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Bollywood's Periphery: Child Stars and Representations of Childhood in Hindi Films
Shakuntala Banaji Bollywood's periphery: child stars and representations of childhood in Hindi films Book section Original citation: Originally published in Bollywood's periphery: child stars and representations of childhood in Hindi films. In: O'Connor, Jane and Mercer, John, (eds.) Childhood and Celebrity. Routledge, London, UK. ISBN 9781138855274 © 2016 The Author This version available at: http://eprints.lse.ac.uk/65482/ Available in LSE Research Online: February 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Title: Bollywood's periphery: child stars and representations of childhood in Hindi films Author: Shakuntala Banaji, Introduction The three research questions which I explore in this chapter ask: How do international accounts of children’s role on screen and child performance -
Indo-Russia-A-Connect-Over-Millennia.Pdf
Autobiography of India Indo Russia Connect Autobiography of India INDIA CONNECTS INDO - RUSSIA A Connect Over Millennia D.K.HARI D.K.HEMA HARI BHARATH GYAN SERIES Bridging Worlds Thru Knowledge Experience The Knowledge Of India Indo – Russia A Connect Over Millennia 2 / 165 Autobiography of India Indo Russia Connect Dedication This book is a part of our series, Autobiography of India, dedicated to our twin nephews, Aditya and Varun, who along with millions of other children world over, represent for us, the future of India and the world. It is our way of transmitting to them what we have learnt from our ancestors, about our ancestors and their way of sustaining themselves and the ecosystem around them for their sustained prosperity. Also, with their names, Aditya, the name for the divine Sun and Varun, the name of the divinity for Rain, they are for us, constant reminders of how blessed this land Bharatavarsha is, to receive bountiful rain and shine consistently. Rain and Shine are what our ancestors had leveraged ingeniously which made them last across generations, as a long-lasting, prosperous civilization and a role model for millennia. Aditya and Varun seem to be telling us all, Of what use is it to complain and whine? If you do not leverage your rain and shine! It is time we also start harnessing the Rain and Shine wisely and with responsibility, for the future of this civilization as well as mankind. We get a Rainbow, Indradhanush, only when there is Rain and Shine together! It is called Indra’s Dhanush, bow, as the spectrum of colours they produce, arc the sky like a bow. -
Magazine1-4 Final.Qxd (Page 3)
SUNDAY, JULY 19, 2020 (PAGE 4) What we obtain too cheap, BOLLYWOOD-BUZZ we esteem too lightly Unforgettable Bimal Roy V K Singh Inderjeet S. Bhatia "Prince" Devdass (Dilip Kumar) and Paro's (Suchitra Sen). Child music and song " Yeh mera Diwanapan Hai" by mukesh are hood friendship blossoms into love. But Paro is forced to still popular. 'The harder the conflict, the more glorious The 111th birth anniversary of Bimal Roy, the father fig- marry a rich zamindar because Dev Dass's Father (Murad) "Kabuliwala" produced by Bimal Roy and released on the truimph'. These words of Thomas Paine ure of Indian Cinema was held on 12th was against this relationship. This turned Devdass into a 14th Dec,1961 was not a commercial hit but is still remem- written before the American Revolution July. Bimal Roy, lovingly called as depressed alcoholic. Chandramukhi (Vijayanthimala) too bered for power-packed performace of Balraj Sahni in the Bimal Da 1909 to a Bengali Baidya , sought to inspire Americans in their struggle could not provide solace to his bleeding heart. Released on title role of a Pathan called Rahmat whose wife is no more. Dhaka, which was part of Eastern Jan 1 , 1955 film created box office history by collecting He has a little daughter Ameena (Baby Farida) to whom he for freedom against Great Britain. They have Bengal before partition of 1947 (now more 1 crore in those times. Film bagged best actress in a cares like a mother. He also keep saving her from the wrath an evergreen freshness and resonate with the Dhaka division Bangladesh). -
Volume 1 on Stage/ Off Stage
lives of the women Volume 1 On Stage/ Off Stage Edited by Jerry Pinto Sophia Institute of Social Communications Media Supported by the Laura and Luigi Dallapiccola Foundation Published by the Sophia Institute of Social Communications Media, Sophia Shree B K Somani Memorial Polytechnic, Bhulabhai Desai Road, Mumbai 400 026 All rights reserved Designed by Rohan Gupta be.net/rohangupta Printed by Aniruddh Arts, Mumbai Contents Preface i Acknowledgments iii Shanta Gokhale 1 Nadira Babbar 39 Jhelum Paranjape 67 Dolly Thakore 91 Preface We’ve heard it said that a woman’s work is never done. What they do not say is that women’s lives are also largely unrecorded. Women, and the work they do, slip through memory’s net leaving large gaps in our collective consciousness about challenges faced and mastered, discoveries made and celebrated, collaborations forged and valued. Combating this pervasive amnesia is not an easy task. This book is a beginning in another direction, an attempt to try and construct the professional lives of four of Mumbai’s women (where the discussion has ventured into the personal lives of these women, it has only been in relation to the professional or to their public images). And who better to attempt this construction than young people on the verge of building their own professional lives? In learning about the lives of inspiring professionals, we hoped our students would learn about navigating a world they were about to enter and also perhaps have an opportunity to reflect a little and learn about themselves. So four groups of students of the post-graduate diploma in Social Communications Media, SCMSophia’s class of 2014 set out to choose the women whose lives they wanted to follow and then went out to create stereoscopic views of them. -
Agha Hashar Kashmiri - Poems
Classic Poetry Series Agha Hashar Kashmiri - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Agha Hashar Kashmiri(03 April 1879 -28 April 1945) Agha Hashar Kashmiri or Agha Hashr Kashmiri (Urdu: ??? ??? ???????) was an eminent Urdu poet, playwright and dramatist. He was also called the Shakespeare of Urdu. <b> Biography </b> Agha Hashar Kashmiri was born on 3 April 1879, in Banaras, British India. He got his initial Education there .He could not get a higher education due to lack of interest in text books. Since child hood he was interested in poetry,music but after watching few stage drammas his mind was changed toward his field. He came to Bombay at the age of 18 and started his career as a play had a full command on more than one language but familiar wid Urdu, Arabic, persian, English, Gujrati and Hindi. His first play, Aftab-e-Muhabat, was published in 1897. He started his professional career as a drama writer in the New Alfred theatrical company in Bombay, on a salary of Rs. 15 per month. Murid-e-Shak, his first play for the company, was an adaptation of Shakespeare's play The Winter's Tale. It proved a success and his wages were raised to Rs. 40 per month thereafter. In his works, Agha had experience introducing shorter songs and dialogues with idioms and poetic virtues in plays. Later, he created the Shakespeare theatrical company but could not stay in business for long. He also joined Maidan theatre – a tented theatre to accommodate large audiences – where he earned a credible name in Urdu drama and poetry. -
Ajeeb Aadmi—An Introduction Ismat Chughtai, Sa'adat Hasan Manto
Ajeeb Aadmi—An Introduction I , Sa‘adat Hasan Manto, Krishan Chandar, Rajinder Singh Bedi, Kaifi Azmi, Jan Nisar Akhtar, Majrooh Sultanpuri, Ali Sardar Jafri, Majaz, Meeraji, and Khawaja Ahmed Abbas. These are some of the names that come to mind when we think of the Progressive Writers’ Movement and modern Urdu literature. But how many people know that every one of these writers was also involved with the Bombay film indus- try and was closely associated with film directors, actors, singers and pro- ducers? Ismat Chughtai’s husband Shahid Latif was a director and he and Ismat Chughtai worked together in his lifetime. After Shahid’s death Ismat Chughtai continued the work alone. In all, she wrote scripts for twelve films, the most notable among them ◊iddµ, Buzdil, Sån® kµ ≤µ∞y≥, and Garm Hav≥. She also acted in Shyam Benegal’s Jun∑n. Khawaja Ahmed Abbas made a name for himself as director and producer for his own films and also by writing scripts for some of Raj Kapoor’s best- known films. Manto, Krishan Chandar and Bedi also wrote scripts for the Bombay films, while all of the above-mentioned poets provided lyrics for some of the most alluring and enduring film songs ever to come out of India. In remembering Kaifi Azmi, Ranjit Hoskote says that the felicities of Urdu poetry and prose entered the consciousness of a vast, national audience through the medium of the popular Hindi cinema; for which masters of Urdu prose, such as Sadat [sic] Hasan Manto, wrote scripts, while many of the Progressives, Azmi included, provided lyrics. -
Ashoke Kumar
Ashoke Kumar The boss's wife and leading actress of a leading Film Company runs off with her lead man. She is caught and taken back but not the lead man who is unceremoniously dismissed. So now the company needs a new hero. The boss decides his laboratory assistant would be the Film Company's next leading man. A bizzare film plot??? Hardly. This real life story starred the Bombay Talkies Film Company, it's boss Himansu Rai , lead actress Devika Rani and lead man Najam-ul-Hussain and last but not least its laboratory assistant Ashok Kumar. And thus began an extremely successful acting career that lasted six decades! Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man. Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936) . Devika Rani and he did a string of films together - Izzat (1937) , Savitri (1937) , Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939) , Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya , Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular! Ashok Kumar initiated a more natural style of acting compared to the prevaling style that followed theatrical trends. -
How Will We Get a Book in Every Child's Hand? Together
How will we get a book in every child’s hand? Together. Annual Report 2016-2017 1 Together, we can. It would be no exaggeration to describe the year gone by as an exceptional one – not only for the expansion of our work, but also for the ways in which this expansion has taken place. We are still relatively small, but collaboration and partnerships have enabled an impact far beyond our expectations. And certainly, farther than what we could have achieved on our own. Together, we’ve managed to create more books, both, in print, as well as digital-first titles. Together, we’ve put our minds to transforming scientific and mathematical concepts into nonfiction stories. Together, we’ve translated stories for different tribes, different regions, and different countries – starting at 21 languages, our family of translators now work in 84 languages. Together, we are creating even more joyful stories as a result of content generation campaigns like Retell, Remix, Rejoice! and Spotathon. In our quest to find new ways to spread the joy of reading among children who have little or no access to supplementary reading books, we have been delighted to discover that digital distribution via our content platform, StoryWeaver, has transformed the landscape. Many organisations have begun to distribute books in their networks, by downloading them from StoryWeaver and either using them digitally or even printing them themselves. Our committed community of donors make a huge impact on thousands of children through our crowdfunding platform, Donate-a-Book, while the equally enthusiastic tribe of Pratham Books Champions, our volunteer storytellers, take the magic of storytelling to more and more kids each year. -
MMRCL List of Selected Candidates & General Instructions for Winter
MUMBAI METRO RAIL CORPORATION LIMITED (A JV company of Govt. of India and Govt. of Maharashtra) NaMTTRI Building, Plot # R-13, ‘E’ Block, Bandra-Kurla Complex, Bandra (E), Mumbai - 400 051 Website: www.mmrcl.com MMRCL List of selected Candidates & General Instructions for Winter Internship -2017-18 A) List of candidates selected for Winter Internship 2017-18 are follows - SR. CANDIDATE NAME INSTITUTE NAME NO. FINANCE 1. SHRADDHA VERMA THE INSTITUTE OF CHARTERED ACCOUNTANTS OF INDIA 2. SAMUNDAR SINGH HADA ICAI 3. PATANJALY KUMAR INSTITUTE OF CHARTED ACCOUNTANT 4. BHANU CHAUHAN ICAI 5. YASH DHIRAJ DEDHIA INSTITUTE OF CHARTERED ACCOUNTANTS OF INDIA HUMAN RESOURCE 6. VIJU RAMESH VINS CHRISTIAN COLLEGE OF MANAGEMENT 7. RAGINI SINGH MUMBAI UNIVERSITY 8. SHREYA GANDHI ILSASS (S.P. UNIVERSITY) 9. POOJA D. BHARSAKLE SHRI RAMDEOBABA COLLEGE OF ENGINEERING & MANAGEMENT. NAGPUR 10. SOUMYA UPADHAY R GTU BHOPAL PLANNING (URBAN TRANSPORT) 11. SHUBHANGI SINGH RGPY, BHOPAL 12. MAHENDRA ANMOHAN GONDWANA UNIVERSITY, GADCHIROLI HAJARE 13. ANUJA BHAHIRAT PUNE 1 14. GAUTAMI SATHE PAD. DR D.Y. PATIL SCHOOL OF ARCHITECTURE, LOHEGAON PLANNING (PR) 15. UNIVERSITY OF MUMBAI PRASAD MALI 16. RAVINDRA VALAKOLI UNIVERSITY OF MUMBAI 17. SANDESH R KANHU YCMOU PLANNING (LANDS & R&R) 18. NIKHIL NATHA THAKUR MAHATMA PHULE A.S.C COLLEGE PLANNING (ENVIRONMENT) 19. G. GANESH KUMAR OSMANIA UNIVERSITY 20. GAIKWAD PRASHANT V J T I, MUMBAI UNIVERSITY LAXMANRAO SYSTEMS (ELECTRICAL) 21. FR. CONCEICAO RODRIGUES COLLEGE MAHADEV GANPAT DALVI OF ENGINEERING 22. AARUPADAI VEEDU ANUP KUMAR GUPTA INSTITUTE OF TECHNOLOGY CHENNAI 23. AAKASH R. GANDHI GUJARAT SECONDARY AND HIGHER SECONDARY BOARD 24. RAHUL ASAWA SANT GADGEBABA AMRAVATI UNIVERSITY 25. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Oberoi (Middle East) Events
OBEROI (MIDDLE EAST) EVENTS AN INSIGHT INTO THE EVENTS THAT MADE HISTORY P.O.Box 21187, Sharjah, United Arab Emirates Tel: + 971 6 5245292 Fax: + 971 6 5688301 E-mail: [email protected] / [email protected] INTRODUCTION OME – Oberoi (ME) Events , rated one of the leading and most reputed Event Management firms in the region – having presented over 52 professionally conceptualized Musical concerts, Theatre events, International Music Awards, Corporate Gala events etc., since 2 decades. We are proud to say that OME has been the pioneer in the UAE/ Gulf in the staging of their event brand “ONE WORLD ONE MUSIC” ( 1W1M ) series musical concerts – presenting the leading and elite singers and musicians from the sub-continent, together on one platform – with a humble and noble mission to spread the message of peace, brotherhood and friendship in the region. The trail blazer of the 1W1M series concerts, featuring the most popular artistes from India & Pakistan, SONU NIGAM AND JUNOON , at the prestigious Nad Al Sheba grounds in October 2000, broke many-a- records: • THE FIRST INDO-PAK CONCERT IN THE UAE/ GULF • THE 2 ND HIGHEST ATTENDANCE IN ANY ASIAN MUSICAL CONCERT IN THE UAE/ GULF (+ 15,000) • THE LONGEST DURATION MUSICAL EVENT IN THE UAE/ GULF (+ 5-1/2 HOURS) • THE 1 ST ASIAN EVENT TO BE ANNOUNCED IN THE BBC MIDDLE EAST WORLD NEWS With the immense success and fan following for the “ONE WORLD ONE MUSIC” concept concerts, witnessed by over 60,000 music lovers of S. Asia in the UAE, we were invited by DSF authorities to present three of the most prestigious 1W1M musical events for the prestigious “Dubai Shopping Festival 2003 and 2004” calendar of events – the same which were acclaimed as one of the most entertaining and successful events in the UAE. -
Keshav Naidu (Film Editor ) AF&VE Membership No. FGI/124 B-504
Keshav Naidu (Film Editor ) AF&VE Membership No. FGI/124 B-504, Blue Diamond, Ranade Road, Dahisar (West), Mumbai – 400068 Cell – 9892575311/9967168996 Mail : [email protected] Born in 1944, joined eminent film editor Mr T.Krishna , who used to be the editor of legendary South Indian movie director Mr A. Subbarao in 1971. Have the distinct expertise in all formats of film editing ie moviola, stenback (Linear film format) as well as Avid, FCP (Non-linear Digital Editing) Had the blessed opportunity to work as editor for legendary film directors of India. Worked as Independent editor for classic movies of Padmashri Mr Govind Nihalani (Aakrosh,Vijeta) ,Mr Chetan Anand (Kudrat) ,Mr Mukul S. Anand (Aitbar-1985)and commercial superhit movies of Padma Bhushan Mr Yash Chopra(Silsila,Mashal,Fasle,Vijay,Lamhe,Chandni and Darr), Mr Sunny Deol (Dillagi), Mr Guddu Dhanoa (Shaheed), Mr Deepak Sareen (Jab Pyar Kisise Hota Hai, Albela, Aaina), Mr Atul Agnihotri (Dil ne Jise Pyar Kaha),Mr Tinu Verma (Baaz), Mr Manmohan Singh (Jee Aiya Noo, Yaraan Naal Baharan, Assanu Mann Watanda and Mr Anil Sharma (Gadar). Debut Film as Independent Editor, Aakrosh bagged National Award for Best Feature Film in Hindi (1980), Filmfare Best Director Award (1981) and the Golden Peacock for Best film at the International Film Festival of India,New Delhi in 1981.It was also debut film of Govind Nihalani as director. KUDRAT was a box office hit .Rajesh Khanna received the 1982 All India Critics Association Best Actor Award . It also won the Filmfare Award for Best Story for Chetan Anand Best Female Playback Award--Parveen Sultana and Best Cinematographer Award for Jal Mistry Received prestigious Filmfare Awards as Best Editor for Vijeta (1982).Vijeta also received Filmfare Best Cinematographer Award for Govind Nihalani and Filmfare Best Sound Award for Hitendra Ghosh Lamhe is regarded as a modern Masterpiece .