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Lions Film Awards 01/01/1993 at Gd Birla Sabhagarh
1ST YEAR - LIONS FILM AWARDS 01/01/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR TAPAS PAUL for RUPBAN BEST ACTRESS DEBASREE ROY for PREM BEST RISING ACTOR ABHISEKH CHATTERJEE for PURUSOTAM BEST RISING ACTRESS CHUMKI CHOUDHARY for ABHAGINI BEST FILM INDRAJIT BEST DIRECTOR BABLU SAMADDAR for ABHAGINI BEST UPCOMING DIRECTOR PRASENJIT for PURUSOTAM BEST MUSIC DIRECTOR MRINAL BANERJEE for CHETNA BEST PLAYBACK SINGER USHA UTHUP BEST PLAYBACK SINGER AMIT KUMAR BEST FILM NEWSPAPER CINE ADVANCE BEST P.R.O. NITA SARKAR for BAHADUR BEST PUBLICATION SUCHITRA FILM DIRECTORY SPECIAL AWARD FOR BEST FILM PREM TELEVISION BEST SERIAL NAGAR PARAY RUP NAGAR BEST DIRECTOR RAJA SEN for SUBARNALATA BEST ACTOR BHASKAR BANERJEE for STEPPING OUT BEST ACTRESS RUPA GANGULI for MUKTA BANDHA BEST NEWS READER RITA KAYRAL STAGE BEST ACTOR SOUMITRA CHATTERHEE for GHATAK BIDAI BEST ACTRESS APARNA SEN for BHALO KHARAB MAYE BEST DIRECTOR USHA GANGULI for COURT MARSHALL BEST DRAMA BECHARE JIJA JI BEST DANCER MAMATA SHANKER 2ND YEAR - LIONS FILM AWARDS 24/12/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR CHIRANJEET for GHAR SANSAR BEST ACTRESS INDRANI HALDER for TAPASHYA BEST RISING ACTOR SANKAR CHAKRABORTY for ANUBHAV BEST RISING ACTRESS SOMA SREE for SONAM RAJA BEST SUPPORTING ACTRESS RITUPARNA SENGUPTA for SHWET PATHARER THALA BEST FILM AGANTUK OF SATYAJIT ROY BEST DIRECTOR PRABHAT ROY for SHWET PATHARER THALA BEST MUSIC DIRECTOR BABUL BOSE for MON MANE NA BEST PLAYBACK SINGER INDRANI SEN for SHWET PATHARER THALA BEST PLAYBACK SINGER SAIKAT MITRA for MISTI MADHUR BEST CINEMA NEWSPAPER SCREEN BEST FILM CRITIC CHANDI MUKHERJEE for AAJKAAL BEST P.R.O. -
Interlingual and Intersemiotic Transfer of Indian Cinema in Hong Kong
Indian Journal of Comparative Literature and Translation Studies | 45 Author(s): Andy Lung Jan CHAN Published by: Indian Journal of Comparative Literature and Translation Studies (IJCLTS) Issue Number: Volume 2, Number 1, February, 2014 ISSN Number: 2321-8274 Issue Editor: Rindon Kundu Editor : Mrinmoy Pramanick & Md Intaj Ali Website Link: http://ijclts.wordpress.com/ Interlingual and Intersemiotic Transfer of Indian Cinema in Hong Kong Abstract The history of Indian immigration to Hong Kong can be traced to the 1840s, when Hong Kong became a colony of the British Empire. However, Hong Kong Chinese people‟s knowledge of the local Indian community is limited. The stereotyping of Indian culture in the Hong Kong movie Himalaya Singh shows that Indian people and culture are often distorted and negatively portrayed in the media, and the secluded Indian community in Hong Kong is marginalised and neglected in the mainstream media. In recent years, Indian cinema has gained popularity in Hong Kong, but this survey of the Chinese movie titles, trailer subtitles and other publicity materials of four Indian movies (Slumdog Millionaire; 3 Idiots; English, Vinglish; and The Lunchbox) show that the films have to be recast and transfigured during interlingual and intersemiotic transfers so that it can become more accessible to Hong Kong Chinese audiences. 1. Introduction The history of Indian immigration to Hong Kong can be traced to the 1840s, when Hong Kong became a colony of the British Empire. In the social and economic development during the early colonial days, Indian people played an important role. Some Indian families have lived in the territory for generations and consider Hong Kong their home. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
THE BUCHAREST UNIVERSITY of ECONOMIC STUDIES The
THE BUCHAREST UNIVERSITY OF ECONOMIC STUDIES The Faculty of International Business and Economics The Department of Modern Languages and Business Communication of ASE Iuliu Hațieganu University of Medicine and Pharmacy Cluj- Napoca 7th International Conference: Synergies in Communication Bucharest, Romania, 22 - 23 November 2018 BEHIND THE SCREENS: A STUDY OF THE FILMS OF THREE INDIAN WOMEN DIRECTORS Minouti NAIK1 Abstract Indian films, even after 76 years of independence and 105 years of Indian Cinema, are a predominantly male domain. The percentage of women film makers, in the industry, is a mere 9.1%. Despite this, the films directed by women have compelled audiences to take notice, because of the wide spectrum of issues they have touched upon. Three women directors, whose movies have left an indelible mark on the audiences, include Tanuja Chandra, Meghna Gulzar and Gauri Shinde. This paper analyses the work of these three women directors, for the uniqueness of their themes and the characters they have sketched, and attempts to find out, what has led to their films being etched deeply, into the consciousness of their audience. This will be analysed against the backdrop of the realities of the society from which these films emerge, and as a reflection of the gender dynamics existing in Indian society. Keywords: Indian cinema, women, themes, characters, uniqueness 1. Introduction Men have sight, women insight. - Victor Hugo Victor Hugo‟s observation, penned down in his memoirs, might be an apt point to begin with, when one reflects upon films made by Indian women filmmakers. Despite films forming a very important facet of the Indian society and the fact that India completed 105 years of cinema, this year, the number of women making films in India is very small. -
Universiteit Antwerpen Faculteit Politieke En Sociale Wetenschappen Academiejaar 2013-2014
Universiteit Antwerpen Faculteit Politieke en Sociale Wetenschappen Academiejaar 2013-2014 MASTERPROEF FROM WHITE DEVIL TO WHITE EMANCIPATOR Representation of white Western women in Indian cinema Lisa van der Waal Master in de Filmstudies en de Visuele Cultuur Promotor: Prof. Dr. Paolo Favero Medebeoordelaar: Prof. Dr. Kevin Smets Abstract Times are changing in India's film industry. While Bollywood remains the biggest film industry in the world, a new Indian cinema genre is rising nowadays, a cinema that tries to find its position between Bollywood, Western and parallel cinema. One of the striking things of this new Indian film genre, that I call New Indian Cinema, pays attention to the way white Western women are treated in India's contemporary society. New Indian Cinema depicts white Western women as survivors of this tough society they are living in. This representation differs from the way India's popular cinema, Bollywood cinema, has depicted the white Western women until now. From the 1950s onwards, they have been represented as immoral ‘devils’; the opposite of moral Indian women. Although Jane Dark has noticed a development in the representation of white women in Bollywood cinema, it seems that it is New Indian Cinema that contributes to the emancipation of this particular kind of film character in Indian cinema. This thesis is focused on the development of the white Western female character during the last decades. Based on the concepts of whiteness and the male gaze, three New Indian Cinema films have been analysed in order to discover how this new Indian film genre depicts Western women and if this representation contributes to the development of this character. -
Not Really Bollywood a History of Popular Hindi Films, Songs, and Dance with Pedagogical Applications for Understanding Indian History and Culture
University of Central Florida STARS HIM 1990-2015 2012 Not really bollywood a history of popular hindi films, songs, and dance with pedagogical applications for understanding indian history and culture Sanjana Nayee University of Central Florida Part of the Education Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Nayee, Sanjana, "Not really bollywood a history of popular hindi films, songs, and dance with pedagogical applications for understanding indian history and culture" (2012). HIM 1990-2015. 1366. https://stars.library.ucf.edu/honorstheses1990-2015/1366 NOT REALLY BOLLYWOOD: A HISTORY OF POPULAR HINDI FILMS, SONGS, AND DANCE WITH PEDAGOGICAL APPLICATIONS FOR UNDERSTANDING INDIAN HISTORY AND CULTURE by SANJANA P. NAYEE A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in English Language Arts in the College of Education and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall 2012 Thesis Chair: Dr. Jeffrey Kaplan © 2012 Sanjana P. Nayee ii Abstract Contemporary fascination with ‘Bollywood’ proliferates much of reality TV dance shows, media blurbs and other communicative outlets. These avenues homogenize India as ‘Bollywood’, while social and political outlets place Indians and people of South Asian descent into fitted stereotypes that are ridiculed and largely distorted. The intent of this thesis was to explore how the growing international intrigues of popular Hindi films exist beyond ‘Bollywood’. -
Pandit Carpets Hand Knotted Carpets Made with Natural Fibers
Flicks Movie Review English Vinglish After a 15-year hiatus, mega-star of yesteryears Sridevi returns to films in Gauri Shinde’s English Vinglish. The so-called comeback of the year began with a standing ovation at the Toronto International Film Festival and a raking-in of Rs. 270 million worldwide in its first week—to say nothing of all the applause and murmurs of approval at the film’s premiere in Bangkok. All in all, this subtle feminist flick has won over many hearts (thanks only in small part to an adorable cameo by Amitabh Bachchan), including ours, and we’re a hard bunch to please. The story centres on Shashi, a doting wife and loving mother who is unappreciated by her family due to her inability to speak English. She’s constantly ridiculed by her teenage daughter for being an embarrassment and often essentialised by her husband as little more than a great cook. Low in confidence and silently wounded, she makes her way to New York to attend her niece’s wedding, minus the ball-and-chain family. There, she musters the courage to enrol in a four-week English course. It is here that she is recognised as being a small- business entrepreneur by her teacher and as a lovely, hot mama, by Laurent (Mehdi Nebbou), a painfully handsome and sweet French classmate in whom she confides despite the language barrier. Things get complicated, though, when her family arrives for the wedding, and Shashi gets into all kinds of dilemmas, including what to do about her final exam and about her would-be suitor. -
From Mother India to Queen
KCG-Portal of Journals Continuous Issue-36 | October – November 2018 A study of Female hero: From Mother India to Queen Movies are considered to be a source of entertainment though they carry some societal reflection, significantly, most of the movies are made keeping public taste in mind. But few are made to highlight the social evil, out dated rituals and tradition prevalent in the society; providentially, condition of woman is among them. Usually, in most of the Indian movies the role of a female counterpart (heroine) is to entertain the public by dancing, singing and by acting on some romantic scenes; thus, the role of a heroine in most of the movies is to add spices and seductive flavor by exposing her figure, while acting is not so important. Consequently, role of a heroine in most of the Indian movies is narrowed down and she is used just to sell the product, mere commoditization of a woman body, nothing else!Humorously, the condition of a female shown in most of the movies projects advancement in style of costumes, make up and life styles but thinking is still outdated. But certain categories of movies have female heroes.They steer the movie on her shoulders without any dominant male counterpart. And they leave behind a long lasting message for the society as they attack those apparently spotless surface of social evil, patriarch locked perception! Though Indian cinema, especially, Bollywood has produced many movies in which women have main lead creating a tiny revolution of 21st century! For instance Fashion(2008), narrating a story of an ambitious girl, there are movies like Chak de India (2007)Mary Kom(2014), Dangal(2016), two of them are based on real life story, it also brought in an issue of promoting girls for sports. -
In the High Court at Calcutta
IN THE HIGH COURT AT CALCUTTA APPELLATE JURISDICTION SUPPLEMENTARY LIST TO THE COMBINED MONTHLY LIST OF CASES ON AND FROM , MONDAY, THE 5TH JUNE, 2017, FOR HEARING ON MONDAY, THE 5TH JUNE, 2017. INDEX SL. BENCHES COURT TIME PAGE NO. ROOM NO. NO. 1. THE HON’BLE ACTING CHIEF JUSTICE NISHITA MHATRE 1 AND (DB – I) THE HON’BLE JUSTICE TAPABRATA CHAKRABORTY THE HON’BLE JUSTICE PATHERYA ON AND 2. AND 8 FROM THE HON’BLE JUSTICE SUBRATA TALUKDAR 05.06.2017 FROM 10.30 A.M. TILL 1.15 P.M. ON AND 3. THE HON’BLE JUSTICE SUBRATA TALUKDAR 29 FROM 05.06.2017 FROM 2.00 P.M. ----------------------------------------------------------------------- --------- *********************************************************************** ********* 05/06/2017 COURT NO. 1 FIRST FLOOR THE HON'BLE ACTING CHIEF JUSTICE NISHITA MHATRE AND HON'BLE JUSTICE TAPABRATA CHAKRABORTY *********************************************************************** ********* (DB – I) ON AND FROM MONDAY, THE 10TH APRIL, 2017 - Writ Appeals relating to Service (Gr.-VI); WRIT APPEALS RELATING TO (GR.-IX) RESIDUARY; CONTEMPT SEC. 19(A), SEC. 27 OF ELECTRICITY REG. PIL, Matters under Article 226/227 of the Constitution of India relating to Tribunals under Art. 323A and applications thereto; Writ Appeals not assigned to any other bench. And On and from Monday, the 5th June 2017 to Friday, the 9th June, 2017 (Both days inclusive) – will take, in addition to their own list and determination, urgent matters relating to the list and determination of the Division Bench comprising Hon’ble Justice Sanjib Banerjee and Hon’ble Justice Siddhartha Chattopadhyay. NOTE : On and from 9.1.2017, Tribunal motions, applications and hearing will be taken up during the entire week and other matters will be taken up in the following week. -
Festival Catalogue 2015
Jio MAMI 17th MUMBAI FILM FESTIVAL with 29 OCTOBER–5 NOVEMBER 2015 1 2 3 4 5 12 October 2015 MESSAGE I am pleased to know that the 17th Jio MAMI Mumbai Film Festival is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from 29th October to 5th November 2015. Mumbai is the undisputed capital of Indian cinema. This festival celebrates Mumbai’s long and fruitful relationship with cinema. For the past sixteen years, the festival has continued promoting cultural and MRXIPPIGXYEP I\GLERKI FIX[IIR ½PQ MRHYWXV]QIHME TVSJIWWMSREPW ERH GMRIQE IRXLYWMEWXW%W E QYGL awaited annual culktural event, this festival directs international focus to Mumbai and its continued success highlights the prominence of the city as a global cultural capital. I am also happy to note that the 5th Mumbai Film Mart will also be held as part of the 17th Mumbai Film Festival, ensuring wider distribution for our cinema. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision and wish the 17th Jio MAMI Mumbai Film Festival and Mumbai Film Mart grand success. (CH Vidyasagar Rao) 6 MESSAGE Mumbai, with its legacy, vibrancy and cultural milieu, is globally recognised as a Financial, Commercial and Cultural hub. Driven by spirited Mumbaikars with an indomitable spirit and great affection for the city, it has always promoted inclusion and progress whilst maintaining its social fabric. ,SQIXSXLI,MRHMERH1EVEXLM½PQMRHYWXV]1YQFEMMWXLIYRHMWTYXIH*MPQ'ETMXEPSJXLIGSYRXV] +MZIRXLEX&SPP][SSHMWXLIQSWXTVSPM½GMRHYWXV]MRXLI[SVPHMXMWSRP]FI½XXMRKXLEXE*MPQ*IWXMZEP that celebrates world cinema in its various genres is hosted in Mumbai. -
KLM Schedule
WEDNESDAY, JANUARY 23 5.40 pm: Remembering Mrinal Sen: Adoor FRIDAY, JANUARY 25 Hidayat Khan and Shantanu Moitra. Followed by a SUNDAY, JANUARY 27 short tribute on sitar by Hidayat Khan WESTERN QUADRANGLE, VMH Gopalakrishnan, Anjan Dutt, and Moinak Biswas other AFTERWORDS SON-ET-LUMIERE, VMH contemporaries pay tribute to the iconic lmmaker. In 7.30 pm: Ek Ghadi Aur: Rekha Bhardwaj presents her 3.00 pm: Hungryalists and Revolution: Maitreyee 4.30 pm: Antaheen a decade later: Aniruddha Roy Chowdhury, Rahul Bose, Chandril Bhattacharya, and Shantanu conversation with SV Raman 7.15pm: Two Women: Jnanadanandini, Kadambari & memorable melodies Bhattacharjee Chowdhury on the ery poetry of the Jorasanko: Readings, visuals, and Rabindrasangeet — Moitra remember the award-winning hit. In AFTERWORDS 50s and 60s that sparked revolution in Bengal. In Aruna Chakravarti, Jayati Ghosh, Minoti Chatterjee, WESTERN QUADRANGLE, VMH conversation with Sangeeta Datta GOETHE INSTITUT/MAX MUELLER BHAVAN KOLKATA conversation with Jash Sen Averee Chaurey and Sharmila Bakshi 3.00 pm: Sunderbans, The Beautiful Forest: Bikram 5.20 pm: Mushtaq Hussainer Darbari: Readings from Srijato and translations by Arunava Sinha, followed by 7.00 pm: CAITLIN by Light, Ladd and Emberton Grewal, Bittu Sahgal, and Sumit Sen discuss the fragile 3.45 pm: Bridging East and West: The Rolland-Tagore AFTERWORDS discussion beauty of one of the most unique places on earth. letters read today. Chinmoy Guha in conversation with AFTERWORDS GOETHE INSTITUT/MAX MUELLER BHAVAN KOLKATA Readings by Sumana Roy. In conversation with 6.10pm: Bangla Sanskritir Ateet Kolkatay, Bhobishyot Dhakay: Samaresh Majumdar, Kaushik Sen, Firdous Azim, Krishnan Srinivasan OUTRAM JETTY 6.00 pm: CAITLIN by Light, Ladd and Emberton Mudar Patherya Mostofa Sarwar Farooki. -
Solidarity Statement Against Police Brutality at Jamia Millia Islamia University and Aligarh Muslim University
Solidarity Statement Against Police Brutality at Jamia Millia Islamia University and Aligarh Muslim University We, the undersigned, condemn in the strongest possible terms the police brutality in Jamia Millia Islamia University, New Delhi, and the ongoing illegal siege and curfew imposed on Aligarh Muslim University, Aligarh. On 15th December 2019 Delhi police in riot-gear illegally entered the Jamia Millia campus and attacked students who are peacefully protesting the Citizenship Amendment Act. The Act bars Muslims from India’s neighboring countries from the acquisition of Indian citizenship. It contravenes the right to equality and secular citizenship enshrined in the Indian constitution. On the 15th at JMIU, police fired tear gas shells, entered hostels and attacked students studying in the library and praying in the mosque. Over 200 students have been severely injured, many who are in critical condition. Because of the blanket curfew and internet blockage imposed at AMU, we fear a similar situation of violence is unfolding, without any recourse to the press or public. The peaceful demonstration and gathering of citizens does not constitute criminal conduct. The police action in the Jamia Millia Islamia and AMU campuses is blatantly illegal under the constitution of India. We stand in unconditional solidarity with the students, faculty and staff of Jamia Millia Islamia and Aligarh Muslim University, and express our horror at this violent police and state action. With them, we affirm the right of citizens to peaceful protest and the autonomy of the university as a non-militarized space for freedom of thought and expression. The brutalization of students and the attack on universities is against the fundamental norms of a democratic society.