List of Digitized Films
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Adeep Tandon
Adeep Tandon Member of the Jury, 9th NSFFI 2019 Shri Adeep Tandon is a Science Graduate from AGRA UNIVERSITY and a DIPLOMA HOLDER from FILM INSTITUTE OF INDIA, ( Now FTII ), PUNE, having graduated in the year 1968,specialising in MOTION PICTURE PHOTOGRAPHY. After passing out from Pune FTII, he joined Satyajit Ray's Director Of Photography, Mr.Subrata Mitra as his chief assistant and assisted him in Merchant -Ivory Production's " BOMBAY TALKIE",Mahatma and the Mad Boy (A tele-film for BBC ) and a series of TV commercial for American TV for Tea Board of India,Calcutta. In Calcutta worked as DOP for Mr.Shanti P Choudhury ( Image India Films ) on six documentaries and also for Mr.Chidanand Dasgupta as his DOP for five documentaries before leaving for Mumbai. In Mumbai he shot nearly 120 Ad commercials as DOP, more than 100 documentary films, about 35 Feature films as DOP and Corporate films etc. till date. Some of notable films are, Griha Pravesh , Saaransh,Thikana, Rao Saheb, Mere Saath Chal, Censor,Jana Na Dil Se Door etc., Have done 7 feature films in Punjabi ( Directing two and as DOP 5 ),Bengali film " Anand Niketan" as DOP. Have Directed & Photographed a Hindi Feature film " NAAZUK SAA MODD " ( To be released). He is also a writer and presently co-written two features for Mr.Avtar Kohli Alias Kuku Kohli, maker of "Phool Aur Kante" and many more hindi block busters. Have worked as DOP in the feature films with Basu Bhattacharya, Mahesh Bhatt,Vijaya Mehta,Chetan Anand,Dev Anand,Vijaya Anand,Harpal Tiwana,Priti Sapru,Sujit Guha, Suresh Sharma,Tanvir Ahmed and many more. -
Institute of Film & Video Technology, Mumbai
INSTITUTE OF FILM & VIDEO TECHNOLOGY, MUMBAI & MEWAR UNIVERSITY, CHITTORGARH (Rajasthan) PROSPECTUS for JOINT PROGRAMMES ABOUT THE IFVT: There has always been a mad rush of people aspiring to join the glamour world of Cinema and Television. However, there is no clear cut path carved out for their entry other than through the Film Institutes established by the Government. There is always a need felt by the Production Houses to have trained film makers and technicians for quality film and Television productions. Considering this huge requirement of trained professionals many private institutes have mushroomed in various places. However these Institutes also lack the trained faculty in various departments of film making. This has prompted few graduates from Film and Television Institutes of India to come together and thus the Institute of Film and Video Technology was established with a sole objective of providing professional education in Cinema and Television Technology. The IFVT endeavors to take Cinema Education to the places where Cinema is not made and Cinema is not taught. IFVT opens a window of opportunities to those who have no access to the world of Cinema. OUR MISSION: To strive to give Cinema Education a Professional status Equivalent to other professional Degrees such as Medical, Engineering, Computers etc by providing a Bachelors degree in Cinema & Television with Master’s degree & PhD in cinema thereafter. FACILITIES AND SERVICES: IFVT draws its highly experienced faculty from internationally renowned Film Institutes and from the film industry. Apart from the permanent faculty, the IFVT has tie ups and arrangements with reputed artistes and technicians from the film world to train & share their experiences with the students. -
Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
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. -
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. -
Prabhat Prakashan (In English)
S.No ISBN Title Author MRP Lang. Pages Year Stock Binding 1 9789352664634 Kaka Ke Thahake Kaka Hathrasi 300.00 Hindi 128 2021 10 Hardcover 2 9789352664627 Kaka Ke Golgappe Kaka Hathrasi 450.00 Hindi 184 2021 10 Hardcover 3 9789386870803 Hindu Dharma Mein Vaigyanik Manyatayen K.V. Singh 400.00 Hindi 184 2021 10 Hardcover 4 9789390366842 Ahilyabai (& udaykiran) Vrindavan Lal Verma 700.00 Hindi 352 2021 10 Hardcover 5 9789352669394 Sudha Murty Ki Lokpriya Kahaniyan Sudha Murty 350.00 Hindi 176 2021 10 Hardcover 6 9788173150500 Amarbel Vrindavan Lal Verma 400.00 Hindi 200 2021 10 Hardcover 7 9788173150999 Shreshtha Hasya Vyangya Ekanki Kaka Hatharasi 450.00 Hindi 224 2021 10 Hardcover 8 9789389982664 Mera Desh Badal Raha Hai Dr. A.P.J. Abdul Kalam 500.00 Hindi 224 2021 10 Hardcover 9 9789389982329 Netaji Subhash Ki Rahasyamaya Kahani Kingshuk Nag 350.00 Hindi 176 2021 10 Hardcover 10 9789389982022 Utho! Jago! Aage Barho Sandip Kumar Salunkhe 400.00 Hindi 160 2021 10 Hardcover 11 9789389982718 Champaran Andolan 1917 Ashutosh Partheshwar 400.00 Hindi 184 2021 10 Hardcover 12 9789389982916 Ramayan Ki Kahani, Vigyan Ki Zubani Saroj Bala 400.00 Hindi 206 2021 10 Hardcover 13 9789389982688 Vidyarthiyon Mein Avishkarak Soch Lakshman Prasad 400.00 Hindi 192 2021 10 Hardcover 14 9789390101757 Zimmedari (Responsibility) P.K. Arya 500.00 Hindi 240 2021 10 Hardcover 15 9789389982305 Samaya Prabandhan (Time Management) P.K. Arya 500.00 Hindi 232 2021 10 Hardcover 16 9789389982312 Smaran Shakti (Memory Power) P.K. Arya 400.00 Hindi 216 2021 10 Hardcover 17 9789389982695 Jannayak Atalji (Sampoorn Jeevani) Kingshuk Nag 350.00 Hindi 168 2021 10 Hardcover 18 9789389982671 Positive Thinking Napoleon Hill ; Michael J. -
Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations. -
Shankar Jaikishan – Emperors of Music by Ashwini Kumar Rath
Shankar Jaikishan – Emperors of Music By Ashwini Kumar Rath Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated album Raga in Jazz Style, and background music for documentary Everest expedition among many others. If we look at the popular impact by any personalities in the field of music during the post-independence period in India, the obvious choice is Shankar Jaikishan. Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. While Shankar's musical jhankar propels divine dwellers to zoom in unison with ecstasy, romantic effervescence of Jaikishan music brings divine feelings on to earth. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non- drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social. -
13. Ormakai Undayirikkanam English/Malayalam Hindi Hindi
37 Written Answers PHALGUNA15,1918 (Saka) To Questions 38 1 1 14. Ithihasathile Khasak English/Malayalam 22. Neelakkuyil 15. Drip And Sprinkler Irrigation Hindi 23. Adaminte Variyellu 16. The Brief Journey Hindi/English 24. Ore Thooval Pakshikal Homage to Smita Patii 25. Kazhakam 1. Bhumika 26. Unnikuttanu Joli Kitti 2. Chidambaram 27. Kumara Sambhavam Homage to P. A Backer 28. Kilukkam 1. Chappa 29. Amaram 2. Prema Lekhanam 30. Bhargavi Nilayam 3. Manimuzhakkam 31. Sukrutham Tribute to Tapan Sinha 32. Sammohanam 1. Daughters Of The Century Films in the Malayalam Retrospective [Translation] 1. Marthanda Varma Indian Air Services 2. Chemmeen *197. SHRI JAGDAMBI PRASAD YADAV: Will the Minister of CIVIL AVIATION be pleased to state: 3. Iruttinte Atmavu (a) whether Indian Air Services are lagging behind as 4. Olavum Theeravum per the International standards; % 5. Nirmalyam (b) whether these services do not have sufficient number of superior quality planes and whether there is a 6. Elipathayam lack of mechanical facilities for monitoring of air services; 7. Rugmini (c) whether the standard of maintenance of planes is 8. Anubhavangal Palichaka! also very poor; and 9. 1921 (d) if so, the details of the programmes formulated/ likely to be formulated by the Government to bring its air 10. Thinkaiazhcha Nalla Dh/asam services at par with International air services? 11. Manichitra Thazhu THE MINISTER OF CIVIL AVIATION AND MINISTER OF INFORMATION AND BROADCASTING (SHRI C.M. 12. Piravi IBRAHIM): (a) to (d) Air India and Indian Airlines' services 13. Ormakai Undayirikkanam are comparable to International standards. Both Air India and Indian Airlines have adequate 14. -
Unit-2 Silent Era to Talkies, Cinema in Later Decades
Bachelor of Arts (Honors) in Journalism& Mass Communication (BJMC) BJMC-6 HISTORY OF THE MEDIA Block - 4 VISUAL MEDIA UNIT-1 EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA UNIT-2 SILENT ERA TO TALKIES, CINEMA IN LATER DECADES UNIT-3 COMING OF TELEVISION AND STATE’S DEVELOPMENT AGENDA UNIT-4 ARRIVAL OF TRANSNATIONAL TELEVISION; FORMATION OF PRASAR BHARATI The Course follows the UGC prescribed syllabus for BA(Honors) Journalism under Choice Based Credit System (CBCS). Course Writer Course Editor Dr. Narsingh Majhi Dr. Sudarshan Yadav Assistant Professor Assistant Professor Journalism and Mass Communication Dept. of Mass Communication, Sri Sri University, Cuttack Central University of Jharkhand Material Production Dr. Manas Ranjan Pujari Registrar Odisha State Open University, Sambalpur (CC) OSOU, JUNE 2020. VISUAL MEDIA is made available under a Creative Commons Attribution-ShareAlike 4.0 http://creativecommons.org/licences/by-sa/4.0 Printedby: UNIT-1EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA Unit Structure 1.1. Learning Objective 1.2. Introduction 1.3. Evolution of Photography 1.4. History of Lithography 1.5. Evolution of Cinema 1.6. Check Your Progress 1.1.LEARNING OBJECTIVE After completing this unit, learners should be able to understand: the technological development of photography; the history and development of printing; and the development of the motion picture industry and technology. 1.2.INTRODUCTION Learners as you are aware that we are going to discuss the technological development of photography, lithography and motion picture. In the present times, the human society is very hard to think if the invention of photography hasn‘t been materialized. It is hard to imagine the world without photography. -
Early Marathi Cinema. Prabhat Studios and Social Respectability
Early Marathi Cinema: Prabhat Studios and Social Respectability Hrishikesh Ingle Abstract The history of Marathi cinema, one of the first formations of regional cinema in India, can be traced from the studio era (1929-1953), specifically through Prabhat Studios. Prabhat Studios was situated in Kolhapur and Pune in western India. This paper analyzes two historical characteristics of Prabhat: how the studio imagined a cinema through linguistically specific regional content and forms of performance, and how this filmmaking was institutionalized as an example of artistic excellence, therefore conforming to the notion of social respectability. I argue that the filmmaking practices engendered by Prabhat aimed to project the studio, and cinema itself, as a respectable creative enterprise to Marathi society. This article accesses anecdotal biographies, archival materials, and existing Prabhat films to evaluate this tendency towards social respectability. A significant aspect of this historical account is the spatial spread, or movement, of early Marathi cinema, as it intersects other cultural forms to negotiate modernity. Keywords: Cultural studies; Indian film history; Indian studio era; Marathi cinema; Prabhat Studios; regional filmmaking; social space. rabhat Studios, along with New Theatres and Bombay Talkies, was one of the important spaces defining the Indian studio era (1920s-1953).1 Prabhat rose to prominence due to the technical excellence and variety of thematic content that it P engaged with in the late colonial period (1930s-1947).2 The history of Prabhat, apart 1 The studio era in India is understood as the period where studio-based production was the primary mode of filmmaking dominating the film industries of Bombay, Calcutta and Madras from the 1920s to 1953. -
21 Aug Page 07.Qxd
SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 28,MARCH, (07) Tragedy Queen of Indian Cinema Contd.From Page no.06 the film's music and lyrics were by Roshan and Sahir to August, Meena Kumari was in the hands of Dr. Sheila Sherlock.Upon Ludhianvi and noted for songs such as "Sansaar Se Bhaage Phirte Ho" and recovery, Meena Kumari returned to India in September 1968 and on the fifth "Mann Re Tu Kaahe". Ghazal directed by Ved-Madan, starring Meena Kumari day after her arrival, Meena Kumari, contrary to doctors' instructionsAAfter their and Sunil Dutt, was a Muslim social film about the right of the young generation marriage, Kamal Amrohi allowed Meena Kumari to continue her actiresumed to the marriage of their choice. It had music by Madan Mohan with lyrics by work. Suffering from cirrhosis of the liver, although Meena Kumari temporarily Sahir Ludhianvi, featuring notable filmi-ghazals such as "Rang Aur Noor Ki recovered but was now much weak and thin. She eventually shifted her focus Baraat", performed by Mohammed Rafi and "Naghma O Sher Ki Saugaat" on more 'acting oriented' or character roles. Out of her last six releases namely performed by Lata Mangeshkar. Main Bhi Ladki Hoon was directed by A. C. Jawab, Saat Phere, Mere Apne, Dushman, Pakeezah & Gomti Ke Kinare, she Tirulokchandar. The film stars Meena Kumari with newcomer Dharmendra. only had a lead role in Pakeezah. In Mere Apne and Gomti Ke Kinare, although Critical acclaim (1962) Sahib Bibi Aur she didn't play a typical heroine role, but her character was actually the central Ghulam (1962) character of the story.