How Will We Get a Book in Every Child's Hand? Together
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia. -
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. -
States of Affect: Trauma in Partition/Post-Partition South Asia
STATES OF AFFECT: TRAUMA IN PARTITION/POST-PARTITION SOUTH ASIA By Rituparna Mitra A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English – Doctor of Philosophy 2015 ABSTRACT STATES OF AFFECT: TRAUMA IN PARTITION/POST-PARTITION SOUTH ASIA By Rituparna Mitra The Partition of the Indian subcontinent – into India and Pakistan in 1947 – was one of the crucial moments marking the break between the colonial and postcolonial era. My project is invested in exploring the Partition not merely in terms of the events of August 1947, but as an ongoing process that continues to splinter political, cultural, emotional and sexual life-worlds in South Asia. My dissertation seeks to map analytical pathways to locate the Partition and the attendant formations of minoritization and sectarian violence as continuing, unfolding processes that constitute postcolonial nation-building. It examines the far-reaching presence of these formations in current configurations of politics, culture and subjectivity by mobilizing the interdisciplinary scope of affect-mediated Trauma and Memory Studies and Postcolonial Studies, in conjunction with literary analysis. My project draws on a wide range of cultural artifacts such as poetry, cantillatory performance, mourning rituals, testimonials, archaeological ruins, short stories and novels to develop a heuristic and affective re-organization of post-Partition South Asia. It seeks to illuminate through frameworks of memory, melancholia, trauma, affect and postcoloniality how the ongoing effects of the past shape the present, which in turn, offers us ways to reimagine the future. This dissertation reaches out to recent work developing a vernacular framework to analyze violence, trauma and loss in South Asia. -
DADASAHEB PHALKE AWARD for AMITABH BACHCHAN Relevant For: Pre-Specific GK | Topic: Important Prizes and Related Facts
Source : www.thehindu.com Date : 2019-09-25 DADASAHEB PHALKE AWARD FOR AMITABH BACHCHAN Relevant for: Pre-Specific GK | Topic: Important Prizes and Related Facts Amitabh Bachchan The country’s highest film honour, the Dadasaheb Phalke award, conferred for “outstanding contribution for the growth and development of Indian cinema” will be presented this year to Amitabh Bachchan. The first intimation of it came via a tweet by Information and Broadcasting Minister Prakash Javadekar in which he stated that “The legend Amitabh Bachchan who entertained and inspired for two generations has been selected unanimously for #DadaSahabPhalke award. The entire country and international community is happy. My heartiest congratulations to him. @narendramodi @SrBachchan.” Timely arrival The award, very appropriately comes in the year that marks Mr. Bachchan’s golden jubilee in cinema. He made his debut in 1969 with Khwaja Ahmad Abbas’ Saat Hindustani about seven Indians attempting to liberate Goa from Portuguese colonial rule. The same year he also did the voiceover for Mrinal Sen’s Bhuvan Shome , one of the earliest films of Indian parallel cinema. Interestingly, the Dadasaheb Phalke award itself was first presented in the year of Mr. Bachchan’s debut. It was introduced by the government in 1969 to commemorate the “father of Indian cinema” who directed Raja Harishchandra (1913), India’s first feature film, and it was awarded for the first time to Devika Rani, “the first lady of Indian cinema.” One of the most influential figures in Indian cinema for the past five decades, Mr. Bachchan, with four national awards and 15 Filmfare trophies behind him, has had a many-splendoured stint in the world of entertainment. -
Anil Biswas – Filmography Source: Hamraz’S Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy)
Anil Biswas – Filmography Source: Hamraz’s Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy) Contents Anil Biswas – Filmography ....................................................................................................................................... 1 1) Dharam Ki Devi ..................................................................................................................... 3 2) Fida-e-Vatan (alias Tasveer-e-vafa) ...................................................................................... 3 3) Piya Ki Jogan (alias Purchased Bride) ................................................................................... 3 4) Pratima (alias Prem Murti) ..................................................................................................... 4 5) Prem Bandhan (alias Victims of Love) .................................................................................. 4 6) Sangdil Samaj ......................................................................................................................... 4 7) Sher Ka Panja ......................................................................................................................... 5 8) Shokh Dilruba ......................................................................................................................... 5 9) Bulldog ................................................................................................................................... 5 10) Dukhiari (alias A Tale of Selfless Love) -
Save Each Drop… Water Is Running Out
PUBLICATION www.developingindiamirror.com Vol. 5, Issue 34, September 2019 | 100 Save Each Drop… Water is running out From the UNI CHAIRMAN'S DESK India has witnessed a golden dawn & it is hoped that a bright day follows Dear readers, n the modern-day world, many countries are blessed allow the administration to function smoothly and we to have democratically-elected governments and pray that public servants shall realise the true meaning Ithe citizens of these nations take considerable of the term that describes them. pride in calling themselves “intellectually mature A heartening fact is that numerous sterling instances and civilised” as compared to other places where the are coming to light with regard to sensitiveness on part right of the populace to choose their rulers is not yet of the bureaucracy and it gladdens the soul when young a glorious reality. officers treat work as worship. Rights are always in tandem with responsibilities, in The judiciary has been playing the role of an fact the former standing by itself would be an invitation understanding family elder and must continue to to upsetting the balance permanently. A trepidation that step in where it feels the other two branches are not often haunts an electorate is a “hung” legislature where fulfilling their duties in letter and spirit. no single political party boasts a clear majority. Past Last, but certainly not the least, the common man. experience has revealed that such a situation invariably If he sits on the sidelines adopting a wait-and-watch translates into a wary dispensation that focuses more policy, India shall go nowhere. -
Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof. -
21 Aug Page 06.Qxd
SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 28,MARCH, 2019 (06) Tragedy Queen of Indian Cinema Contd.From Page no.05 Reluctantly, Meena Kumari agreed, but after appearing in a film. When Meena Kumari came to know about Pran playing the shooting for five days, she instigated a disagreement with Mehboob Khan and titular role, she was not very much convinced by the choice of director. It was so, because during those days, Pran was more popular for portraying a suave villain which made Meena Kumari doubtful. But when she saw Pran on the first day of shooting, she was left awestruck and highly praised him for his acting skills and his huge transformation as the capricious tyrant Halaku. 1957: Sharada – directed by L.V. Prasad, was Meena Kumari's first venture with Raj Kapoor. A difficult role to essay, it was refused by all leading actresses of the day until Meena Kumari finally agreed. She won best actress at Bengal Film Journalists' Association Award for her work. The film gained great critical suc - cess. The film was the ninth highest grossing film at the Indian Box Office in 1957 and was noted as one of her best performances. Miss Mary a comedy film directed by L.V. Prasad, starred Meena Kumari and Gemini Ganesan. The film was one of the biggest hits of that year. 1958: For Sahara directed by Lekhraj Bhakri, Meena Kumari received a Filmfare Best Actress nomination.Yahudi directed by Bimal Roy starred Meena Kumari, Dilip Kumar, Sohrab Modi, Nazir Hussain and Nigar Sultana. It was based on the play Yahudi Ki Ladki by Agha Hashar Kashmiri, a classic in Parsi Urdu theatre, about persecution of Jews in the Roman Empire. -
A Specter Haunts Bombay: Censored Itineraries of a Lost Communistic Film
A Specter Haunts Bombay: Censored Itineraries of a Lost Communistic Film Debashree Mukherjee Film History: An International Journal, Volume 31, Number 4, Winter 2019, pp. 29-59 (Article) Published by Indiana University Press For additional information about this article https://muse.jhu.edu/article/748821 Access provided at 2 Mar 2020 19:52 GMT from Columbia University Libraries DEBASHREE MUKHERJEE A Specter Haunts Bombay: Censored Itineraries of a Lost Communistic Film ABSTRACT: This article situates a lost film titledMill or Mazdoor (1934/1939) and its history of proscription at the intersection of three arguments: (1) that the loss of the film artifact should not preclude attempts for historiographic engagement and interpretation; (2) that site-specific histories of film censorship tell a significant story about the mean- ings and emotions generated by a film; and (3) that the repeated return of the censored, proscribed, or lost film complicates approaches to origins, authorship, and provenance. Through archival research, analysis of publicity materials, and engagement with scholar- ship on film censorship, urban and industrial history, and geography, I embed the story of Mill within a dense history of local industrial unrest, transnational fears of filmic commu- nism, and wranglings with a colonial censor regime. The singular travails of a proscribed film thus embody the stories of a specific place whose specificity is wrought out of its links with other places in the world. KEYWORDS: censorship, communism, India, lost films, archives, colonialism, labor, Bombay, film historiography On June 3, 1939, a film with the dual-language title, The Mill or Mazdoor pre- miered in Bombay city. -
Recycle Industry: the Visual Economy of Remakes in Contemporary Bombay Film Culture by Ramna Walia “Audiences Now Want New Stories
Recycle Industry: The Visual Economy of Remakes in Contemporary Bombay Film Culture by Ramna Walia “Audiences now want new stories. The problem is Bollywood has no tradition of producing original screenplays" —Chander Lall, lawyer “The brain is a recycling bin, not a creative bin. What goes in comes out in different ways” —Mahesh Bhatt, filmmaker and producer hus spoke filmmaker and producer Mahesh Bhatt when Mr. Chander Lall, the legal representative of two of Hollywood's major studios issued “warning Tletters” to film producers in Bombay who were poised to “indianize” a series of Hollywood films.1 While Lall referred to Bollywood’s widespread practice of making uncredited remakes of Hollywood films as “tradition,” Bhatt defiantly saw these remakes as a symptom of a larger mechanism of recycling material. In fact, the influence of other cinemas on Bombay films was reflected narratively and in other aspects of filmmaking such as fashion, poster art etc. Thus, at the center of this debate was the issue of Bombay cinema's identity as a bastardized clone of Hollywood and the counter argument that noted the distinctiveness of Bombay film culture by highlighting the “difference” in the manner of production. In view of these unacknowledged networks of exchange, the term “remake” was often used within popular discourse as an underhanded accusation of plagiarism against Bombay films. Moreover, because most of Bombay cinema’s remakes of Hollywood films were un-credited, they never secured the legitimacy attained in Hollywood and world cinemas wherein this process was seen as a reinterpretation of an earlier work or an updated modus operandi. -
Modernity and Material Culture in Bengali Cinema, 1947-1975
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-20-2011 12:00 AM Alternative Be/longing: Modernity and Material Culture in Bengali Cinema, 1947-1975 Suvadip Sinha University of Western Ontario Supervisor Nandi Bhatia The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Suvadip Sinha 2011 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons, Other English Language and Literature Commons, Other Film and Media Studies Commons, Race, Ethnicity and Post-Colonial Studies Commons, South and Southeast Asian Languages and Societies Commons, and the Visual Studies Commons Recommended Citation Sinha, Suvadip, "Alternative Be/longing: Modernity and Material Culture in Bengali Cinema, 1947-1975" (2011). Electronic Thesis and Dissertation Repository. 137. https://ir.lib.uwo.ca/etd/137 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Alternative Be/longing: Modernity and Material Culture in Bengali Cinema, 1947-1975 (Spine Title: Alternative Be/longing) (Thesis format: Monograph) by Suvadip Sinha Graduate Program in English A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Suvadip Sinha 2011 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners _____________________ _ ________________________ Dr.