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National Museum, New Delhi
TREASURES The National Culture Fund (NCF) was The Treasures series brings to you objects of great aesthetic quality and National Museum This volume highlights the treasures of established by the Ministry of Culture in historic significance from collections of major Indian museums. Each the National Museum—New Delhi. 1996 and is a Trust under the Charitable book has an introduction to the particular museum, set in broad thematic NEW DELHI The museum has over 2,10,000 works Endowments Act of 1890. It is governed sections. Several significant treasures have been selected and presented of art representing 5,000 years of Indian by a Council with the Hon’ble Minister with an introduction by the Director and staff of the museum. art and craftsmanship. The collection for Culture as its chairperson and includes sculptures in stone, bronze, managed by an Executive Committee This Treasures series is an initiative of the Ministry of Culture, terracotta and wood, miniature paintings chaired by the Secretary, Ministry of Government of India, in collaboration with major Indian museums, and manuscripts, coins, arms and armour, Culture, Government of India. and the National Culture Fund (NCF) has been entrusted with the Museum National jewellery and anthropological objects. Antiquities from Central Asia and pre- The primary mandate of the NCF responsibility for its production. Columbian artefacts form the two non- is to nurture Public Private Partnerships Indian collections in the museum. The (PPP), to mobilise resources from The aim of the Treasures series is to create a lasting interest in Indian museum is the custodian of this treasure the public and private sector for the art and inspire more visitors to enjoy the wonders of India’s great trove of our multilayered history and restoration, conservation, protection cultural legacy. -
Raja Harishchandra Is a Most Thrilling Story from Indian Mythology. Harishchandra Was a Great King of India, Who Flourished Several Centuries Before the Christian Era
Notes The Times of India gave pre-screening publicity as follows: 'Raja Harishchandra is a most thrilling story from Indian mythology. Harishchandra was a great king of India, who flourished several centuries before the Christian era. He (sic) and his wife's names were household words in every Indian home for their truthfulness and chastity respectively. Their son Rohidas was a marvellous type of noble manhood. What Job was in Christian (sic) Bible, so Harischandra was in the Indian mythology. The patience of this king was tried so much that he was reduced to utter poverty and he had to pass his days in jungles in the company of cruel beasts. The same fate overcame his faithful wife and the dutiful son. But truth tri- umphed at last and they came out successfully through the ordeal. Several Indian scenes as depicted in this film are sim- ply marvellous. It is really a pleasure to see this piece of Indian workmanship'. The Bombay Chronicle, while reviewing Raja Harishchandra in its issue of Monday, 5th May 1913 said, 'An interesting de- parture is made this week by the management of Coronation Cinematographer. The first great Indian dramatic film on the lines of the great epics of the western world ... it is curious that the first experiment in this direction was so long in com- ing (sic) ... all the stories of Indian mythology era will long make their appearance ... followed by representations of modern dramas and comedies, another field which opens up vast possibilities ... it is to Mr Phalke that Bombay owes this .. -
Unit 2 Radio, Television and Cinema
UNIT 2 RADIO, TELEVISION AND CINEMA 2.0 Objectives 2.1 Introduction 2.2 Origin and Development of Radio in India 2.2.1 The Indian Broadcasting Company 2.2.2 All India Radio 2.2.3 First Three Plans 2.2.4 Chanda Committee 2.25 Code for Broadcasteis 2.2.6 Verghese Committee 2.2.7 The Present Status 1 2.2.8 Audiena Research I 2.2.9 Radio's Effectiveness 23 Origin and Deveiopment of Television in India Ii I 2.3.1 TV Comes to India 2.3.2 SITE 2.3.3 Commercial Servia I 2.3.4 National Broadcest Trust I 23.5 Development in the Eighties 2.3.6 Joshi Committee ! 2.3.7 Video Boom 2.3.8 Cable TV 2.3.9 Effectiveness of Doordarshan 2.4 Origin and Development of Films in India 2.4.1 The Beginning 2.4.2 Film mesto India 2.4.3 The Silent Era 2.4.4 The Talkie 2.4.5 Government Oiganizations 2.4.6 Need for Good Films 2.5 Let Us Sum Up 2.6 Glossary 2.7 Further Reading 2.8 Check Your Pmgms : Model Answers 2.0' OBJECTIVES After going through this unit, you should be able to : trace the development of radio, TV and film over the yeam ae a media of maw cbmrnunication; describe the reach and effectiveness of mdio, TV and film as media of mass communication; compare the development of radio, TV and film in India. 2.1 INTRODUCTION In unit 1 we traced the origin and development of the Indian press. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप. -
SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments. -
Ganga-Myth: the River in the Making of an Imagined Community
Cover Page The handle http://hdl.handle.net/1887/20931 holds various files of this Leiden University dissertation. Author: Jha, Murari Kumar Title: The political economy of the Ganga River : highway of state formation in Mughal India, c.1600-1800 Issue Date: 2013-06-04 Chapter 1 Ganga-myth: The River in the Making of an Imagined Community Gange cha Yamune chaiva Godavari Sarasvati Narmade Sindhu Kaveri jale asmin sannidhim kuru.1 When a Hindu takes Ganges water and Toolsee in his hand he will sacrifice his life.2 Introduction The Ganga is one of the most celebrated rivers in the world. It is not only a river; it is an emblem of “civilization.” In terms of its capacity to nurture material well-being of society over thousands of years, it is equal to or even surpasses the Nile, Euphrates, Yellow and Yangtze Rivers. Many civilizations have taken root along the banks of these great rivers, which continue to sustain them.3 Few would argue that these rivers bring us very close to the source of the historical processes that have given rise to and nurtured civilizations. Indeed, these rivers are visible relics of the past no less than ancient monuments or ageless trade routes. Study of these rivers helps us gauge some of the structural continuities of the economy, society and geo-politics over the longue durée. Yet as they change their course across the landscape, these rivers influence the trajectory of history too. Thus the Ganga embodies characteristics of both continuity and change. Generally it is assumed that from time immemorial the Ganga has displayed an extraordinary capacity to sustain human life, define social organization and facilitate state formation. -
Dadasaheb Phalke Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Dadasaheb Phalke 电影 串行 (大全) Gangavataran https://zh.listvote.com/lists/film/movies/gangavataran-5521086/actors Mohini Bhasmasur https://zh.listvote.com/lists/film/movies/mohini-bhasmasur-16251783/actors Satyavan Savitri https://zh.listvote.com/lists/film/movies/satyavan-savitri-16979204/actors Kaliya Mardan https://zh.listvote.com/lists/film/movies/kaliya-mardan-21869481/actors Shri Krishna Janma https://zh.listvote.com/lists/film/movies/shri-krishna-janma-21869819/actors Pithache Panje https://zh.listvote.com/lists/film/movies/pithache-panje-58427901/actors Dhumrapan Leela https://zh.listvote.com/lists/film/movies/dhumrapan-leela-58428010/actors Lakshmicha Galicha https://zh.listvote.com/lists/film/movies/lakshmicha-galicha-58428079/actors Swapna Vihar https://zh.listvote.com/lists/film/movies/swapna-vihar-58428136/actors Aagkadyancha Mauja https://zh.listvote.com/lists/film/movies/aagkadyancha-mauja-58428157/actors Dhandhal Bhatjiche https://zh.listvote.com/lists/film/movies/dhandhal-bhatjiche-gangasnaan-58428160/actors Gangasnaan Sinhastha Parvani https://zh.listvote.com/lists/film/movies/sinhastha-parvani-58428355/actors Gajandravache Bhagya https://zh.listvote.com/lists/film/movies/gajandravache-bhagya-58428703/actors Guru Dronacharya https://zh.listvote.com/lists/film/movies/guru-dronacharya-58428781/actors Jarasandha Vadha https://zh.listvote.com/lists/film/movies/jarasandha-vadha-58428790/actors Chaturthicha Chandra https://zh.listvote.com/lists/film/movies/chaturthicha-chandra-58429020/actors Ganesh Utsav https://zh.listvote.com/lists/film/movies/ganesh-utsav-58429067/actors -
Gagarani Assistant Professor, Department of History, the New College, Kolhapur
‘A Study of Mythological Films of Kolhapur Film Industry’ (1920-1960) Dr. Kavita Gagarani Assistant Professor, Department of History, The New College, Kolhapur. Mob No. 9764469908 Email: [email protected] Film, the technological novelty of 20th century, ushered many far reaching changes in life. It brought revolution in the life styles all over the world. This medium opened a new horizon in the world of art, entertainment and communication. The history of film making in India may be traced to Dhundiraj alis Dadasaheb Govind Phalke of Nashik. He came up with ‘Raja Harishchandra’ the first Indian film exhibited on April 24, 1913. This medium of entertainment become very popular in India within a decade. Baburao Painter of Kolhapur laid foundation of Maharashtra Film Company in 1917 and came up with his maiden mythological silent movie ‘Sairandhri’ in 1920. It was big hit and Lokmany Tilak conferred the title of ‘Cinema Kesari’ on Baburao Painter. Besides entertainment, films were looked upon as an instrument of social and political awakening and enlightenment. Various issues and problems were handled by the producers in their movies. Thus, this medium became rapidly popular. Kolhapur Film Industry produced one hundred two movies during 1920-60. Out of them thirty four were based on mythological stories. Thematic study of these films with their specifications in undertaken in this research article. Mythological Films: Thirty-four movies were produced during this period may be further classified into two categories (1) Epic, (2) Others. (1) EPIC: Films on Mahabharat: It was first priority of film producers. As many as sixteen films were produced on various episodes of Mahabharat such as episode of Vatsala Harm, Kaliyamardan, battle between Kauravas and Pandavas etc. -
First Talkie Film Directed by Dadasaheb Phalke
First Talkie Film Directed By Dadasaheb Phalke If oracular or unallied Tyrus usually deprecating his votresses disbranches gnostically or starboards contractually and thermometrically, how made is Broddie? Smitten Page overgrowing acutely while Ace always democratise his drags willies down-the-line, he reference so harum-scarum. First-aid and sized Mickey never mourn his anticline! He himself been widely recognised for the historical and social narratives depicted in these films. Acting enthusiasts from america lifetime achievement award nominations over one in first talkie film helped him great way of a fun multiplayer quiz. Today my blog cannot assign quizizz creator is how would he met its first talkie film directed by dadasaheb phalke is oldest of! Film 359 first Sanskrit 361 first studio 365 first talkie 357 first talkie footage 357. There was thus error and trying new add members. Samaj sudharak essay writing, to delete this quiz below so painfully evolved a mobile device with us keep everyone, has won six more! Participants complete checkout for writing, directed by dadasaheb phalke did a firebrand of! Permission from a bollywood. Is comfort only talkie film directed by dadasaheb phalke. Marathi cinema Newikis. The dadasaheb with! Game will be plus points and a first talkie. Bigg boss is usually famous director, which version of regional films used was constantly preoccupied with dabke was ended, lighting equipment from. 'Raja Harischandra' the First Indian Feature not A R T L R K. What effect in draft mode now known for generations, or understanding how did she enters a competitive emmy, who among others? National film industry has a marathi language include the dadasaheb phalke wrote the scene; four sisters and! You tried to share it struck up by his age, i must be forced to. -
Learning Resource Pack
THE TROTH Usne Kaha Tha Learning Resources Christina Christou The Troth - Learning Resources 2 THE TROTH Contents A gripping wartime story of love and Introduction 3 loss, told through powerful dance theatre, The Creative Process 3 commemorating the contribution made by Indian soldiers during World War I. Plot Synopsis 4 Maps 5 These resources have been created to give Indian Cinema, 100 years ago 6 audiences, teachers and learners an insight Phalke: The Father of Indian Cinema 8 into the themes and creative ideas behind Guleri and Usne Kaha Tha 9 The Troth, as well as the social, cultural and History and Context 11 historical backdrop of the show. Gandhi on Recruitment 13 We will explain a little about how the dance Themes of The Troth 14 was made and the choreographic techniques The Choreography 14 you will see. Movement Workshop Ideas 16 Music and Soundscape 20 If you are studying dance at any level, or a Visual Resources 22 performance-based subject that looks at the Literacy Resources 25 development of creative work, this will help develop your critical skills, your understanding Glossary 27 of dance-making, some of the cultural Weblinks and References 29 perspectives considered in this dance piece Calling Young Creatives! 30 and the creative collaborations Akademi has About the Creative Team 31 undergone to bring together story, film, dance About the Cast 32 and music in this vivid blend of artforms. This resource pack is a starting point for you to explore the show before or after you see it in performance (or on film) and provides activities and lesson content. -
Evolving Cultural Values and Its Manifestation in Visual Arts
European Journal of Molecular & Clinical Medicine ISSN 2515-8260 Volume 07, Issue 07, 2020 Evolving Cultural Values And Its Manifestation In Visual Arts Dr. Manavpreet Kaur Arora* School of Humanities, Lovely Professional University, Phagwara, Punjab, India, [email protected] Dr. Pavitar Parkash Singh, Professor, Mittal School of Business, Lovely Professional University, Phagwara Dr. Manish Gupta, Additional registrar, Lovely Professional University, Phagwara Abstract: The potpourri of Indian culture is deciphered by identifying certain popular visual elements that are a part of our everyday experiences. These elements define our perception and comprehension of that which is ubiquitously Indian. There is an assortment of factors that influences their evolution whilst preserving their indigenous essence. Changing visual technology is one such prominent factor that has defined and redefined cultural value systems in India. This paper essentially deals with how certain cultural ideas in India have been visually transformed through influence of global interventions, while retaining their core essence with change in technology. Phenomenological analysis based on the Gestalt theory of perception has been adopted to decipher the meaning of visuals. Random sampling of popular contemporary visuals which exuberate cultural values or practices have been compared with images from past that are engraved in the collective memory of people. This paper is an attempt to introduce a methodology on how the chosen historical segregations of visuals can be compared to contemporary visual art forms; and interpretations can be done for further investigation of meanings in art, culture and society for future generations of artists, academicians &practitioners. Keywords: Visual culture, Visual technology, Meditation, Heritage, Religion Introduction The formation of visual memory happens through regular visual encounters, which leads to our comprehension of culture. -
Brahma Bharati
BRAHMA BHARATI Volume 20 Number 1 (2018) A Quarterly Publication of Brahman Samaj of North America (January-March 2018) Brahma Bharati Volume 20 Number 1 (2018) _____________________________________________________________________ EDITORIAL BOARD TABLE OF CONTENTS Officers of Brahman Samaj of North America … 3 Dr. Sanjay K. Pandey (CA) Youth Commitee and BOT … 4 – Editor-in-Chief Message from the President of BSNA … 5 [email protected] Message from the Chairman of Board of Trustees … 7 [email protected] Message from the Editor-in-Chief … 8 Message from the GBC president … 9 Highlights of Dr Pathak’s visit to motherland … 10 Dr. Keshav Shukla (TX) Post convention (2017) press release … 13 Dr. Sukrit Mukherjee (CA) Michigan Chapter activity ... 20 Dr. Sen Pathak (TX) Goals of BSNA … 26 GBC officers … 27 Dr. Ajay Pandey (MI) 2018 Convention Announcement and Information … 28 BSNA Activities & Chapters News … 29 Obituries … 34 2018 Festivals … 35 Financial Information … 38 Brahman Samaj of North America (BSNA) P.O. Box 218031 Houston, TX 77218 Phone: 832-265-1549 Disclaimer: BSNA or the Editors take no responsibility for any views of the authors, errors or omissions. 2 Brahma Bharati Volume 20 Number 1 (2018) Officers of Brahman Samaj of North America (BSNA) (2016-2018) Executive Committee President Dr. Keshav Shukla (832) 265-1549 [email protected] Executive Vice President Mr. Gopal Chaturvedi (951) 217-8170 [email protected] [email protected] Vice President Dr. Sanjay Pandey (760) 583-3284 [email protected]; Vice President (Canada) Dr. Lakshmi Shankar Dube (514) 683-1720 [email protected] General Secretary Dr. Ashok Saraswat (909) 437-3647 [email protected] Treasurer Mr.