Those Indian Guys Mersmerising Jacob
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Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. -
LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No. -
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. -
Indian Film Festival Of
Indian Film Festival of 14 – 27 August 2015 . Image courtesy of SIC Productions (Films) Pty Ltd and Drishyam Films. DHANAK Film: Presented by HOYTS Melbourne Central and HOYTS Highpoint iffm.com.au FVI_FilmCredits Message from The Premier Daniel Andrews It is a pleasure to welcome you to Victoria for the 2015 Indian Film Festival of Melbourne, the southern hemisphere’s largest annual celebration of Indian cinema. Film is a powerful tool not only for entertaining but also for building understanding. This year’s Festival will explore the theme of equality, providing audiences with the opportunity to explore this important issue through different lenses. Now in its fourth year, the Indian Film Festival of Melbourne attracts thousands of local and international guests each year. The Festival has ignited and grown Victoria’s fascination with Bollywood and has provided an opportunity to deepen our relationship with India through our shared love of film. Celebrating Victoria is proudly home to Australia’s largest Indian community. With more than 110,000 Victorians born in India, the population has doubled in the past five years, providing links between Victoria and India. The Victorian Government is committed to Indian cinema building on these strong cultural and economic connections to create new partnerships and opportunities. and culture The Victorian Government is proud to support events such as the Indian Film Festival of Melbourne, as they turn the world’s spotlight on Victoria and provide an opportunity in Victoria to celebrate our rich multicultural community. I welcome visitors to Melbourne, and invite Victorian audiences to enjoy the diversity and cultural breadth of Indian cinema during the Festival. -
Representations of Gender and Class in Contemporary Indian Theatre and Film
Representations of Gender and Class in Contemporary Indian Theatre and Film With Special Reference to Tripurari Sharma’s Daughter-in-Law Vijay Tendulkar’s Kamala Manjula Padmanabhan’s Lights Out Mahesh Dattani’s Tara Deepa Mehta’s Fire Nagesh Kukunoor’s Dor Shoojit Sircar’s Pink A SYNOPSIS submitted for the degree of Doctor of Philosophy in ENGLISH Prof. Gur Pyari Jandial Aakrati Agrawal Supervisor Research Scholar Prof. J. K. Verma Prof. Ragini Roy Head, Department of English Studies Dean, Faculty of Arts 2016 DAYALBAGH EDUCATIONAL INSTITUTE (DEEMED UNIVERSITY) DAYALBAGH, AGRA - 282005 1 Dress in sarees, be girl Be wife, they said. Be embroiderer, be cook Be a quarreler with servants. Fit in. Oh Belong, cried the categorizers. (35-38) - Kamala Das in An Introduction In Feminist Philosophies A-Z Nancy Arden McHugh says, “Gender is the result of social institutions and is a learned behavior while sex is a biological category. Thus gender is a social construction and a product of nurturing while sex is a product of nature.” (49). According to the Oxford Dictionary, gender is “the state of being male or female with reference to social or cultural differences.” The social constructs have played a crucial role in the creation of the typical image of women in the Indian society. Society sets certain behaviors and norms for a child which determine her/his gender. Along with gender, class also divides the society in different hierarchies. Pascal Gisbert, in his famous book Fundamentals of Sociology defines class as “a category or group of persons having a definite status in society which permanently determines their relation to other groups” (367). -
Hindi Cinema at International Film Festivals | Text Transcript | CIRCLE
Hindi Cinema at International Film Festivals | Text Transcript | CIRCLE This is a text transcript for the recorded webinar “Hindi Cinema at International Film Festivals” presented by the Canada India Research Centre for Learning and Engagement (CIRCLE) at the University of Guelph. The guest speaker was Dr. Aysha Iqbal Viswamohan. The event was recorded on March 25, 2021 and was moderated by Bharat Punjabi. Transcript: Bharat Punjabi A warm welcome to everyone from the University of Guelph. My name is Bharat Punjabi. I'm a faculty at the University of Toronto and it's my great pleasure to anchor - moderate this event today on behalf of CIRCLE. You know our Center on India Canada Research at the University of Guelph. So, before I begin and introduce our speaker for the day, I just wanted to give you all some idea about you know how, why and from where we are doing this event. On behalf of CIRCLE, you know the Canada India Research Centre for Learning Engagement, I wanted to share some information on CIRCLEs profile and research and it's an interdisciplinary nucleus at the University of Guelph in Canada for cutting-edge research on the Indian community and the Indian diaspora, and to showcase, advocate, catalog, and further on equitable respectful and sustained dialogue of knowledge between Canadian and Indian scholars on complex and emerging topics related to sustainability but also social and economic well-being. So, CIRCLE here at the University of Guelph takes a great pleasure in, I know, welcoming all of you to this webinar. Our main speaker for the day and it's my great pleasure to introduce to all of you, Dr. -
JUNE 2015 .Com/Civilsocietyonline `50
VOL. 12 NO. 8 JUNE 2015 www.civilsocietyonline.com .com/civilsocietyonline `50 KKKeeerrraaalllaaa’’’sss mmmiiiggghhhtttyyy mmmaaannngggooo tttrrreeeeee KKuuttttiiaattttoooorr yyiieellddss ttoooo mmuucchh ffrruuiitt ‘We need to delhi’s civic mess your carbon meter revisit family Pages 8-9 Page 24 no crushing maletha evaluating schools planning’ Pages 10-11 Pages 27-28 Poonam Muttreja on govt health schemes for women tech tools for ngo s a menu With millet Pages 6-7 Pages 22-23 Page 33 Changing Lives Introducing Tablets for better education SST has started using tablets in schools to help children improve their learning levels. This has attracted many children coming to the schools. S. Latha, a girl student studying in class 4 of Panchayat union primary school, Thirukkurungudi village, Tirunelveli district was irregular in attending school. Therefore she was not able to keep up with the rest of the students in class. After introduction of tablets, she enjoys coming to the school and uses tablet every day. She finds the school interesting. She is no longer a slow learner. She is one among the best students in the class. SRINIVASAN SERVICES TRUST (CSR Arm of TVS Motor Company) TVS MOTOR COMPANY Post Box No. 4, Harita, Hosur, Tamil Nadu Pin: 635109 Ph: 04344-276780 Fax: 04344-276878 URL: www.tvsmotor.co.in CONTeNTS READ U S. WE READ YO U. a rare mango that is all ours e find it interesting to report on the fruits and vegetables of India. Such is the range of our country’s biodiversity that there Ware always surprises. A mango here, a jackfruit there, apples growing in Karnataka, herbal gardens for the home, villages with giant tubers — these are all refreshing and exciting stories to tell. -
Nagesh Kukunoor Director As a Chemical
Nagesh Kukunoor Director As a chemical engineer, Nagesh Kukunoor gave up a lucrative career as an environmental consultant in Atlanta. With his personal savings, he wrote, produced, acted in and directed his debut film, Hyderabad Blues, which became the largest grossing low-budget Indian film in English. Beating the odds of not being a `commercial’ Bollywood potboiler, it ran to full houses for 31 weeks in Mumbai, 28 weeks in Hyderabad and 28 weeks in Bangalore. The film won audience awards at the Peachtree International Film Festival in Atlanta and the Rhode Island Film Festival. Rockford, his second film (as writer and director), follows the same style of filmmaking - telling stories that are real as well as entertaining. In spite of a life-threatening accident just two weeks prior to principal photography, Rockford was completed ahead of schedule and under-budget. It was commercially successful, doing over 16 weeks of business in India. Rockford, too, toured several film festivals, beginning with the Austin Film Festival in 1999. Bollywood Calling, written and directed by Nagesh, stars Om Puri (of City of Joy and East is East fame) in the lead. With the film release across North America, United Kingdom and the rest of the English-speaking world, he has finally made a truly ‘crossover’ film. Nagesh has created a pipeline to take low budget films from India to the rest of the world. He hopes that someday, Indian films will also be commercially viable in the world and not just recognized for their artistic ability. Nagesh also directs ad films between his feature films for high profile clients like General Motors. -
Mantras of the Metropole: Geo-Televisuality and Contemporary Indian Cinema
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema by Anustup Basu B.A. in English, Jadavpur University, 1994 M.A. in English, Jadavpur University, 1996 Submitted to the Graduate Faculty of Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Anustup Basu It was defended on 04.13.2005 and approved by Paul A. Bove Colin MacCabe Eric O. Clarke M. Madhava Prasad Marcia Landy Dissertation Director ii Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema Anustup Basu, PhD University of Pittsburgh, 2005 This doctoral work scrutinizes recent popular Indian cinemas (largely Hindi cinema) in the light of three epochal changes in the sub-continental situation since the early nineties: the opening out of the economy, the political rise of the Hindu right, and the inauguration of a new transnational electronic media universe. It is argued here that contemporary Indian films should not be read in terms of a continuing, agonistic conflict between polarities like ‘modern’ selves and ‘traditional’ moorings. Instead, the thesis demonstrates how, in popular Indian films of our times, an agrarian paternalistic ideology of Brahminism, or its founding myths can actually enter into assemblages of cinematic spectacle and affect with metropolitan lifestyles, managerial codas of the ‘free market’, individualism, consumer desire, and neo-liberal imperatives of polity and government.