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Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit: Bollywood und Emotionen: Zur Rezeption des populären indischen Kinos im deutschsprachigen Raum anhand des Fallbeispiels „Devdas“ Verfasserin: Sabine Rauchbauer Angestrebter akademischer Grad: Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl It. Studienblatt: A307 Studienblatt It. Studienblatt: Kultur- und Sozialanthropologie Betreuerin: Univ.-Prof. Dr. Elke Mader Danksagung Ich möchte an dieser Stelle meinen Eltern danken, die mir durch ihre finanzielle Unterstützung mein Studium erst ermöglicht haben. Besonderer Dank gilt auch meiner Schwester Martina und meinem Freund Helmut, die mich bis zum Schluss motiviert haben, nicht aufzugeben, durchzuhalten und mich in schwierigen Situationen unterstützt haben. Außerdem danke ich herzlich meinen Freunden und meiner Studienkollegin Edith, die mich motivierten mein Studium abzuschließen. Bedanken möchte ich mich auch bei Dr. Anna-Katharina Plach, die mir durch Gespräche behilflich war, meinen Fokus nicht zu verlieren und meine Arbeit Korrektur las. Schließlich möchte ich mich bei meiner Betreuerin Frau Univ.- Prof. Dr. Elke Mader herzlich für ihre konstruktiven Anmerkungen, ihre mentale Unterstützung und Geduld bedanken. Inhaltsverzeichnis 1. Einleitung ...................................................................................................................... 1 2. Theoretische Perspektiven: Medien, Rezeption und Fans .........................................
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Playback Singers of Bollywood and Hollywood
ILLUSION AND REALITY: PLAYBACK SINGERS OF BOLLYWOOD AND HOLLYWOOD By MYRNA JUNE LAYTON Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA. SUPERVISOR: PROF. M. DUBY JANUARY 2013 Student number: 4202027-1 I declare that ILLUSION AND REALITY: PLAYBACK SINGERS OF BOLLYWOOD AND HOLLYWOOD is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. SIGNATURE DATE (MRS M LAYTON) Preface I would like to thank the two supervisors who worked with me at UNISA, Marie Jorritsma who got me started on my reading and writing, and Marc Duby, who saw me through to the end. Marni Nixon was most helpful to me, willing to talk with me and discuss her experiences recording songs for Hollywood studios. It was much more difficult to locate people who work in the Bollywood film industry, but two people were helpful and willing to talk to me; Craig Pruess and Deepa Nair have been very gracious about corresponding with me via email. Lastly, putting the whole document together, which seemed an overwhelming chore, was made much easier because of the expert formatting and editing of my daughter Nancy Heiss, sometimes assisted by her husband Andrew Heiss. Joe Bonyata, a good friend who also happens to be an editor and publisher, did a final read-through to look for small details I might have missed, and of course, he found plenty. For this I am grateful.
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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.
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Un Film De Sanjay Leela Bhansali Produit Par Kishore Lulla Et Sanjay Leela Bhansali
Ranveer Singh Deepika Padukone Priyanka Chopra • RAM-LEELA • PADMAVAAT • • PADMAVAAT • XXX REACTIVATED • • QUANTICO • BAYWATCH • Le plus beau film de Bollywood de ces dernières années, récompensé par 9 prix aux Filmfare Awards. Eros International et Bhansali Productions présentent Un film deSanjay Leela Bhansali Produit par Kishore Lulla et Sanjay Leela Bhansali L’HISTOIRE D’AMOUR D’UN GUERRIER DE LÉGENDE PAR LE RÉALISATEUR DE DEVDAS Eros International et Bhansali Productions présentent Ranveer Singh Deepika Padukone Priyanka Chopra L’HISTOIRE D’AMOUR D’UN GUERRIER DE LÉGENDE Un film de Sanjay Leela Bhansali Produit par Kishore Lulla et Sanjay Leela Bhansali DISTRIBUTION SALLES RELATION PRESSE FRANCE, BELGIQUE ET SUISSE DARK STAR PRESSE ESC FILMS AMBRE VANNEAU 37 RUE DE SAINT PETERSBOURG 239 RUE SAINT MARTIN INDE • 2015 • DURÉE : 2H38 • FORMAT : 2.35 75008 PARIS 75003 PARIS VERSION ORIGINALE HINDI SOUS-TITRÉE FRANCAIS TEL : 01.85.09.82.07 TEL : 01.42.24.15.35 [email protected] AU CINÉMA LE 25 JUILLET 2018 [email protected] Affiche alternative promotionnelle indienne. Synopsis Inde, au début du 18ème siècle. La cour du roi hindou marathe Chhatrapati Shahu a besoin d’un nouveau Peshwa, équivalent du 1er ministre. Le jeune Bajirao (Ranveer Singh), guerrier émérite doté d’une grande sagesse spirituelle, est choisi. Quelques années plus tard, durant un de ses voyages, Bajirao rencontre Mastani (Deepika Padukone), fille du roi rajpoute hindou Chhatrasal et de sa conjointe musulmane perse Ruhani Bai. Elle lui demande son aide pour combattre l’envahisseur musulman qui menace leur fort. Bajirao, impressionné par ses qualités de guerrière, accepte de l’aider et ils réussissent à vaincre les ennemis.
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Signature of Author:...- ...~
Strictly Bollywood? Story. Camera, arMovement in Hindi Film Dance by Sangita Shresthova B.A. German Literature (1997) Princeton University Submitted to the Department of Comparative Media Studies in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology May 2003 © Massachusetts Institute of Technology All rights reserved SignatureofAuthor:.....- ' ........... ..... ~.. ................ ......... / Department of Comparative Media Studies August 17, 2003 Certified by:......... ................. .......... ......-............. Cetiie Arundhati Banerjee Professor, Foreign Languages and Literatures Affiliated Faculty, Comparative Media Studies Thesis Supervisor Accepted by:.............................................................. ...................................... William Uricchio Professor & Acting Director, Comparative Media Studies MASSACHUSETTSINSTITUTE OFTECHNOLOGY OCT 0 7 2003 ARCHIVES LIBRARIES Strictly Bollywood? Story, Camera and Movement in Hindi Film Dance by Sangita Shresthova Submitted to the Department of Comparative Media Studies on August 17h, 2003 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT: Film dances, or filmed dance sequences accompanying film songs, are an important part of popular Indian cinema. Over the years, Hindi film dance has evolved from a cinematically simplistic, filmed documentation of performance traditions, to a recognized and increasingly
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Cinematic Liberties, Navarasa Influences and Digressions in Adaptation in Sanjay Leela Bhansali's Devdas P
Filming a metaphor: Cinematic liberties, Navarasa influences and digressions in adaptation in Sanjay Leela Bhansali’s Devdas Piyush Roy Vol. 1, No. 1, pp. 31–49 | ISSN 2050-487X | journals.ed.ac.uk/southasianist journals.ed.ac.uk/southasianist | ISSN 2050-487X | pg. 31 Vol. 1, No. 1, pp. 31–49 Filming a metaphor: Cinematic liberties, Navarasa influences and digressions in adaptation in Sanjay Leela Bhansali’s Devdas Piyush Roy University of Edinburgh, [email protected] ‘Devdas’ is a landmark 20th century tragic-romantic Indian novella by Saratchandra Chattopadhyay. In the nine decades since its publication, the story has acquired a cult status in Indian cinema and society courtesy its many stated and inspired film adaptations. When auteur filmmaker Sanjay Leela Bhansali made his opulent 21st- century on screen adaptation, its self-destructive hero had far outgrown the novella to become a national metaphor of “doomed love”. The present article identifies the achievement of the “Devdas metaphor” in Bhansali’s 2002 film, Devdas, especially in the context of new plot additions and mythical allusions and analyses the role of its eight allegorical songs shot to grandiose mise-en-scène in the perpetuation of that intention. These departures from the original novella, while arguing for reviewing celluloid adaptations as works of art in their own merit, build a case for reviewing Bhansali’s Devdas as a refreshing new cinematic tale whose song-driven narrative reaffirms Bollywood’s signature story-telling traditions. This is evidenced in a rasa (emotion) based analysis of the film’s ornately dramatised songs, which, while portraying elements of the Navarasas as recommended by India’s ancient Sanskrit drama (Nātyasāstra) canons are able to unite their overall experience and impact in the single dominant rasa of karuna (or pathos), which is also the dominant sentiment of the novella.
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Gone Too Soon
July, 2020 1986–2020 SUSHANT SINGH RAJPUT GONE Diva No 1 MADHURI TOO DIXIT–NENE SOON ZINGER A TRIBUTE TO THE ACTOR AYUSHMANN WHO’LL LIVE IN OUR KHURRANA HEARTS FOREVER SONAM KAPOOR AHUJA’S MARRIAGE MANTRAS 68-sushantfin-final-STAN.indd 1 26-06-2020 19:42:20 Volume 69 # July 2020 / ISSN NUMBER 0971-7277 July, 2020 1986–2020 SUSHANT SINGH RAJPUT GONE Diva No 1 MADHURI TOO DIXIT–NENE SOON ZINGER A TRIBUTE TO THE ACTOR AYUSHMANN WHO’LL LIVE IN OUR KHURRANA HEARTS FOREVER SONAM KAPOOR AHUJA’S MARRIAGE MANTRAS 68-sushantfin-final-STAN.indd 1 26-06-2020 19:42:20 PHOTOGRAPH: SURESH NATARAJAN 22 50 Editor’s Choice The ed remembers 04 Sushant Singh Rajput Mental health needs 70 attention 56 Goodbye, composer 44 42 Wajid Khan Sonam Kapoor tells it Masala fix Exclusives 44 like it is The magic of Madhuri SRK on the big Farewell, Sushant 50 Dixit-Nene 08 screen soon, Bhuj: 22 Singh Rajput Ayushmann Khurrana The Pride Of India to The best films of 56 on life during release on OTT, 26 Sushant Singh Rajput quarantine and more Salman Khan shoots His own words: Looking back with for Bigg Boss 14 30 Quotes from Sushant 60 affection at Shakeel 10 promo and more from Singh’s Rajput’s Badayuni the rumour mills… Filmfare interviews Remembering Basu Your say Fashion and 34 Chatterjee lifestyle Top films of Basu Readers send in their 36 Chatterjee 66 rants Interview with stylist Farewell, lyricist Shatrughan Sinha’s 18 Tanya Ghavri 40 Yogesh 68 wacky witticisms 16 Letter from the Editor A fulfilled life..
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“Tiger Is So Focused, It's Scary”
Vol. 5 No. 07 New York July 2020 Dad Intimidates Me Even Today Tiger Shroff Jackie Playing Shroff Strong Characters Bhumi Pednekar “Tiger is so focused, A Talent Bollywood it’s scary” Refused To Accept Sushant Singh CALL TODAY 516.680.8037 516.965.8667 Facebook: www.facebook.com/IndiaVisa123 Website: www.CLBVisaCenter.com 2 Social Buzz July 2020 It’s all about Anushka Sharma: loving your Papas! Learning life lessons The Pari actress shared an image of her father From birthdays to Father’s Day, Bollywood stars shower love on their dads giving her a peck on the cheek. She wrote about their conversation on always doing the right thing no matter how hard it is. “Papa- You will By Dhaval Roy always come out happier and at peace ollywood stars enjoy immense adulation by millions of fans. But with yourself. “Me- “But how will for them, the hero worship seems to be reserved for Daddy Cool! I know what’s the right thing Many actors expressed their love and reverence for their papas, to do in all situations in not just on the occasion of Father’s Day, which fell on June 21, life. “Papa-”For that, pray B for wisdom. Wisdom to but also on their birthdays in a few cases. Here are the sweet things they had to say and the adorable photos they had to post. know the diﬀerence between right and wrong and the strength to choose the right thing always.” I pray that you all ﬁnd the same Salman Khan: Dad’s wisdom that I pray for daily and I pray that all girls are blessed with a father happiness lies in kids’ like mine,” Anushka says in her feed.
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Devadas Video Songs Download
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Dances and Dance Dramas of South East Asia Mask Dances of South East Asia /Asia-Pacific Countries Research Methodologies for Performing Arts (Dance) Dance Therapy
PAPER 8 DANCES AND DANCE DRAMAS OF SOUTH EAST ASIA MASK DANCES OF SOUTH EAST ASIA /ASIA-PACIFIC COUNTRIES RESEARCH METHODOLOGIES FOR PERFORMING ARTS (DANCE) DANCE THERAPY MODULE 27 DANCE AS SEEN IN THE FILMS There is a close link between films and dance. Apart from the explanation of this drawing on the Natyashastric model, there was another reason. And that is, that in its early days, the film industry was looked at in a negative manner and so women did not join it. In fact history has it on record that although he tried, Dada Saheb Phalke/दादा साहेफ पारके , the director of Raja Harishchandra/याजा हरयशचॊद्र was unable to even get a “Nautch girl” interested in playing the role of Taramati/तायाभती in the film. That is why the earliest films have males enacting the roles of women characters. The first women to join films came from the professional singing women community, the tawaifs and the Devadsis, who were trained in dance and music. Among the conditions that disempowered their traditional way of life was the social morality issue that resulted in the demand for banning the ‘Nautch”. The British period was a dark period for the tawaifs as due to the fact that the British had no understand of the refined poetry or the music and dance that they performed saw them only as sex workers. Further with the abolition of zamindari system, the local support that they enjoys was also 1 denied to them. Some struggled to find domestic bliss, others slipped into commercial sex work and some found other way to employ their talents.
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Film Dance, Female Stardom, and the Production of Gender in Popular Hindi Cinema
FILM DANCE, FEMALE STARDOM, AND THE PRODUCTION OF GENDER IN POPULAR HINDI CINEMA by Usha Iyer B. A. in English Literature, St. Xavier’s College, Bombay, India, 1994 Masters in Communication Studies, University of Pune, India, 1996 M.A. in English Literature, Centre for English and Foreign Languages, Hyderabad, India, 2006 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Usha Iyer It was defended on August 18, 2014 and approved by Marcia Landy, Distinguished Professor, English and Film Studies Lucy Fischer, Distinguished Professor, English and Film Studies Ranjani Mazumdar, Associate Professor, School of Arts & Aesthetics, Jawaharlal Nehru University, India Dissertation Advisor: Neepa Majumdar, Associate Professor, English and Film Studies ii Copyright © by Usha Iyer 2014 iii FILM DANCE, FEMALE STARDOM, AND THE PRODUCTION OF GENDER IN POPULAR HINDI CINEMA Usha Iyer, PhD University of Pittsburgh, 2014 This dissertation undertakes a historical and theoretical analysis of constructions of gender and sexuality through popular Hindi film dance. This hybrid dance form, primarily staged by female performers until recently, has featured a syncretic mix of Indian classical and folk dance traditions as well as transnational dance forms since the early 20th century. My study of this popular cultural form explores the interactions of Hindi cinema with indigenous and foreign dance forms, constructions of the performing body and of spaces of performance, differing narratives and histories of male and female stardom, and the mechanisms for the ideological constitution of the Indian spectator-subject.
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Here Is a Collection of Old Hindi Video Songs - You Tube Links……
Here is a collection of old Hindi Video Songs - You Tube Links……. They have organized them according to The Year = Movie = Song Name. Some of the Links may not work as they could have been removed from YouTube website. You need to have broadband internet connection for watching the video songs. Video quality of (.FLV) Flash Video may not be very good but it is nice to enjoy. Once you are on YouTube website, you can also try to watch some other songs, By clicking on “Related Videos” on right side of the web page. We hope every one will ENJOY these Hindi Video Songs FREE TIME. You can copy & save these links as Hyper Links on your computer Hard Disk. TO LISTEN THE SONG JUST PRESS Ctrl and Click the following link 1937 = President = Ek Bangla Bane Nyaara K.L.Saigal - [ Choice 1 ] 1938 = Street Singer = Babul Mora K.L.Saigal - [ Choice 1 ] 1940 = Zindagi = So Ja Rajkumari - [ Choice 1 ] 1940 = Zindagi = So Ja Rajkumari : Lata's Tirbute To Saigal - [ Choice 1 ] 1940 = Zindagi = Soja Rajkumari - [ Choice 1 ] 1943 = Tansen = Diya Jalao Jagmag Jagmag - K.L.Sehgal - [ Choice 1 ] 1944 = My Sister = Do Naina Matware K.L.Saigal - [ Choice 1 ] 1945 = Pehli Nazar = Dil Jalta Hai Mukesh - [ Choice 1 ] 1946 = Sahajehan = Jab Dil Hi Toot Gaya K.L.Saigal - [ Choice 1 ] 1947 = Do Bhai = Mera Sunder Sapna Beet Gaya - [ Choice 1 ] 1948 = Mela < Old > = Dharti Ko Aakash Pukare - [ Choice 1 ] 1948 = Mela < Old > = Gaaye Jaa Geet Milan Ke - [ Choice 1 ] 1948 = Mela < Old > = Yeh Zindagi Ke Mele - [ Choice 1 ] 1948 = Mela < Old > = Yeh Zindagi Ke Mele - [ Choice
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