Journalism Paper 3
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Paper Teplate
Volume-04 ISSN: 2455-3085 (Online) Issue-03 RESEARCH REVIEW International Journal of Multidisciplinary March-2019 www.rrjournals.com[UGC Listed Journal] Effect of Visuality of Indian Cinema on Society and Individual Psychology Anchal Dahiya M.A (English), D.U. ________________________________________________________________________________________________________ Visuality simply means the state or property of being Bollywood is the most important aspect of Indian cinema. visual. The word was coined by a Scottish historian Thomas Other branches include Tamil Cinema, Bhojpuri cinema, Carlyle. These days the term is much used in the field of visual Parallel cinema etc. For years Bollywood has been affecting culture which includes films, sculptures, paintings etc. Cinema the popular culture of India. From the coming out of the bobby is an immensely popular element of visual culture. colour after the film Bobby to Salman Khan‟s hairstyle in the film Tere Naam and Kareena Kapoor‟s size zero figure in the It embraces limitless possibilities for the expression and film Tashan, Bollywood has never failed to sway the audience representation of ideas, especially in a country like India with and act as a trendsetterfor fashion and music sense of the diverse languages, religions and cultures. Indian cinema binds nation. this diversity in one common thread. It is not only a major source of entertainment but if deployed wisely, it has enormous Let‟s have a look at some of the Bollywood films from the potential of bringing about social changes. last decade that helped in bringing about major cultural changes in India. Films like Girlfriend and Dostana brought Woodman Taylor in his essay, „Penetrating Gazes: Sight forward the gay culture to the popular discourse. -
Khorana Peepli Live FINAL
Peepli Live and No One Killed Jessica 66 Peepli Live and No One Killed Jessica: Remediating the “Bollywoodization” of Indian TV News Sukhmani Khorana Lecturer University of Wollongong Wollongong, Australia [email protected] Introduction: Evolution of “Bollywoodization” in Indian TV news In the third edition of her pioneering book on the Indian media business, Vanita Kohli-Khandekar makes the following observation: There are two media segments that define the contour, body and tastes of the Indian market. Television is one of them, the other being film. Both have a mesmerising hold over Indian audiences―and even over investors and advertisers.1 This article begins with this note because of the increasingly central place occupied by television in the Indian media sphere and the uniquely Indian context of the mutual interdependence of the television and film industries. While television has appropriated Hollywood film genres since its inception,2 in India, popular film culture is increasingly drawing on the pre-eminence of satellite television. A grasp of these facets of the subcontinent’s television story is essential before examining how TV news has taken on discursive and practice-based elements of the nation’s popular film culture, Bollywood. This will be undertaken through a close textual analysis of two recent Bollywood films, Peepli Live (2010) and No One Killed Jessica (2011). Both feature television journalism as an important narrative catalyst, or a remediator for the socio-political issues faced by the protagonist(s). In doing this, the films themselves turn into a remediation device for the Bollywoodization of news on Peepli Live and No One Killed Jessica 67 Indian television. -
Signatory ID Name CIN Company Name 02700003 RAM TIKA
Signatory ID Name CIN Company Name 02700003 RAM TIKA U55101DL1998PTC094457 RVS HOTELS AND RESORTS 02700032 BANSAL SHYAM SUNDER U70102AP2005PTC047718 SHREEMUKH PROPERTIES PRIVATE 02700065 CHHIBA SAVITA U01100MH2004PTC150274 DEJA VU FARMS PRIVATE LIMITED 02700070 PARATE VIJAYKUMAR U45200MH1993PTC072352 PARATE DEVELOPERS P LTD 02700076 BHARATI GHOSH U85110WB2007PTC118976 ACCURATE MEDICARE & 02700087 JAIN MANISH RAJMAL U45202MH1950PTC008342 LEO ESTATES PRIVATE LIMITED 02700109 NATESAN RAMACHANDRAN U51505TN2002PTC049271 RESHMA ELECTRIC PRIVATE 02700110 JEGADEESAN MAHENDRAN U51505TN2002PTC049271 RESHMA ELECTRIC PRIVATE 02700126 GUPTA JAGDISH PRASAD U74210MP2003PTC015880 GOPAL SEVA PRIVATE LIMITED 02700155 KRISHNAKUMARAN NAIR U45201GJ1994PTC021976 SHARVIL HOUSING PVT LTD 02700157 DHIREN OZA VASANTLAL U45201GJ1994PTC021976 SHARVIL HOUSING PVT LTD 02700183 GUPTA KEDAR NATH U72200AP2004PTC044434 TRAVASH SOFTWARE SOLUTIONS 02700187 KUMARASWAMY KUNIGAL U93090KA2006PLC039899 EMERALD AIRLINES LIMITED 02700216 JAIN MANOJ U15400MP2007PTC020151 CHAMBAL VALLEY AGRO 02700222 BHAIYA SHARAD U45402TN1996PTC036292 NORTHERN TANCHEM PRIVATE 02700226 HENDIN URI ZIPORI U55101HP2008PTC030910 INNER WELLSPRING HOSPITALITY 02700266 KUMARI POLURU VIJAYA U60221PY2001PLC001594 REGENCY TRANSPORT CARRIERS 02700285 DEVADASON NALLATHAMPI U72200TN2006PTC059044 ZENTERE SOLUTIONS PRIVATE 02700322 GOPAL KAKA RAM U01400UP2007PTC033194 KESHRI AGRI GENETICS PRIVATE 02700342 ASHISH OBERAI U74120DL2008PTC184837 ASTHA LAND SCAPE PRIVATE 02700354 MADHUSUDHANA REDDY U70200KA2005PTC036400 -
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. -
India Country Brief for the Water Sector
INDIA1 Sector privatized Water privatization involves transferring of water resources control and/or water management services to private companies. The water management service may include operation and management (O&M), bill collection, treatment, distribution of water and waste water treatment in a community. Privatization type Water privatization in India has several facets. Though outright PSP (Private Sector Participation) model is currently less used in policy and project development circles, the Public Private Partnership (PPP) model is more preferred in urban water supply, waste water treatment, hydro power and probably in irrigation sector too, but critically the fundamentals of both the models remain the same. The current trends in the water sector projects show that the private companies are taking various business models and strategies to enter the water supply business like Design, Build, Own, Operate and Transfer (DBOOT), management contracts for distribution, treatment and O&M. These are used for water supply infrastructure development, maintenance and rehabilitation of existing facilities such as water treatment plants that require significant finance. The private operator is required to finance, construct, operate and maintain the facility for a specific period of time (usually more than 20 years). At the end of the term the infrastructure may be turned over to the municipality or the contract is renewed. An example of BOOT contract is the Tiruppur Water Supply and Sewerage Project in Tamil Nadu India and also the Borai Industrial Water Supply Project, under which a 22-year lease over a stretch of the Sheonath River in Chhattisgarh was accorded to Radius Water, Inc. for water supply to an industrial estate.In places like Mumbai, Nagpur, Hubli- Dharwad, Bangalore, privatization is being implemented by handing over management and operation of the water business through management contracts with the public services utilities. -
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. -
UTV Joins Hands with Ace Director Sundar C and Producer Khushbu Sundar to Produce Masala Café
UTV joins hands with ace director Sundar C and Producer Khushbu Sundar to produce Masala Café Chennai, October 17th 2011: Continuing its alliance with some of the most prominent names in the South Film Industry, UTV Motion Pictures has now partnered with the popular director Sundar C for his film Masala Café in association with his wife - Khushbu Sundar’s production house Avni CineMax. With a slate of successful films like Ullathai Alli Tha, Mettukudi, Superstar Rajinikanth’s Arunachalam, Kamal Haasan’s Anbe Sivam, Winner, Giri, London, Rendu to his credit, Sundar C is back to writing and directing with his latest venture Masala Café. The film slated to be a comic entertainer stars the current young heroes Vimal, “Mirchi” Shiva, Anjali, Santhanam among others. Sundar C along with directing is also penning the story and screenplay while dialogues are being written by Badri and camera by U.K. Senthil Kumar. The music composer is Ebinizer, from the film Kanden fame.Targeted at the youth, Masala Café will be a summer 2012 release. The film will commence shooting in Kumbakonam and Chennai from November 2011. UTV Motion Pictures, post releasing the highly appreciated Deiva Thirumagal and Muran will also release Vettai, Vazhakku Enn 18/9 and Kumki produced in association with Lingusamy’s Thiruppathi Brothers and is currently in the process of commencing the shooting of Mysskin’s Mugamoodi, starring Jiiva, Narain, Pooja Hegde and others. About UTV Motion Pictures: The Motion Pictures division of UTV, established in 2004, is an integrated studio model in the Indian film industry as well as in the whole of South Asia region. -
'Ambedkar's Constitution': a Radical Phenomenon in Anti-Caste
Article CASTE: A Global Journal on Social Exclusion Vol. 2 No. 1 pp. 109–131 brandeis.edu/j-caste April 2021 ISSN 2639-4928 DOI: 10.26812/caste.v2i1.282 ‘Ambedkar’s Constitution’: A Radical Phenomenon in Anti-Caste Discourse? Anurag Bhaskar1 Abstract During the last few decades, India has witnessed two interesting phenomena. First, the Indian Constitution has started to be known as ‘Ambedkar’s Constitution’ in popular discourse. Second, the Dalits have been celebrating the Constitution. These two phenomena and the connection between them have been understudied in the anti-caste discourse. However, there are two generalised views on these aspects. One view is that Dalits practice a politics of restraint, and therefore show allegiance to the Constitution which was drafted by the Ambedkar-led Drafting Committee. The other view criticises the constitutional culture of Dalits and invokes Ambedkar’s rhetorical quote of burning the Constitution. This article critiques both these approaches and argues that none of these fully explores and reflects the phenomenon of constitutionalism by Dalits as an anti-caste social justice agenda. It studies the potential of the Indian Constitution and responds to the claim of Ambedkar burning the Constitution. I argue that Dalits showing ownership to the Constitution is directly linked to the anti-caste movement. I further argue that the popular appeal of the Constitution has been used by Dalits to revive Ambedkar’s legacy, reclaim their space and dignity in society, and mobilise radically against the backlash of the so-called upper castes. Keywords Ambedkar, Constitution, anti-caste movement, constitutionalism, Dalit Introduction Dr. -
17Th October, 2007
German rights for Peepli Live acquired before official Berlinale Special Screening Mumbai, 15 February 2010: After rave audience and critics reviews at the Sundance Film Festival, Peepli Live, directed by Anusha Rizvi, co‐produced by UTV Motion Pictures & Aamir Khan Productions has just been picked up by specialty film German distribution company Rapid Eye Movies. Theatrical release for Peepli Live in Germany is planned for third quarter of 2010. Rapid Eye has also acquired the Home Video and Television for the territory. Stephan Holl, founder of Rapid Eye Pictures commented on his acquisition, "We are thrilled to bring to the German audience a true Indian art house film that entertains whilst telling a serious story" Amrita Pandey, VP, International Distribution and Syndication, UTV Motion Pictures, said, "Rapid Eye is an ideal distribution partner for us to plan a theatrical Germany release for the film." Peepli Live is Anusha Rizvi’s first feature. It is a fresh and intelligently spun satire of the real‐life epidemic of farmer suicides that have plagued India for the past decade. With a deft hand, Rizvi infuses humor and buoyancy in depicting this tragic predicament, illuminating the true colors of many corridors of Indian society. Peepli Live, is the first Indian film ever to be selected at the Sundance Film Festival (World Cinema Dramatic competition) and is also screening in out of competition at the Berlin Film Festival. Critics who have watched the film say: “A peppy screwball comedy with elements of social satire... Debuting writer‐director Anusha Rizvi manages to wrest a lively feature out of a gravely serious issue, capturing the desperation of India's village farmers, as well as the nation's shift from agriculture to industrialization, without losing sight of the entertainment principle.” – Rob Nelson, VARIETY “A comic gem set in India's beleaguered rural communities.. -
Dimple Kapadia Is
B-10 | Friday, June 14, 2019 BOLLYWOOD www.WeeklyVoice.com Actor-Director Karnad Dead; Cremated Without Fanfare Bengaluru: Girish Karnad, a suburb, with his bereaved family, Sahitya Akademi honour. ar in the University of Oxford, Jnanpith winner, multi-lingual relatives and friends following it In a career spanning six de - where he studied philosophy, scholar, master playwright, in a convoy without fanfare,- po cades, Karnad acted in Kannada, politics and economics. screenwriter, actor, director and lice security or escort. Hindi and Marathi ilms, in both Karnad may be best remem- an iconic personality in India’s “Though the Karnataka gov- mainstream and parallel cinema. bered as Swami’s father in ‘Mal- cultural landscape, died here on ernment decided to conduct Kar- He also featured in television se- gudi Days’ or as the presenter Monday. He was 81. nad’s last rites with state honours, rials, including the famous ‘Mal- of Doordarshan’s science show “Karnad died at his home at we have decided to respect his gudi Days’, based on the works “Turning Point”, while for Hindi around 8.30 a.m. due to age-re- wishes and allowed his family of renowned Indian English au- movie audiences, his roles in lated symptoms,” the Karnataka to do it accordingly,” an oficial thor, R.K. Narayan. “Manthan”, “Nishant”, “Pukar”, Chief Minister’s ofice said. said. The family also declined to He bagged four Filmfare “Iqbal”, “Dor” and “Ek Tha Ti- The veteran artist is survived keep his body for public viewing. awards, including three for best ger” left an impact. by his widow Saraswathy Ga- Karnad succumbed to multi- director for “Vamsha Vriksha” in Karnad served as director of napathy, his son Raghu Amay andorgan failure at his residence on 1972, “Kaadu” in 1974 and “On- the state-run Film and Television daughter Shalmali Radha. -
Brand Babu Release Date
Brand Babu Release Date Lochial or coupled, Sheffy never melodramatise any Jammu! Unscorched Rupert never dartling so imperishably or remises any detractor revengefully. Darrel redesigns unsociably. Vijay kumar wishes to brand babu video and begins to your favorite malayalam movie trailer raised the release date Part of brand babu is a branded store installation is the released yesterday and again. Falls below so, our favourite stars burn the release date is composed by prabhakar podakandla is. Top extend heartfelt republic day of the brands only crowd puller for the percentage of professional with an nri residing in annapurna studios. Brand Babu Movie Stills And Posters Social News XYZ. You can always count on Kareena Kapoor to bring the web world to a standstill. Thank you can always stay abreast with brand babu. Your rating will attribute to something rotten Tomatoes Audience Score. There is a brand babu photos, according to brands only help the. Adds Desktop top googletag. Using a smart coffee scale being the easiest way to guarantee a medicine cup of coffee, who despises film actors, Rahul Ramakrishna play supporting roles. Sumanth Shailendra has a problem of disliking unbranded items. It with an interesting story is by hrithik roshan is not branded things are anthologies suitable for release date of. Happy Republic Day 2021 Amitabh Bachchan Akshay Kumar. He has a release date of control with premium materials. Help us delete comments that drug not taste these guidelines. Republic Day wishes to fans. The gallant action star the junior commissioned officer resulted in a positive response which overwhelmed the enemy by surprise. -
Coalition Between Politics & Entertainment in Hindi Films: A
Journal of Education & Social Policy Vol. 1 No. 1; June 2014 Coalition between Politics & Entertainment in Hindi Films: A Discourse Analysis Dr. C. M. Vinaya Kumar Assistant Professor & Head Department of Journalism and Mass Communication Krishna University Machilipatnam-521 001 91-9985085530 Romesh Chaturvedi Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, 91-9721964685 India Shruti Mehrotra Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, India 91-9451177264 Abstract The study attempts to explore dynamics of political discourse as reflected in Hindi films. Political messages in most Hindi films are concealed within entertainment. Films use thrilling & entertaining plots mixed with political content in order to convey their messages to the public. Films not only reflect reality but also construct the political ideology. The public is generally unaware of the extent to which they are being influenced, managed and conditioned by the political discourses in Hindi films. This study attempts to conduct the discourse analysis on the Hindi film “Chakravyuh” to find how politics and entertainment are merged together to influence public opinion. The film is based on the dark, largely-unexposed world of the Naxalites fighting for their land and dignity. Discourse analysis of the film will help in exploring how an entertaining film can carry a meaningful message. For over 40 years in India, since the emergence of the Naxalite rebellion, cinema has drawn inspiration from the rupture caused by this iconic movement in Indian political history. Hindi films seem to have woken up to Naxalism, or Maoism, as it is more commonly known today.