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Blacks and Asians in Mississippi Masala, Barriers to Coalition Building
Both Edges of the Margin: Blacks and Asians in Mississippi Masala, Barriers to Coalition Building Taunya Lovell Bankst Asians often take the middle position between White privilege and Black subordination and therefore participate in what Professor Banks calls "simultaneous racism," where one racially subordinatedgroup subordi- nates another. She observes that the experience of Asian Indian immi- grants in Mira Nair's film parallels a much earlier Chinese immigrant experience in Mississippi, indicatinga pattern of how the dominantpower uses law to enforce insularityamong and thereby control different groups in a pluralistic society. However, Banks argues that the mere existence of such legal constraintsdoes not excuse the behavior of White appeasement or group insularityamong both Asians and Blacks. Instead,she makes an appealfor engaging in the difficult task of coalition-buildingon political, economic, socialand personallevels among minority groups. "When races come together, as in the present age, it should not be merely the gathering of a crowd; there must be a bond of relation, or they will collide...." -Rabindranath Tagore1 "When spiders unite, they can tie up a lion." -Ethiopian proverb I. INTRODUCTION In the 1870s, White land owners recruited poor laborers from Sze Yap or the Four Counties districts in China to work on plantations in the Mis- sissippi Delta, marking the formal entry of Asians2 into Mississippi's black © 1998 Asian Law Journal, Inc. I Jacob A. France Professor of Equality Jurisprudence, University of Maryland School of Law. The author thanks Muriel Morisey, Maxwell Chibundu, and Frank Wu for their suggestions and comments on earlier drafts of this Article. 1. -
Arts, Culture and Media 2010 a Creative Change Report Acknowledgments
Immigration: Arts, Culture and Media 2010 A Creative Change Report Acknowledgments This report was made possible in part by a grant from Unbound Philanthropy. Additional funding from the Carnegie Corporation of New York, Ford Foundation, Four Freedoms Fund, and the Open Society Foundations supports The Opportunity Agenda’s Immigrant Opportunity initiative. Starry Night Fund at Tides Foundation also provides general support for The Opportunity Agenda and our Creative Change initiative. Liz Manne directed the research, and the report was co-authored by Liz Manne and Ruthie Ackerman. Additional assistance was provided by Anike Tourse, Jason P. Drucker, Frances Pollitzer, and Adrian Hopkins. The report’s authors greatly benefited from conversations with Taryn Higashi, executive director of Unbound Philanthropy, and members of the Immigration, Arts, and Culture Working Group. Editing was done by Margo Harris with layout by Element Group, New York. This project was coordinated by Jason P. Drucker for The Opportunity Agenda. We are very grateful to the interviewees for their time and willingness to share their views and opinions. About The Opportunity Agenda The Opportunity Agenda was founded in 2004 with the mission of building the national will to expand opportunity in America. Focused on moving hearts, minds, and policy over time, the organization works closely with social justice organizations, leaders, and movements to advocate for solutions that expand opportunity for everyone. Through active partnerships, The Opportunity Agenda uses communications and media to understand and influence public opinion; synthesizes and translates research on barriers to opportunity and promising solutions; and identifies and advocates for policies that improve people’s lives. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
The Reluctant Fundamentalist
Mongrel Media Presents The Reluctant Fundamentalist A film by Mira Nair (128 min., USA, 2012) Language: English and Urdu Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS 2011, Lahore. At a café a Pakistani man named Changez (Riz Ahmed) tells Bobby (Liev Schreiber), an American journalist, about his experiences in the United States. Roll back ten years, and we find a younger Changez fresh from Princeton, seeking his fortune on Wall Street. The American Dream seems well within his grasp, complete with a smart and gorgeous artist girlfriend, Erica (Kate Hudson). But when the Twin Towers are attacked, a cultural divide slowly begins to crack open between Changez and Erica. Changez’s dream soon begins to slip into nightmare: he is transformed from a well-educated, upwardly mobile businessman to a scapegoat and perceived enemy. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul, The Reluctant Fundamentalist is a story about conflicting ideologies where perception and suspicion have the power to determine life or death. A MULTI-LAYERED VISION “Looks can be deceiving.” Changez Khan “An Indian director making a film about a Pakistani man. That’s not an easy thing to do,” says novelist and co-screenwriter Mohsin Hamid of The Reluctant Fundamentalist, the new film from award-winning filmmaker Mira Nair, based on Hamid’s acclaimed novel of the same name. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English ISSN: 0976-8165
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal In English ISSN: 0976-8165 In- Between This and That: The Anxiety and Burden of Culture in Mira Nair’s Mississippi Masala Nidhi Chadha M.A. English Literature with Communication Studies Christ University, Bengaluru. Abstract: Migrant or diasporic communities are often seen wrestling with the question of identity, a sense of home and belonging. The distress such communities have to face is a sense of this or that, a sense of anxiety between assimilation of the host country’s culture and traditions or an urge to stay in touch with their own cultural roots, traditions and practices. Mira Nair’s Mississippi Masala (1991) offers to its viewers the dilemma faced by a diasporic (Gujarati) community in Mississippi, who are lost in- between different identities. The diasporic anguish is reflected through the movie, showing a loss of culture, loss of home and above all a loss of sense of belonging somewhere. The paper will examine the ways in which culture becomes a burden along with an attempt to understand the role of space and place in the formation of one’s identity. Keywords: Diaspora, In-betweeness, culture, Post- colonial Mississippi Masala (1991) a passionate drama film directed by Mira Nair brings to its viewers an interracial romance set in the Deep South. -
'Displacement' and Its Aftermath in Diaspora: a Study on Mira Nair's
[Jaleel *, Vol.5 (Iss.6): June, 2017] ISSN- 2350-0530(O), ISSN- 2394-3629(P) ICV (Index Copernicus Value) 2015: 71.21 IF: 4.321 (CosmosImpactFactor), 2.532 (I2OR) InfoBase Index IBI Factor 3.86 Social ‘DISPLACEMENT’ AND ITS AFTERMATH IN DIASPORA: A STUDY ON MIRA NAIR’S FILMS MISSISSIPPI MASALA AND THE NAMESAKE Abdul Jaleel KV *1 *1 Research Scholar, Centre for Studies and Research in Diaspora, Central University of Gujarat, India DOI: https://doi.org/10.5281/zenodo.821362 Abstract Diaspora, one of the major disciplines in post-colonial studies, extensively deals with migration, displacement and its consequences. The idea of displacement tells that it may occur in two ways voluntary and involuntary. While involuntary (forced) displacement happens due to the natural calamities, political, social, religious turmoil and what not, voluntary displacement, more over psychologically, takes place due to mainly aspiration for better life, globalization and its offshoots. Though the displacement helped to have developments in all fields to the diasporic people as well as the people in homeland, it creates immeasurable problems physically and psychologically such as assaults from host community, identity crises, cross-cultural conflict, alienation, home and host issues, trauma of uprooting and re-rooting, gender problems etc. in diasporic people. The study tries to find out the major issues in the hostland after displacement and how do diasporic people respond to it. Taking examples for voluntary and involuntary displacement from Indian Diasporic director Mira Nair’s movies The namesake (2006) and Mississippi Masala (1991), the study aims to understand the consequences of displacement and psychological issues of the diaspora. -
MONSOON WEDDING a NEW MUSICAL by MIRA NAIR a Leeds Playhouse Production in Association with the Roundhouse
PRESS RELEASE – Thursday 5th December 2019 IMAGES CAN BE DOWNLOADED HERE MonsoonWeddingmusical.co.uk / @Monsoonmusical MONSOON WEDDING A NEW MUSICAL BY MIRA NAIR A Leeds Playhouse production in association with the Roundhouse • A NEW MUSICAL THEATRE ADAPTATION OF THE HIT FILM MONSOON WEDDING WILL PLAY AT LEEDS PLAYHOUSE AND LONDON’S ROUNDHOUSE IN SUMMER 2020 • DIRECTED BY THE FILM’S DIRECTOR MIRA NAIR, THE NEW MUSICAL FEATURES A BOOK BY SABRINA DHAWAN AND ARPITA MUKHERJEE AND LYRICS BY MASI ASARE AND SUSAN BIRKENHEAD WITH MUSIC BY VISHAL BHARDWAJ Nearly 20 years after the multi award-winning Monsoon Wedding broke all moulds by becoming one of the most successful international films of all time and introducing a worldwide audience to Indian culture through the joy of the rom-com, the beautiful story of finding love against the odds returns as a brand-new musical. Co-Directors Mira Nair (Salaam Bombay, Mississippi Masala and forthcoming BBC adaptation A Suitable Boy) and Stephen Whitson (West Side Story Edinburgh International Festival and BBC Prom and UK associate for Hamilton) have worked with book writers Arpita Mukherjee (Artistic Director of Hypokrit Theatre, 2018-2020 WP Theater Directors Lab member, 2018 Eugene O’Neill National Directing Fellow) and Sabrina Dhawan (original Monsoon Wedding screenplay, written for 20th Century Fox, HBO, Disney Animations, Fox Star and Killer Films), award-winning composer Vishal Bhardwaj (over 40 Bollywood films, 6 National Film Awarads, winner of People’s Choice Award at Rome Film Festival for Hamlet) and lyricists Masi Asare (Music and Lyrics for Sympathy Jones, music and lyrics for Family Resemblance Theatre Royal Stratford East) and Susan Birkenhead and orchestrator Jamshied Sharfiri (winner of the Tony© for Best Orchestration for The Band’s Visit) to bring the film to life on the stage. -
Bend It Like Beckham
Bend It Like Beckham Dir. Gurinder Chadha, UK/Germany 2002, Certificate 12A Introduction Bend It Like Beckham was one of the surprise hits of 2002, making over £11,000,000 at the UK Box Office and hitting a chord with a range of audiences at cinemas. A vibrant and colourful British comedy about a young girl from a Sikh family who desperately wants to play football against the wishes of her traditional parents, the film can be seen to follow the path of other recent British-Asian films such as Bhaji on the Beach, Anita and Me and East Is East in its examination of culture clashes and family traditions. Bend It Like Beckham takes these themes and adds extra ingredients to the dish – football, Shakespearean confusions over identity and sexuality, in-jokes about both British pop culture and the Sikh way of life, and a music soundtrack mixing a range of East/West sounds and musical styles. It is also useful to look at Bend It Like Beckham within a wider context of the British Asian experience in popular culture and media, such as portrayal of Asian culture on television including Ali G, Goodness Gracious Me, families in soaps such as Coronation Street and EastEnders – even the new Walkers Crisps advert has Gary Lineker in a mini-Bollywood musical - and the Asian language, music and fashion that has now flowed into the mainstream. © Film Education 2003 1 Film Synopsis Jesminder (known as Jess) is a Sikh teenager living in Hounslow, who loves to play football. Her parents disapprove, wanting her to settle down, get a job as a lawyer and marry a nice Indian boy. -
Postcolonial Film Adaptations of the Literature of Empire
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2007 Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire Jerod R. Hollyfield University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Hollyfield, Jerod R., "Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire. " Master's Thesis, University of Tennessee, 2007. https://trace.tennessee.edu/utk_gradthes/246 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jerod R. Hollyfield entitled "Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Charles Maland, Major Professor We have read this thesis and recommend its acceptance: Urmila Seshagiri, Christine Holmlund Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting a thesis written by Jerod Ra’Del Hollyfield entitled “Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master’s of Arts with a major in English. -
Rajesh Sethi 17 LIKE a PRODUCT” MOST-VIEWED ADS Best Creatives 20 MX Player Recently Raised $110 Million
November 16-30, 2019 Volume 8, Issue 10 `100 INTERVIEW 16 KARAN BEDI MX PLAYER 12 IMAGICA Be Amazed New ads pit rollercoasters against binge watching. 18 COFFY BITE New Coffee-Toffee TVC There’s finally an ad for the iconic toffee brand. 10 KNORR Subs riber o yf not or resale No Mom-Kid Routine The new Knorr ad features “WE TREAT EACH Karan Johar, instead. PIECE OF CONTENT INTERVIEW Rajesh Sethi 17 LIKE A PRODUCT” MOST-VIEWED ADS Best Creatives 20 MX Player recently raised $110 million. MOVEMENTS/APPOINTMENTS An interview with CEO Karan Bedi. Who’s Where 22 EDITORIAL This fortnight... Volume 8, Issue 10 EDITOR Sreekant Khandekar hough relatively new in the larger scheme of entertainment, algorithm based PUBLISHER November 16-30, 2019 Volume 8, Issue 10 `100 T content consumption has been around long enough for ‘pro’ and ‘against’ Sreekant Khandekar INTERVIEW 16 KARAN BEDI camps to have developed. The latter, which I belong to, is based on a simple premise EXECUTIVE EDITOR MX PLAYER 12 – if recommendation engines keep pushing content of the kind we’ve already Ashwini Gangal IMAGICA Be Amazed PRODUCTION EXECUTIVE New ads pit rollercoasters watched, how will we ever discover new, contrarian types of content? Where’s the against binge watching. Andrias Kisku 18 serendipity and human folly in a world in which humans have less volition than a ADVERTISING ENQUIRIES platform? I’ve disabled YouTube’s auto-play option, in a bid to take back some of Shubham Garg COFFY BITE New Coffee-Toffee TVC the agency I feel a sense of having lost to it. -
Hindi DVD Database 2014-2015 Full-Ready
Malayalam Entertainment Portal Presents Hindi DVD Database 2014-2015 2014 Full (Fourth Edition) • Details of more than 290 Hindi Movie DVD Titles Compiled by Rajiv Nedungadi Disclaimer All contents provided in this file, available through any media or source, or online through any website or groups or forums, are only the details or information collected or compiled to provide information about music and movies to general public. These reports or information are compiled or collected from the inlay cards accompanied with the copyrighted CDs or from information on websites and we do not guarantee any accuracy of any information and is not responsible for missing information or for results obtained from the use of this information and especially states that it has no financial liability whatsoever to the users of this report. The prices of items and copyright holders mentioned may vary from time to time. The database is only for reference and does not include songs or videos. Titles can be purchased from the respective copyright owners or leading music stores. This database has been compiled by Rajiv Nedungadi, who owns a copy of the original Audio or Video CD or DVD or Blu Ray of the titles mentioned in the database. The synopsis of movies mentioned in the database are from the inlay card of the disc or from the free encyclopedia www.wikipedia.org . Media Arranged By: https://www.facebook.com/pages/Lifeline/762365430471414 © 2010-2013 Kiran Data Services | 2013-2015 Malayalam Entertainment Portal MALAYALAM ENTERTAINMENT PORTAL For Exclusive -
September 11
11’09’’01 September 11 Ein Film von 11 Regisseuren Samira Makhmalbaf Claude Lelouch Youssef Chahine Danis Tanovic Idrissa Ouedraogo Ken Loach Alejandro González Inárritu Amos Gitaï Mira Nair Sean Penn Shohei Imamura Polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel: +43-1-581 39 00-20 Fax: +43-1-581 39 00-39 [email protected] www.verleih.polyfilm.at 1 Um das Ausmaß der Schockwelle zu dokumentieren, die der 11. September auslöste, Um die Resonanz auf die Ereignisse in aller Welt zu dokumentieren, Um die menschliche Dimension dieser Tragödie zu verdeutlichen, Um das Gefühl durch Verstand zu ergänzen, Um allen eine Stimme zu verleihen Künstlerischer Produzent Alain Brigand Séquence 19. Productions Titelmusik Alexandre Desplat Produktion Galatée Films Studio Canal Co-Produzent Jacques Perrin Nicolas Mauvernay Ausführender Produzent Jean de Trégomain Frankreich 2002 - 35mm - 130 min. – 1:1,85 – Dolby SR Ein kollektiver Film 11 Regisseure und Regisseurinnen aus verschiedenen Ländern und Kulturen 11 Visionen der tragischen Ereignisse, die am 11. September 2001 in New York City stattfanden 11 Blickwinkel, die dem individuellen Gewissen verpflichtet sind Völlige Freiheit im Ausdruck Der 11. September 2001 war ein Ereignis, das vorzustellen wir uns nie gewagt hätten. In Echtzeit drangen die Bilder von der Katastrophe in all ihrer Gewalt in unsere Wohnungen. Mit einem Schlag wurde Trauer universell. Wie konnte man kein Mitgefühl empfinden, wenn das Fernsehen das Leiden jener, die dem Tod ins Auge sahen, gleichzeitig in alle Winkel der Welt ausstrahlte? Um das weltumspannende Echo auf dieses Ereignis auf andere Art als durch diese entsetzlichen Bilder festzuhalten, wurde mir sehr bald klar, dass wir die Pflicht der Reflexion hatten.