List of “Dadasaheb Phalke Award” Winners from the Year 1969 to 2016

Total Page:16

File Type:pdf, Size:1020Kb

List of “Dadasaheb Phalke Award” Winners from the Year 1969 to 2016 List of “Dadasaheb Phalke Award” Winners from the year 1969 to 2016 “Dadasaheb Phalke Award” is a ‘Lifetime Achievement Award’ given annually from the year 1969, by the ‘Directorate of Film Festivals’, set up by the ‘Ministry of Information and Broadcasting’ of the Government of India, in the ‘Annual National Films Awards Ceremony’, to Indian Cinema Artists for their outstanding contributions to the growth and development of Indian Cinema. The award was instituted to commemorate Mr. Dadasaheb Phalke (1870-1944), the pioneer and ‘The Father of Indian Cinema’ , who produced and directed the first full length Indian Feature Film, ‘Raja Harischandra’ in the year 1913. The award consists of a shawl, cash award of Rs 10 Lakhs(US $ 16000/-) and a Swarna Kamal/Golden Lotus Medal. The following is a list of “Dadasaheb Phalke Award”-winners from the year 1969 till date: S.No./Year-S.No.of National Film Awards/NFA/Name /Language/Remarks 1./1969-17th National Films Awards(NFA) /Ms.Devika Rani (1908-1994)/Hindi/ Ms. Devika Rani is known as the first lady of Indian Cinema, who founded the first ‘Indian Public Limited Films Company’, by the name, “The Bombay Talkies” in the year 1934. Deviak Rani acted in her first movie ‘Karma’ produced and acted by Mr.Himanshu, in the year 1933, and in the film, she acted along with Himanshu in a kissing scene, running on the screen for 4 minutes, which is still a record in Indian Cinema History. 2./1970-18th NFA/Birendranth Sircar (1901-1980)/Bengali/ Mr.Sircar is the founder of International Filmcraft and New Theatres, Films companies, who built Cinema theatres in Kolkata. 3./1971-19TH NFA/Prithviraj Kapoor (1906-1972/Hindi/ Mr.Prithviraj Kapoor who acted in stage dramas acted in the first Indian film with audio, ‘Alam Ara’ in the year 1931. In the year 1944 he founded ‘Prithvi Theatre’, a touring dramas company to promote Hindi stage dramas. The award was given ‘posthumous’and his son Raj Kapoor received the award on his behalf. 4./1972-20TH NFA/Pankaj Mullick(1905-1978)/Bengali/ Mr.Pankaj Mullick is a Music Composer, who had been providing background music by live orchestras during the silent films were screened. His radio music ‘Mahishasuramardini of the year 1931 is very popular. 5./1973-21ST NFA/Sulochana/Ruby Myers(1907-1983/Hindi/ Ms.Sulochana’s , the first sex symbol of Indian Cinema is the first film in the year 1925 was ‘Veer Bala’ 6./1974-22nd NFA/Bommireddy Narasimha Reddy(1908-1977)/Telugu/ Mr.B.N.Reddy had produced 15 Telugu feature films. He was also awarded, Padma Bhushan and a Doctor of Letters honour. 7./1975-23rd NFA/Dhirndranath Ganguly(1893-1978)/Bengali/ Mr.Ganguly is the founder of Bengali Films Industry and he acted in the year 1921 in the movie ‘Bilat Fera’. He founded ‘Indo British Film Company’ in the year 1918, ‘Lotus Film Company’ in the year 1922 and ‘British Dominion Films Studio’ in the year 1929 for Bengali movies. 8./1976-24th NFA/Kanan Devi(1916-1992) /Bengali/ Ms.Kanan Devi is the first lady of Bengali Cinema. She had acted in the silent Bengali movies in the year 1920. She founded her own company ‘Shrimati Pictures’ and she had sung Rabindranath Tagore’s songs in her films. 9./1977-25th NFA/Nitin Bose(1897-1986)/Bengali and Hindi/ Mr.Bose was a Cinematographer, Director and Screenplay writer. He introduced playback singing in Indian Cinema in the year 1935 in his Bengali movie, ‘Bhagya Chakra’ and its Hindi remake, ‘Dhoop Chhaon’. 10./1978-26th NFA/ Raichand Boral(1903-1981)/Bengali and Hindi/ Mr.Boral was a Music Director, who introduced playback singing in Indian Cinema along with Director Nitin Bose. 11./1979-27th NFA/Sohrab Modi(1897-1984)/Hindi/ Mr.Modi was and film actor and producer. He brought the classic dramas of Shakespere into Indian cinema. 12./1980-28th NFA/Paidi Jairaj(1909-2000)/Hindi and Telugu/ Mr.Jairaj was a film actor and director. He had portrayed Indian Historical characters in the Indian cinema. 13./1981-29th NFA/ Naushad( 1919-2006) /Hindi/ Mr.Naushad was a Music Director. His first movie was ‘Prem Nagar’ in the year 1940. Naushad introduce techniques of sound mixing in Indian Cinema. 14./1982-30th NFA/L.V.Prasad(1908-1994)/ Hindi and Tamil/ Mr.Prasad was a movies Actor, Director and Producer. He had acted in the first audio films ‘Alam Ara’ –Hindi, ‘Kalidas-Tamil and ‘Bhakta Prahalada’-Telugu, released in the year 1931. He founded ‘Prasad Studios’ in the year 1965 and Prasad Colour Film Laboratory in the year 1976, which produced more than 150 movies in various languages. 15./1983-31st NFA/ Durga Khote(1905-1991)/Hindi and Marathi/ Ms.Khote had acted in the first Marathi audio movie , V.Shantaram’s ‘Ayodhecha Raja’ in the year 1932. She founded ‘Fact Films’ company and ‘Durga Khote Productions’ company, which produced short films and documentary films. In Rishi Kapoor-Dimple starred ‘Bobby’ of the year 1973 Durga Khote had acted as the grand mother of the heroine. 16./1984-32nd NFA/Satyajit Ray(1921-1992)/Bengali/ Mr.Satyajit Ray directed his first Bengali film ‘Pather Panchali’ in the year 1955. Mr.Ray attracted the entire world towards Indian Cinema. He was conferred on with ‘Bharat Ratna’ in the year 1992. 17./1985-33rd NFA/V.Shantaram(1901-1990) /Hindi and Marathi/ Mr.Shantaram produced and directed the first Indian Colour Movie, ‘Sairanhri’ in the year 1931. He produced and directed the first Marathi audio movie’Ayodhyecha Raja’ in the year 1932. 18./1986-34th NFA/B.Nagi Reddy(1912-2004) /Telugu/ Mr.Nagi Reddy had produced more than 50 movies from the year 1950. He founded ‘Vijaya Vahini Studios’, the then biggest Films Studios in Asia. B.Nagi Reddy is the younger brother of Mr.B.N.Reddy. 19./1987-35th NFA/ Raj Kapoor(1924-1988) /Hindi/ Mr.Raj Kapoor , the first son of Mr.Prithviraj Kapoor,was a movie actor and producer. His performance in his Hindi movie, ‘Awara’ in the year 1951 had been ranked as one of the top 10 greatest performances of all time by ‘Times’ Magazine in the year 2010. 20./1988-36th NFA/Ashok Kumar(1911-2001)/Hindi/ Mr.Ashok Kumar was a popular Hindi character actor. His movies, ‘Achhut Kannya’ of the yar 1936, ‘Bandhan’ of the year 1940 and ‘Kismet’ of the year 1943 were notable. 21./1989-37th NFA/Lata Mangeshkar(Born on 28th September 1929)/Hindi and Marathi/ Ms.Lata Mangeshkar, known as the ‘Nightingale of India’ is a popular Indian playback singer, and she had sung in over 36 languages from the year 1940. 22./1990-38th NFA/A.Nageswara Rao(1923-2014) /Telugu/ Mr.Nageswara Rao is the first Super star of Telugu Cinema. From his first movie was ‘’Dharma Pathini’ in the year 1941, he had acted in more than 250 movies. 23./1991-39th NFA/ Bhalji Pendharkar(1897-1994)/Marathi/ Mr.Pendharkar is a producer of Marathi movies. From the year 1920 he had produced more than 60 movies in Marathi and 8 in Hindi. His movies were notable for the historical and social narratives. 24./1992-40th NFA/ Dr.Bhupen Hazarika(1926-2011)/Assamese/ Mr.Hazarika, known as the ‘Bard of Brahmaputra’ was a Music Director, popular for his folk songs and ballads in Assamese. 25./1993-41st NFA/Majrooh Sultanpuri(1919-2000)/Hindi/ Mr.Marooh Sultanpuri was a Hindi Movies Lyricist, who had written about 8000 songs from his first movie ‘Shahjehan’ in the year 1946. 26./1994-42nd NFA/Dilip Kumar(Born on 12 th December 1922)/Hindi/ Mr.Dilip Kumar, a character actor/’Tragedy King” who had acted in more than 60movies from his first movie, ‘Jwar Bhata’ in the year 1944. 27./1995-43rd NFA/Raj Kumar(1929-2006)/Kannada/ Mr.Rajkumar is an actor and a singer and he had acted in more than 200 Kannada movies in a span of 45 years. He had also won a National Film Award for the ‘Best Male Playback Singer’ in the year 1992, for his classical song in ‘Thodi Raaga’- ‘Naadamaya’ in the movie ‘Jeevana Chaitra’ 28./1996-44th NFA/ Sivaji Ganesan(1928-2001)/ Tamil/ Mr.Sivaji Ganesan known as “Nadigar Thilagam” had acted in more than 300 Tamil movies from his first movie, “Parasakthi” in the year 1952. He is known for his unique dialogues delivery and lips movements and body language in acting and songs. 29./1997-45th NFA/Kavi Pradeep(1915-1998)/Hindi/ Mr.Pradeep is a Hindi Movie Lyricist, known for his patriotic song,’ Ayea Mere Watan Ke Logo’, had written about 1700 songs, nationalistic poems and he had written lyrics for more than 80 Hindi movies. 30./1998-46th NFA/B.R.Chopra(1914-2008)/ Hindi/ Mr.Chopra was a producer and he had founded his own company, “B.R.Films’ in the year 1956. His movies, ‘Naya Daur’ of the year 1957 and ‘Hamraaz’ of the year 1967 were popular. His TV Serial in Hindi, “Mahabharat’ is also very popular. 31./1999-47th NFA/Hrishikesh Mukherjee(1922-2006)/Hindi/ Mr.Mukherjee is a movie director and producer.His movies, ‘Anuradha’ of the year 1960, ‘Anand’ of theyear 1971 and ‘Gol Maal’ of theyear 1979 are popular. 32./2000-48th NFA/Asha Bhosle(Born on 08th September 1933)/Hindi and Marathi/ Ms.Asha Bhosle, younger sister of Ms.Lata Mangeshkar, is a popular play back singer. She started singing in movies from the year 1948. She is having a ‘Guinness Book of World Records’ for the most recorded artist in the music history.
Recommended publications
  • Yash Chopra the Legend
    YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today.
    [Show full text]
  • ANNOUNCEMENTS May 2, 1921
    ANNOUNCEMENTS https://youtu.be/inpok4MKVLM May 2, 1921: SATYAJIT RAY WHO HELPED TO BRING INDIAN CINEMA TO THE WORLD WAS BORN.. The celebrated filmmaker, who was born in Calcutta, India, to a Bengali family, was best known for his invaluable contributions to cinema, beginning with this directorial debut in 1955 with Pather Panchali. The film earned the Best Human Document award and was nominated for the prestigious Palme d'Or at the 1956 Cannes Film Festival and was widely honored and recognized at several international film festivals. By the time he passed in April 1992, Ray was regarded as one of the greatest filmmakers in the world. He was honored globally with India's highest cinema award, the Dadasaheb Phalke Award, India's highest civilian award, the Bharat Ratna, the Commander of National Order of the Legion of Honour in France and received an honorary award at the 64th Academy Awards. In addition to films, Ray also wrote fiction and nonfiction, edited Sandesh, a children's magazine, and founded Calcutta's first film society in 1947. Student iPads, cases, and charging equipment will be collected on Monday, May 24th. Please remember to bring all these items with you to school. Fines will be added to your account if there are any missing pieces. For current (20-21) sixth and seventh grade girls July 26-29 , 6:00-8:00 pm, at West Middle School $50—Scholarships available, cash or check to West Middle School Materials: Mask, water bottle, no-mark shoes, knee pads, shirt with your name on it Contact: Coach Aubrey Coleman ([email protected]) WMS Girls Basketball Team will be hosting a summer camp from July 19-July 23, 5:30-7:30pm at West Middle School.
    [Show full text]
  • Ashoke Kumar
    Ashoke Kumar The boss's wife and leading actress of a leading Film Company runs off with her lead man. She is caught and taken back but not the lead man who is unceremoniously dismissed. So now the company needs a new hero. The boss decides his laboratory assistant would be the Film Company's next leading man. A bizzare film plot??? Hardly. This real life story starred the Bombay Talkies Film Company, it's boss Himansu Rai , lead actress Devika Rani and lead man Najam-ul-Hussain and last but not least its laboratory assistant Ashok Kumar. And thus began an extremely successful acting career that lasted six decades! Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man. Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936) . Devika Rani and he did a string of films together - Izzat (1937) , Savitri (1937) , Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939) , Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya , Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular! Ashok Kumar initiated a more natural style of acting compared to the prevaling style that followed theatrical trends.
    [Show full text]
  • Current Affairs of January 2020 Quick Point
    Studentsdisha.in Current Affairs of January 2020 Quick Point Content SI No. Topic Page Number 1 Important Day & Date with Theme 2-3 2 Important Appointments 3-5 3 Awards and Honours 5-21 Crossword Books Awards 7 Ramnath Goenka Excellence Awards 7-8 Pradhan Mantri Rashtriya Bal Puraskar 2020 8 National Bravery Award 2019 8-9 Padma Awards 2020 9-14 Jeevan Raksha Padak Award 2020 14-16 62nd Grammy Awards 2020 16-20 77th Golden Globe Award 2020 20-21 4 Sports 21-24 ICC Annual Award 2019 21-22 Australian Open 2020 22 5 BOOKS & Authors 24 6 Summit & Conference 24-25 7 Ranking and Index 25-26 8 MoU Between Countries 26 9 OBITUARIES 26-27 10 National & International News 28-35 1 Studentsdisha.in January 2020 Quick Point Important Day & Date with Theme of January 2020 Day Observation/Theme 1st Jan Global Family Day World Peace Day 4th Jan World Braille Day 6th Jan Journalists’ Day in Maharashtra 6th Jan The World Day of War Orphans 7th Jan Infant Protection Day 8th Jan African National Congress Foundation Day 9th Jan Pravasi Bharatiya Divas/NRI Day( 16th edition) 10thJan “World Hindi Day” 10thJan World Laughter Day 12th Jan National Youth Day or Yuva Diwas. Theme:"Channelizing Youth Power for Nation Building". 14th Jan Indian Armed Forces Veterans Day 15thJan Indian Army Day(72nd) 16thJan Religious Freedom day 18th Jan 15th Raising Day of NDRF(National Disaster Response Force) 19th Jan National Immunization Day (NID) 21st Jan Tripura, Manipur &Meghalaya 48th statehood day 23rdJan Subhash Chandra Bose Jayanti 24th to 30th National Girl Child Week Jan 24thJan National Girl Child Day Theme:‘Empowering Girls for a Brighter Tomorrow’.
    [Show full text]
  • EXIGENCY of INDIAN CINEMA in NIGERIA Kaveri Devi MISHRA
    Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema.
    [Show full text]
  • Women Performing Artists in Colonial India There Were Few Women Painters in Colonial India
    I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita University of Allhabad Parmar Paper Coordinator Prof Rekha Pande University of Hyderabad Author Dr. Archana Verma Independent Scholar Content Reviewer (CR) Prof Rekha Pande University of Hyderabad Language Editor (LE) Prof. Sumita University of Allhabad Parmar (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women performers in colonial India description Module ID Paper- 3, Module-30 Pre-requisites None Objectives To explore the achievements of women performers in colonial period Keywords Indian art, women in performance, cinema and women, India cinema, Hindi cinema Women Performing Artists in Colonial India There were few women painters in Colonial India. But in the performing arts, especially acting, women artists were found in large numbers in this period. At first they acted on the stage in theatre groups. Later, with the coming of cinema, they began to act for the screen. Cinema gave them a channel for expressing their acting talent as no other medium had before. Apart from acting, some of them even began to direct films at this early stage in the history of Indian cinema. Thus, acting and film direction was not an exclusive arena of men where women were mostly subjects. It was an arena where women became the creators of this art form and they commanded a lot of fame, glory and money in this field. In this module, we will study about some of these women. Nati Binodini (1862-1941) Fig. 1 – Nati Binodini (get copyright for use – (https://commons.wikimedia.org/wiki/File:Binodini_dasi.jpg) Nati Binodini was a Calcutta based renowned actress, who began to act at the age of 12.
    [Show full text]
  • List of Newly Approved Institutions
    UNIVERSITY GRANTS COMMISSION Bahadur Shah Zafar Marg New Delhi-110002 Approval of new skill based courses to institutions under NSQF for the academic year 2020-21 S.No State Name Name of the Address Details Institution 1 Andhra A M A L College Anakapalli, District Trade/Course Pradesh Visakhapatnam - 531 001 Certificate DAIRYING & ANIMAL HUSBANDRY B.VOC. Degree DAIRYING & ANIMAL HUSBANDRY Certificate Agriculture B.VOC. Degree Agriculture 2 Tamil Nadu A Veeriya Vendayar Poondi, District Thanjavur Programme Trade/Course Memorial Sri Diploma Edible mushroom cultivation Technology Pushpam College Diploma Ornamental fish culture Diploma Bio fertilizer Diploma Handicrafts/Thanjavur Arts and Paintings 3 Tamil Nadu A.D.M. College for Nagapattinam, District Programme Trade/Course Women Quaide-E-Milleth B.VOC. Degree Management and Entrepreneurship/Modern Office Practices B.VOC. Degree Apparel/Fashion Technology B.VOC. Degree Healthcare/Nutrition and Dietetics B.VOC. Degree Banking & Financial Service/ Banking Finance and Insurance 4 Andhra A.N.R. College Gudivada, District Programme Trade/Course Pradesh Krishna - 521 301 Certificate IT/Ites/WEB TECHNOLOGIES Certificate Management and Entrepreneurship/ GOODS & SERVICES TAX (GST) Certificate Chemical and Petrochemicals/ ANALYTICAL CHEMISTRY 5 Tamil Nadu A.P.C. Mahalaxmi Tuticorin, District Programme Trade/Course College for women Tuticorin - 628 016 Diploma IT/Ites/Data Science Diploma Media and Entertainment/Advertising and Public Relations Diploma Beauty & Wellness/Herbal Beauty Care 6 Maharashtra A.R. Burla Mahila City Survey No. Programme Trade/Course Varishtha 9705/9/A/2A, Raviwar B.VOC. Degree Theatre and Stage Craft 7 Maharashtra A.T.S.P.M. Arts & Ashti, District Beed Programme Trade/Course Commerce College Diploma Agriculture/Organic Farming Diploma IT/Ites/Computer Application and Information Technology Diploma IT/Ites/Web Page Designing & Web development 8 Telangana A.V.V.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • May 2013 India Review Ambassador’S PAGE America Needs More High-Skilled Worker Visas a Generous Visa Policy for Highly Skilled Workers Would Help Everyone
    A Publication of the Embassy of India, Washington, D.C. May 1, 2013 I India RevieI w Vol. 9 Issue 5 www.indianembassy.org IMFC Finance Ministers and Bank Governors during a photo-op at the IMF Headquarters in Washington, D.C. on April 20. Overseas capital best protected in India — Finance Minister P. Chidambaram n India announces n scientist U.R. Rao n Pran honored incentives to boost inducted into with Dadasaheb exports Satellite Hall of Fame Phalke award Ambassador’s PAGE India is ready for U.S. natural gas There is ample evidence that the U.S. economy will benefit if LNG exports are increased he relationship between India and the United States is vibrant and growing. Near its T heart is the subject of energy — how to use and secure it in the cleanest, most efficient way possible. The India-U.S. Energy Dialogue, established in 2005, has allowed our two countries to engage on many issues. Yet as India’s energy needs con - tinue to rise and the U.S. looks to expand the marketplace for its vast cache of energy resources, our partner - ship stands to be strengthened even facilities and ports to distribute it macroeconomic scenarios, and under further. globally. every one of them the U.S. economy Despite the global economic slow - There is a significant potential for would experience a net benefit if LNG down, India’s economy has grown at a U.S. exports of LNG to grow expo - exports were increased. relatively brisk pace over the past five nentially. So far, however, while all ter - A boost in LNG exports would have years and India is now the world’s minals in the U.S.
    [Show full text]
  • 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.
    [Show full text]
  • Veer–Zaara Regie: Yash Chopra
    Veer–Zaara Regie: Yash Chopra Land: Indien 2004. Produktion: Yash Raj Films (Mumbai). Regie: Yash Chopra. Buch: Aditya Chopra. Regie Actionszenen: Allan Amin. Kamera: Anil Mehta. Ton: Anuj Mathur. Musik: Madan Mohan. Neueinspielung: Sanjeev Kohli. Arrangements: R.S. Mani. Liedtexte: Javed Akhtar. Sänger: Lata Mangeshkar, Udit Narayan, Sonu Nigam, Roop Kumar Rathod, Gurdas Mann, Ahmed Hussain, Mohammed Hussain, Mohammed Vakil, Javed Hussain, Pritha Majumder. Ausstattung: Sharmishta Roy. Choreographie: Saroj Khan, Vaibhavi Merchant. Kostüme: Manish Malhotra. Beratung (Drehbuch & Ausstattung): Nasreen Rehman. Schnitt: Ritesh Soni. Produzenten: Yash Chopra, Aditya Chopra. Co-Produzenten: Pamela Chopra, Uday Chopra, Payal Chopra. Aufnahmeleitung: Sanjay Shivalkar, Padam Bhushan. Darsteller: Shahrukh Khan (Veer Pratap Singh), Rani Mukerji (Saamiya Siddiqui), Preity Zinta (Zaara), Kirron Kher, Divya Dutta, Boman Irani, Anupam Kher, Amitabh Bachchan, Hema Malini, Manoj Bajpai, Zohra Segal (Bebe), S.M. Zaheer (Justice Qureshi), Tom Alter (Dr. Yusuf), Gurdas Mann (als er selbst), Arun Bali (Abdul Mallik Shirazi, Razas Vater), Akhilendra Mishra (Gefängniswärter Majid Khan), Rushad Rana (Saahil), Vinod Negi (Ranjeet), Balwant Bansal (Qazi), Rajesh Jolly (Priester), Anup Kanwal Singh (Sänger), Kanwar Jagdish (Glatzkopf im Bus), Dev K. Kantawalla (Munir), Vicky Ahuja (Vernehmungsbeamtin), Ranjeev Verma (Vernehmungsbeamter), Jas Keerat (Junger Cricket-Spieler), Sanjay Singh Bhadli (Bauer), Kulbir Baderson (Töpferin), Shivaya Singh (Kamli), Huzeifa Gadiwalla
    [Show full text]
  • Bollywood Bourgeois Author(S): Rachel Dwyer Source: India International Centre Quarterly, Vol
    Bollywood Bourgeois Author(s): Rachel Dwyer Source: India International Centre Quarterly, Vol. 33, No. 3/4, India 60 (WINTER 2006-SPRING 2007), pp. 222-231 Published by: India International Centre Stable URL: http://www.jstor.org/stable/23006084 . Accessed: 07/11/2013 09:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. India International Centre is collaborating with JSTOR to digitize, preserve and extend access to India International Centre Quarterly. http://www.jstor.org This content downloaded from 146.96.128.36 on Thu, 7 Nov 2013 09:20:14 AM All use subject to JSTOR Terms and Conditions INDIA 60 Bollywood Bourgeois cliche of Indian cinema being the domain of the escapist fantasies of the Indian masses can now be safely put to rest. While this may have been true for The the 1980s, when the study of Indian cinema began to grow, the present cinema audiences, who are willing to pay Rs. 200 and upwards for a cinema ticket, are from various sections of the Indian middle classes and elites. These classes now dominate the public sphere in India and film is one of the major media which they are producing and consuming.
    [Show full text]