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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. -
Only a Special Brand of Humour Can Make a Daily Sitcom Tick on Merrily for 2,000 Episodes and After
September 1-15, 2016 Volume 5, Issue 6 `100 TAARAK MEHTA KA OOLTAH CHASHMAH LAUGH LINES Only a special brand of humour can make a daily sitcom tick on merrily for 2,000 episodes and after. What else lies behind this success story? From left: Anooj Kapoor, Asit Kumarr Modi and N P Singh Subscriber copy not for resale Subscriber copy not 6 16 8 PLUS DOVE No Rhyme, Only Reason 12 TITAN Time Machine 14 IKEA NESCAFE MYNTRA CHING’S SECRET Big Move 17 New Cup of Resolve Breaking the Stereotype High Stakes Gameplan GUEST ARTICLE The coffee brand’s ad is back Ethnic wear brand Anouk A big budget ad film with 23 with a warm-up session. paints a new picture. some big names on board. Kopal Doshi editorial This fortnight... Volume 5, Issue 6 EDITOR f you are looking for persistence-leads-to-success stories, they don’t come better Sreekant Khandekar I than this. PUBLISHER September 1-15, 2016 Volume 5, Issue 6 `100 Prasanna Singh TAARAK MEHTA KA OOLTAH CHASHMAH Fourteen years ago, when he first set out visiting broadcasters with script in hand, EXECUTIVE EDITOR Ashwini Gangal LAUGH LINES Asit Kumarr Modi, head of production house Neela Telefilms, was laughed out of Only a special brand of humour can make a daily sitcom tick on merrily PRODUCTION EXECUTIVE for 2,000 episodes and after. What the studios. They wouldn’t touch a script - that did not have television’s staple diet else lies behind this success story? Andrias Kisku of family intrigue or tragedy - with a barge pole. -
Balaji Telefilms Limited C-13, Balaji House, Dalia Industrial Estate, Opp
Balaji Telefilms Limited C-13, Balaji House, Dalia Industrial Estate, Opp. Laxmi Industries, New Link Road, Andheri (West), Mumbai 400 053 Tel: 40698000 Fax: 40698181/82/83 Website: www.balajitelefilms.com CIN: L99999MH1994PLC082802 ALTBalaji records highest ever subscriptions sold during a quarter, active subscriber base crosses 2.1million February 11, 2021: Balaji Telefilms Limited, India’s leading media and content powerhouse, today announced its financial results for the third quarter and nine-months ended 31st December 2020. ALTBalaji added the highest ever subscribers this quarter with 1.6m subscription sold. The Company has been aggressively driving deeper audience engagement and reducing subscriber churn and is adding over 20k subscribers a day. The platform added 9 shows and today has 74 shows offering unmatched content diversity for the Indian audience. ALTBalaji has continually been strengthening the consumer experience via support for various connected devices and technology upgrades TV business now operating at more normal levels as daily show production hours picks up, average rates remain firm after initial impact of COVID-19. 7 shows were on air during the quarter which included 3 new launches. Movie business continues to wait for availability for theatrical launch windows and currently working on 5 projects. 3 movies to commence shooting in March / April 2021 with the remaining 2 projects to commence shooting in coming quarters. Overall remain conservative with the investments in movies and continue to pursue pre sales and co-production. Mrs. Shobha Kapoor, Managing Director, Balaji Telefilms Limited said, “ALTBalaji has added highest ever 1.6million subscribers this quarter which shows the strong demand for the mass content that we create for Indian audiences. -
Earnings Call Transcript
Balaji Telefilms Q4 FY2019 Earnings Conference Call” May 24, 2019 MANAGEMENT: MR. SUNIL LULLA - GROUP CHIEF EXECUTIVE OFFICER - BALAJI TELEFILMS LIMITED MR. SANJAY DWIVEDI – GROUP CHIEF FINANCIAL OFFICER – BALAJI TELEFILMS LIMITED MR. NACHIKET PANTVAIDYA – CHIEF EXECUTIVE OFFICER & CHIEF OPERATING OFFICER – ALTBALAJI Page 1 of 16 Balaji Telefilms – 24 May Moderator: Ladies and gentlemen, good day and welcome to the Balaji Telefilms Q4 FY2019 Earnings Conference Call, hosted by ICICI Securities Limited. As a reminder all participant lines will be in the listen-only mode and there will be an opportunity for you to ask questions after the presentation concludes. Should you need assistance during the conference call, please signal an operator by pressing “*” then “0” on your touchtone telephone. Please note that this conference is being recorded. I now hand the conference over to Mr. Rahil Jasani of ICICI Securities Limited. Thank you and over to you Sir! Rahil Jasani: Good evening everyone. We would like to thank the management of Balaji Telefilms for giving us this opportunity to host this call. The management is represented by Mr. Sunil Lulla Group CEO, Mr. Sanjay Dwivedi, Group CFO and Mr. Nachiket Pantvaidya Group CEO and COO, ALT Digital Media Entertainment Without further ado, I would like to handover the floor to Mr. Sunil Lulla for opening comments remarks and then we can start the Q&A session. Sunil Lulla: Thank you. Good afternoon I am glad that we are beginning this season on a generally optimistic note both in the market place as well as in the country. Balaji Telefilms has had a good quarter and a good year. -
10Th Aug 2017
Quarterly Performance Review – Q1 FY18 Unique, Distinctive, Disruptive Unique, Distinctive, Disruptive Operating highlights for the quarter AltBalaji • Successfully launched AltBalaji during the quarter and the app is available globally and on all the leading OS platforms • Over 4 million downloads with subscribers from 85+ countries reflecting the universal appeal of the content • AltBalaji during the quarter had 7 original shows, 4 original kids shows and over 150 curated comedy clips • Strategic partnerships and tie ups executed across a range of OEMs, Telco / Internet service providers and Payment wallets Television Business • 8 shows were running during the quarter – Naagin 2 ended during this quarter. Naagin 1 and Naagin 2 have consistently been one of the top rated show in its category and timeslot • Chandrakanta successfully replaces Naagin 2 on the same slot, strengthening our positioning as a leading provider of high impact weekend fiction programming. Also launched a new show for Star Plus for their afternoon original programming slot • Continue to develop content pipeline – new shows launching across the GEC as well shows for the prime time slots won on the National Broadcaster – Doordarshan Movie Business • Two movies released during the quarter. Half Girlfriend (mid budget Hindi film released on 19th May 2017) and Super Singh (Punjabi regional film released on 16th June 2017) • Company continues to focus on a limited but high impact stories where the risk reward ratios are extremely favorable and projects can be de-risked by significant pre sales Others • Process underway to merge Bolt Media and Film Production business of Balaji Motion Pictures Limited into Balaji Telefilms. -
Outcome-AGM-2016.Pdf
Spine to be adjusted by printer C-13, Balaji House, Dalia Industrial Estate, Opposite Laxmi Industrial Estate, New Link Road, Andheri (West) Mumbai - 400 053. www.balajitelefilms.com world.com dickenson www. dickenson Spine to be adjusted by printer Spine to be adjusted by printer Spine to be adjusted by printer We are content innovators, creators and producers of unmatched credentials and long-standing success. We operate as a vertically integrated studio model, which allows us to create, distribute and monetise content, not only in ways that are best aligned with viewer preferences, but in ways in which we can capture the maximum value stream. With a focus on chasing quality growth, we continue to create gripping content – content that is relevant to As global viewership diverse sets of audiences and accessible across multiple platforms. continues to evolve, we have With geographical boundaries disappearing in the seamless world of the anticipated future trends and internet, we aim to make our content seamlessly available. Improvement in created new entertainment mobile broadband infrastructure, gradual reduction in cost of internet and paradigms. Today, we increase in smartphone screen sizes is driving consumer preferences. straddle across all the three The Subscription Video on Demand (SVOD) market in India is on the cusp distinct platforms through of a meteoric take-off. As Over The Top (OTT) video consumption continues which people consume to grow tremendously, we are leveraging our capabilities to create content entertainment – across platforms. Our motive is vertical integration across the value chain by Television, offering our own OTT services. We are making our delivery channels more closely aligned to the emerging needs and creating entertainment-on-the-go Movies and for our dynamic audiences. -
Kabhi Na Kabhi Movie Torrent Free Download
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Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
Hindu-Muslim Relationship in Bollywood in Post 26/11: a Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3
Hindu-Muslim Relationship in Bollywood in post 26/11: A Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3 1. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran (Corresponding author) ([email protected]) 2. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran ([email protected]) 3. M. A. in Indian Studies, University of Tehran, Tehran, Iran ([email protected]) (Received: Jan. 2, 2019 Revised: Feb. 28, 2019 Accepted: Ma r. 28, 2019) Abstract This study investigates the representations of Hindu-Muslim relationship in Bollywood movies from 2008 to 2018. It is assumed that after 2008 Mumbai terrorist attacks, which are known as 26/11, conflicts between Hindus and Muslims have escalated. Since Indian people are extreme fans of movies, especially Bollywood movies, in this regard, it is expected that media could play a significant role in increasing or alleviating the conflicts by influencing people’s attitudes and opinions. This research seeks to examine the extent and modality of the representation of Hindu-Muslim relationships in Bollywood after the 2008 Mumbai attacks. The study was conducted through a content analysis of 11 Bollywood movies, which were selected from 70 Muslim-characters-based movies. Favorable, unfavorable, neutral and unclear were the four factors through which the movies’ contents were analyzed. The overall analysis of these factors indicate that 66.17% of the scenes were favorable, 14.70% were unfavorable, 2.94% were neutral, and 16.17% presented unclear images of Hindu-Muslim relationship in Bollywood movies. -
Balaji Telefilms Limited
Balaji Telefilms Limited Company Overview BSE Code 532382 Balaji Telefilms Limited is in Media & BSE Symbol BALAJITELE Entertainment sector and it is in film production, distribution & entertainment industry. BTL was Key Highlights incorporated in 1994 as a private limited Latest Date 17 Sept 2018 company and became listed in the year 2000. Latest Price (Rs.) 106.5 BTL produces Television serial content, Movies 52 Week High (Rs.) 181 and digital content. 52 week low (Rs.) 102 BTL has produced 18000 hours of Television Face Value (Rs.) 2 content since its inception. BTL has produced Market Cap. (Rs. in Cr.) 1112 some of the best television serials in the country Net Worth (Rs. in Cr.) 853 including the famous K series of daily soap: TTM EPS (Rs.) -4.61 ‘Kyunki Saas Bhi Kabhi Bahu Thi', ‘Kahani PE Ratio (x) 0 Ghar Ghar Ki' and more recently created ‘Naagin-1', ‘Naagin-2' a weekend fiction based PB Ratio (x) 1.34 programming. EV/ EBITDA (x) -31.01 Market Cap./ Sales (x) 3.19 Segment Summary Shareholding Pattern The company operates in 3 segments. Promoters 33% FII 18% 1. TV Serial Production DII 35% The backbone of the company is their TV serial Non-Institutional 14% production business. BTL is in this business from the incorporation of the company in 1994. The returns from the TV Business are steady because the company operates on a cost-plus model, whereby company adds profit to the whole cost of production and bill that to the broadcaster. 2. Movie Production The company started movie production in 2001. -
Balaji Telefilms Limited 10 20 11 Company Review
annual report Balaji Telefilms Limited 10 20 11 Company Review 02 A Snapshot of Our World 04 Shifting Paradigms 06 Performance Highlights 07 Financial Highlights 08 Letter to the Shareholders 09 Managing Director’s Review Statutory Report 10 Joint Managing 14 Management Financial Statements Director’s Message Discussion & Analysis 34 Standalone Financial 11 Balaji Shows on 20 Directors’ Report Statements Television 24 Corporate Goverance 61 Consolidated 12 Board of Directors Report Financial Statements Balaji Motion Pictures Limited 86 Directors’ Report 89 Financial Statements 107 AGM Notice Forward looking statement In this Annual Report, we have disclosed forward looking information to enable investors to comprehend our prospects and take investment decisions. This report and other statements, written and verbatim, that we periodically make contain forward looking statements that set out anticipated results based on the management’s plans and assumptions. We have tried wherever possible to identify such statements by using words such as ‘anticipate’, ‘estimate’, ‘expects’, ‘projects’, ‘intends’, ‘plans’, ‘believes’, and words of similar substance in connection with any discussion of future performance. We cannot guarantee that these forward looking statements will be realised, although we believe we have been prudent in assumptions. The achievements of results are subject to risks, uncertainties, and even inaccurate assumptions. Should known or unknown risks or uncertainties materialise, or should underlying assumptions prove inaccurate, actual results could vary materially from those anticipated, estimated, or projected. Readers should keep this in mind. We undertake no obligation to publicly update any forward looking statements, whether as a result of new information, future events or otherwise. Vision is all about looking ahead It is seldom static but often consistent. -
Statutory Warning Before Movies in Hindi
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