DOCSLIB.ORG

Hollywood Marathi Cinema Tollywood Bollywood Industry? Malayalam Marathi Cinema Industry's History Is As Old As? Telugu Cinema Hindi Cinema Orissa Cinema Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hollywood Marathi Cinema Tollywood Bollywood Industry? Malayalam Marathi Cinema Industry's History Is As Old As? Telugu Cinema Hindi Cinema Orissa Cinema Cinema Question Option 1 Option 2 Option 3 Option 4 Which of the following is not a regional cinema Hollywood Marathi Cinema Tollywood Bollywood industry? Malayalam Marathi Cinema Industry's history is as old as? Telugu Cinema Hindi Cinema Orissa Cinema Cinema First Marathi movie made by Dadasaheb Torne is? Shree Pundalik Raja Harishchandra Ayodhyecha Raja Pinjra Shree Pundalik was released on 18th May 1913 18th May 1912 18th May 1914 18th May 1915 The journey of Marathi Cinema began from which Chitra Theatre Coronation Theatre Metro Theatre PVR Theatre theater? Initially Marathi Cinema was made in which of the Bombay Lucknow Bihar Maharashtra following city? Which Marathi movie is tittled as the first Marathi Raja Jagachya Ayodhyecha Raja Dhoom Dhadaka Talkie? Harishchandra Pathivar What is the company name formed by V Shantaram, Prabhat Film Prabha Film Royal Film Bioscope Film Dhaybar, Damle and Fattelal? Company Company Company Company Ayodhyecha Raja movie was released in which year? 1935 1934 1933 1932 Jagachya Pathivar movie is a Family Drama Political Drama Thriller Action Which period is a Gloden Era for Marathi Cinema? 1940-1950 1950-1960 1940-1960 1960-1970 Bhalaji Jagachya Pathivar film is made by Baburao Painter Raja Thakur Raja Paranjape Pendharkar Marathi Films based on folk dance were called as Tamasha Films Romantic Films Family Drama Musical Films During which period Tamasha Films ruled Marathi 1940-1950 1950-1960 1940-1960 1960-1970 Industry? Actor Dada Kondke was featured in which type of Romantic Movies Bawdy Comedy Tamasha Movies Action Movies movies? Dada Kondke has been popular in Marathi Industry for Double Entendre Dance Hair Style Acting During 70s & 80s Marathi movies were based on which Romance Music Supernatural Women of the following topics? Which of the following is P. K. Atre's film? Shyamchi Aai Shwaas Dombivali Fast Uttarayan Which of the following is not a Bengali Movie Director? Satyajit Ray Ritwik Ghatak Mrinal Sen SmitaTalwalkar In 1890 what were shown in theatres of Kolkata? Films Drama Bioscope Tamasha Rise of digital cinema project began in __________ 1999 1982 1965 1974 __________ is a perfect example of media convergence News paper Radio Facebook mobile phones _________ is a reflection of society Radio Advertisement Film News paper Grandeur films were presented using ________ 70-mm 35-mm 55-mm 16-mm Use of anamorphic lenses for wide-screen projection Cinemascope Edwin.H.land Sony Ethan Coen was introduced by ___________ in 1953. In 1956 ___________ movie was made at 30 per second Around the Episode II: Attack of Star Wars title Oh Brother for flicker free image. World in 80 Days the Clones. The _____________used for commercial 3-D movies since the early 1950s, is based on a light-polarizing Natural Vision Polaroid system polaroid lense projector material __________ was known as the most prominent Lumiere Christopher Edwin.H.land Ethan Coen advocates of shooting movies on celluloid Brothers Nolan _______ and ________introduced an integrated digital Celluloid and Sony and workflows and Lucas film and camera that records 24 frames per second digital Panavision resolutions Hollywood ________has begun a major technological Marathi film Hollywood Bollywood Digital cinema transformation industry Studios often use ______________ exclusively to digital Celluloid Natural Vision polaroid lense produce animated films technology filmmakers Joel and Ethan Coen produced Around the Episode II: Attack Oh Brother Star Wars title ______________ World in 80 Days of the Clones. Using digital techniques, technicians applied the primary Pre- production Digital production post production 3D ___________ effect __________________________ raises important issues Convergence of News paper Advertisement mobile phones for those of us in film studies the media Government Film has never been an __________medium or industry. autonomous Non accessable Not so effective body The _____________ intersections with television, consumer goods, the electrical and lighting industries, Cinemascope Bollywood Hollywood film industry and even the makeup and fashion industries _________ is useful for audiences as it enables them to Movie Genre Story scene differentiate between the styles and types of narrative __________ has become a powerful vehicle for culture, Advertisement Commercial Cinema social system education, leisure and propaganda __________ has got a rich tradition of cinema, though Marathi film Bangladesh Bollywood Hollywood present condition is not so appreciable industry ____________ cinema are the inputs of rich music, Popular Horror Crime Thriller screenplay, cast and script. ___________ has always regulated the content of People Social dynamics Government women's cinema. The main protagonist of any film are_________who are Supporting Heroine Hero villains manifestations of contemporary societal evils Actors ________ are useful for knowing the history of ancient Places Films Narration Gener world. technological A movie is __________ to the audience. Celluloid Visual treat most powerful advancements _________ is known for 3D films. Bollywood Celluloid Story Hollywood ____________ is a legal crime. Film Dubbing Film piracy remaking costing ________ offers major barrier in movie making. Costing Digital technology Story Crew Movies can create _________, and tell difficult stories Mess controversy Problem Barrier _______ is also physically easier to use and has lesser Celluloid Natural Vision Digital projector constraints in terms of shooting. There are ________ stages in film production 3 2 1 4 Editing is part of ____________ Pre-production Post production Production Distribution During the process of ____________ the cast and crew Pre-production Post production Production Distribution is finalized During the process of __________ the colourist ensures Colour Colourization Colour continuation Colour check that the continuity of time correction The primary aim of the process of production is to stick budget, schedule schedule, actors actors, budget cast,crew to the ____________ and _____________ Pre-production includes _____________ Shooting Editing Music Storyboarding ____________ refers to the amount of money that is Accounts Finance Budget Cost spent on making the entire film Creating a day-by-day film production timeline that will guide the rest of the production process is called Call record Schedule Budget Production ____________ Creating a __________ will helps in organizing all the places, and other external factors as well as informing Schedule Finance Production Cast and crew the crew about the same During the stage of ____________ does one ensures that he/she has all the shots that are required for film Pre-production Post production Production Distribution production Adding special Find the odd man out Colour correction Editing Story writing effects During the process of ___________, the unwanted shots are deleted and the shots are lined up in proper Editing Colour continuation Special effects Music sequence Trailors are made during ___________ process Pre-production Post production Production Distribution Background music helps in creating and maintaining Entertainment Mood Scene Sketch __________ of the scene value The ____________ set up is used in case special effects Chrome/green- VFX SFX Maya are to be added in the film screen ___________ sits with the editor during the process of Producer Writer Director Actors film editing When all audio tracks are finished, _________ start Background Sound editors Sound mixers Sound editors adjusting the audio levels musicians Title, credits, time stamp, etc are included in VFX SFX Illustrations Graphics __________ ___________ are sneak-peek in the film Trailors Teasers Songs Launch Computer The visual effects in the film are ______________ Artist generated Edited Superimposed generated ____________ is one of the best made films in India in Tanhaji Padmavat Bahubali 3 Idiots terms of VFX Which one of the following is an example of media Newspaper TV Smart Phone Magzine convergence? Hindi film Gol Maal is the remake of _________ this Ninaithale movie in which Rajinikanth was a hero, it is the only Sindhu Bhairavi Thillu Mullu Ethir Neechal Inikkum full-length comedy film in Rajinikanth’s career. First it is being used for general photography, it was flexible plastic later the prime method for shooting and distributing Celluloid film plastic strip projector strip motion pictures. A flexible plastic strip divided into________ with perforations on the sides so it could be fed through a frames pinholes dots oles camera /projector. Early ________ film was extremely flammable and had sodium nitrate ammaonia nitrate ammonia sulfate to be handled with care. The present censorship of films is governed by the Censorship Act Cinematograph Act Censorship Act Cinematograph _________ 1962 1952, 1952 Act 2000 The Constitution of India guarantees ________ but places certain restrictions on content, with a view fundamental freedom of freedom of fundamental right towards maintaining communal and religious harmony, duties expression movement given the history of communal tension in the nation. Censorship comes from the Latin word sensor senser Censor cencer in January ,2007_________ became the first Indian namastey Om Shanti Om Bhul bhulaiyaa Guru movie in jpeg format Landon __________ means the transmission and delivery of Celluloid Cinema Digital Cinema 16mm movie 33 mm movies films to theatres electronically 2D Digital 4D Digital 5D Digital ____________ provide the perception of
Load more

Recommended publications
  • Movie Aquisitions in 2010 - Hindi Cinema
    Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
    [Show full text]
  • Manipuri, Odia, Sindhi, Tamil, Telugu)
    Choice Based Credit System (CBCS) UNIVERSITY OF DELHI DEPARTMENT OF MODERN INDIAN LANGUAGES AND LITERARY STUDIES (Assamese, Bengali, Gujarati, Manipuri, Odia, Sindhi, Tamil, Telugu) UNDERGRADUATE PROGRAMME (Courses effective from Academic Year 2015-16) SYLLABUS OF COURSES TO BE OFFERED Core Courses, Elective Courses & Ability Enhancement Courses Disclaimer: The CBCS syllabus is uploaded as given by the Faculty concerned to the Academic Council. The same has been approved as it is by the Academic Council on 13.7.2015 and Executive Council on 14.7.2015. Any query may kindly be addressed to the concerned Faculty. Undergraduate Programme Secretariat Preamble The University Grants Commission (UGC) has initiated several measures to bring equity, efficiency and excellence in the Higher Education System of country. The important measures taken to enhance academic standards and quality in higher education include innovation and improvements in curriculum, teaching-learning process, examination and evaluation systems, besides governance and other matters. The UGC has formulated various regulations and guidelines from time to time to improve the higher education system and maintain minimum standards and quality across the Higher Educational Institutions (HEIs) in India. The academic reforms recommended by the UGC in the recent past have led to overall improvement in the higher education system. However, due to lot of diversity in the system of higher education, there are multiple approaches followed by universities towards examination, evaluation and grading system. While the HEIs must have the flexibility and freedom in designing the examination and evaluation methods that best fits the curriculum, syllabi and teaching–learning methods, there is a need to devise a sensible system for awarding the grades based on the performance of students.
    [Show full text]
  • EMPIRICAL ARTICLE a STUDY on CONTEMPORARY KANNADA CINEMA and HUMAN RIGHTS Jayadatta S1, Krishna Murthy B
    DOI: 10.14260/jadbm/2015/35 EMPIRICAL ARTICLE A STUDY ON CONTEMPORARY KANNADA CINEMA AND HUMAN RIGHTS Jayadatta S1, Krishna Murthy B. Y2 HOW TO CITE THIS ARTICLE: Jayadatta S, Krishna Murthy B. Y. “A Study on Contemporary Kannada Cinema and Human Rights”. Journal of Advances in Business Management; Vol. 1, Issue 3, July-September 2015; Page: 305-310, DOI: 10.14260/jadbm/2015/35 INTRODUCTION: India is the larger film producer in world. It produces nearly 800-1000 films per year. Out of which regional language films also add their contribution to national and international scenario. Bollywood is the name of Hindi cinema, Tollywood is of Telugu cinema, Molly wood is of Tamil cinema, Sandal wood is of Kannada cinema etc. Celebrated its 75th year in 2009 and moving towards century. Kannada film industry has its own history from 1934 Saathi sulochana to Puttakkana Highway-2012 industry has seen many up and downs. It has its audience across all over the globe. Industry has the great talented directors, actors, novel writers like late Dr. Rajakumar and Mr. V. K. Murthy have been honored by prestigious Dada Saheb Palake awarded, the director like late Mr. Puttanna Kanagal, late Lakshmi Narayana Rao, Mr. Girish Kasaravalli, Late Mr. G. V. Iyer, Actor/director Jnanapeeta award Dr. Girish Karnad, Late Shankarna, etc Have contributed their achievements and laid milestone in film industry. Master Kishan’s Care of Footpath and Film Shanthi received in the book of Gunnies Award. Observing the film trends from past 1934-2011 it can be conclude that the early film age was about theater oriented content, 1940-50 was on mythology and social oriented subjects, 50-60s were the devotional subjects, 60-70s were based on Kannada Unification stories, 70-80s were on aggressive and love stories, Women oriented majority based on Novels works.80-90s on mixed western culture with crime stories, 90-2000 expose of half nudity and double meaning in dialogue and songs, 2001- 2011 half nudity, crime, violence, vulgarity themes.
    [Show full text]
  • 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).
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
    Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday.
    [Show full text]
  • Enchantment of the Mind Preface
    PREFACE 1 March 2004 marked the tenth anniversary of the death of Manmohan Desai. A fall from the terrace of his Khetwadi home brought the 57-year old filmmaker’s life to an end in the spring of 1994. The suspected suicide came as a shock both to those nearest to him and to the film world as a whole, as testified in countless articles and tributes in the Indian and international press in the month following his death. The articles that appeared spanned the gamut of reactions: praise for Desai as a man and as a filmmaker, heartfelt remembrances from those who had worked with him, indignation and disbelief over the circumstances of his death, and speculation over possible motives for suicide— depression over severe backaches being most frequently offered as an explanation. At that time, I could not help feeling a personal sadness over his death. I had, after all, spent the better part of four years studying Manmohan Desai’s work before completing an initial version of this book in 1987. It was, therefore, consoling to have immediate and direct evidence of Manmohan Desai’s work living on beyond his death, as happened one day in 1994 when I walked into an Indian carry-out restaurant in Paris and saw a colorful dance scene from Dharam-Veer playing on the conspicuously placed VCR. Those waiting in line stood transfixed before the screen, their faces radiating joy. Curious to know if Desai’s work had crossed the generations, I asked a young man in his twenties if he knew who had directed the film.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 4 Broadcast Sector
    MINISTRY OF INFORMATION AND BROADCASTING Annual Report 2006-2007 CONTENTS Highlights 1. Overview 1 2. Administration 3 3. Information Sector 12 4. Broadcast Sector 53 5. Films Sector 110 6. International Co-operation 169 7. Plan and Non-Plan Programmes 171 8. New Initiatives 184 Appendices I. Organisation Chart of the Ministry 190 II. Media-wise Budget for 2006-2007 and 2007-2008 192 Published by the Director, Publications Division, Ministry of Information and Broadcasting, Government of India Typeset at : Quick Prints, C-111/1, Naraina, Phase - I, New Delhi. Printed at : Overview 3 HIGHLIGHTS OF THE YEAR The 37th Edition of International Film Festival of India-2006 was organized in Goa from 23rd November to 3rd December 2006 in collaboration with State Government of Goa. Shri Shashi Kapoor was the Chief Guest for the inaugural function. Indian Film Festivals were organized under CEPs/Special Festivals abroad at Israel, Beijing, Shanghai, South Africa, Brussels and Germany. Indian films also participated in different International Film Festivals in 18 countries during the year till December, 2006. The film RAAM bagged two awards - one for the best actor and the other for the best music in the 1st Cyprus International Film Festival. The film ‘MEENAXI – A Tale of Three Cities’ also bagged two prizes—one for best cinematography and the other for best production design. Films Division participated in 6 International Film Festivals with 60 films, 4 National Film Festivals with 28 films and 21 State level film festivals with 270 films, during the period 1-04-06 to 30-11-06. Films Division Released 9791 prints of 39 films, in the theatrical circuits, from 1-4-06 to 30-11-06.
    [Show full text]
  • I Regd. Goa:~ 5
    IREGD. GOA:~ 5\ . Panaji, 15th Februar~, 2001 (Magha 26, 1922) I ~~ OFFICIAL ~~rlJGAZ GOVERNMENT OF GOA SUPPLEM'ENT GOVERNMENT OF GOA Department of Finance Revenue and E;xpenditure Division Office of the Commissioner of Sales Tax Alphabetical list of dealers registered in Bicholim Ward during the period from 1-4-1993 to 31-3-1994. ----------------------------------.---.. ---~-----.-~ 81. Name & address of the dealer Name of Proprietor, . Location of place Date from Registration Certificate Name of Ward Remark.s No. Manager, Partner of business which reg. No. Local Central in which re~J. & Director is valid is valid 1 2 3 4 5 6 7 8 9 1. Shri Ashok Govind Nene, Ashok G. Nene Valpoi 14-5-1993 Bi/359 Bi/CST/220 Bicholim Proprietor of Manish Auto Spare Parts, Valpoi, Satari-Goa. 2. Shri Abhijit A. Naik, Abhijit A. Naik Bicholim 24·7·1993 Bi/3'7R Bi l CST/232 -do-- Prop. of Shri. Gurukrupa Auto World aicholim Industrial Estate, Bicholim. 3. Shri A. V. Davis, . Shri A. V. Davis Sanquelim 21-7-1993 Bi/311·j j., ;1'1236 -do- Prop. of West Cost Enterpri;ses, Sanquelim-Goa. 4. Shri Abdul Aziz Sayed Adam Abdul A. S. Adam Bicholim 18-9-1993 Bi/390 Bi/CST/238 -do- Bhukari, Prop. of Unique Bhukari Engineers, Goa HousinQ, Board Colony, Bicholim. 5. Mrs. Arti A. Patil, . Mrs. Arti A. Patil Valpoi 22-11-1993 Bi/395 Bi/CST/240 -do- Prop. o~ Mis. Mandovi Food Products, Khotodem, Bimbel, Valpoi-Goa. 6. Shri Avinashi Raju Murugesh, Avinashi R. Murugesh Sanquelim 2-11-1993 Bi/400 -do- .
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]