kh gksdj fo”ks’kdj efgykoxZ dk ekxZn”kZu fd;kA fofHkUu vkUnksyuksa esa Rs 83,858 cr for military hardware 27 ckj tsy ;k=k Hkh dhA vki lnSo vej gks] ek¡ vkius tks ifjokj dk ekxZn”kZu fd;k gS] leLr ifjokj vkidk _f.k gSA ge vkids NEW DELHI, Feb 27: FDI proposals have been Parrikar said. the CBI. fn[kk, ekxZ ij pyus dk ç;kl djrs gSaA approved while noting that the He said Indian defence sec- Replying to another ques- ifjokj ds J)klqeu Lohdkjrs gq, loZnk vk”khokZn nsrs jguk vkSj Indian Air Force, Army and procedure for ‘Buy and Make tor earned Rs 46.08 crore by tion, he said a proposal to pro- d`ikn`f’V cuk, j[kukA ek¡ dksfV&dksfV ç.kkeA! Navy have placed orders worth (Indian) and Make’ categories of exporting military goods in cure Medium Multi Role com- Jherh n;k xqIrk ,o a fot; xqIrk Hkkjrh ¼,MksoksdsV½ Lo- Jherh çdk’kks nsoh Rs 83,858 crore from 2011 to acquisition over ‘Buy (global)’ 2011-12, Rs 5.62 crore in 2012- bat aircraft from French firm ,o a leLr ifjokj HkwriwoZ v/;{k efgyk ekspkZ the last fiscal while domestic category to encourage Indian 13 and Rs 17.74 crore in 2013- Dassault Aviation was under 11 çrki x<+ tEewA eks- 94191-440191] 94191-888735 Hkktik] tEew&d’ehj defence industries have earned defence industry.
    [Show full text]
  • Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’S Corporate World
    Ranks & Files: Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’s Corporate World by Michael Morgan Prentice A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in The University of Michigan 2017 Doctoral Committee: Associate Professor Matthew Hull, Chair Associate Professor Juhn Young Ahn Professor Gerald F. Davis Associate Professor Michael Paul Lempert Professor Barbra A. Meek Professor Erik A. Mueggler Michael Morgan Prentice [email protected] ORCID: 0000-0003-2981-7850 © Michael Morgan Prentice 2017 Acknowledgments A doctoral program is inexorably linked to the document – this one – that summarizes the education, research, and development of a student and their ideas over the course of many years. The single authorship of such documents is often an aftereffect only once a text is completed. Indeed, while I have written all the words on these pages and am responsible for them, the influences behind the words extend to many people and places over the course of many years whose myriad contributions must be mentioned. This dissertation project has been generously funded at various stages. Prefield work research and coursework were funded through summer and academic year FLAS Grants from the University of Michigan, a Korea Foundation pre-doctoral fellowship, and a SeAH-Haiam Arts & Sciences summer fellowship. Research in South Korea was aided by a Korea Foundation Language Grant, a Fulbright-IIE Research grant, a Wenner-Gren Dissertation Fieldwork Grant, and a Rackham Centennial Award. The dissertation writing stage was supported by the Rackham Humanities fellowship, a Social Sciences Research Council Korean Studies Dissertation Workshop, and the Core University Program for Korean Studies through the Ministry of Education of the Republic of Korea and Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2016-OLU-2240001).
    [Show full text]
  • Pop Compact Disc Releases - Updated 08/29/21
    2011 UNIVERSITY AVENUE BERKELEY, CA 94704, USA TEL: 510.548.6220 www.shrimatis.com FAX: 510.548.1838 PRICES & TERMS SUBJECT TO CHANGE WITHOUT NOTICE INTERNATIONAL ORDERS ARE NOW ACCEPTED INTERNATIONAL ORDERS ARE GENERALLY SHIPPED THRU THE U.S. POSTAL SERVICE. CHARGES VARY BY COUNTRY. WE WILL ALWAYS COMPARE VARIOUS METHODS OF SHIPMENT TO KEEP THE SHIPPING COST AS LOW AS POSSIBLE PAYMENT FOR ORDERS MUST BE MADE BY CREDIT CARD PLEASE NOTE - ALL ITEMS ARE LIMITED TO STOCK ON HAND POP COMPACT DISC RELEASES - UPDATED 08/29/21 Pop LABEL: AAROHI PRODUCTIONS $7.66 APCD 001 Rawals (Hitesh, Paras & Rupesh) "Pehli Nazar" / Pehli Nazar, Meri Nigahon Me, Aaja Aaja, Me Dil Hu, Tujhko Banaya, Tujhko Banaya (Sad), Humne Tumko, Oh Hasina, Me Tera Hu Diwana (ADD) LABEL: AUDIOREC $6.99 ARCD 2017 Shreeti "Mere Sapano Mein" (Music: Rajesh Tailor) Mere Sapano Mein, Jatey Jatey, Ek Khat, Teri Dosti, Jaan E Jaan, Tumhara Dil - 2 Versions, Shehenayi Ke Soor, Chalte Chalte, Instrumental (ADD) $6.99 ARCD 2082 Bali Brahmbhatt "Sparks of Love" / Karle Tu Reggae Reggae, O Sanam, Just Between You N Me, Mere Humdum, Jaana O Meri Jaana, Disco Ho Ya Reggae, Jhoom Jhoom Chak Chak, Pyar Ke Rang, Aag Ke Bina Dhuan Nahin, Ja Rahe Ho / Introducing Jayshree Gohil (ADD) LABEL: AVS MUSIC $3.99 AVS 001 Anamika "Kamaal Ho Gaya" / Kamaal Ho Gaya, Nach Lain De, Dhola Dhol, Badhai Ho Badhai, Beetiyan Kahaniyan, Aa Bhi Ja, Kahaan Le Gayee, You & Me LABEL: BMG CRESCENDO (BUDGET) $6.99 CD 40139 Keh Diya Pyar Se / Lucky Ali - O Sanam / Vikas Bhalla - Dhuan, Keh Diya Pyar Se / Anaida -
    [Show full text]
  • Top 10 Male Indian Singers
    Top 10 Male Indian Singers 001asd Don't agree with the list? Vote for an existing item you think should be ranked higher or if you are a logged in,add a new item for others to vote on or create your own version of this list. Share on facebookShare on twitterShare on emailShare on printShare on gmailShare on stumbleupon4 The Top Ten TheTopTens List Your List 1Sonu Nigam +40Son should be at number 1 +30I feels that I have goten all types of happiness when I listen the songs of sonu nigam. He is my idol and sometimes I think that he is second rafi thumbs upthumbs down +13Die-heart fan... He's the best! Love you Sonu, your an idol. thumbs upthumbs down More comments about Sonu Nigam 2Mohamed Rafi +30Rafi the greatest singer in the whole wide world without doubt. People in the west have seen many T.V. adverts with M. Rafi songs and that is incediable and mind blowing. +21He is the greatest singer ever born in the world. He had a unique voice quality, If God once again tries to create voice like Rafi he wont be able to recreate it because God creates unique things only once and that is Rafi sahab's voice. thumbs upthumbs down +17Rafi is the best, legend of legends can sing any type of song with east, he can surf from high to low with ease. Equally melodious voice, well balanced with right base and high range. His diction is fantastic, you may feel every word. Incomparable. More comments about Mohamed Rafi 3Kumar Sanu +14He holds a Guinness World Record for recording 28 songs in a single day Awards *.
    [Show full text]
  • Enemies of the Lineage: Widows and Customary Rights in Colonial Korea, 1910-1945
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bstract Enemies of the Lineage: Widows and Customary Rights in Colonial Korea, 1910-1945 by Sungyun Lim Doctor of Philosophy in History University of California, Berkeley Professor Andrew E. Barshay, Chair My dissertation examines Korean widows and their legal rights during the Japanese colonial rule (1910-1945), focusing on widows and their lawsuits over property rights, inheritance and adoption. Utilizing civil case records from the Superior Court of Colonial Korea (Ch!sen K!t! H!in), I argue that women’s rights were diminished by the Korean customs adopted by the judicial system under the Japanese colonial state. By examining the production process of Korean customs in the colonial civil courts, I emphasize Korean agency in the transformation of family customs during the Japanese colonial period. Women’s property and inheritance rights developed in close relationship with the Japanese family policy, which aimed to disintegrate the lineages in Korea into nuclear households. The Japanese colonial state strengthened the household system by protecting customary rights that allowed widows to become house-heads.
    [Show full text]
  • Gangs of Wasseypur As an Active Archive of Popular Cinema
    M A D H U J A M U K H E R J E E Of Recollection, Retelling, and Cinephilia: Reading Gangs of Wasseypur as an Active Archive of Popular Cinema This paper studies Gangs of Wasseypur (Parts 1 and 2, 2012) as a definitive text via which Anurag Kashyap’s style became particularly provocative and pointed. While a range of films (both directed and produced by Kashyap) seemingly bear a certain ‘Kashyap mark’ in the manner in which they tackle subjects of violence and belligerent speech with an unpredictable comic sense, I argue that, more importantly, these films work within a particular visual framework with regard to its mise-en- scène (including the play of light, camera movement, modes of performance), as well as produce recognisable plot structures (involving capricious and realistic events), settings and locations (like the city’s underbelly, police stations, etc.), and so on. Indeed, Kashyap has made a set of films—including Paanch (unreleased), No Smoking (2007) and Ugly (2014)—which deal with similar issues, and explore contemporary cityscapes, especially Mumbai, with fervidness, thereby commenting on urban dystopia.1 Furthermore, these films speak to what has been analysed as the ‘Bombay noir’ mode by Lalitha Gopalan, by means of thoughtful art and set design, engaging (and often hand-held) camera movements and swish-pans, uses of blue or yellow filters, character prototypes, and reflective performances, which generate a world that is engulfed by a deep sense of disquiet and distress. This paper draws attention to such stylistic explorations, especially JOURNAL OF THE MOVING IMAGE 91 to the ways in which it has developed through Kashyap’s recent films.
    [Show full text]
  • Dt1.Qxd (Page 1)
    DLD‰‰†‰KDLD‰‰†‰DLD‰‰†‰MDLD‰‰†‰C Murphy’s law: Madhuri Dixit by Ashton Kutcher another name THE TIMES OF INDIA Couple fakes daughter’s cancer Saturday, October 4, 2003 spells hot male! reads Antara Mali! Crime most foul. US coup- months by a court in Ohio. le Robert and Teresa Milb- Police say the Milbrand- Page 8 Page 10 randt have been jailed for ts fooled 65 people and bu- faking their seven-year- sinesses into giving donat- old daughter Hannah’s le- ions. While Hannah’s illn- ukaemia to gain ess was discover- around $ 31,000 ed to be a hoax in donations. in December 20- Teresa was se- 02, her parents ntenced to six now have to pay and a half years the price for do- and Robert, to fo- nations received ur years and 11 illegally. OF INDIA MANOJ KESHARWANI OCTOBER IS HIGH ON DRY DAYS ARUN KUMAR DAS beneficial to the exchequer, such a move will go a sales on the day preceding ‘dry’ days register a 40-50 Times News Network long way in curbing smuggling. As of now,there are per cent rise over normal business. Worse still, dry 21 dry days in all, but Delhi could do without dry da- days allow smugglers and bootleggers to enter the iquor shops, liquor shops everywhere but not ys associated with religious holidays. At the same ti- picture. ‘‘The smuggling of liquor is assuming huge a drop to drink. For those who have been left me, the number of dry days four years ago was 45.’’ proportions in Delhi, more so because the city has Lshaken and stirred by this line and are so many dry days.
    [Show full text]
  • Türkġye Cumhurġyetġ Ankara Ünġversġtesġ Sosyal Bġlġmler Enstġtüsü Doğu Dġllerġ Ve Edebġyatlari Anabġlġmdali
    TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Hatice Ġlay Karaoğlu ANKARA-2019 TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Hazırlayan Hatice Ġlay Karaoğlu Tez DanıĢmanı Prof. Dr. Korhan Kaya ANKARA-2019 TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Tez DanıĢmanı: Prof. Dr. Korhan Kaya Tez Jüri Üyerileri: Adı Soyadı Ġmzası ………………………… ..…………………………. …………………………. …………………………… …………………………. …………………………… …………………………. ……………………………. …………………………. ……………………………. Tez Sınav Tarihi………………… TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜDÜRLÜĞÜNE Bu belge ile bu tezdeki bütün bilgilerin akademik kurallara ve etik davranıĢ ilkelerine uygun olarak toplanıp sunulduğunu beyan ederim. Bu kural ve ilkelerin gereği olarak, çalıĢmada bana ait olmayan tüm veri, düĢünce ve sonuçları andığımı ve kaynağını gösterdiğimi ayrıca beyan ederim. (24/06/2019) Tezi Hazırlayan Öğrencinin Adı ve Soyadı Hatice Ġlay Karaoğlu Ġmzası ÖNSÖZ Bir sinema filmi, yazılı bir eserin konusundan yararlanabildiği gibi konunun eserdeki sunumundan da yararlanabilmektedir. Burada bahsi geçen sunum, hikâyenin
    [Show full text]
  • 51 International Film Festival of India, 2020
    51st Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] 2020 51st International Film Festival of India, 2020 vkf/kdkfjd foojf.kdk: Hkkjrh; flusek Official Catalogue: Indian Cinema Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] xksok 51st International Film Festival of India, Goa TkUkOkjh 16-24, 2021 January 16-24, 2021 vk;kstd & fQYe lekjksg funs'kky; lwpuk vkSj izlkj.k ea=ky;] Hkkjr ljdkj Organized by the Directorate of Film Festivals Ministry of Information and Broadcasting, Government of India 001 OFFICIAL CATALOGUE INDIAN CINEMA IFFI 2020 Festival Director: Chaitanya Prasad, Additional Director General Indian Panorama, Indian Sections & Administration: Tanu Rai, Deputy Director Editors: Shambhu Sahu (English), Pankaj Ramendu (Hindi) Assisted by: Kaushalya Mehra, Arvind Kumar, Kamlesh Kumar Rawat Festival Coordinator: Sarwat Jabin, Rudra Pratap Singh, Shyam R Raghavendran, Design & Creative Director: Mukesh Chandra Photograph (Jury): Photo Division Acknowledgements: NFAI/NFDC/Film Producers/Production Houses for providing the films and other related materials. We are also grateful to various film and festival publications/websites, the extracts from which have helped enrich this book. All views expressed in this publication are not necessarily that of the editor or of the IFFI Secretariat. Published by the Directorate of Film Festivals Ministry of Information & Broadcasting Government of India You can visit us at www.iffigoa.org. www.dif.gov.in Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] xksok 51st International Film Festival of India, Goa TkUkOkjh 16-24, 2021 January 16-24, 2021 003 UNION MINISTER INFORMATION & BROADCASTING AND ENVIRONMENT, FOREST & CLIMATE CHANGE GOVERNMENT OF INDIA MESSAGE I welcome you all to the 51st edition of the International Film Festival of India.
    [Show full text]
  • Shringar Cinemas Limited
    DRAFT RED HERRING PROSPECTUS Dated [l] Please read Section 60B of the Companies Act, 1956 (Draft Red Herring Prospectus will be updated upon RoC filing) 100% Book Building Issue Shringar Cinemas Limited Registered Office: B/103, Kailash, Juhu Church Road, Juhu, Mumbai – 400 049, India Tel: +91 22 2625 5900; Fax: +91 22 2625 5272; Website: www.shringar.co.in Email: [email protected] Corporate Office: Fame Adlabs, 2nd Floor, Andheri Link Road, Oshiwara, Andheri (W), Mumbai 400 053 (India) Tel: +91-22-5640 3640 (Our Company was incorporated on October 26, 1999 as “Shringar Cinemas Private Limited” and converted into a public company “Shringar Cinemas Limited” on December 19, 2004 under the Companies Act 1956.) PUBLIC ISSUE OF EQUITY SHARES COMPRISING OF 81,50,000 EQUITY SHARES OF FACE VALUE RS.10/- EACH AT A PRICE OF RS. [l] FOR CASH AT A PREMIUM AGGREGATING RS. [l] LACS (HERE IN AFTER REFERRED TO AS THE “ISSUE”), INCLUDING EMPLOYEE RESERVATION OF 250,000 EQUITY SHARES OF FACE VALUE RS.10/- EACH AT A PRICE OF RS. [l] FOR CASH AGGREGATING RS. [l] LACS AND NET ISSUE TO THE PUBLIC OF 79,00,000 EQUITY SHARES OF FACE VALUE RS.10/- EACH AT A PRICE OF RS. [l] FOR CASH AGGREGATING RS. [l] LACS (HERE IN AFTER REFERRED TO AS THE “NET ISSUE TO THE PUBLIC”) AND THE ISSUE WOULD CONSTITUTE 25.82% OF THE POST ISSUE PAID-UP CAPITAL OF SHRINGAR CINEMAS LIMITED. PRICE BAND: Rs. [l] TO Rs. [l] PER EQUITY SHARE OF FACE VALUE Rs.10 ISSUE PRICE [l] IS TIMES OF THE FACE VALUE AT THE LOWER END OF THE PRICE BAND AND [l] TIMES OF THE FACE VALUE AT THE HIGHER END OF THE PRICE BAND The Issue is being made through the 100% book building process where 50% atleast of the Net Issue to the Public shall be issued on a discretionary basis to qualified institutional buyers.
    [Show full text]