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50 3 August / 2020
www.openthemagazine.com 50 3 AUGUST /2020 OPEN VOLUME 12 ISSUE 30 3 AUGUST 2020 CONTENTS 3 AUGUST 2020 5 6 7 12 16 18 20 LOCOMOTIF INDRAPRASTHA MUMBAI NOTEBOOK IN memoriAM SOFT POWER WHISPERER OPEN ESSAY The politics of masks By Virendra Kapoor By Anil Dharker John Lewis (1940-2020) Gold’s own country By Jayanta Ghosal The Mahatma and By S Prasannarajan By Ramesh Sharma By Makarand R Paranjape Kashmir By MJ Akbar 28 IS SCIENCE ABOUT 28 TO DEFEAT THE CORONAVIRUS? With the recent vaccine results, new drugs and experienced care, the first glimmers of hope arrive By Lhendup G Bhutia 34 A TALE of Three Vaccines The world has responded to Covid-19 by developing and testing vaccines 12 at record speed By Shahid Jameel 38 BEGINNINGS AND ALTERNATIVE ENDS The trajectory of pandemics suggests that humanity will always triumph in the end but without control over the time and toll By Madhavankutty Pillai 42 42 THE DESERT FOX The daring and durability 46 50 of Ashok Gehlot By Amita Shah 46 virtuaL checKMate 58 Chess streaming goes mainstream in India By V Shoba 50 LETTER FROM LAHORE The ideal and the real By Mehr Tarar 54 54 58 62 65 66 THE SECOND ACT PREMCHAND’S PARTNER A MOVEABLE FEAST HOLLYWOOD REPORTER NOT PEOPLE LIKE US Yesteryear actors return to play On the writer’s 140th birth A detective’s diet Colin Farrell on his London calling complex roles as streaming anniversary, why it’s important to By Shylashri Shankar new Artemis Fowl series By Rajeev Masand platforms allow greater variety celebrate his wife Shivrani Devi By Noel de Souza By Kaveree -
Hindi DVD Database 2014-2015 Full-Ready
Malayalam Entertainment Portal Presents Hindi DVD Database 2014-2015 2014 Full (Fourth Edition) • Details of more than 290 Hindi Movie DVD Titles Compiled by Rajiv Nedungadi Disclaimer All contents provided in this file, available through any media or source, or online through any website or groups or forums, are only the details or information collected or compiled to provide information about music and movies to general public. These reports or information are compiled or collected from the inlay cards accompanied with the copyrighted CDs or from information on websites and we do not guarantee any accuracy of any information and is not responsible for missing information or for results obtained from the use of this information and especially states that it has no financial liability whatsoever to the users of this report. The prices of items and copyright holders mentioned may vary from time to time. The database is only for reference and does not include songs or videos. Titles can be purchased from the respective copyright owners or leading music stores. This database has been compiled by Rajiv Nedungadi, who owns a copy of the original Audio or Video CD or DVD or Blu Ray of the titles mentioned in the database. The synopsis of movies mentioned in the database are from the inlay card of the disc or from the free encyclopedia www.wikipedia.org . Media Arranged By: https://www.facebook.com/pages/Lifeline/762365430471414 © 2010-2013 Kiran Data Services | 2013-2015 Malayalam Entertainment Portal MALAYALAM ENTERTAINMENT PORTAL For Exclusive -
Chandrachur Singh Was Working Actively in films and Was Considered to Be an out of the I Ordinary and Outstanding Mainstream Actor of Bollywood
July 26, 2020 Vineet Raina Dr. Blossom Kochhar Monsoon Tips & Tricks Travel Budapest - The City Of Palinka And Ruin Bars editor’s letter Saroj Khan: A Brilliance & Exceptional choreographer the starting week of this month, At Bollywood lost its legendary ace choreographer Saroj Khan due to a Rituparna Sengupta Basu cardiac arrest at the age of 71. Any expression is less to describe our darling ‘Masterji’ who not only pioneered the exact meaning of the word ‘good choreographer’ but every dancer like me also surely fall in love with her most remarkable dance moves. Saroj Khan was an inspiration to many including myself. Masterji started her career in this industry as a child artist in the 1950s. At the age of 10, she joined a dance troupe. She had given us numerous dance moves and I have been blessed to have got the chance to work with her in some dance projects. I had every pleasure to share that her every movement looks as easy as pie as anyone can dance. She was one of the most caring, kind-hearted, and loving personas. Her journey as a child actor, dancer, and choreographer is incredible and unbelievable enough. She began to learn dancing and took training under another remarkable dance guru B Sohanlal. She got her first break as an individual choreographer in ‘Geeta Mera Naam' (1974) and became famous later with the song ‘Hawa Hawai’ from “Mr. India" (1987). Her collaboration with Madhuri Dixit Nene and late Sridevi will always be remembered. Over the years she redefined Bollywood’s choreography, she was so precise about the expression in the dance moves. -
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"Light Your Cigarette with My Heart's Fire, My Love": Raunchy Dances and a Golden- hearted Prostitute in Bhardwaj's Omkara (2006) Madhavi Biswas, University of Texas Dallas Abstract This essay argues that Omkara (dir. Vishal Bhardwaj, 2006) foregrounds contemporary gender concerns in modern, small-town India, primarily through the film's reformulation of the three female roles in Othello. Billo/Bianca, played by a glamorous, contemporary, female star, gets her own romance and two popular and raunchy song-and-dance tracks in Omkara. These dance tracks are a peculiar mixture of traditional folk Nautanki and identifiable Bollywood masala "item numbers," whose layered lyrics have been penned by Gulzar, a well-known poet, lyricist, scriptwriter, and ex-film-director who closely collaborates with Bhardwaj. The essay argues for the recognition of the songs in Omkara as a parallel narrative that intertwines with and intersects the central narrative of the plot, inflecting it with a range of cultural and social intertexts, along with a dash of metatextual flavor. The article examines how the two song-and-dance sequences by Billo/Bianca in the film use the familiar tropes of the "courtesan" figure of Hindi films and draw upon traditional folk-theater — reflecting both its local poetry and its vulgarity — to evoke a new kind of verbal and visual "realism" that intertwines Bollywood glamor with local histories. Omkara, with its big budget stars, glossy production values, and popular song- and-dance numbers interspersing the narrative — elements that are often associated with the "Bollywood" style of Hindi cinema — is the most obviously commercial of Vishal Bhardwaj's three Shakespearean adaptations. -
Brochure Print New.Indd
“excellence is the fabric of our work, spun with the yarn of knowledge and expertise, built on the foundation of transparent dealing”. 91 ABOUT US ................................................................................................................................................... 04 EVENT MANAGEMENT ................................................................................................................................................... 06 EVENT HIGHLIGHTS ................................................................................................................................................... 10 INTERNATIONAL SHOWS ................................................................................................................................................... 12 CHARITY EVENTS ................................................................................................................................................... 14 AWARD NIGHTS ................................................................................................................................................... 20 MOTION PICTURES ................................................................................................................................................... 26 WEDDING PLANNERS ................................................................................................................................................... 32 THEME SHOWS .................................................................................................................................................. -
Pragyaan Mass Comm. December-2011.Cdr
ISSN No. : 0974-5521 ims Journal of Mass Communication a bi-annual Journal Institute of Management Studies Dehradun Volume 9 : Issue 2. Deceber 2011 Listed in Ulrich's International Periodicals Directory, USA Research Papers/Articles The Effect of Web Advertising on Online News: The Audience Perception Dr. Mahendra Kumar Padhy Problems of Rural Women to Access The Mass Media Archna Katoch, Vir Bala Aggarwal Films of Gulzar: Sources, Narrative Structure, Technique and Use of Language Harjeet Singh Jago Grahak Jago Ad Campaign : A Study on Hisar and Jind Sandeep Kumar, Dr. Manoj Dayal Impact of New Media on Teenagers Dr. Durgesh Tripathi, Gitika Khurana Coverage of Copenhagen Summit (2009) : A Comparative Analysis of The Two National Dailies-The Times of India and The Hindu Saad Ullahkhan Interactive Media and Social Crossover: An Indian Riddle Dr Silajit Guha New World Information and Communication Order: A Status Report Dr. Sudhanshu Jayaswal Video Editing : A Visual Art and Technique Deepak Uniyal Pragyaan : Journal of Mass Communication Panel of Referees Volume 9 : Issue 2. December 2011 Dr. Manoj Dayal Prof. & Dean Patron Shri Amit Agarwal Faculty of Media Studies Secrectary Guru Jambheshwar University of Science & IMS Society, Dehradun Technology Hissar Chief Editor Dr. Pawan K Aggarwal Prof. R.C. Tripathi Director Deptt. of Journalism and Mass Communication IMS, Dehradun University of Lucknow Editor Prof. Dhiraj Shukla Dr. Vir Bala Aggarwal Assistant Professor Professor & Chairperson IMS, Dehradun Department of Journalism & Mass Communication Sub Editor Ms Nitasha Sodhi Himachal Pradesh University, Summer Hill, Senior Lecturer Shimla IMS, Dehradun Dr. M. Shafey Kidwai Editorial Advisory Board Prof. -
1St Filmfare Awards 1953
FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963..................................................................................................... -
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The Making of a Terrorist: Through the Lens of Bollywood
THE MAKING OF A TERRORIST Through the Lens of Bollywood by Coonoor Kripalani Bollywood: The Voice of the Subaltern1? The offerings of Bollywood have frog-leaped from the “low-brow”2 entertainment of yesteryear to become the cultural representatives of all things Indian in the current global economy. Popularity of these films is at an all-time high, reflecting their influence in food, fashion, music, dance, ritual, and worship to audi- ences around the globe.3 The patriotic fervor that runs through many of these films, both in terms of national identity and “Indian-ness” of culture, sends subliminal messages of what constitutes the national entity. To students of South Asia, viewing these films will provide a look into the Indian national psyche. The concepts of unity despite diversity, the sovereignty of territory, the sanctity of family, and sacrifice for the nation are reinforced in the popular genre of Hindi film. ell may the student ask why these messages of national bombs, suicide bomber attacks, and other acts of terror, which take unity are pervasive in a free market, where the producers place somewhere or other around the globe. Having moved out of W and directors of film are funded from the private sector, the Cold War era following the collapse of the Soviet Union, we and the commercial success of the film is the main objective. I now live in an Age of Terror.5 believe it’s what sells: it’s what audiences wish to hear. The chal- Yet, for almost twenty years before 9/11, the Indian sub-conti- lenge is to produce a film of universal appeal, appealing to both nent has been the site of terrorist attacks and activity. -
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A Qualitative Analysis of Young Hindi Film Viewers' Readings of Gender, Sexuality and Politics On- and Off-Screen
A Qualitative Analysis of Young Hindi Film Viewers' Readings of Gender, Sexuality and Politics On- and Off-screen by Shakuntala Banaji This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Culture, Language and Communication Institute of Education University of London July 2004 Abstract This thesis presents a qualitative analysis of the connections between meanings made from discourses of gender, sexuality and ethnicity in commercial Hindi films and the construction of gender, sexual and ethnic identity by young adult viewers. While expressing an understanding of cinema texts and audiences as always shaped by and responding to complex intersections of social, psychological and historical events, it also identifies and describes mechanisms of pleasure and discourses of gender ideology in Hindi films from the points of view of 'academic' and 'ordinary' viewers. Original photographs, observations and interviews at cinema halls and transcripts from in-depth interviews with young viewers from diverse social, linguistic and religious backgrounds in Bombay and London provide the bulk of the data. Critical discourse analysis and aspects of social semiotics and Screen theory provide the tools for analysis of the data. This study suggests that young viewers respond to films from a variety of intersecting subject positions; they rarely experience film texts as unitary and organic entities, treating certain sequences as far more significant than others. This study also finds strong connections between the discourses of gender, sexuality and politics articulated by or read into Hindi films and those voiced by young South Asian viewers. Saliently, though certain viewers use sequences in Hindi films as justifications for their political beliefs and/or private actions, others who express similar enjoyment, ridicule or despise the meanings they read into film sequences, remaining wary of their perceived 'effects'. -
Gs Event History
TITLE : GOOD BYE 1995 DATE : 30th December, 1995 VENUE : London Wembley Arena STARCAST : Salman Khan, Govinda, Tabu, Raveena Tandon, Shakti Kapoor & Kadar Khan TITLE : FASHION SHOW DATE : 1996 VENUE : Hotel Holiday Inn, Nepal STARCAST : Milind Soman, Rajat Bedi, Coleen Khan & Madhu Sapre TITLE : BOLLYWOOD EXTRAVAGANZA DATE : 25th April, 1997 VENUE : Atlantic City, U.S.A STARCAST : Salman Khan, Karisma Kapoor & Atul Agnihotri SINGERS : Abhijeet & Babul Supriyo TITLE : SALMAN – KARISMA LIVE IN CONCERT Events DATE : June, 1997 VENUE : Colombo, Sri Lanka History STARCAST : Salman Khan & Karisma Kapoor TITLE : SALMAN KHAN LIVE IN CONCERT (CHARITY NIGHT) DATE : 30th - 31st October, 1997 VENUE : Maldives Island STARCAST : Salman Khan, Anjala Jhaveri, Atul Agnihotri, Deepti Bhatnagar & Kumar Gaurav TITLE : SCREEN VIDEOCON AWARDS DATE : 16th January, 1998 VENUE : Andheri Sports Complex, Mumbai STARCAST : Salman Khan, Arbaaz Khan, Rani Mukherjee, Shilpa Shetty, Javed Jaffery & Mamta Kulkarni TITLE : FILMI YATRA DATE : 30th January, 1998 VENUE : Kolhapur STARCAST : Salman Khan, Karisma Kapoor SINGER : Hema Sardesai TITLE : FILMFARE AWARDS TITLE : WEDDING SHOW DATE : 18th February, 1998 DATE : 2nd February, 1999 VENUE : NSE Grounds, Mumbai VENUE : Turf Club, Mumbai STARCAST : Salman Khan along with other Artists STARCAST : Salman Khan, Akshay Kumar, Govinda, raveena Tandon, Shilpa Shetty, Javed Jaffery, Sonu Nigam along with Aadesh Shrivastav TITLE : ZEE CINE AWARDS DATE : 14th March, 1998 TITLE : FILMI YATRA VENUE : Andheri Sports Complex, Mumbai