Sandesh Sandesh Issue 1 the Message : a Newsletter from Indus of Fox Valley
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Été Indien 10E Édition 100 Ans De Cinéma Indien
Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde. -
Secularism in Indian Cinema
TWENTY SECOND T.A. PAI MEMORIAL LECTURE SECULARISM IN INDIAN CINEMA Delivered by SRI SHYAM BENEGAL Film Producer, Sahyadri Films, 19/20a, Tardeo Road, Tardeo, Mumbai – 400 034 ON JANUARY 17, 2005 AT MANIPAL T.A. PAI MANAGEMENT INSTITUTE MANIPAL SECULARISM IN INDIAN CINEMA I remember that for me it is a which is now got almost washed away. great privilege to come here and deliver The Island also almost washed away and the memorial lecture in memory of Mr. he remembered when he was the T.A. Pai. Because I remember that I met Development Commissioner and he was him many years ago, when I had made a allocating funds for Nicobar and series of promotional films for the Life Andaman at that time. He has gone Insurance Corporation. He was then there and there was a small tribal Chairman of LIC and my memory of him community that was living there and matches exactly what Mr. K K Pai said of their sole wealth used to be pigs and him about that lift that was made only they were piggy rich and when the for the Chairman in that building. I population of pigs grew, they became remember he was so down to earth rich and when they became rich like because the other Officers had said that that they always used to have a custom we know that you are meeting the which was to celebrate their wealth Chairman and the whole protocol was with their ancestors which meant that being set up for me so that I would go they would dig up the bones and skulls and not make any bloomers when I met of the ancestors and place them in front him. -
Vivek Sachdeva Designation: Professor Academic Qualifications
About Vivek Sachdeva Name: Vivek Sachdeva Designation: Professor Academic Qualifications: Ph.D. Additional Qualifications: CFA from FTTI, Pune Room No. C 302 Contact: 011-25302502, 8826250973 E mail: [email protected] Research Areas: Film Studies (Adaptation), Narratology Courses taught: Literature and Cinema, Philosophy of Literature, Romantic Poetry, Writings Beyond Literature Memberships of Professional Bodies: Association of Adaptation Studies, International Society for the Study of Narrative, IACLALS, MELOW Administrative Work: Co-ordinator, Ph.D. programme of USHSS, GGSIP University, New Delhi Co-ordinator, Library Committee, USHSS, GGSIP University, New Delhi In-charge, Music Wing of Indraprasth Centre for Art and Culture Member, Curriculum Redesigning Committee Profile: I have done my primary research in the field of adaptation studies with special focus on film adaptations of the novels written by Ruth Prawer Jhabvala. During my research I have tried to understand how the narrative changes during the process of adaptation. I am also interested in exploring further dimensions of the relationship between literature and cinema. Currently, I am doing a project on Shyam Benegal’s cinema in which I am trying to understand how Shyam Benegal, as a filmmaker, has responded to issues of India in post-colonial times. The attempt is to study the image of India emerging in his cinema. Besides, I am a translator. I have translated two books of Hindi poetry into English. Presently, I am translating Punjabi poetry into English. Publications BOOKS Research Work: ‘Fiction to Film: Ruth Prawer Jhabvala's The Householder and Heat and Dust’. Orient BlackSwan, India, 2017. Translation: Sun and Silence (Translation of Hindi Poetry into English). -
Westminsterresearch the Digital Turn in Indian Film Sound
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The Digital Turn in Indian Film Sound: Ontologies and Aesthetics Bhattacharya, I. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr Indranil Bhattacharya, 2019. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] THE DIGITAL TURN IN INDIAN FILM SOUND: ONTOLOGIES AND AESTHETICS Indranil Bhattacharya A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2019 ii Abstract My project maps film sound practices in India against the backdrop of the digital turn. It is a critical-historical account of the transitional era, roughly from 1998 to 2018, and examines practices and decisions taken ‘on the ground’ by film sound recordists, editors, designers and mixers. My work explores the histories and genealogies of the transition by analysing the individual, as well as collective, aesthetic concerns of film workers migrating from the celluloid to the digital age. My inquiry aimed to explore linkages between the digital turn and shifts in production practices, notably sound recording, sound design and sound mixing. The study probes the various ways in which these shifts shaped the aesthetics, styles, genre conventions, and norms of image-sound relationships in Indian cinema in comparison with similar practices from Euro-American film industries. -
LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No. -
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02-2018 108 TEERTH YATRA Sony Wah TV004 07-05-2017 1234 Zee Talkies HD TV005 18-06-2017 13 NO TARACHAND LANE Zee Bangla HD TV006 27-09-2015 13 NUMBER TARACHAND LANE Zee Bangla Cinema TV007 25-08-2016 2012 RETURNS Zee Action TV008 02-07-2015 22 SE SHRAVAN Jalsha Movies TV009 04-04-2017 22 SE SRABON Jalsha Movies HD TV010 24-09-2016 27 DOWN Zee Classic TV011 26-12-2018 27 MAVALLI CIRCLE Star Suvarna Plus TV012 28-08-2016 3 AM THE HOUR OF THE DEAD Zee Cinema HD TV013 04-01-2016 3 BAYAKA FAJITI AIKA Zee Talkies TV014 22-06-2017 3 BAYAKA FAJITI AIYKA Zee Talkies TV015 21-02-2016 3 GUTTU ONDHU SULLU ONDHU Star Suvarna TV016 12-05-2017 3 GUTTU ONDU SULLU ONDU NIJA Star Suvarna Plus TV017 26-08-2017 31ST OCTOBER STAR Gold Select HD TV018 25-07-2015 3G Sony MIX TV019 01-04-2016 3NE CLASS MANJA B COM BHAGYA Star Suvarna TV020 03-12-2015 4 STUDENTS STAR Vijay TV021 04-08-2018 400 Star Suvarna Plus TV022 05-11-2015 5 IDIOTS Star Suvarna Plus TV023 27-02-2017 50 LAKH Sony Wah TV024 13-03-2017 6 CANDLES Zee Tamil TV025 02-01-2016 6 MELUGUVATHIGAL Zee Tamil TV026 05-12-2016 6 TA NAGAD Jalsha Movies TV027 10-01-2016 6-5=2 Star Suvarna TV028 27-08-2015 7 O CLOCK Zee Kannada TV029 02-03-2016 7 SAAL BAAD Sony Pal TV030 01-04-2017 73 SHAANTHI NIVAASA Zee Kannada TV031 04-01-2016 73 SHANTI NIVASA Zee Kannada TV032 09-06-2018 8 THOTAKKAL STAR Gold HD TV033 28-01-2016 9 MAHINE 9 DIWAS Zee Talkies TV034 10-02-2018 A Zee Kannada TV035 20-08-2017 -
Centre of South Asian Studies ANNUAL REVIEW ISSUE 75: September 2010 - August 2011 SOAS
SOAS, UNIVERSITY OF LONDON South A Centre of South Asian Studies ANNUAL REVIEW ISSUE 75: September 2010 - August 2011 SOAS STUDYING AT SOAS The international environment and CONTENTS cosmopolitan character of the School make student life a challenging, rewarding and exciting experience. We welcome students 3 Letter from the Chair from more than 130 countries, and more 4 Centre Members than 45% of them are from outside the UK. 6 Members News The SOAS Library has more than 1.5 million 14 Annoucements items and extensive electronic resources. It 18 Academic Events Summary is the national library the study of Africa, Asia and the Middle East and attracts scholars all 20 Event Reports over the world. 32 Research Students 34 Charles Wallace Visiting Fellowships SOAS offers a wide range of undergraduate, postgraduate and research degrees. 36 Research & Enterprise Students can choose from more than 38 Centre for the Study of Pakistan 400 undergraduate degree combinations 39- Join the Centre and from more than 80 postgraduate programmes (taught and distance learning) in the social sciences, humanities and languages with a distinctive regional focus The School of Oriental and African Studies and global relevance, taught by world- (SOAS) is a college of the University of London renowned teachers in specialist faculties. and the only Higher Education institution in the UK specialising in the study of Asia, Africa The School is consistently ranked among and the Near and Middle East. the top higher education institutions in the UK and the world. The School’s academic SOAS is a remarkable institution. Uniquely excellence has also been recognised in combining language scholarship, disciplinary research assessment exercises (RAEs) expertise and regional focus, it has the largest concentration in Europe of academic SOAS offers a friendly, vibrant environment staff concerned with Africa, Asia and the right in the buzzing heart of London. -
History of Indian Cinema.Pdf
CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895. -
Shoma Ajoy Chatterji
Shyam Benegal's Zubeidaa: memory as 'voice' Shoma Ajoy Chatterji Vol. 3, No. 2, pp. 53–71 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 53 • Vol. 3, No. 2, pp. 53-71 Shyam Benegal's Zubeidaa: memory as 'voice' Shoma Ajoy Chatterji Freelance journalist, film scholar and writer, [email protected] The demolition of the Babri Masjid in December 1992 and the Mumbai riots that followed in its wake in January 1993 motivated Shyam Benegal to respond to his feelings for the minority community. His empathy for the minority was triggered mainly by the violence he was personally witness to at the crowded streets of Tardeo where his office stands. He saw a Muslim bakery being set on fire by an angry mob. His response brought in its wake three films in quick succession – Mammo, Sardari Begum and Zubeidaa, a family trilogy relating to the stories and journeys of three women from Muslim families. All three films defined Benegal’s concern with marginalized women. The three central women characters in these films were marginalized thrice over – one because being Muslim, they were part of a minority group in India; two, as Muslim women, they were a minority-within- minority within their own communal group; and three, because they were women, per se. Within the first area of marginalization, they were targets of oppression that is the fate of Muslim women by virtue of the ideologies and philosophies of Muslim faith. Though these three areas of the oppression of Muslim women come across lucidly, subtly yet strongly in all three films, it is not the victimization that interested Benegal but rather, the strength and the power that lay hidden within these women, waiting to be tapped, drawn out and executed across the span of their respective lives. -
Friday, October 12, 2018 at the Tata Theatre, NCPA, Nariman Point, Mumbai
Supported by Friday, October 12, 2018 at The Tata Theatre, NCPA, Nariman Point, Mumbai FOREWORD It is ten years since we launched the Laadli Media Advocacy initiatives at the national level. In these 10 years we have grown into a movement with media acknowledging the initiatives and the awards as valuable. The ready support of media and advertising leaders as jury members, resource persons and advisors is heartening. Once again our heartfelt gratitude to International Advertising Association (IAA) for facilitating the South Asia Awards. We welcome the award winners from Mauritius, Nepal and Pakistan. We are sure, together, we can make gender sensitive media and advertising a reality. However, there is a lot that has to be done to address the issues that women face within organizations, even today. There is a need to have mechanisms to ensure that organizations have work cultures that provide safe work environent to women. A study done by Population First in Media and Advertising agencies revealed that Internal Complaints Committees are conspicuous by their absence. In the coming years we would also be addressing these issues through our advocacy initiatives. We are thankful to UPL, BAJAJ Group, Bank of Baroda, Tech Mahindra Foundation and Cipla for supporting the South Asia Awards. We are thankful to UNFPA and UNGC for joining us as cause partners. We are grateful to NCPA and SPENTA for their continued support. Each year we are excited to read entries that make us sit up and take notice of what is happening around us. Whether it is the ‘Ruwathis’ – the live in maids of The North-East or the ‘Rudalis’- the professional women mourners, the diversity and range of issues covered is amazing. -
SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments. -
JOURNAL of EURASIAN STUDIES Volume IV., Issue 4
October-December 2012 JOURNAL OF EURASIAN STUDIES Volume IV., Issue 4. _____________________________________________________________________________________ PLÁJÁS, Ildikó Zonga Curved Reflexion — a Five-Day Experience of Cinematic Art from India — Indian Film Festival The Hague 2012 – 2nd edition Ladies of Miss India 2012 welcomed us as we entered the reception of the 2nd edition of Indian Film Festival The Hague. Model cut girls in pseudo Indian clothes with sparkling details, pinkish and artificial inserts, and gimmicky smiles yet with an air of melodramatic seriousness. Films and festival, content and appearance shared the same ambivalence; the sometimes astonishing sometimes charming opposites which otherwise characterizes the whole Indian society and culture. As the main page of the festivals' website appropriately states: 'The Indian Film Festival The Hague will take you on an unforgettable journey to India, an overwhelming country filled with contrast. The festival explores the changing identity of India through the eyes of film makers. [...] Five days of cinema, five days of eclectic and exciting programming, five days of mesmerizing India for all ages and all kinds. Whether you’re a lover of art or a lover of nightlife the IndianFFTH has something for you.' The festival took place between 3-7 October 2012 and during the 5 days of rich programming a total of 27 films were screened, more than half being Dutch premieres. The festival this year run on more locations and a number of additional screenings and events took place. A special educational program was connected to the screening of the children film Chillar Party (d. Nitesh Tiwari and Vikas Bahl) and a special Indian Ladies Night was organized where the audience could watch the longest-running film in the history of Indian cinema, Dilwale Dulhania Le Jayenge (The lover will take the bride), a Bollywood classic from 1995.