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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
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Bollywood in Australia: Transnationalism and Cultural Production
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 1-1-2010 Bollywood in Australia: Transnationalism and Cultural Production Andrew Hassam University of Wollongong, [email protected] Makand Maranjape Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Hassam, Andrew and Maranjape, Makand, Bollywood in Australia: Transnationalism and Cultural Production 2010. https://ro.uow.edu.au/artspapers/258 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Introduction Bollywood in Australia Andrew Hassam and Makand Paranjape The global context of Bollywood in Australia Makarand Paranjape The transcultural character and reach of Bollywood cinema has been gradually more visible and obvious over the last two decades. What is less understood and explored is its escalating integration with audiences, markets and entertainment industries beyond the Indian subcontinent. This book explores the relationship of Bollywood to Australia. We believe that this increasingly important relationship is an outcome of the convergence between two remarkably dynamic entities—globalising Bollywood, on the one hand and Asianising Australia, on the other. If there is a third element in this relationship, which is equally important, it is the mediating power of the vibrant diasporic community of South Asians in Australia. Hence, at its most basic, this book explores the conjunctures and ruptures between these three forces: Bollywood, Australia and their interface, the diaspora. 1 Bollywood in Australia It would be useful to see, at the outset, how Bollywood here refers not only to the Bombay film industry, but is symbolic of the Indian and even the South Asian film industry. -
Akshay Kumar
Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr. -
Marketing Overview MARKETING Results That Matter
B8 Marketing Overview MARKETING Results That Matter. SERVICES Buffalo 8 Marketing provides strategic entertainment media relations, creative marketing communications, social media, special event planning, trade and consumer publicity both nationally and globally. TEAM Buffalo 8 Marketing is led by a world class team with over 20 years of experience in entertainment PR lead by Theo Dumont (Partner & Head of B8 Marketing) and Luke Fitterer (Publicity Coordinator). EXPERIENCE AND WORK Buffalo 8 Marketing has expertise and experience working across all areas of the entertainment business, including high-profile personalities and brands such as: Spike Lee, Netflix, Focus Features, Stan Lee’s POW! Entertainment, Overbrook Entertainment, MGM Studios, yes Studios, Starlight Runner Entertainment, Tapas Media, TONIK Productions, HollyShorts Film Festival, Gersh, TCA, Roger Guenveur Smith (Rodney King), Show runner Adi Hasak (Shades of Blue), USA, NBC, Matthew Modine, Miles Regis, Cey Adams, Pabst Blue Ribbon and more. Buffalo 8 Marketing participates in all major festivals and conferences for film & TV client campaigns, including: Cannes, Tribeca, Sundance, SXSW, TIFF, Telluride, Venice, Berlin, MIP, MIPCOM, Series Mania, Content London, San Diego Comic-Con, New York Comic-Con, BANFF, Oscar-qualifying Hollyshorts, and more. LOCATION 6535 Wilshire Blvd. ste. #256, Los Angeles, CA 90048 Additional Services MARKETING Results That Matter. PREMIUM SOCIAL CONTENT CAMPAIGNS From campaign development to creative content ideation, execution, and distribution on all major platforms, Buffalo 8 Marketing delivers premium social content to support marketing campaigns with an emphasis on uniting audiences and driving meaningful conversations through the utilization of emerging technologies, strategic platform cross-promotion and holistic social media marketing strategies. -
Shahrukh Khan Aishwarya Rai Hrithik Roshan Kajol Salman Khan Kareena Kapoor
Shahrukh Khan Aishwarya Rai Hrithik Roshan Kajol Salman Khan Kareena Kapoor Rani Mukherji Amitabh Bachchan Amisha Patel Aamir Khan Priyanka Chopra Akshay Kumar Shahid Kapoor Bipasha Basu John-Abraham Preity Zinta Saif Ali Khan Vidya Balan Abhishek Bachchan Deepika Padukone Arjun Rampal Katrina Kaif Ranbir Kapoor Anushka Sharma FECHA DE ACTUALIZACIÓN DEL CATALOGO: 28 DE OCTUBRE 2015 Venta especializada de Cine de la India -((CON MÁS DE 12 Años DE ESPERIENCIA ))- -Tenemos: Estrenos, Éxitos de taquilla, clásicos, musicales, Bandas sonoras, Música India, Sólo vendemos cine indio 100% , Pusimos de moda el Bollywood en cuba, CATÁLOGO DE PELÍCULAS INDIAS EN HD (ALTA DEFINICIÓN) Precio: Películas de menos de 3 GB, 2 películas x 1 cuc Películas de 3Gb en adelante, 1 película x 1 cuc También contamos con los siguientes catálogos: - Catálogo de películas indias en DVD copias oficial - Catálogo de películas indias (.avi) para llevar en copias digital - Catálogo de DVD´s de Videos musicales Bollywood - Además vendemos bandas sonoras y música india en copias digital - Pegatinas y posters de actores y dioses indios… Descargue nuestros catálogos desde internet visitando www.PELICULASINDIAS.com nuestro e-mail: [email protected] Si desea recibir en su célular alertas de Estrenos, eventos, venta de productos de la India y más, envíenos un SMS con el texto (ALERTAS BOLLYWOOD ) Telf: (7) 836-8640 Descargue desde internet la actualización de este catálogo visitando: www.PELICULASINDIAS.com (1995)- Dilwale Dulhania Le jayenge Actores:Shah Rukh Khan,Kajol -
Unpaid Dividend Data for the Year 2007-08
NDTV - UNPAID DIVIDEND DATA FOR THE YEAR 2007-08 First Name Middle Name Last Name Father/Husba Father/Husba Father/Husba Address Country State District PINCode Folio Number of Investment Type Amount Proposed Date nd First Name nd Middle nd Last Name Securities Due(in Rs.) of transfer to Name IEPF (DD-MON- YYYY) JAIDEEP ANIL BHANDARKAR NA M A 2/1, APPTS GD, GARDEN ESTATE, GURGAON INDIA Haryana Gurgaon NDT040999 Amount for unclaimed and unpaid dividend 3000.00 27-NOV-2015 M 7 AKARSHAN BHAWAN 23 ANSARI ROAD GAURI SHANKER GOYAL NA DARYAGANJ NEW DELHI INDIA DELHI NEW DELHI 110002 NDT950201 Amount for unclaimed and unpaid dividend 1.00 27-NOV-2015 MANJU BHARGAVA NEERAJ BHARGAVA 2226 MASJID KHAZOOR DHARMPURA DELHI INDIA DELHI NEW DELHI 110006 NDT040135 Amount for unclaimed and unpaid dividend 1.00 27-NOV-2015 MANJU BHARGAVA NEERAJ BHARGAVA 2226 MASJID KHAZWR DHARM PURA DELHI INDIA DELHI NEW DELHI 110006 NDT040351 Amount for unclaimed and unpaid dividend 1.00 27-NOV-2015 MANJU BHARGAVA NEERAJ BHARGAVA 2226 MASJID KHAZWR DHARM PURA DELHI INDIA DELHI NEW DELHI 110006 NDT040352 Amount for unclaimed and unpaid dividend 1.00 27-NOV-2015 MANJU BHARGAVA NEERAJ BHARGAVA 2226 MASJID KHAZWR DHARM PURA DELHI INDIA DELHI NEW DELHI 110006 NDT040353 Amount for unclaimed and unpaid dividend 1.00 27-NOV-2015 ATUL KUMAR JAIN NA 511 512 HAIDER KULI CHANDNI CHOWK DELHI INDIA DELHI NEW DELHI 110006 NDT950049 Amount for unclaimed and unpaid dividend 1.00 27-NOV-2015 ARUN KUMAR JAIN NA 511-512 HAIDER KULI CHANDNI CHOWK DELHI INDIA DELHI NEW DELHI 110006 NDT950050 -
The Secret Life of Bees Production Notes
FOX SEARCHLIGHT PICTURES PRESENTS An OVERBROOK ENTERTAINMENT / DONNERS’ COMPANY Production A GINA PRINCE-BYTHEWOOD Film QUEEN LATIFAH DAKOTA FANNING JENNIFER HUDSON ALICIA KEYS SOPHIE OKONEDO NATE PARKER TRISTAN WILDS HILARIE BURTON and PAUL BETTANY WRITTEN FOR THE SCREEN AND DIRECTED BY....................................................GINA PRINCE-BYTHEWOOD BASED UPON THE NOVEL BY........................SUE MONK KIDD PRODUCED BY ..................................................LAUREN SHULER DONNER ..............................................................................JAMES LASSITER ..............................................................................WILL SMITH ..............................................................................JOE PICHIRALLO EXECUTIVE PRODUCER..................................JADA PINKETT SMITH DIRECTOR OF PHOTOGRAPHY......................ROGIER STOFFERS, N.S.C. PRODUCTION DESIGNER................................WARREN ALAN YOUNG EDITED BY .........................................................TERILYN A. SHROPSHIRE, A.C.E. COSTUME DESIGNER ......................................SANDRA HERNANDEZ MUSIC BY...........................................................MARK ISHAM CASTING BY ......................................................AISHA COLEY ..............................................................................LISA MAE, CRAIG & ..............................................................................MARK FINCANNON, CSA CO-PRODUCERS................................................ED -
Since July Last Year, Film-Maker Rajat Kapoor Has Been Exhorting His Two-Lakh-Plus Followers on Twitter to Crowdfund His Next Project: RK/R Kay
FILM AgonyThe Kapoor Since July last year, film-maker Rajat Kapoor has been exhorting his two-lakh-plus followers on Twitter to crowdfund his next project: RK/R Kay. The budget of the film is `2.5 crore, and he needs 50,000 people to give `500 each. Which begs the question: why is one of India’s finest independent film-makers perennially short of cash? BY EKTA MOHTA omeone needs to gift Rajat Kapoor a book on how wire the money. And, most recently, for another of his scripts, Kadakh, to win friends and influential people. He’s already a the producer “ran away before the shooting started. But, somehow we gifted screenwriter, film-maker, theatre director and managed to finish the shoot anyway.” actor. But, given recent events, no one can deny he Kapoor is now ready with a script called RK/R Kay, which has a needs help as a salesman. “slightly mad” plot. It’s a film-within-a-film in which the fictional lead Kapoor has written and directed six films: Private character becomes a person in real life. He needs `2.5 crore to make it, SDetective, Raghu Romeo, Mixed Doubles, Mithya, Fatso! and Ankhon but given his history, he isn’t knocking on the doors of film producers Dekhi. His signature is to make entertaining films in an artistic way, for the dough. “They (producers) read the script, and they reject it,” which is why film critics are usually pleasant towards him, such as he says, without any trace of heartburn. “They say, ‘It’s very nice, but Shubhra Gupta, who wrote in The Indian Express, “He is one of the not for us.’” What of the producers who have already worked with few Indian directors who understand whimsy.” But, in a classic case of him? “Sunil Doshi produced Mixed Doubles and Bheja Fry, and then self-sabotage, Kapoor has a knack for attracting creatives and repelling he stopped the business. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
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