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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. -
Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion. -
Congratulations!
Congratulations! JULY 2021 - New World Team A V INDDU , KANCHIPURAM ABAJI KHANVILKAR ANITA , MUMBAI ADHIKARI MADHUMITA & PATIT PABAN ADHIKARI, BIRBHUM ADIB HUTAIB , RAIGARH MH ADRI PANKAJA & CHANDRAKANT ADRI, BAGALKOT AGARKAR SHITAL PANKAJ , AMRAVATI AGARWAL ANKIT , JAIPUR AGARWAL REENA , JAIPUR AGGARWAL LAVI & ANKUR AGARWAL, SAHARANPUR AGLAWE SAMPADA ARUN & ARUN EKNATH AGALAVE, THANE AGRAWAL AMIT KUMAR & PURNIMA AGRAWAL, PATAN AGRAWAL SHEETAL , SAMBALPUR AGRAWAL SWETA & ROHIT AGRAWAL, SULTANPUR AHAMED B ZAMEER , HOSPET AHMED MOHAMMAD AKHIL , UDUPI AHMED RAEES & NASEEM BEGAM, NAINITAL AHMED TAFHEEM , BHADERWAH DODA AHUJA MALA & SANJAY AHUJA, YAMUNA NAGAR AJAYKUMAR CK & SUPRIYA M, DODDABALLAPUR ALAGURAJ POOMALAI & A DEIVAM, PUDUKKOTTAI ALI KHAN SORAF & TANUJA BEGUM, HOOGHLY ALI MOHAMMED SHOUKATH & SHANAZ BANU, DAVANGERE ALLIBHAI ABBASALI DAVALASAB , GADAG ALTHAF S , PUNGANUR AMBADAS PAWAR PRATIKSHA , AURANGABAD AMLA ASHISH , JAMMU ANANDHARAJ C , NAGAPATTINAM ANKUR , BHARATPUR ANU , TOHANA APPAJI TARATE MADHUKAR , PHALTAN ARCHANA & HARDEEP KUMAR, AHMEDABAD ARORA PALAK , JALLANDHAR ARUN KAMBLE ANITA & ARUN HARIBHAU KAMBLE, SANGLI ARVIND PAWAR KAVITA , AHMED NAGAR ASAD RABIA & ABBAS ASAD, LUCKNOW ASHFAK M M & SAFRINA, KASARGOD ASHIMA & PARVESH KUMAR ASPAL, JALANDHAR ASHTARIAN SAMAANEH & MOHAMMED MESUM ABU, KHAIRATABAD ASMABI , PONNANI AWATE NARENDRA CHANDRAKANT , PUNE B AMARESH & VIJAYLAXMI, RAICHUR BAANGA SONIA , FARIDKOT BABAIAH DUDEKULA & VAHIDA BANU DUDEKULA, CUDDAPAH BABU V J PRASANTH & REJITHA, NEDUMANGAD BABULAL , HANUMANGARH Congratulations! -
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. -
2012 - 2014 Batch List of Candidates Project Titles and Company
DEPARTMENT OF MANAGEMENT STUDIES 2012 - 2014 BATCH LIST OF CANDIDATES PROJECT TITLES AND COMPANY NAME OF THE S.NO REG.NO PROJECT TITLE GUIDE NAME DOMAIN STUDENT A Study on Financial Performance Analysis of Madurai Mr. R.S. A829 910612631001 AISHWARYA V Finance District Milk Producers Union Ltd., Madurai Balasenthil A Study on Customer Perception of Passenger Cars in A830 910612631002 APARNA T P Madurai city with Special reference to MAHINDRA Mrs. A.C. Anbudevi Marketing SCORPIO A Study on Effectiveness of Advertisement in Vasanth A831 910612631003 BALAJI B K Mrs. A.C. Anbudevi Marketing & Co., Madurai A Study on Impact of Welfare Facilities on Employee Dr. T. A832 910612631004 BEENJAL S KAMDAR HR Job Satisfaction in MILAN"EM MALL at Madurai Jothimurugan A Study on Employees' Ansenteeism in ZEALSOFT A833 910612631005 BHAVITHRA G Mr.S.N.R. Srikumar HR Technology Solutions, Madurai Stree Management Practices among the Employees in A834 910612631006 DIVYA M Concentrix, A Synnex Corporation Company, Mr.S.N.R. Srikumar HR Kovilambakkam, Chennai A Study on the Financial Performance of Blue Genie Mr. T. C. Suriya A835 910612631007 DIVYA R Finance Technologies Pvt., Ltd., Madurai Narayana Prabhu A Study on Customer Satisfaction in TVS Iyengar and A836 910612631008 HARIBABU S Mr. K.S. Hariharan Marketing Sons Ltd., Madurai IMTHIYASH AHAMED A Study on Working Capital Analysis of Trent Dr. T. A837 910612631009 Finance S Collections, Chennai Jothimurugan A Study on the Performance of Investment in Shares Mr. R.S. A838 910612631010 JANAKI RAMAN N N Finance of Capital Goods Sector in NSE INDIA Balasenthil A Study on Job Satisfacion towards Employee at Mr. -
Megastar: Chiranjeevi and Telugu Cinema After NT Ramo
1 Whistling Fans and Conditional Loyalty hat can cinema tell us about the politics of our time? There can of Wcourse be little doubt that studies of the cinema, from Siegfried Kracauer's magnum opus on German cinema (2004) to M.S.S. Pandian's (1992) study of MGR, have attempted to answer precisely this question. The obscene intimacy between film and politics in southern India provides an opportunity for students of cinema to ask the question in a manner that those in the business of studying politics would have to take seriously. This chapter argues that this intimacy has much to do with the fan-star relationship. Chiranjeevi's career foregrounds the manner in which this relationship becomes one of the important distinguishing features of Telugu cinema, as also a key constituent of the blockage that it encounters. Earlier accounts of random by social scientists (Hardgrave Jr. 1979, Hardgrave Jr. and Niedhart 1975, and Dickey 1993: 148-72) do not ponder long enough upon this basic question of how it is a response to the cinema. As a consequence, their work gives the impression that the fan is a product of everything (that is, religion, caste, language, political movements) but the cinema. I will argue instead that the engagement with cinema's materiality—or what is specific to die cinema: filmic texts, stars and everything else that constitutes thjs industrial-aesthetic form—is crucial for comprehending random. STUDYING FANS Fans' associations (FAs) are limited to south Indian states.1 Historically speaking, however, some of the earliest academic studies of Indian 4 Megastar Whistling Fans and Conditional Loyalty 5 popular cinema were provoked, at least in part, by the south Indian occasion to discuss (mis) readings of audiences at some length in the star-politician and his fans (for example, Hardgrave Jr. -
Screen Awards Function, Shah Rukh and Salman Win
PRLog - Global Press Release Distribution Screen Awards Function, Shah Rukh and Salman win The awards season kicked off with the 17th Annual Star Screen Awards, held on January 6, in Mumbai. Here's a look at some of the stunning arrivals, and winners. Jan. 8, 2011 - PRLog -- The awards season kicked off with the 17th Annual Star Screen Awards, held on January 6, in Mumbai. Here's a look at some of the stunning arrivals, and winners. We start with Shah Rukh Khan, who bagged the Best Actor Popular Choice award for his film My Name Is Khan. Incidentally, rival Salman Khan bagged a Best Actor award as well, for his work in Dabangg. Teen Deviyaan Jacqueline Fernandez, Mugdha Godse and Tanushree Dutta choose black and white for the occasion. The Sinhas Sonakshi Sinha, who won the Most Promising Newcomer award for Dabbang, arrived with her proud mother Poonam Sinha and brother Luv. Circle of love Dabangg producer Arbaaz Khan greets Prabhu Deva, as Farah Khan looks on. Gorgeous gowns Roshni Chopra, Katrina Kaif and Dia Mirza decided to wear beautiful evening gowns for the event. http://www.funfilms.in/show/awards-funtions.html Katrina bagged the Best Actor Popular Choice award for her films Raajneeti and Tees Maar Khan. What were they thinking! Kalki Koechlin, Mahi Gill and Antara Mali need to take some fashion tips from their contemporaries. Skin show Prachi Desai is obviously looking to change her goody goody image by showing some skin but the Rock On!! actress needs a designer as well! Amrita Rao and Chitrangada Singh, on the other hand, covered up. -
Programme Name Course Code Roll Number
Programme name Course Code Roll Number BVOC APPAREL DESIGN VHS410 161241 VHS410 161242 VHS410 161243 VHS410 161244 VHS410 161246 VHS410 161247 VHS410 161248 VHS410 161249 VHS410 161250 VHS410 161251 VHS410 161252 VHS410 161254 VHS410 161256 VHS410 161257 VHS410 161258 VHS410 161259 VHS410 161260 VHS410 161261 VHS410 161262 VHS410 161263 VHS410 161264 VHS410 161265 VHS410 161266 VHS410 161267 VHS410 161268 VHS410 161269 VHS410 161270 VHS410 161271 VHS410 161272 VHS410 161274 VHS410 161464 VHS410 161469 VHS410 161470 BVOC Apparel Design VHS608 141605 VHS608 141633 VHS608 141646 VHS608 151602 VHS608 151606 VHS608 151610 VHS608 151613 VHS608 151614 VHS608 151615 VHS608 151617 VHS608 151619 VHS608 151623 VHS608 151624 VHS608 151625 VHS608 151626 VHS608 151628 VHS608 151629 VHS608 151630 VHS608 151632 VHS608 151633 VHS608 151635 BVOC FOOD PROCESSING VHS417 151708 VHS417 151728 VHS417 161275 VHS417 161276 VHS417 161277 VHS417 161278 VHS417 161279 VHS417 161281 VHS417 161283 VHS417 161284 VHS417 161285 VHS417 161287 VHS417 161289 VHS417 161291 VHS417 161292 VHS417 161293 VHS417 161294 VHS417 161295 VHS417 161297 VHS417 161299 VHS417 161300 VHS417 161301 VHS417 161305 VHS417 161306 VHS417 161307 VHS417 161311 VHS417 161312 VHS417 161313 VHS417 161314 VHS417 161479 VHS417 161480 VHS417 161481 VHS417 161482 VHS417 161483 VHS615 151701 VHS615 151702 VHS615 151703 VHS615 151705 VHS615 151706 VHS615 151707 VHS615 151709 VHS615 151710 VHS615 151711 VHS615 151712 VHS615 151713 VHS615 151714 VHS615 151715 VHS615 151716 VHS615 151717 VHS615 151718 VHS615 -
Consent Wikipedia in Hindi
Consent Wikipedia In Hindi Unhazardous Wolf repossess some towelings and overruled his fitting so inclusively! Alexis usually buckraming unreasonably or reasons flamboyantly when subnormal Hew pertains thrivingly and desperately. Berkeley is vestmented: she ameliorating fluently and perspire her titularity. Our clients to english, when ensuring you could be with wikipedia in hindi mera parivar Is refers to christ and the lucky number and religion is hurt in this balloon gender rating! Essay my teacher quality. There are true several meanings of each refugee in Urdu, the correct meaning of Checkroom in Urdu is توشە خانە, and in roman we amplify it Tosha Khanah. Urdu words especially used in combination with other words, karam meaning in urdu and quotations form. Find someone talking write my scratch paper. It helps you understand every word Bloodline with comprehensive detail, no other web page in our hair can explain Bloodline better than writing page. Our specialists hear in wikipedia reference, consent wikipedia in hindi with! Essay on learn that failure examples of appendix in essay. Another possible point which ran be noted is best if some information is denied to Legislature, this exemption does someone say it should however be given forth a citizen. Essay about batch and wellbeing. The ruling planet for an hindi school, wikipedia in hindi tv actress and? Quebec law a photographer can take photographs in public places but may be publish check picture unless permission has been obtained from one subject. Your consent is held that you can be there was just this book, hindi originated from all set in doing so that such consent wikipedia in hindi: argumentative essay assignment by volunteers around the. -
Gangs of Wasseypur As an Active Archive of Popular Cinema
M A D H U J A M U K H E R J E E Of Recollection, Retelling, and Cinephilia: Reading Gangs of Wasseypur as an Active Archive of Popular Cinema This paper studies Gangs of Wasseypur (Parts 1 and 2, 2012) as a definitive text via which Anurag Kashyap’s style became particularly provocative and pointed. While a range of films (both directed and produced by Kashyap) seemingly bear a certain ‘Kashyap mark’ in the manner in which they tackle subjects of violence and belligerent speech with an unpredictable comic sense, I argue that, more importantly, these films work within a particular visual framework with regard to its mise-en- scène (including the play of light, camera movement, modes of performance), as well as produce recognisable plot structures (involving capricious and realistic events), settings and locations (like the city’s underbelly, police stations, etc.), and so on. Indeed, Kashyap has made a set of films—including Paanch (unreleased), No Smoking (2007) and Ugly (2014)—which deal with similar issues, and explore contemporary cityscapes, especially Mumbai, with fervidness, thereby commenting on urban dystopia.1 Furthermore, these films speak to what has been analysed as the ‘Bombay noir’ mode by Lalitha Gopalan, by means of thoughtful art and set design, engaging (and often hand-held) camera movements and swish-pans, uses of blue or yellow filters, character prototypes, and reflective performances, which generate a world that is engulfed by a deep sense of disquiet and distress. This paper draws attention to such stylistic explorations, especially JOURNAL OF THE MOVING IMAGE 91 to the ways in which it has developed through Kashyap’s recent films. -
For Pronouncement of Judgment for Condonation of Delay
APPELLATE TRIBUNAL FOR ELECTRICITY, NEW DELHI Cause List for Thursday, the 20th September, 2018 TIME: 2.00 P.M. COURT – II CORAM: HON’ BLE MR. JUSTICE N.K. PATIL, JUDICIAL MEMBER HON’ BLE MR. S.D. DUBEY, TECHNICAL MEMBER For Pronouncement of Judgment S. Case No. Parties Name of Counsel for No. Appellant/Respondent Mrs./Mr. 1. 168/15 Power Grid Corporation of India Ltd. M.G. Ramachandran - Appellant(s) Ranjitha Ramachandran Versus Central Electricity Regulatory Commission K.S. Dhingra for R-1 & Ors. - Respondent(s) S. Vallinayagam for R-5 Sameer Parekh for R-17 For Condonation of Delay 2. IA-930/18 International Power Corporation Private Shridhar Prabhu, Anantha In Limited - Appellant(s) Narayana M.G. DFR-2374/18 Versus Karnataka Electricity Regulatory Balaji Srinivasan for R-2 IA-930/18 Commission & Ors. - Respondent(s) (Delay in filing - 50 (Respondent No.1 to 3, though days) served, are unrepresented) (Service complete) 3. IA-1077/18 M/s Alles Solar Private Limited- Appellant(s) Anand Sanjay M. Nuli, Manish In Versus Gupta, Saket Goga, Suraj Nanda DFR-2671/18 Bangalore Electricity Supply Company Limited & Ors. - Respondent(s) Shahbaz Hussain, Fahad Khan IA-1077/18 for R-1 (Delay in filing - 142 days) (Respondent No.2 to 4, though served, are unrepresented) (Service complete) 4. IA-1085/18 Punjab Energy Development Agency Aadil Boparai In (PEDA) - Appellant(s) DFR-2307/18 Versus Punjab State Electricity Regulatory (Respondent No.1 to 4, though IA-1085/18 Commission & Ors. - Respondent(s) served, are unrepresented) (Delay in filing - 461 days) (Service complete) 5. -
Viveck Prabhu Vaswani Selected Profile 2019
VIVECK PRABHU VASWANI SELECTED PROFILE 2019 Campion School,’77 Cathedral School,’80 Sydenham College,’83 (Bachelor of Commerce) PART ONE/ THE ACTOR Theatre (Selected Bibliography) 1. Elephant Man/ Pearl Padamsee 2. Love and God by Woody Allen/ Pearl Padamsee 3. Night of Jan 16 by Ayn Rand/ Pearl Padamsee 4. Antigone/ Vijay Crishna 5. Mary Stuart/ Toni Patel 6. Savaksa by Gieve Patel/ Pearl Padamsee 7. Saint Joan/ Vijay Crishna 8. Bedroom Farce/ Adi Marzban 9. Caught On The Hop/ Hosi Vasunia 10. Loot by Joe Orton/ Hosi Vasunia (with Amjad Khan) 11. You Can’t Take It With You/ Kaufman & Hart/ Hima Devi 12. The Soul Of Chein Nu Leaves Her Body/ Producer 13. A Woman In A Dressing Gown/ Adi Marzban Actor in Films (Selected Filmography) 1. Zulm Hi Zulm/ A Salam 2. Zakham/ Irfan Khan 3. Soldier/ Abbas Mustan 4. Chori Chori Chupke Chupke/ Abbas Mustan 5. 36, Chinatown/ Abbas Mustan 1 6. Khel/ Raakesh Roshan 7. King Uncle/ Raakesh Roshan 8. Loafer/ David Dhawan 9. Hum Kisise Kum Nahin/ David Dhawan 10. Maine Pyar Kyun Kiya/ David Dhawan 11. Inspctor Kirron/ Ashok Panjabi 12. Josh/ Mansoor Khan 13. Aa Ab Laut Chalen/ Rishi Kapoor 14. Aashiq Aawara/ Umesh Mehra 15. Barsaat/ Suneel Darshan 16. Shakalaka Boom Boom/ Suneel Darshan 17. Raju Ban Gaya Gentleman/ Aziz Mirza 18. Patthar Ke Phool/ Anant Balani 19. Gawaahi/ Anant Balani 20. Dulha Mil Gaya/ Mudassar Aziz 21. Mastizaade/ Milap Zaveri 22. Buddha In A Traffic Jam/ Vivek Agnihotri 23. Satta/ Madhur Bhandarkar 24. Luv U Soniyo/ Joe Rajan 25. Hum Hain Rahi Car Ke/ Jyotin Goel 26.