Cinema of India - Wikipedia, the Free Encyclopedia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or 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 publisher shall not be liable for an 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. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Intellectuals and the Maoists
Intellectuals and the Maoists Uddipan Mukherjee∗ A revolution, insurgency or for that matter, even a rebellion rests on a pedestal of ideology. The ‘ideology’ could be a contested one – either from the so-called leftist or the rightist perspective. As ideology is of paramount importance, so are ‘intellectuals’. This paper delves into the concept of ‘intellectuals’. Thereafter, the role of the intellectuals in India’s Maoist insurgency is brought out. The issue turns out to be extremely topical considering the current discourse of ‘urban Naxals/ Maoists’. A few questions that need to be addressed in the discourse on who the Maoist intellectuals are: * Dr. Uddipan Mukherjee is a Civil Service officer and presently Joint Director at Ordnance Factory Board, Ministry of Defence, Government of India. He earned his PhD from the Tata Institute of Fundamental Research, Department of Atomic Energy. He was part of a national Task Force on Left Wing Extremism set up by the think tank VIF. A television commentator on Maoist insurgency, he has published widely in national and international journals/think-tanks/books on counterinsurgency, physics, history and foreign policy. He is the author of the book ‘Modern World History' for Civil Services. Views expressed in this paper are his own. Uddipan Mukherjee Are the intellectuals always anti-state? Can they bring about a revolution or social change? What did Gramsci, Lenin or Mao opine about intellectuals? Is the ongoing Left- wing Extremism aka Maoist insurgency in India guided by intellectuals? Do academics, -
KNSS Cover December 2017
knSS news bulletin December 2017 Contents Editorial ...................................................01 ditorial From the Chairman’s Desk .....................02 a¶w Pb-´n, ]pXp-h-Õ-cw,E \½psS 8þmw hmfyw From the Gen. Secretary .........................03 KNSS Karayogam News .........................06 2018 P\p-hcn 2 \v kap-Zm-bm-Nm-cy³ {io a¶¯v ]ß-\m-`sâ 141þmw Mahila Vibhag News ................................19 P·-Zn-\-am-WtÃm! Youth Wing News ....................................29 hnhn[ \mbÀ hn`m-K-§sf Iq«n-bn-W-¡n, kulmÀ±-am-Wv, aÕ-c-aà Sahithya Vedi ...........................................30 kap-Zm-tbm-¶-a-\-¯nsâ D¯a amÀ¤-sa¶v AwK-§sf t_m[-hm- MMECT News ...........................................35 ·m-cm-¡n, IÀ½-[o-c-cm¡n am-än-sb-Sp¯ At±-l-¯nsâ alm-{]-Xn- Benevolent Fund News ..........................37 `-sbbpw ISp¯ \nÝbZmÀVy-s¯bpw GsXmcp kap-Zmb kvt\ Kayikavedi ................................................38 lnbpw, a¶w Pb´n thf-bn {]tXy-In-¨pw, HmÀt¡-ï-Xm-Wv. At±- Vivahakendra ...........................................39 l-¯nsâ Im¸m-Sp-IÄ XpSÀ¶v \ap-s¡Ãmw tkh-\-\n-c-X-cm-hmw. XpS-¡-¯nse 'challenges'Dw C¶s¯ 'challenges'Dw Ime-¯n-\-\p- List of Advertisers Dr. V.S. Ramakrishnan Nair ......................6 k-cn¨v hyXy-kvX-am-sW-¦n-epw, kap-Zm-tbm-¶-a-\-¯n\v \ap-¡-hsb 'Solutions' Sree Ayyappa Catering Service ...............9 t\cn-tSïXv, Isï-t¯-ïXv Ime-¯nsâ Bh-iy-am- C.D. Premlal .............................................10 Wv. shÃp-hn-fn-Isf Hä-s¡-«mbn \n¶v \ap¡v t\cn-Smw, hnP-bn¡mw! Vasudevan Naboothiri ............................11 GhÀ¡pw a¶w-P-b´n Biw-k-IÄ. Ic-tbm-K-§-fnepw t_mÀUnepw V.P. -
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. -
13. Ormakai Undayirikkanam English/Malayalam Hindi Hindi
37 Written Answers PHALGUNA15,1918 (Saka) To Questions 38 1 1 14. Ithihasathile Khasak English/Malayalam 22. Neelakkuyil 15. Drip And Sprinkler Irrigation Hindi 23. Adaminte Variyellu 16. The Brief Journey Hindi/English 24. Ore Thooval Pakshikal Homage to Smita Patii 25. Kazhakam 1. Bhumika 26. Unnikuttanu Joli Kitti 2. Chidambaram 27. Kumara Sambhavam Homage to P. A Backer 28. Kilukkam 1. Chappa 29. Amaram 2. Prema Lekhanam 30. Bhargavi Nilayam 3. Manimuzhakkam 31. Sukrutham Tribute to Tapan Sinha 32. Sammohanam 1. Daughters Of The Century Films in the Malayalam Retrospective [Translation] 1. Marthanda Varma Indian Air Services 2. Chemmeen *197. SHRI JAGDAMBI PRASAD YADAV: Will the Minister of CIVIL AVIATION be pleased to state: 3. Iruttinte Atmavu (a) whether Indian Air Services are lagging behind as 4. Olavum Theeravum per the International standards; % 5. Nirmalyam (b) whether these services do not have sufficient number of superior quality planes and whether there is a 6. Elipathayam lack of mechanical facilities for monitoring of air services; 7. Rugmini (c) whether the standard of maintenance of planes is 8. Anubhavangal Palichaka! also very poor; and 9. 1921 (d) if so, the details of the programmes formulated/ likely to be formulated by the Government to bring its air 10. Thinkaiazhcha Nalla Dh/asam services at par with International air services? 11. Manichitra Thazhu THE MINISTER OF CIVIL AVIATION AND MINISTER OF INFORMATION AND BROADCASTING (SHRI C.M. 12. Piravi IBRAHIM): (a) to (d) Air India and Indian Airlines' services 13. Ormakai Undayirikkanam are comparable to International standards. Both Air India and Indian Airlines have adequate 14. -
MEDIA Handbook 2018
MEDIA hAnDbook 2018 Information & Public Relations Department Government of Kerala PERSONAL MEMORANDA Name................................................................................... Address Office Residence .......................... ............................... .......................... ............................... .......................... ............................... .......................... ............................... .......................... ............................... MEDIA HANDBOOK 2018 .......................... ............................... Information & Public Relations Department .......................... ............................... Government of Kerala Telephone No. Office ............................................... Chief Editor T V Subhash IAS Mobile ............................................... Co-ordinating Editor P Vinod Fax ............................................... Deputy Chief Editor K P Saritha E-mail ............................................... Editor Manoj K. Puthiyavila Residence ............................................. Editorial assistance Priyanka K K Nithin Immanuel Vehicle No .......................................................................... Gautham Krishna S Driving Licence No .............................................................. Ananthan R M Expires on . .......................................................................... Designer Ratheesh Kumar R Accreditation Card No ........................ Date....................... Circulation -
Bombay Talkies
A Cinematic Imagination: Josef Wirsching and The Bombay Talkies Debashree Mukherjee Encounters, Exile, Belonging The story of how Josef Wirsching came to work in Bombay is fascinating and full of meandering details. In brief, it’s a story of creative confluence and, well, serendipity … the right people with the right ideas getting together at the right time. Thus, the theme of encounters – cultural, personal, intermedial – is key to understanding Josef Wirsching’s career and its significance. Born in Munich in 1903, Wirsching experienced all the cultural ferment of the interwar years. Cinema was still a fledgling art form at the time, and was radically influenced by Munich’s robust theatre and photography scene. For example, the Ostermayr brothers (Franz, Peter, Ottmarr) ran a photography studio, studied acting, and worked at Max Reinhardt’s Kammertheater before they turned wholeheartedly to filmmaking. Josef Wirsching himself was slated to take over his father’s costume and set design studios, but had a career epiphany when he was gifted a still camera on his 16th birthday. Against initial family resistance, Josef enrolled in a prestigious 1 industrial arts school to study photography and subsequently joined Weiss-Blau-Film as an apprentice photographer. By the early 1920s, Peter Ostermayr’s Emelka film company had 51 Projects / Processes become a greatly desired destination for young people wanting to make a name in cinema. Josef Wirsching joined Emelka at this time, as did another young man named Alfred Hitchcock. Back in India, at the turn of the century, Indian artists were actively trying to forge an aesthetic language that could be simultaneously nationalist as well as modern. -
Cinefan 2006
Cinefan 2006 By Ron Holloway Fall 2006 Issue of KINEMA CINEFAN NEW DELHI FESTIVAL 2006 When I asked an informed critic for an opinion as to which was the most important film festival in India today, he named Osian’s Cinefan in a close tie with the Trivandrum International Film Festival - with the caveat, of course, that Cinefan in New Delhi primarily presents Asian cinema, while Trivandrum (aka Triruvananthapuram, to use the official name) in Kerala opens its doors wide to international film fare.As for the long-running International Film Festival in India (IFFI), a government-sponsored affair based in Goa for the past couple of years, I was told that it ranked third at best, although a larger attendance was recorded last year. In other words, Goa, a resort city populated mostly by tourists from home and abroad, has had to work hard to attract a movie-mad Indian public from across the country. Two other festivals were also thrown into the melee: Kolkata (Calcutta) and Mumbai (Bombay), both feeding upon major production centres with long traditions for supporting auteur directors. Some other Indian film festivals were named in passing - the Mumbai International Festival of Documentaries, Shorts, and Animation Films, for instance. And there’s also a growing film festival in Pune, where the country’s National Film Archive and National Film School are located. Under the tireless leadership of Osian’s Neville Tuli (founder-chairman) and Cinefan’s Aruna Vasudev (founder-director), the 8th Osian’s Cinefan Festival of Asian Cinema in New Delhi (14-23 July 2006) set new standards of Asian cinema excellence.