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Newspaper Journalism Question Bank
UNIVERSITY OF CALICUT SCHOOL OF DISTANCE EDUCATION BA MULTIMEDIA (UG SDE) (2017 Admission onwards) II Semester Complementary Course NEWSPAPER JOURNALISM QUESTION BANK 1. Yellow journalism derived its name from an early comic character called ---------- a). Yellow kid b). Yellow boy c). Yellow girlie d). Yellow guy 2. Which is the face of the newspaper? a). Headlines b). Front page c). Edit page d). Masthead 3. Name the first communication satellite which was launched in 1962 a). Early Bird b). Intelset c). Intersputnik d). Insat 4. Which of the following was developed the earliest? a). AM Radio b). Television c). DRM d). DTH 5. --------------------- is associated with the invention of printing a). Franklin b). Johann Gutenberg c). Charles Babbage d). Marconi 6. Is the latest time at which a story can be accepted a) Dateline b) Deadline c)press time d) Print time 7. Some stories that wrap similar events into a single story is called a) Multiple story b) Round c)Capital story d)Same incident story 8. Small advertisements classified according to subject area and carrying no illustrations are known as a) Small ads b) News library c) Back volume stock. d) Classified 9. Leader writer is one who writes the ------------------------- a) Main story b) Middle article c) Editorial d) Edit page article 10. Is a detailed account of the coming event. a) Future story b) Advancer c)Curtain raiser d)Advance 11. Condensing a story is generally referred to as in the newspaper offices. a) Rewriting b) Miniaturizing c) Shortening d) Boiling down 12. Title registration of newspaper is done by: a) RNI b)DAVP c)PIB d)IPRD 13. -
SELECTION for CO-PRODUCTION MARKET 2017 by NFDC
SELECTION FOR CO-PRODUCTION MARKET 2017 by NFDC We are pleased to announce the official selection of projects for Co-Production Martket 2017. This year, 18 projects have been selected to participate in the Market. After the success of Open Pitch 2016, this year again the selected filmmakers will be pitiching their projects to a curated audience of national and international producers, financiers and sales agents. The selected projects are - • Aamis (Voracious) | Assamese | India Director: Bhaskar Hazarika’s directorial debut film Kothanodi premiered at Busan International Film Festival in 2015 and won the Asian Cinema Fund’s Post Production Award. Kothanodi travelled to many international festivals and also won Best feature Film in Assamese at the 63rd National Film Awards. Producer: Poonam Deol, Signum Productions Poonam Deol, founder of Signum Productions, is a graduate from St. Stephens College, Delhi Univer- sity and holds a Master of Philosophy degree from Jawaharlal Nehru University, New Delhi. Intellectual by training and an artist at heart, she believes that films provide her a tremendous opportunity to com- bine both. Producer: Shyam Bora, Metanormal Motion Pictures From being the Executive Producer on Bhaskar Hazarika’s Kothanodi (2015) to line producing Pan Nalin’s Angry Indian Goddesses (2015; winner, Audience Awards at TIFF and Rome) and Faith Connec- tions (2013; World Premiere, TIFF), Shyam has been working on international co-productions of inde- pendent films from India for the last five years. Voracious is his first feature as Producer. • Badhonhin (Free) | Bengali | Bangladesh Director: Taneem Rahman has made two feature films titled Aadi and Shopnobari (2016). -
Laws for Journalists in India: an Overview
04.21 CURATED VOICES Laws for Journalists in India: An Overview Priyal Shah and Aakanksha Chaturvedi SPRF.IN TABLE OF CONTENTS 1. ABSTRACT 03 2. BACKGROUND 04 3. MEDIA LAWS 06 • PRESS COUNCIL OF INDIA 08 4. MAHARASHTRA MEDIA PERSONS ACT 08 5. CHHATTISGARH PROTECTION FOR JOURNALISTS BILL 10 • RESPONSIBILITIES OF A JOURNALIST 12 • MEDIA’S WATCHDOG 12 6. CONCLUSION 13 7. BIBLIOGRAPHY 14 If you have any suggestions, or would like to contribute, please write to us at [email protected] © Social and Political Research FoundationTM April 2021 CURATED VOICES Laws for Journalists in India: An Overview Priyal Shah and Aakanksha Chaturvedi ABSTRACT India has seen a significant rise in attacks against and killings of journalists in recent years, making it an increasingly hostile place to practice journalism. In the last two decades, India’s ranking on the World Press Freedom Index dropped from 80th to 142nd. This issue brief discusses the shortcomings in the Indian legal framework in creating a safer environment for media persons. The brief also discusses the deteriorating nature of journalistic norms and the role 4 | SOCIAL & POLITICAL RESEARCH FOUNDATION CURATED VOICES BACKGROUND Journalism, the fourth pillar of democracy, underpins sound governance and democratic accountability. The Indian Parliament defines a journalist as a person employed by a newspaper establishment as an editor, writer, reporter, correspondent, photographer, or proof-reader (Working Journalists and other Newspaper Employees and Miscellaneous Provisions Act 1955). Maintaining the safety of journalists is crucial to facilitating the exchange of information and news on matters of public interest. Over the years, there has been a steep decline in India’s performance on international indices that measure relative press freedom across countries. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
Syllabus for M.Sc. (Film Production)| 1
Syllabus for M.Sc. (Film Production)| 1 Detailed Syllabus for Master of Science (Film Production) (Effective from July 2019) Department of Advertising & Public Relations Makhanlal Chaturvedi National University of Journalism and Communication B-38, Press Complex, M.P. Nagar, Zone-I, Bhopal (M.P.) 462 011 Syllabus for M.Sc. (Film Production)| 2 MAKHANLAL CHATURVEDI NATIONAL UNIVERSITY OF JOURNALISM AND COMMUNICATION (DEPARTMENT OF ADVERTISING AND PUBLIC RELATIONS) Master of Science (Film Production) (Effective from July 2019) Marks Distribution Subject Theory Practic Intern Total Credit al al CCC-1 Evolution of Cinema 80 00 20 100 6 CCC-2 Origin and Growth of Media 80 00 20 100 6 Introduction to Socio CCC-3 80 00 20 100 6 Economic Polity Sem - I CCE-1 Art of Cinematography 50 30 20 OR OR 100 6 CCE-2 Storyboarding 50 30 20 OE-1 Understanding Cinema 25 15 10 50 3 CCC-4 Drama & Aesthetics 50 30 20 100 6 CCC-5 Lighting for Cinema 50 30 20 100 6 CCC-6 Audiography 50 30 20 100 6 Sem - II CCE-3 Art of Film Direction 50 30 20 OR OR 100 6 CCE-4 Film Journalism 50 30 20 OE-2 Ideation and Visualization 25 15 10 50 3 CCC-7 Multimedia Platform 50 30 20 100 6 Editing Techniques & CCC-8 50 30 20 100 6 Practice CCC-9 Film Research 50 30 20 100 6 Sem - III Screenplay Writing for CCE-5 50 30 20 Cinema OR 100 6 OR CCE-6 50 30 20 Advertisement Film Making OE-3 Film Society & Culture 40 00 10 50 3 CCC-10 Film Business & Regulations 80 00 20 100 6 CCC-11 Cinematics 50 30 20 100 6 CCC-12 Project Work on Film Making 00 80 20 100 6 Sem - Literature & Cinema CCE-7 80 00 20 IV OR OR 100 6 Film Management & CCE-8 80 00 20 Marketing OE-4 Documentary Film Making 25 15 10 50 3 Syllabus for M.Sc. -
Global Digital Cultures: Perspectives from South Asia
Revised Pages Global Digital Cultures Revised Pages Revised Pages Global Digital Cultures Perspectives from South Asia ASWIN PUNATHAMBEKAR AND SRIRAM MOHAN, EDITORS UNIVERSITY OF MICHIGAN PRESS • ANN ARBOR Revised Pages Copyright © 2019 by Aswin Punathambekar and Sriram Mohan All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid- free paper First published June 2019 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication data has been applied for. ISBN: 978- 0- 472- 13140- 2 (Hardcover : alk paper) ISBN: 978- 0- 472- 12531- 9 (ebook) Revised Pages Acknowledgments The idea for this book emerged from conversations that took place among some of the authors at a conference on “Digital South Asia” at the Univer- sity of Michigan’s Center for South Asian Studies. At the conference, there was a collective recognition of the unfolding impact of digitalization on various aspects of social, cultural, and political life in South Asia. We had a keen sense of how much things had changed in the South Asian mediascape since the introduction of cable and satellite television in the late 1980s and early 1990s. We were also aware of the growing interest in media studies within South Asian studies, and hoped that the conference would resonate with scholars from various disciplines across the humanities and social sci- ences. -
Answered On:25.08.2000 National Centre of Film for Children and Young People Jaswant Singh Yadav
GOVERNMENT OF INDIA INFORMATION AND BROADCASTING LOK SABHA UNSTARRED QUESTION NO:5081 ANSWERED ON:25.08.2000 NATIONAL CENTRE OF FILM FOR CHILDREN AND YOUNG PEOPLE JASWANT SINGH YADAV Will the Minister of INFORMATION AND BROADCASTING be pleased to state: (a) the number and names of the subordinate offices, autonomous organizations and Public Sector Undertakings attached with his Ministry; (b) whether National Centre of Film for Children and Young People has achieved its objects; ( (c) if so, the details thereof alongwith the number of feature films, serials produced by the Centre during 1999-2000; and (d) the steps being taken by the Government to make the Centre more effective? Answer THE MINISTER OF STATE OF THE MINISTRY OF INFORMATION AND BROADCASTING AND THE MINISTER OF STATE OF THE MINISTRY OF LAW, JUSTICE AND COMPANY AFFAIRS(SHRI ARUN JAITLEY) (a) The number and names of the subordinate offices, autonomous organizations and Public Sector Undertakings attached with the Ministry of Information and Broadcasting are given in the Annexure. (b),(c) & (d): The objective of National Centre of Film for Children and Young People, now called the Children`s Film Society of India(CFSI) is to undertake ando rganize production, distribution and exhibition of feature/short films for children and thereby provide them healthy and wholesome entertainment. In view of the same, CFSI`s activities span the entire gamut of film making and allied fields − from production and acquisition of films to screening, workshops and festivals. Productin of full-length featue films, featurettes, TV serials, short documentaries as also animation and puppet films for children and young people has been the main thrust of its activities. -
New-Dialogues-With-Analogue.Pdf
Projects / Processes Volume I Series Editor: Senjuti Mukherjee New Dialogues with Analogue: Indian Experiments on Film Mrinalini Vasudevan A still from the India on Film workshop programme at Serendipity Arts Festival 2019. Photograph courtesy Harkat Studios. India on Film Curated by Harkat Studios Venue Old Goa Institute of Management Curatorial Note Curatorial & Production Team Aditi Kashyap, Michaela Talwar, Namrata Sanghani, Sapan Taneja, Sheba Alexander, Tanya Dixit Lead Curator Karan Talwar Curator Harkat Studios It happened about a decade ago—“film” as a medium was discarded by the film industry, almost overnight. Decades worth of knowledge, equipment and processes were put aside and the craft of “making” a film was sealed shut in boxes, forgotten in storage. The digital age brought on the beautiful democratisation of the moving image, but there was one casualty: its medium. An entire generation of makers slowly realised that along with the tools of the craft, they also lost a large trove of meticulous artistic processes, built with each successive maker. “Would a painter be able to make the same work without oils and canvas?”, quipped one young film-maker. India on Film explores the interrelationship between the art and craft of making on “film” through a series of film screenings, workshops and installations. The intent is to highlight the shift caused by the dismemberment of a medium through changes in narrative techniques by celebrating experiments on film from the Indian subcontinent. It gives the medium centre-stage and highlights the deliberation in the “making” of moving images. The curatorial spreads its net wide and takes you through works from a multitude of conscious filmmakers who work in the Indian context. -
185 Press Council [ 7 AUG. 1978 ] Bill, 1977 186 Misquoted
185 Press Council [ 7 AUG. 1978 ] Bill, 1977 186 misquoted. Advance has been given; that is SHRI DHANIK LAL MANDAL: Sir, I true. As my hon. friend said, Sir, the option introduce the Bill. with the Government was either to forego the advance made to the Boeing company or just The Press Council Bill, 1977— to go through the deal before making contd. enquiries regarding the pay-off. If I remember correctly, I think I answered the same question MR. DEPUTY CHAIRMAN; The time in this House. I had stated that the matter was available for the further consideration of the under investigation, and it is being taken up at Press Council Bill is about three hours. And if the diplomatic level. It is still being done. the House agrees, the hon. Minister could About the name, etc., the name of the country start his reply at about six or so. Or, if the House so desires it can sit a bit late. has already appeared in the papers; it is nothing ew. There i no question of n s SHRI BHUPESH GUPTA (West Bengal): withholding any information from the House. Sir, the press barons have so many scandals So far as 'that relation' of the ex-Prime which have to be related here. Give a little Minister is concerned, definitely it has also more time. come in the Shah Commission's Report. The presence of Rajiv Gandhi un-.authorisedly... MR. DEPUTY CHAIRMAN: Some more time would certainly be given if the House so SHRI BHUPESH GUPTA: Mr. desires. But I would request the hon. -
Freedom of the Press 2009
Freedom of the Press 2009 FURTHER DECLINES IN GLOBAL MEDIA INDEPENDENCE Selected data from Freedom House’s annual survey of press freedom Acknowledgments Freedom of the Press 2009 could not have been completed without the contributions of numerous Freedom House staff and consultants. The following section, entitled “The Survey Team,” contains a detailed list of writers without whose efforts this project would not have been possible. Karin Deutsch Karlekar, a senior researcher at Freedom House, served as managing editor of this year’s survey. Extensive research, editorial, and administrative assistance was provided by Denelle Burns, as well as by Sarah Cook, Tyler Roylance, Elizabeth Floyd, Joanna Perry, Joshua Siegel, Charles Liebling, and Aidan Gould. Overall guidance for the project was provided by Arch Puddington, director of research, and by Christopher Walker, director of studies. We are grateful for the insights provided by those who served on this year’s review team, including Freedom House staff members Arch Puddington, Christopher Walker, Karin Deutsch Karlekar, Sarah Cook, and Tyler Roylance. In addition, the ratings and narratives were reviewed by a number of Freedom House staff based in our overseas offices. This report also reflects the findings of the Freedom House study Freedom in the World 2009: The Annual Survey of Political Rights and Civil Liberties. Statistics on internet usage were taken from www.internetworldstats.com. This project was made possible by the contributions of the Asia Vision Foundation, F. M. Kirby, Free Voice, Freedom Forum, The Hurford Foundation, John S. and James L. Knight Foundation, Lilly Endowment Inc., The Lynde and Harry Bradley Foundation, the National Endowment for Democracy, The Nicholas B. -
PRESS COUNCIL of INDIA Annual Report
PRESS COUNCIL OF INDIA Annual Report (April 1, 2010 - March 31, 2011) New Delhi Printed at : Bengal Offset Works, 335, Khajoor Road, Karol Bagh, New Delhi-110 005 Press Council of India Soochna Bhawan, 8, CGO Complex, Lodhi Road, New Delhi-110003 Chairman: Mr. Justice G. N. Ray Editors of Indian Languages Newspapers (Clause (A) of Sub-Section (3) of Section 5) NAME ORGANIZATION NOMINATED BY NEWSPAPERS Shri Vishnu Nagar Editors Guild of India, All India Sunday Nai Duniya, Newspaper Editors’ Conference, New Delhi Hindi Samachar Patra Sammelan Shri Uttam Chandra Sharma All India Newspaper Editors’ Muzzafarnagar Conference, Editors Guild of India, Bulletin, Hindi Samachar Patra Sammelan Uttar Pradesh Shri Vijay Kumar Chopra All India Newspaper Editors’ Filmi Duniya, Conference, Editors Guild of India, Delhi Hindi Samachar Patra Sammelan Shri Sheetla Singh Hindi Samachar Patra Sammelan, Janmorcha, All India Newspaper Editors’ Uttar Pradesh Conference, Editors Guild of India Ms. Suman Gupta Hindi Samachar Patra Sammelan, Saryu Tat Se, All India Newspaper Editors’ Uttar Pradesh Conference, Editors Guild of India Editors of English Newspapers (Clause (A) of Sub-Section (3) of Section 5) Shri Yogesh Chandra Halan Editors Guild of India, All India Asian Defence News, Newspaper Editors’ Conference, New Delhi Hindi Samachar Patra Sammelan Working Journalists other than Editors (Clause (A) of Sub-Section (3) of Section 5) Shri K. Sreenivas Reddy Indian Journalists Union, Working Visalaandhra, News Cameramen’s Association, Andhra Pradesh Press Association Shri Mihir Gangopadhyay Indian Journalists Union, Press Freelancer, (Ganguly) Association, Working News Bartaman, Cameramen's Association West Bengal Shri M.K. Ajith Kumar Press Association, Working News Mathrubhumi, Cameramen's Association, New Delhi Indian Journalists Union Shri Joginder Chawla Working News Cameramen’s Freelancer Association, Press Association, Indian Journalists Union Shri G. -
India's Trade Potential in Audio-Visual Services And
WORKING PAPER NO. 81 INDIA’S TRADE POTENTIAL IN AUDIO-VISUAL SERVICES AND THE GATS ARPITA MUKHARJEE APRIL, 2002 INDIAN COUNCIL FOR RESEARCH ON INTERNATIONAL ECONOMIC RELATIONS Core-6A, 4th Floor, India Habitat Centre, Lodi Road, New Delhi-110 003 Contents Abbreviations....................................................................................................................... i Foreword............................................................................................................................iii Introduction ........................................................................................................................ 1 Coverage of the Sector........................................................................................................ 2 Objectives and Structure..................................................................................................... 2 1. An Overview ............................................................................................................. 3 1.1 Recent worldwide developments in audio-visual services ...................................................... 3 1.2 Audio-visual services in India............................................................................................... 19 2. Domestic and External Constraints......................................................................... 37 2.1 Domestic constraints ............................................................................................................. 37 2.2 External