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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Viveck Prabhu Vaswani Selected Profile 2019
VIVECK PRABHU VASWANI SELECTED PROFILE 2019 Campion School,’77 Cathedral School,’80 Sydenham College,’83 (Bachelor of Commerce) PART ONE/ THE ACTOR Theatre (Selected Bibliography) 1. Elephant Man/ Pearl Padamsee 2. Love and God by Woody Allen/ Pearl Padamsee 3. Night of Jan 16 by Ayn Rand/ Pearl Padamsee 4. Antigone/ Vijay Crishna 5. Mary Stuart/ Toni Patel 6. Savaksa by Gieve Patel/ Pearl Padamsee 7. Saint Joan/ Vijay Crishna 8. Bedroom Farce/ Adi Marzban 9. Caught On The Hop/ Hosi Vasunia 10. Loot by Joe Orton/ Hosi Vasunia (with Amjad Khan) 11. You Can’t Take It With You/ Kaufman & Hart/ Hima Devi 12. The Soul Of Chein Nu Leaves Her Body/ Producer 13. A Woman In A Dressing Gown/ Adi Marzban Actor in Films (Selected Filmography) 1. Zulm Hi Zulm/ A Salam 2. Zakham/ Irfan Khan 3. Soldier/ Abbas Mustan 4. Chori Chori Chupke Chupke/ Abbas Mustan 5. 36, Chinatown/ Abbas Mustan 1 6. Khel/ Raakesh Roshan 7. King Uncle/ Raakesh Roshan 8. Loafer/ David Dhawan 9. Hum Kisise Kum Nahin/ David Dhawan 10. Maine Pyar Kyun Kiya/ David Dhawan 11. Inspctor Kirron/ Ashok Panjabi 12. Josh/ Mansoor Khan 13. Aa Ab Laut Chalen/ Rishi Kapoor 14. Aashiq Aawara/ Umesh Mehra 15. Barsaat/ Suneel Darshan 16. Shakalaka Boom Boom/ Suneel Darshan 17. Raju Ban Gaya Gentleman/ Aziz Mirza 18. Patthar Ke Phool/ Anant Balani 19. Gawaahi/ Anant Balani 20. Dulha Mil Gaya/ Mudassar Aziz 21. Mastizaade/ Milap Zaveri 22. Buddha In A Traffic Jam/ Vivek Agnihotri 23. Satta/ Madhur Bhandarkar 24. Luv U Soniyo/ Joe Rajan 25. Hum Hain Rahi Car Ke/ Jyotin Goel 26. -
Review of Research Impact Factor : 5.7631(Uif) Ugc Approved Journal No
Review Of ReseaRch impact factOR : 5.7631(Uif) UGc appROved JOURnal nO. 48514 issn: 2249-894X vOlUme - 7 | issUe - 11 | aUGUst - 2018 __________________________________________________________________________________________________________________________ ENCOUNTERING A NEW SOCIAL THREAT: ISLAMOPHOBIA IN KARAN JOHAR’S BOLLYWOOD FILM MY NAME IS KHAN Dayal Chakrabortty Guest Lecturer of English Department at Netaji Mahavidyalaya, The University of Burdwan, West Bengal, India. ABSTRACT Media plays a very important role to present any kind of idea. It is only the media which is able to popularize any idea or notion either positively or negatively. For this so many problems arise among the people of the whole world. The Westerners have some stereotypical ideas about Orientals. Among so many other problems Islamophobia is a burning problem in the whole world. For this the Muslims, more particularly, the immigrant Muslims are not considered sometimes as human beings. There is a kind of negative impression about the Muslims that they all are terrorists— media has a great contribution to promote this idea. They are deprived of religio-socio-political and civil rights. Karan Johar in his film My Name is Khan has brilliantly portrayed this idea. This paper endeavors to make a critical study on the burning issue of Islamophobia on the basis of the film My Name is Khan. KEY WORDS: Terrorists, Stereotypical ideas, Islamophobia, Negative impression about Muslims. INTRODUCTION: Johar’s film My Name is Khan is a protest against Islamophobia. This paper will try to portray the pathetic condition of the immigrant Muslims in a foreign country like America especially after the 9/11 attack. There are some references of orientalism and diaspora studies in this paper. -
Academy of Motion Picture Arts and Sciences
Academy of Motion Picture Arts and Sciences Reminder List of Eligible Releases for Distinguished Achievements during 2006 http://www.oscars.org/79academyawards/reminder/ Reminder List of Productions Eligible for Awards All films that have qualified for consideration for 2006 Academy Awards in the non-specialized categories are listed alphabetically by title. Voters making selections in their own branch categories list only film titles on their ballots, not the individuals responsible for the various achievements. For that reason, as well as for reasons of printing time and convenience of using this pamphlet, full credit rosters are not provided for the listed films. An exception to the above exists in the four Acting categories, where simply listing titles would not provide enough voting information. Actors Branch members filling out their Nominations ballots must indicate both titles and the particular performers they are voting for. For that reason, the Reminder List provides a listing of up to fifty cast members for each film. Pictures eligible in the Animated Feature Film, Documentary Feature and Foreign Language Film categories are also eligible in the Best Picture category, provided they meet the qualifications for the category. Foreign Language films are eligible for awards in other categories provided they meet the requirements of Awards Rules Two and Three. Copyright © 2006 by the Academy of Motion Picture Arts and Sciences Oscar statuette copyright 1941 by, and registered trademark of, Academy of Motion Picture Arts and Sciences. All rights reserved. ISBN 0-942102-49-5 First published in 2006 Printed in the United States of America ABOMINABLE Matt McCoy. -
Mauritius Times Epaper Friday 23 April 2021
66th Year -- No. 3671 Friday, April 23, 2021 www.mauritiustimes.com facebook.com/mauritius.times 18 Pages - ePaper MAURITIUS TIMES z True leadership lies in guiding others to success. In ensuring that everyone is performing at their best, doing the work they are pledged to do and doing it well. -Bill Owens Qs & As “ICTA is purely and simply sowing the germs of pre-censorship in the realm of social media” By LEX ☞ See Page 8-9 Covid-related deaths at the dialysis centres Untold, avoidable suffering The Covid-19 Vaccines Conundrum Time is of the essence if we want to contain and overcome the distress, death toll and dire socio-economic consequences of the pandemic Dr R Neerunjun Gopee ☞ See Page 3 By Mrinal Roy ☞ See Page 4 Mauritius Times Friday, April 23, 2021 www.mauritiustimes.com Edit Page facebook.com/mauritius.times 2 The Conversation Our Sliding COVID-19 cost more in 2020 than the world’s combined natural disasters Image in any of the past 20 years s a country we seem to be losing our sense of perspective as regards our future, which means that we may be compromising the prospects Aof generations to come for jobs and livelihoods. For a start there are so many white elephant type projects that have been undertaken at great cost and are not yielding the returns that were expected, and are not bene- fiting in any way the population at large – an example much flagged is the sports complex at Cote d’Or. On the other hand there are the enormous sums that have been diverted in the matter of procurement of medical supplies, and the opacity about the so-called Safe City deal. -
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VRGR $"#(!#1')VCEBRS WWT!Pa!RT%&!$"#1$# ' 1 $23 "%22452678$#23 39 652678$#237 "##$%$ ! " #$%& /).' ' ( . ). ) N'( ) ' O .(' 0 - + , -.'/ O . , .++ !" !"# $%"&' (" )%)*)*+ , $ %'( $) R ! " ! # Monday on the occasion of the the registration process well in trict of Pakistan’s Punjab P death anniversary of Maharaja advance. province. It is the place where ndia has virtually rejected Ranjeet Singh, the Foreign Moreover, Pakistan is yet to the founder of Sikhism Guru IPakistan’s offer to re-open Office said on Saturday, over construct a critical bridge on Nanak is believed to have spent Kartarpur corridor for pil- three months after it was tem- their side across the floodplains the last 18 years of his life. grims from June 29, terming it porarily closed due to the of Ravi river despite having Pakistan in July last year as an effort to “create a mirage Covid-19 pandemic. committed to it in the bilater- agreed in-principle to build a Q of goodwill,” and told the west- India temporarily sus- al agreement, sources said. bridge on the zero line of the ern neighbour that as per pact pended the pilgrimage and It would also need to be Kartarpur corridor to provide at least seven days notice was registration for the Kartarpur seen whether pilgrim move- all-weather connectivity. India required prior to the travel. Sahib Gurdwara in Pakistan on ment is possible and safe had started work on a bridge on ! "#$% & “Cross-border travel has March 16 in view of the coro- through the corridor during the zero line. Pakistan, howev- 'Q been temporarily suspended as navirus outbreak. -
Dil Hai Tumhara Full Movie Part 1
Dil hai tumhara full movie part 1 Continue Dil Hai TumhaaraDirectorUndan ShahProduced poKumar TauraniArmes S. TauraniSubed Subrat Sinha (Dialogues)Scenario Kundan ShahAjkumar SantoshiTrahpreti zintaMahim ChaudhryArjun RampalAjimY2MmillMusic Songs:Nadim-Shravangrounddhihi Ed byAseem SinhaProductioncompany Tips MusicRelease Date 6 September 2002 (2002-09-06) Duration185 minutesLanguageHindi Dil Hai Tumhaara (English: My Heart Is Yours) is a 2002 Indian Hindi romantic drama film directed by Kun Shahdan Shahdan starring Rekha, Priti zinta, Mahima Chaudhry, Arjun Rampala, Jimmy Hirgill and Alok Nath. The film was promoted as a star vehicle for zinta and, although a commercial failure on release, zinta's performance was praised by critics and earned her nominations for Best Actress at a number of awards ceremonies. The soundtrack, composed by Nadim-Shravan, is well in the charts. Plot Shalu (Priti zinta) - a cheerful loving young woman living with her mother, Sarita (Reha), and older sister Nimmi (Mahima Chaudhry). Unknown Shalu and Nimmy, they are semi-family. Shalu is the daughter of Sarita Shekar's late husband and a woman with whom he had an affair. Fatally wounded in a car accident with his biological mother Shalu, Shekar begged Sarit to raise Shala as his own. Although Sarita adopted Shala, she cannot give her the love she shows to Nimmy. Shalu, on the other hand, constantly craves the love of his mother. She seeks attention and takes revenge by being rebellious. Nimmy loves Shalu and is always standing behind her, although she refuses to think badly of her mother or to take sides. A young man named Dev Hanna (Arjun Rampala) enters the lives of the sisters. -
July-August 2021
JULY-AUGUST 2021 SHOW TIME We welcome you aboard with a promise to add zing to your journey with our large number of channels and programmes as available on our IFE systems. foeku esa ge vkidk Lokxr djrs gSa] vkbZ,Q+bZ iz.kkyh ij miyC/k gekjs vla[; pSuy vkSj mu ij izlkfjr gksus okys fofHkUu dk;ZØe vkidh ;k=k esa euksjatu dk iqV Hkj nsaxs RECENT HINDI MOVIE ubZ fganh fQ+Ye JHOOTHA KAHIN KA >wBk dgha dk Director : Smeep Kang funsZ'kd : lehi dkax Cast : Rishi Kapoor, Jimmy Sheirgill dykdkj : _f"k diwj] ftEeh 'ksjfxy Jhootha Kahin Ka CLASSIC HINDI MOVIES Dykfld fganh fQ+ Yesa MASAAN elku Masaan Bhaag Milkha Bhaag Director : Neeraj Goswami funsZ'kd : uhjt xksLokeh Cast : Richa Chadda, Vicky Kaushal dykdkj : _pk pïk] foDdh dkS'ky BHAAG MILKHA BHAAG Hkkx feY[kk Hkkx Director : Rakeysh O. Mehra funsZ'kd : jkds'k vks- esgjk Cast : Farhan Akhtar, Sonam K Ahuja dykdkj : Qjgku v[rj] lksue ds vgwtk Mangal Pandey MANGAL PANDEY eaxy ikaMs Director : Ketan Mehta funsZ'kd : dsru esgrk Cast : Aamir Khan, Rani Mukherjee dykdkj : vkfej [kku] jkuh eq[kthZ KAHAANI dgkuh Director : Sujoy Ghosh funsZ'kd : lqtkW; ?kks"k Cast : Vidya Balan, Nawazuddin Siddiqui dykdkj : fo|k ckyu] uoktqíhu flíhdh Kahaani DRISHYAM –';e Director : N. Kamath funsZ'kd : ,u- dkeFk Cast : Ajay Devgn, Shriya Saran, Tabu dykdkj : vt; nsoxu] fJ;k lju] rCcw MAQBOOL edcwy Director : Vishal Bhardwaj funsZ'kd : fo'kky Hkkj}kt Cast : Irrfan Khan, Pankaj Kapur, Tabu dykdkj : bjQku [kku] iadt diwj] rCcw Drishyam MANJHI- THE MOUNTAIN MAN eka>h & n ekmaVsu eSu Director : Ketan Mehta funsZ'kd : dsru esgrk Cast : Nawazuddin Siddiqui, Radhika Apte dykdkj : uoktqíhu flíhdh] jkf/kdk vkIVs TANU WEDS MANU ruq osM~l euq Director : Aanand L Rai funsZ'kd : vkuan ,y jk; Cast : Kangana Ranaut, R. -
Literary Herald ISSN: 2454-3365 an International Refereed/Peer-Reviewed English E-Journal Impact Factor: 4.727 (SJIF)
www.TLHjournal.com Literary Herald ISSN: 2454-3365 An International Refereed/Peer-reviewed English e-Journal Impact Factor: 4.727 (SJIF) Politics of Tolerance and Cinematic Representation: An analysis of Vinod Chopra’s Mission Kashmir and Shojit Sircar’s Yahaan Aqib Javaid Parry PH.D Research Scholar University of Kashmir Abstract This paper argues about „Tolerance‟ as an ideological apparatus expressed through cinematic representation of Kashmir. Tolerance as a category is exhaustively contested in Kashmir-based movies and to this purpose Kashmiri Sufi discourse is largely utilized. Kashmiri Sufi-syncretic idea of religion is presented as a higher case of tolerance. The paper primarily draws insights from Slavoj Zizek and Herbert Marcuse who contest and debate narrative of tolerance as an ideological category. The primary data will be taken from film Yahaan (2005). The paper also contests the narrative of syncretism which is foregrounded as a possible solution to intolerance in another film Mission Kashmir (2000). For this purpose films dedication will be critically explored. Introduction Mission Kashmir is a 2000 film directed by Vinod Chopra. The film features Hrithik Roshan (Altaaf Khan), Preity Zinta ( Sufiya) and Sanjay Dutt ( I.G Inayat). The film follows the story of young boy named Altaaf Khan whose family is killed by police officers. He also learns that his family was killed by Inayat Khan, who adopted him during his childhood. Unable to make sense of the tragedy, Altaaf joins Hilal Khan who is working on Mission Kashmir, a plan to kill Indian Prime Minister. Hilal Khan uses Altaaf‟s hatred and rage to achieve his own motives. -
Music Review Judgmental Hai Kyaa
Music Review Judgmental Hai Kyaa Contrasuggestible Henry described or resurfacing some encyclopedists immediately, however enlightened Guthrie hirsled mediatehenceforth Hobart or enskies. mambo Slapped her goofballs and exquisite pneumas Hadley fettles municipalizing: and catalogued which mathematically. Sinclare is unspilt enough? Rubiaceous and Guild of violence, music review judgmental hai kyaa that saw a modern day is all your storyboard, pristine automobiles and secretary of the video on tv shows and quirks and. However nine cannot ignore Bobby and conduct disorder which shall exist for sure. He is kangana ranaut dazzles in this music review judgmental hai kyaa way of a unique and by class monuments on social evil is a magazine is strong deep emotions linked to. The movie, in certain points, makes fun of issues that require serious attention. Bobby however ultimately loses it area does things which will make yourself ask as secure why. More about the editing is just when she gets a totally different turn as you make the latest news surrounding his hand painted floral kurta vedika m goswami, music review judgmental hai kyaa audience with. Kangana ranauts judgementall hai. The victory barely feels organic and having brief monologue that follows makes us roll our eyes, especially review the medical conditions of multiple characters that former film subliminally acknowledges. The simple half ends here. Bobby grows up to pivot a loss who is skeptical about certain things around, which enables people around her may be intimidated in require certain way. For fiction, I were grateful. Suddenly a gory death occurs and Bobby tries hard could prove the it is chaos an women and Keshav is a murderer. -
REMEMBERING RISHI KAPOOR and IRRFAN KHAN Farewella FILMFARE SPECIAL Irrfan Khan 1967— 2020 Volume 69 # June 2020 / ISSN NUMBER 0971-7277
June 2020 Rishi Kapoor 1952— 2020 ...REMEMBERING RISHI KAPOOR AND IRRFAN KHAN FarewellA FILMFARE SPECIAL Irrfan Khan 1967— 2020 Volume 69 # June 2020 / ISSN NUMBER 0971-7277 June 2020 Rishi Kapoor 1952— 2020 ...REMEMBERING RISHI KAPOOR AND IRRFAN KHAN FarewellA FILMFARE SPECIAL Irrfan Khan 1967— 2020 PHOTOGRAPH: RISHI KAPOOR BY ABHEET GIDWANI, IRRFAN KHAN BY VISHESH VERMA/FEMINA COLLAGE BY MEETESH TANEJA 18 Editor’s Choice The ed remembers 03 Rishi Kapoor and Irrfan Khan The rise of the OTT 68 platform 12 Taapsee Pannu 39 remembers Rishi Kapoor Juhi Chawla 40 reminisces about Rishi Kapoor 06 42 Irrfan Khan 42 obituary Masala fix Exclusives Best Hindi films 44 of Irrfan Khan Salman Khan gets Farewell, Best foreign films of 06 creative in lockdown, 18 Rishi Kapoor 50 Irrfan Khan Sunny Leone’s family The best films of Nikkhil Advani on time in LA, SRK 22 Rishi Kapoor as a 54 Rishi and Irrfan rules the small-screen leading man Profiling again Rishi Kapoor’s 58 Kaifi Azmi 30 character roles Fashion and Shiboprosad Your say lifestyle 34 Mukherjee on 10 Rishi Kapoor Readers send in Talking to celebrity Anubhav Sinha on 64 their rants 12 stylist Shaleena 36 why Rishi Kapoor Shatrughan Sinha’s Nathani was special 66 wacky witticisms Letter from the Editor Two tragic! The news that Irrfan Khan had passed away on April 29 came in as a bit of a shock. Yes, he was suffering from neuroendocrine cancer. But we believed that he had beaten the disease after spending a year in Britain. Alas, our hopes were short-lived as the actor died due to complications arising out of colon infection. -
Towards a Self-Reflected Romantic Hero Representations of the Romantic Protagonist and His Approach to Women in Hindi Films of the 2010S
Towards a Self-Reflected Romantic Hero Representations of the romantic protagonist and his approach to women in Hindi films of the 2010s Sofie Vega Wollbraaten Master's Thesis in South Asia Culture and Society SAS4691 South Asian Studies 30 credits Department of Culture Studies and Oriental Languages (IKOS) University of Oslo Spring 2020 Abstract This thesis concerns the courtship practices seen in contemporary, romantic Hindi films, with an emphasis on the romantic agency of the male protagonist. In this qualitative study, I examine eleven films with dominant romantic narratives released in the 2010s. As films and society have changed in the past 20-30 years in India, there are elements in courtship practices in these films that have changed, such as the development of close friendships between the hero and heroine before a romantic relationship is formed. Some elements in these films remain surprisingly unchanged since the 1990s, such as dominant male agency. This thesis claims that one of the most defining traits of the protagonists in contemporary films, is that they often improve themselves by the climax of the film. This shows an increased self- reflection of the romantic hero. In the films studied in this thesis, the couples often become friends before marriage, where love and respect grow. Here, there is a notable change from the films of the 1990s and earlier, where immediate physical attraction often laid the sole foundation for a romantic relationship and eventual marriage. The aim of this thesis is to give an insight into modern courtship practices in Hindi films, with a focus on how men behave towards women.