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Dil Se / from the Heart (1998, Mani Ratnam, India)
A Level Film Studies - Focus Film Factsheet Dil Se / From the Heart (1998, Mani Ratnam, India) Component 2: Global Filmmaking • Sumptuous colour cinematography by Perspectives (AL) Santosh Sivan covers the different regions of the Indian sub-continent evoking the Core Study Areas contrasting geographic and ethnic features. Key Elements of Film Form • After the interval the story moves to New Meaning & Response Delhi with consequent tighter framing. The Contexts of Film • In Dil Se the songs (apart from E Ajnabi) are fantasies bookended by realities. The Rationale for study cinematography signals the change between these two modes. During the dance sequences Dil Se demonstrates the key characteristics frequent use of camera zoom, moving of a mainstream Bollywood film: a two-part camera, change of camera angles echo the structure, big stars, spectacular song and dance rhythmic pattern of the song. At the ending sequences, themes of Indian identity and the of the film the cinematography is much more struggle between love and duty. However, it tied to the conventions of realism. goes against the usual Bollywood narrative in its mixing of a romantic obsessive love story with a Mise-en-Scène serious and thought provoking political thriller. • Lavish mise-en-scène in terms of the costumes as well as the scenery. During the song and dance sequences both change constantly STARTING POINTS - Useful which is one of the features of the Bollywood Sequences and timings/links film. In Satrangi Re Meghna starts off in black, then white, orange, yellow, green, red, Satrangi Re – a song and dance sequence inspired blue, white, purple then white again. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
List of Organisations/Individuals Who Sent Representations to the Commission
1. A.J.K.K.S. Polytechnic, Thoomanaick-empalayam, Erode LIST OF ORGANISATIONS/INDIVIDUALS WHO SENT REPRESENTATIONS TO THE COMMISSION A. ORGANISATIONS (Alphabetical Order) L 2. Aazadi Bachao Andolan, Rajkot 3. Abhiyan – Rural Development Society, Samastipur, Bihar 4. Adarsh Chetna Samiti, Patna 5. Adhivakta Parishad, Prayag, Uttar Pradesh 6. Adhivakta Sangh, Aligarh, U.P. 7. Adhunik Manav Jan Chetna Path Darshak, New Delhi 8. Adibasi Mahasabha, Midnapore 9. Adi-Dravidar Peravai, Tamil Nadu 10. Adirampattinam Rural Development Association, Thanjavur 11. Adivasi Gowari Samaj Sangatak Committee Maharashtra, Nagpur 12. Ajay Memorial Charitable Trust, Bhopal 13. Akanksha Jankalyan Parishad, Navi Mumbai 14. Akhand Bharat Sabha (Hind), Lucknow 15. Akhil Bharat Hindu Mahasabha, New Delhi 16. Akhil Bharatiya Adivasi Vikas Parishad, New Delhi 17. Akhil Bharatiya Baba Saheb Dr. Ambedkar Samaj Sudhar Samiti, Basti, Uttar Pradesh 18. Akhil Bharatiya Baba Saheb Dr. Ambedkar Samaj Sudhar Samiti, Mirzapur 19. Akhil Bharatiya Bhil Samaj, Ratlam District, Madhya Pradesh 20. Akhil Bharatiya Bhrastachar Unmulan Avam Samaj Sewak Sangh, Unna, Himachal Pradesh 21. Akhil Bharatiya Dhan Utpadak Kisan Mazdoor Nagrik Bachao Samiti, Godia, Maharashtra 22. Akhil Bharatiya Gwal Sewa Sansthan, Allahabad. 23. Akhil Bharatiya Kayasth Mahasabha, Amroh, U.P. 24. Akhil Bharatiya Ladhi Lohana Sindhi Panchayat, Mandsaur, Madhya Pradesh 25. Akhil Bharatiya Meena Sangh, Jaipur 26. Akhil Bharatiya Pracharya Mahasabha, Baghpat,U.P. 27. Akhil Bharatiya Prajapati (Kumbhkar) Sangh, New Delhi 28. Akhil Bharatiya Rashtrawadi Hindu Manch, Patna 29. Akhil Bharatiya Rashtriya Brahmin Mahasangh, Unnao 30. Akhil Bharatiya Rashtriya Congress Alap Sankyak Prakosht, Lakheri, Rajasthan 31. Akhil Bharatiya Safai Mazdoor Congress, Jhunjhunu, Rajasthan 32. Akhil Bharatiya Safai Mazdoor Congress, Mumbai 33. -
Satya 13 Ram Gopal Varma, 1998
THE CINEMA OF INDIA EDITED BY LALITHA GOPALAN • WALLFLOWER PRESS LO NOON. NEW YORK First published in Great Britain in 2009 by WallflowerPress 6 Market Place, London WlW 8AF Copyright © Lalitha Gopalan 2009 The moral right of Lalitha Gopalan to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transported in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the copyright owners and the above publisher of this book A catalogue record for this book is available from the British Library ISBN 978-1-905674-92-3 (paperback) ISBN 978-1-905674-93-0 (hardback) Printed in India by Imprint Digital the other �ide of 1 TRUTH l Hl:SE\TS IU\ffi(W.\tYEHl\"S 1 11,i:1111111,1:11'1111;1111111 11111111:U 1\ 11.IZII.IH 11.1\lli I 111 ,11 I ISll.lll. n1,11, UH.Iii 236 24 FRAMES SATYA 13 RAM GOPAL VARMA, 1998 On 3 July, 1998, a previously untold story in the form of an unusual film came like a bolt from the blue. Ram Gopal Varma'sSatya was released all across India. A low-budget filmthat boasted no major stars, Satya continues to live in the popular imagination as one of the most powerful gangster filmsever made in India. Trained as a civil engineer and formerly the owner of a video store, Varma made his entry into the filmindustry with Shiva in 1989. -
Bombay Novels
Bombay Novels: Some Insights in Spatial Criticism Bombay Novels: Some Insights in Spatial Criticism By Mamta Mantri With a Foreword by Amrit Gangar Bombay Novels: Some Insights in Spatial Criticism By Mamta Mantri This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Mamta Mantri All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2390-X ISBN (13): 978-1-5275-2390-6 For Vinay and Rajesh TABLE OFCONTENTS Acknowledgements ......................................................................... ix Foreword ......................................................................................... xi Introduction ................................................................................. xxvi Chapter One ...................................................................................... 1 The Contours of a City What is a City? The City in Western Philosophy and Polity The City in Western Literature The City in India Chapter Two ................................................................................... 30 Locating the City in Spatial Criticism The History of Spatial Criticism Space and Time Space, -
A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise En Scene Analysis of Selected Movies
Annals of R.S.C.B., ISSN:1583-6258, Vol. 25, Issue 6, 2021, Pages. 9599 - 9606 Received 25 April 2021; Accepted 08 May 2021. A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise en scene Analysis of Selected Movies 1 2 Mena M, Varun Prabha T 1Post Graduate Student, MA JMC,Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India 2Assistant Professor, Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India Abstract Visually representing a story is an art. Mastering that art and capturing human minds into the soul of the characters of the film and mirroring the very own society was part of Mani Ratnam’s life for the past three decades. This research paper points towards some of the techniques employed and experiments conducted in visual storytellingin his various projects by using Miseen scene elements and cinematography in beautiful ways. In Roja what he Sasnthosh Sivan and Mani Ratnam experimented was painting the reflectors green, to look the grass greener than it actually is. In Thapalathy, Mani ratnam projected a yellowish light, like an aura into the protagonist which symbolizes his history and background. In Bombay, he throughout kept a blue tone in order to gives an element of mystery in the film. In Raavanan, he played with shades and light and that too in two different ways at the beginning and at the end of the films. In Alaipayuthe he presented the story more through the movements of camera and through micro expressions and symbolizations.Theglobalization and evolution of Indian Cinematography can be traced out through the works of Mani Ratnam. -
Westminsterresearch Bombay Before Bollywood
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Bombay before Bollywood: the history and significance of fantasy and stunt film genres in Bombay cinema of the pre- Bollywood era Thomas, K. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Prof Katharine Thomas, 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] BOMBAY BEFORE BOLLYWOOD: THE HISTORY AND SIGNIFICANCE OF FANTASY AND STUNT FILM GENRES IN BOMBAY CINEMA OF THE PRE-BOLLYWOOD ERA KATHARINE ROSEMARY CLIFTON THOMAS A thesis submitted in partial fulfilment of the requirements of the University Of Westminster for the degree of Doctor of Philosophy by Published Work September 2016 Abstract This PhD by Published Work comprises nine essays and a 10,000-word commentary. Eight of these essays were published (or republished) as chapters within my monograph Bombay Before Bollywood: Film City Fantasies, which aimed to outline the contours of an alternative history of twentieth-century Bombay cinema. The ninth, which complements these, was published in an annual reader. This project eschews the conventional focus on India’s more respectable genres, the so-called ‘socials’ and ‘mythologicals’, and foregrounds instead the ‘magic and fighting films’ – the fantasy and stunt genres – of the B- and C-circuits in the decades before and immediately after India’s independence. -
Imagining Global India: Bollywood's Transnational Appeal
This article was downloaded by: [Hamilton College], [Patricia ONeill] On: 08 April 2013, At: 09:31 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Continuum: Journal of Media & Cultural Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ccon20 Imagining global India: Bollywood's transnational appeal Patricia O'Neill a a English and Creative Writing, Hamilton College, Clinton, NY, USA Version of record first published: 21 Mar 2013. To cite this article: Patricia O'Neill (2013): Imagining global India: Bollywood's transnational appeal, Continuum: Journal of Media & Cultural Studies, 27:2, 254-266 To link to this article: http://dx.doi.org/10.1080/10304312.2013.766309 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Semester: Fall 2015 Office Hours: MW 12-1, PAR 27
UGS 303 Bollywood, India, and After Instructor: Shingavi, S – Cross-lists: N/A [email protected] Flags: N/A Unique #: 61495, 61500, 61505, 61510, 61515, TA: 61520 Computer Instruction: N Semester: Fall 2015 Office Hours: MW 12-1, PAR 27 Description: Bollywood cinema became a global phenomenon sometime after the economic liberalization of India. It became, in many ways, the cultural ambassador for an “India Shining,” the impossible dream of uninterrupted growth, for the rest of the world. But Bollywood’s roots were much grittier, with the social films of the 60s and the “Angry Young Men” films of the 1970s and 1980s, the progressive theater, and more. This long history of Bollywood is also in many ways a reflection of important historical changes that India has undergone: urbanization, globalization, uneven economic development. This class is broken up (more or less) into four historical periods: 1947-1975 (the era of high nationalism); 1975-1991 (the Emergency to the Economic Reforms); 1991-2004 (from Mandir, Masjid, Mandal to “India Shining”); and 2004-present. We will trace representations of India in cinema by looking at three classic landscapes: the country, the city (Bombay), and the slums. The goal of organizing the class in this way is not only to provide a sort of filmic history of India, but also to see how changes in the economy and in the social organization of India affected cultural representations of stock figures (the peasant, the slum dweller, the super-rich urbanite, etc.). We will also be particularly interested in considering representations of women, Muslims, and the lower castes (also called scheduled or backward castes). -
Renowned Indian Filmmaker Mani Ratnam to Appear in New York for Museum Tribute
FOR IMMEDIATE RELEASE RENOWNED INDIAN FILMMAKER MANI RATNAM TO APPEAR IN NEW YORK FOR MUSEUM TRIBUTE Mani Ratnam to appear in person with his trilogy: Roja, Bombay, and Dil Se July 31–August 2, 2015 New York, New York (June 11, 2015)—Mani Ratnam (b. 1955, Chennai) is that rarest of film directors nowadays: an artist capable of making exquisitely crafted, hugely entertaining, yet intelligent and provocative films on a range of social and political issues. Museum of the Moving Image is proud to present a special tribute to Ratnam featuring the director in person with a trilogy of films that follow lovers against a backdrop of Indian politics: Roja (1992), Bombay (1995), and Dil Se (1998)—the last featuring one of the most famous scenes in all of Indian cinema, the “Chaiyya Chaiyya” musical number on top of a moving train. The series, Politics as Spectacle: The Films of Mani Ratnam, runs from July 31 through August 2, 2015. Ratnam will participate in conversations after each film, moderated by Richard Peña. “Mani Ratnam is a treasure, and we are pleased to host him in New York with three of his most significant and beloved films,” said Christina Marouda, the Museum’s Deputy Director for Development and Founder of the Indian Film Festival in Los Angeles, who organized this program. “This weekend tribute offers audiences, both devoted fans and new viewers, a rare opportunity to see his gorgeous films on the big screen, presented in 35mm.” Richard Peña, Director Emeritus, New York Film Festival and Professor of Film Studies at Columbia University, added: “The false dichotomies that are used to categorize films—art vs. -
Bombay Dub Orchestra 3 Cities
Bombay Dub Orchestra 3 Cities Step inside the sound of 3 Cities, Bombay Dub Orchestra’s sophomore release, and experience the crossroads where Mumbai, Chennai, and London musically meet. Since the release of their self-titled debut, the name Bombay Dub Orchestra (consisting of composer/producers Garry Hughes and Andrew T. Mackay) has built quite a reputation. From main-stage performances at the UK’s Big Chill Festival and Djing across the globe, scoring feature films to remixing such world-renowned artists as Bob Marley, Nusrat Fateh Ali Khan, and Bebel Gilberto, fans and critics have been eagerly awaiting their next album. For 3 Cities, both Hughes and Mackay traveled to Mumbai and Chennai to record with the cities’ premier musicians and vocalists before returning to London to mix the album. 3 Cities is where their cinematic soundscapes meet Indian Classical and electronica featuring a huge cast of over 75 musicians. The second installment in Bombay Dub Orchestra’s ongoing East-West fusion project is sure to impress fans of their debut; at times it’s lush and relaxed, and at others it takes the listener on a rollicking ride down the Ganges from the Himalayas to the Bay of Bengal with sounds both new and old. The duo says that they “didn’t set out to do anything that different on this album. We just continued doing exactly what we wanted to do without any borders, boundaries or restraints. We of course wanted to increase our palette of sounds further than the first one – but we had to let it grow organically so nothing was forced or contrived. -
A Peck on the Cheek (Kannathil Muthamittal)
A Peck on the Cheek (Kannathil Muthamittal) Directed by Mani Ratnam India, 2002 * 136 minutes * In Tamil and Sinhala with English subtitles WON - In Spirit for Freedom Award – Jerusalem FF WON – 6 Silver Lotus Awards (Best Child Artist, Best Audiography, Best Editing, Best Music Direction, Best Regional Film [Tamil], Best Lyrics) – National Film Awards, India WON – Audience Award (Best Film) – Los Angeles Indian FF Official Selection. – Toronto Int’l FF, Palm Springs Int’l FF, Cleveland Int’l FF, Philadelphia Int’l FF, San Francisco Int’l FF Distributor Contact: Meghan Wurtz Film Movement Series 109 W. 27th St., Suite 9B, New York, NY 10001 Tel: 212-941-7744 ext. 201 Fax: 212-941-7812 [email protected] Film Synopsis: A little girl's search for her biological mother who had abandoned her as a newborn baby is brought out poignantly in 'Kannathil Muthamittal'. With films like 'Mouna Ragam', 'Alaipayuthe' and now 'Kannathil Muthamittal', Maniratnam yet again proves that he is at his best when tackling human emotions and relationships. Amudha, adopted by Thiru and Indira and growing up with the couple’s two sons, is blissfully unaware of her parentage, until the couple decides to inform her of it on her ninth birthday. At first shocked into disbelief, Amudha then expresses her determination to seek out for her biological mother. The search takes the family to strife- torn Sri Lanka, where Amudha comes face-to-face with reality, and reconciles herself to it. Credits: Cast: Mani Ratnam… writer/director/producer R. Madhavan… Thiruchelvan G. Srinivasan… producer Simran (alias) Rishi Novel… Indira Ravi K.