Shahrukh Khan's Ra.One Ride “Unleashed” at Bollywood
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Krrish 2006 Hd Movie Downloadl
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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. -
Frankenstein's Avatars: Posthuman Monstrosity in Enthiran/Robot
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935), Vol. 10, No. 2, 2018 [Indexed by Web of Science, Scopus & approved by UGC] DOI: https://dx.doi.org/10.21659/rupkatha.v10n2.23 Full Text: http://rupkatha.com/V10/n2/v10n223.pdf Frankenstein’s Avatars: Posthuman Monstrosity in Enthiran/Robot Abhishek V. Lakkad Doctoral Research Candidate, Centre for Studies in Science, Technology and Innovation Policy (CSSTIP), School of Social Sciences, Central University of Gujarat, Gujarat. ORCID ID: 0000-0002-0330-0661. Email: [email protected] Received January 31, 2018; Revised April 22, 2018; Accepted May 19, 2018; Published May 26, 2018. Abstract This paper engages with ‘Frankenstein’ as a narrative structure in Indian popular cinema, in the context of posthumanism. Scholarship pertaining to monsters/monstrosity in Indian films has generally been addressed within the horror genre. However, the present paper aspires to understand monstrosity/monsters as a repercussion of science and technology (S&T) through the cinematic depiction of Frankenstein-like characters, thus shifting the locus of examining monstrosity from the usual confines of horror to the domain of science fiction. The paper contends Enthiran/Robot (Shankar 2010 Tamil/Hindi) as an emblematic instance of posthuman monstrosity that employs a Frankenstein narrative. The paper hopes to bring out the significance of cinematic imagination concerning posthuman monstrosity, to engage with collective social fears and anxieties about various cutting-edge technologies as well as other socio-cultural concerns and desires at the interface of S&T, embodiment and the society/nation. Keywords: Posthumanism, Monstrosity, Frankenstein, Indian popular cinema, Science Fiction, Enthiran/Robot The Frankenstein narrative and Posthuman Monstrosity It has been argued that in contemporary techno-culture Science Fiction (hereafter SF) performs the role of “modern myth(s)” (Klein, 2010, p.137). -
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Central Board of Film Certification Pdf
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(Ceileh Comeback) Mau Dibikin 2 in 1 Special Review, Yaitu Ra One Dan Tintin : the Secret of Union in 2D
Sebenernya niatannya Review ajang comeback gw ini (ceileh comeback) mau dibikin 2 in 1 Special Review, yaitu Ra One dan Tintin : The Secret of Union in 2D.. Karena kebetulan sabtu kemarin sempat tayang di Blitz Megaplex Bekasi Cyber Park. Tapi yah ini dulu deh saya review sebagai ajang pemanasan selagi menunggu Review kedua saya yakni Tintin: The Secret of Union in 2D.. Sangat disayangkan yah di Blitz Cyber Park tidak ada 3Dnya. Maksud hati mau nonton Tintin 3D tapi apa daya, midnite kemarin Tintinnya cuman 2D yang diputar. Hahahaha. Ga papa deh yang penting bisa liat Tintin duluan :p.. Bollywood. Yaa Bollywood belakangan ini mulai melahirkan artis-artis bahkan sineas-sineas go International, sebut aja Uni Aishwarya Rai lewat penampilan seksinya di Film ‘Robot’ yang sampai saat ini belum saya lihat Filmnya [Dieenkk…] Padahal VCD Originalnya lumayan lama berada di pasaran. Dan Perlu diingat, bahwa Film Ra One bukanlah Film Superhero pertama buatan Bollywood. Ada dulu sempat tayang Koi Mil Gaya 2 atau lebih dikenal dengan sebutan ‘Krrish’ yang dibintangi oleh Hrithik Roshan. Ra One sendiri bercerita tentang Shekhar Subramaniam (Shah Rukh Khan), seorang programmer game dari perusahaan Barron Industries beristrikan seorang wanita cantik Sonia (Kareena Kapoor), yang ingin sekali membahagiakan putra tunggal yang sangat dicintainya, Prateek (Aman Verma), yang lebih memuja peran anatagonis ketika sedang bermain dalam sebuah permainan game, karena menurutnya sebenarnya kekuatan mereka jauh lebih hebat daripada sang hero itu sendiri. Maka demi kebahagiaan sang anak, Shekhar, bersama partner bagian teknisnya, Akashi (Tom Wu) dan asistennya, Jenny (Shahana Goswami) mulai mendesain game baru dengan tokoh supervillain tak terkalahkan, yang mereka kembangkan dari elemen-elemen superhero-nya ke dalam dua masterchip dengan sebutan HART (Hertz Advance Resonance Transmitter). -
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. -
A Grown up Bromance
12 Friday 26th August, 2011 Now at Savoy (2) -(Dts) Zindagi Na Milegi Dobara A grown up bromance okes about teachers. Fights over make a bromance as beautifully as a little contrived—three girlfriends. Silly word games. Bare woman. adventure sports to test Jchests. Rippling muscles. Streaked The film is gentle, taking time out to your courage—but the story hair. Sigh. Glossy looking and beautiful- look at horses running in the meadows, keeps you engaged. ly written. I must confess by the time I feel the wind the air, swim with the fish A meditative take on finished watching Zindagi Na Milegi underwater. All that male beauty may growing up, becoming a Dobara I was convinced that no one can be a little manipulative and the plot is a man, taking responsibility Congratulations for one’s actions, it has the courage to ly posed performance as a spolit little Coupon No. 141 (Daily Island) go for long periods with no dialogue. A madam. The correct answer is ’25th August’ scene where Hrithik Roshan does a My favourite moment of the film? Finding Nemo and another where the Not the showy moment when Hrithik 1. Ms. Kavindya Colombo 3 boys discover the joys of sky diving is discovers the meaning of life with one 2. H. S. Caldera Kadawatha all about just being. Seizing the deep sea dive with Katrina Kaif. Or 3. Kumara Colombo 15 moment. Living for the day. Yes, yes, when Farhan confronts his pot smoking 4. Lakmali Wathsala Boralesgamuwa cliches all, but shot with such sisterly ageing painter dad-can’t tell you who he 5. -
Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil. -
Women in Higher Education in India
Women in Higher Education in India Women in Higher Education in India: Perspectives and Challenges Edited by Hari Ponnamma Rani and Madhavi Kesari Women in Higher Education in India: Perspectives and Challenges Edited by Hari Ponnamma Rani and Madhavi Kesari This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Hari Ponnamma Rani, Madhavi Kesari and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0854-4 ISBN (13): 978-1-5275-0854-5 CONTENTS Chapter One ................................................................................................ 1 Streeling-Punling-Samething H.P. Rani, G. Siranjeevi, B. Sai Krishna Chapter Two ................................................................................................ 8 Transforming the Identity of Women—From Tradition to Modernity— Through Cinema: Towards Gender Equality Madhavi Kesari Chapter Three ............................................................................................ 14 Gender Discrimination in India: A Fly in the Ointment Suneetha Yedla, Sailaja Mukku Chapter Four .............................................................................................