Public Service Broadcasting Trust Film Festival
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Trade Marks Journal No: 1858 , 16/07/2018 Class 35 1818448 15
Trade Marks Journal No: 1858 , 16/07/2018 Class 35 1818448 15/05/2009 BALBIR KUMAR YUVRAJ ARORA ABHISHEK ARORA trading as ;OCTAVE APPARELS G. T. ROAD (WEST), NEAR JALANDHAR BYE-PASS CHOWK, LUDHIANA-141008 (PUNJAB). MANUFACTURERS AND MERCHANT Address for service in India/Agents address: PURI TRADE MARK CO. "BRAND HOUSE",54-55, SUPER CYCLE MARKET, OPP. KWALITY KANDA, GILL ROAD, LUDHIANA-141003 (PUNJAB). Used Since :29/03/1990 DELHI 55, TRADING, WHOLESALE, RETAIL, IMPORT, EXPORT, MARKETING, DISTRIBUTION, RETAIL OUTLETS AND BUSINESS MANAGEMENT SERVICES RELATING TO ALL KINDS OF PERFUMERY & DEODORANTS (EXCEPT COSMETIC PRODUCTS). SUNGLASSES, OPTICAL APPARATUS & INSTRUMENTS, LEATHER BAGS AND LUGGAGE, LEATHER ACCESSORIES, LEATHER WALLET, LEATHER BELTS, LEATHER AND IMITATIONS OF LEATHER AND GOODS MADE OF THESE MATERIALS NOT INCLUDED IN OTHER CLASSES, TRAVELING BAGS (EXCEPT LEATHER JACKETS, LEATHER CAPS, LADIES LEATHER BAGS, UMBRELLAS AND WALKING STICKS). YARNS & THREADS, TEXTILE AND TEXTILE PIECE GOODS NOT INCLUDED IN OTHER CLASSES, BED AND TABLE COVERS, TOWELS, BLANKETS (EXCEPT SHAWLS, LOHIS, STOLES AND MUFFLERS), ALL KINDS OF CIRCULAR KNITTED HALF SLEEVES T-SHIRTS, CAPRIS, WOVEN LOWERS, TROUSERS, JEANS, SHORTS, SWEAT SHIRTS, JOGGING SUITS, KNITTED FABRIC LOWERS, PACK OF THREE T-SHIRTS (ROUND NECK HALF SLEEVES T-SHIRTS MADE FROM CIRCULAR MACHINE KNITTED SINGLE JERSEY PLAIN FABRIC), BOYS AND BOY"S KIDSWEARS, GENTS UNDERGARMENTS, SWIMWEAR, NECK TIES (EXCEPTFLAT KNITTED HALF SLEEVES T-SHIRTS, SWEATERS OF ALL KINDS, JACKETS, HALF SLEEVES WOVEN SHIRTS, FULL SLEEVES WOVEN SHIRTS, FULL SLEEVES T-SHIRTS, GIRLSWEARS, GIRL"S KIDSWEAR, MEN"S BRIEFS, CAPS, LADIES UNDERGARMENTS, SOCKS, FOOTWEARS AND PACK OF ONE ROUND NECK HALF SLEEVES T-SHIRTS MADE FROM CIRCULAR MACHINE KNITTED SINGLE JERSEY PLAIN FABRIC), MEN"S SPORTING ARTICLES, MEN"S SPORTS WEARS (EXCEPTGIRL"S SPORTING ARTICLES ANDGIRVS SPORTS WEARS) FOR SALE IN JNDIA &FOR EXPORT. -
Draft PROGRAMME October 16
“Media and Entertainment Business Conclave” Draft PROGRAMME October 16 -17, 2012 As on October 8th, 2012 Time Theme Day – I : 16 October 2012 9am – 10am Registration 10 -11 am Inaugural Lighting of Lamp Welcome Address : Dr. Kamal Haasan, Chairman, Media & Entertainment Business Conclave, FICCI Release of FICCI –Deloitte Knowledge Report Keynote Address : Barrie Osborne, Oscar-winning Director-Producer, Hollywood Inaugural Address: Shri Uday K Varma, Secretary, Ministry of Information & Broadcasting, Government of India Vote of Thanks: P. Murari, Advisor to President, FICCI 1 Session chaired by Kamal Haasan, Chairman, FICCI MEBC 11:15 – MEBC Broadcast Industry Knowledge Series: Opportunities in the digitized era. 12:30 pm Policy-makers and industry stakeholders share their vision and knowledge on the scope and opportunities for the sector during the progress of digitization. N Parameshwaran, Principal Advisor, TRAI* K Madhavan, MD, Asianet Rahul Johri , Senior Vice President & General Manager- South Asia, Discovery Networks Asia-Pacific Narayan Rao, Executive Vice Chairman, NDTV Group Supriya Sahu, Joint Secretary, Ministry of Information & Broadcasting * Ashok Mansukhani, President, MSO Alliance Moderated by : Bhupendra Chaubey, National Bureau Chief, CNN IBN* 11:15 – Redefining Digital Production 12:30 pm The concept of what's 'eye candy' in feature films has evolved over time - films are about people, feelings, ideas, circumstances and relationships and the 'emotional quotient' is provided essentially by an able director through screenplay, actors, music, cinematography. However, one element has changed every aspect of this mix and that is "visual effects" which is now a source of inspiration from the "pre- production" stage itself. This session will look at making cutting-edge visual effects come alive with an energizing dialogue with experts from Hollywood and India. -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Dil Se / from the Heart (1998, Mani Ratnam, India)
A Level Film Studies - Focus Film Factsheet Dil Se / From the Heart (1998, Mani Ratnam, India) Component 2: Global Filmmaking • Sumptuous colour cinematography by Perspectives (AL) Santosh Sivan covers the different regions of the Indian sub-continent evoking the Core Study Areas contrasting geographic and ethnic features. Key Elements of Film Form • After the interval the story moves to New Meaning & Response Delhi with consequent tighter framing. The Contexts of Film • In Dil Se the songs (apart from E Ajnabi) are fantasies bookended by realities. The Rationale for study cinematography signals the change between these two modes. During the dance sequences Dil Se demonstrates the key characteristics frequent use of camera zoom, moving of a mainstream Bollywood film: a two-part camera, change of camera angles echo the structure, big stars, spectacular song and dance rhythmic pattern of the song. At the ending sequences, themes of Indian identity and the of the film the cinematography is much more struggle between love and duty. However, it tied to the conventions of realism. goes against the usual Bollywood narrative in its mixing of a romantic obsessive love story with a Mise-en-Scène serious and thought provoking political thriller. • Lavish mise-en-scène in terms of the costumes as well as the scenery. During the song and dance sequences both change constantly STARTING POINTS - Useful which is one of the features of the Bollywood Sequences and timings/links film. In Satrangi Re Meghna starts off in black, then white, orange, yellow, green, red, Satrangi Re – a song and dance sequence inspired blue, white, purple then white again. -
The Stage of the Mountains
Leopold- Franzens Universität Innsbruck The Stage of the Mountains A TRANSNATIONAL AND HISTORICAL SURVEY OF THE MOUNTAINS AS A STAGE IN 100 YEARS OF MOUNTAIN CINEMA Diplomarbeit Zur Erlangung des akademischen Grades eines Mag. phil. an der Philologisch- Kulturwissenschaftlichen Fakultät der Leopold-Franzens-Universität Innsbruck Eingereicht bei PD Mag. Dr. Christian Quendler von Maximilian Büttner Innsbruck, im Oktober 2019 Eidesstattliche Erklärung Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Magister- /Master-/Diplomarbeit/Dissertation eingereicht. ______________________ ____________________________ Datum Unterschrift Table of Contents Acknowledgments .................................................................................................................... 4 Introduction .............................................................................................................................. 1 Mountain Cinema Overview ................................................................................................... 4 The Legacy: Documentaries, Bergfilm and Alpinism ........................................................... 4 Bergfilm, National Socialism and Hollywood -
From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-Mail: [email protected]
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 16 (2019) 59–79 DOI: 10.2478/ausfm-2019-0004 From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-mail: [email protected] Abstract. The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema. Keywords: Guy Maddin, Canadian film, German Expressionism, Weimar cinema, cinephilia. Any effort to catalogue completely the references to, and reanimations of, German Expressionist cinema in the films of Guy Maddin would be a difficult, if not impossible, task. From his earliest work to his most recent, Maddin’s films are suffused with images and iconography drawn from the German films of the 1920s. -
A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise En Scene Analysis of Selected Movies
Annals of R.S.C.B., ISSN:1583-6258, Vol. 25, Issue 6, 2021, Pages. 9599 - 9606 Received 25 April 2021; Accepted 08 May 2021. A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise en scene Analysis of Selected Movies 1 2 Mena M, Varun Prabha T 1Post Graduate Student, MA JMC,Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India 2Assistant Professor, Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India Abstract Visually representing a story is an art. Mastering that art and capturing human minds into the soul of the characters of the film and mirroring the very own society was part of Mani Ratnam’s life for the past three decades. This research paper points towards some of the techniques employed and experiments conducted in visual storytellingin his various projects by using Miseen scene elements and cinematography in beautiful ways. In Roja what he Sasnthosh Sivan and Mani Ratnam experimented was painting the reflectors green, to look the grass greener than it actually is. In Thapalathy, Mani ratnam projected a yellowish light, like an aura into the protagonist which symbolizes his history and background. In Bombay, he throughout kept a blue tone in order to gives an element of mystery in the film. In Raavanan, he played with shades and light and that too in two different ways at the beginning and at the end of the films. In Alaipayuthe he presented the story more through the movements of camera and through micro expressions and symbolizations.Theglobalization and evolution of Indian Cinematography can be traced out through the works of Mani Ratnam. -
Kendal Mountain Festival Tour
1 KENDAL MOUNTAIN FESTIVAL 2020 PROGRAMME SHARE THE ADVENTURE 2 A BIG WELCOME TO KENDAL MOUNTAIN FESTIVAL 2020 At Kendal we live by our motto ‘Share the Adventure’. This year, with the global upset, life stalling and time-pausing we all find ourselves ‘caring for the adventure’. Sharing, caring, and compassion have become essential to everyone in 2020. Back in February, reviewing the 2019 Festival and our Openness initiatives, we began focussing on this year’s Festival theme of ‘Nurture’. To us, Nurture means supporting the age-old tradition of mentorship, and in respect to wilderness and the environment, we strive to encourage and champion the future generations of enthusiasts. Nurture also means caring for our attitudes to each other and to ourselves; for the Festival we will continue to play a role to nurture the whole outdoor community, its storytellers and the wider industry. And then…well, what can one say at this point? It’s not where we imagined we’d be! We have been thinking of you all out there; about everyone’s very different ‘boats’ and about how the Festival weathers this huge global storm that 2020 will be remembered for. And again we come back to Nurture… A resilient love and care of the outdoors is more visible than ever before as people have re-connected and in many cases, re- entered the natural world. Even if we can’t all go outside the channels for connection remain wide and more relevant than before. Exeter University released research this October that suggests watching nature programmes can lift mood and combat boredom and sadness. -
INDIAN MARITIME UNIVERSITY CET MAY 2015 - RESULTS Clarification
INDIAN MARITIME UNIVERSITY CET MAY 2015 - RESULTS Clarification IMU’s Online Counselling Software has been so devised that candidates belonging to OBC-NCL, SC and ST who have made it by merit into the Open Competition list will be shown against the ‘General Category’. If, for any reason, some of these candidates cannot be accommodated against the seats available in ‘General Category’, they will then be treated as OBC-NCL, SC and ST candidates against the quota prescribed for these categories in the order of CET rank. UG - Overall Ranking List S.No. CET Rank Application Number Name of the Candidate Sex Category 1 1 CETA1515605 ABHISHEK RAWAT Male General 2 2 CETA1518337 SIDDHI GANESH Male OBC(Non - Creamy Layer) 3 3 CETA1501806 SATYAM CHANDRA MISHRA Male General 4 4 CETA1508597 APOORV CHOUDHARY Male OBC(Non - Creamy Layer) 5 5 CETA1510901 AAKASH VATS Male General 6 6 CETA1505671 NIMA ROSE MANJILA Male General 7 7 CETA1503292 NARAYAN.S.A Male General 8 8 CETA1521601 PATEL YAGNIKKUMAR Male General 9 9 CETA1503478 HAROON KHAN Male General 10 10 CETA1515819 PRASUN SHARMA Male General 11 11 CETA1506146 UTKARSH RAI Male General 12 12 CETA1505242 NANDAN GOEL Male General 13 13 CETA1506966 PARITOSH Male General 14 14 CETA1515606 MAYANK CHHETRI Male General 15 15 CETA1505727 PARANDE SHASHANK MURLIDHAR Male General 16 16 CETA1501542 MEGHNA NARAYANAN Female General 17 17 CETA1509906 ALOK KUMAR Male OBC(Non - Creamy Layer) 18 18 CETA1508839 MANGE GAURAV HITENDRA Male General 19 19 CETA1523298 NEELESH KUMAR Male OBC(Non - Creamy Layer) 20 20 CETA1501810 HIMANSHU SINGH Male General 21 21 CETA1507472 SAHIL SINHA Male General 22 22 CETA1515363 ADARSH KASHYAP Male General 23 23 CETA1500344 ABHINEET MEHROTRA Male General 24 24 CETA1518429 VIVEK VIKASH Male General 25 25 CETA1511910 MANAN ADHIKARI Male General 26 26 CETA1522256 PRITESH RAMJI BARIYA Male General 27 27 CETA1515328 GAURAV GULSHAN Male OBC(Non - Creamy Layer) 28 28 CETA1501419 RAHUL PAUL Male General 29 29 CETA1515637 YASHWARDHAN SINGH CHANDRAWAT Male General S.No. -
Indian Film Week Tydzień Kina Indyjskiego
TYDZIEń KINA INDYJSKIEGO 100-lecie kina w indiach kino kultura, warszawa 5–10 listopada 2012 INDIAN FILM WEEK 100 years of indian cinema kino kultura, warsaw 5–10 november 2012 W tym roku obchodzimy 100-lecie Kina Indyjskiego. This year we celebrate 100 years of Indian Cinema. Wraz z powstaniem pierwszego niemego filmu With the making of the first silent film ‘Raja Harish- „Raja Harishchandra” w 1913 roku, Indyjskie Kino chandra’ in 1913 , Indian Cinema embarked on an ex- wyruszyło w pasjonującą i malowniczą podróż, ilu- citing and colourful journey, reflecting a civilization strując przemianę narodu z kolonii w wolne, demokra- in transition from a colony to a free democratic re- tyczne państwo o bogatym dziedzictwie kulturowym public with a composite cultural heritage and plural- oraz wielorakich wartościach i wzorcach. istic ethos. Indyjska Kinematografia prezentuje szeroki Indian Cinema showcases a rich bouquet of lov- wachlarz postaci sympatycznych włóczęgów, ponad- able vagabonds, evergreen romantics, angry young czasowych romantyków, młodych buntowników, men, dancing queens and passionate social activists. roztańczonych królowych i żarliwych działaczy spo- Broadly defined by some as ‘cinema of interruption’, łecznych. Typowe Kino Indyjskie, zwane bollywoodz- complete with its song and dance ritual, thrills and ac- kim, przez niektórych określane szerokim mianem tion, melodrama, popular Indian cinema, ‘Bollywood’, „cinema of interruption” – kina przeplatanego pio- has endeared itself to global audiences for its enter- senką, tańcem, emocjami i akcją, teatralnością, dzięki tainment value. Aside from all the glitz and glamour walorowi rozrywkowemu, zjednało sobie widzów na of Bollywood, independent art house cinema has been całym świecie. Oprócz pełnego blichtru i przepy- a niche and has made a seminal contribution in en- chu Bollywood, niszowe niezależne kino artystyczne hancing the understanding of Indian society. -
02Bodyetd.Pdf (193.2Kb)
Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years.