SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2
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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Volume-13-Skipper-1568-Songs.Pdf
HINDI 1568 Song No. Song Name Singer Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14040 Aa Hosh Mein Sun Suresh Wadkar Vidhaata Volume-9 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13617 Aadmi Zindagi Mohd Aziz Vishwatma Volume-9 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 14132 Aah Ko Chajiye Jagjit Singh Mirza Ghalib Volume-9 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 13620 Aaina Mujhse Meri Talat Aziz Suraj Sanim Daddy Volume-9 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj -
Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’. -
Promising Signs Ahead Media & Entertainment in South India
Promising signs ahead Media & Entertainment in South India Media & Entertainment Business Conclave – Chennai October 2012 Contents Message from FICCI ............................................................................................................................................................... 3 Message from Deloitte Touche Tohmatsu India Pvt. Ltd. (Deloitte) ......................................................................................... 4 Message from Deloitte Touche Tohmatsu India Pvt Ltd (Deloitte)........................................................................................... 5 1. Introduction .................................................................................................................................................................... 6 2. Film .............................................................................................................................................................................. 11 3. Television .................................................................................................................................................................... 30 4. Print ............................................................................................................................................................................. 51 5. Radio ........................................................................................................................................................................... 64 6. Direct tax - -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
The Hindu, the Muslim, and the Border In
THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí. -
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. -
Top 100 Hindi Comedy Movies of All Time
Top 100 Hindi Comedy Movies Of All Time 1. 3 Idiots 51. Half Ticket 2. Ajab Prem Ki Ghajab 52. Haseena Man Jayegi Kahaani 53. Hera Pheri 3. All the Best 54. Hero No 4. Andaaj Apna Apna 55. Hey Baby 5. Angoor 56. Housefull/Housefull 2 6. Atithi Tum Kab Jaoge? 57. Hum Hai Kamal Ke 7. Auntie No 58. Hungama 8. Baaiton Baation mein 59. Ishq 9. Baap Numbri Beta Dus 60. Jaane Bhi Do Yaaro Numbri 61. Jab We Met 10. Bade Miyan Chote Miyan 62. Jodi No 11. Badshah 63. Jolly LLB 12. Barfi! 64. Judwa 13. Bawarchi 65. Khatha Meetha (New) 14. Bhagam Bhaag 66. Khatha Meetha (Old) 15. Bheja Fry 67. Khichadi: The Movie 16. Bhool Bhulaiya 68. Khiladi 17. Bhoothnaath/Bhoothnath 69. Khoobsurat (1980) Returns 70. Khosla Ka Ghosla 18. Biwi No 71. Kisi se Na Kehna 19. Bluffmaster 72. Kya Kool Hai Hum/Kya 20. Bol Radha Bol Super Cool Hai Hum 21. Bombay to Goa 73. Lage Raho Munna Bhai 22. Bombay to Goa (New) 74. Malamaal Weekly 23. Bunty aur Babli 75. Masti/Grand Masti 24. Chachi 420 76. Mr 25. Chalti ka Naam gaadi 77. Mujse Shadi Karoge (1958) 78. Munna Bhai MBBS 26. Chameli Ki Shaadi 79. Namak Halal 27. Chashme Budoor (1981) 80. Namastey London 28. Chillar Party 81. Naram garam 29. Chitchor 82. OMG! Oh My God 30. Choti Si Baat 83. Oye Lucky! Lucky Oye! 31. Chup Chup Ke 84. Padosan 32. Chupke Chupke 85. Partner 33. Coolie No 86. Phir Hera Pheri 34. Dabanng 87. -
Regional Language Books
March 2011 Regional Language Books BENGALI 1 Banerjee, Mamata Aandolaner katha / Mamata Banerjee.-- Kolkata: Dey's Publishing, 2009. 191p.; 21cm. ISBN : 978-81-295-0922-2. B 080 MAM-aan C68922 2 Ahmed, Afsar Jiban jude prahar / Afsar Ahmed.-- Kolkata: Dey's Publishing, 2009. 192p.; 21cm. ISBN : 978-81-295-0875-1. B 891.443 AHM-j C68920 3 Basu, Nabakumar Achhe se nayantaray / Nabakumar Basu.-- Kolkata: Dey's Publishing, 2009. 184p.; 22cm. ISBN : 978-81-295-0870-6. B 891.443 BAS-ac C68921 4 Chakravarti, Smaranjeet Aamader sei shahore / Smaranjeet Chakrabarti.-- Kolkata: Ananda Publications, 2009. 135p.; 22cm. ISBN : 978-81-7756-778-6. B 891.443 CHA-aam C68784 5 Giri, Bhagyadhar Aranye jhar othe / Bhagyadhar Giri.-- Kolkata: Supreme Publishers, 2008. 152p.; 21cm. B 891.443 GIR-ar C68805 6 Maity, Chittaranjan Nirjane khela / Chittaranjan Maity.-- Kolkata: Dey's Publishing, 2009. 368p.; 24cm. ISBN : 978-81-295-0878-2. B 891.44308 MAI-n C68919 7 Indramitra Nerikutta / Indramitra.-- Kolkata: Karukatha, 2008. 108p.; 22cm. B 891.4431 IND-n C68697 8 Mitra, Premendra Bhoot-shikari mejokarta ebong / Premendra Mitra.-- Kolkata: Dey's Publishing, 2009. 199p.; 24cm. ISBN : 978-81-295-0901-7. B 891.4431 MIT-b C68917 9 Maitra, Swapan Kabi Kishorimohan: jiban-o-kabya / Swapan Maitra.-- Kolkata: Manan Prakashan, 2008. 80p.; 21cm. B 928.9144 KIS-m C68918 GUJARATI 10 Valles, Father Dharmamangal / Father Valles.-- Ahmedabad: Gurjar Grantha Ratna Karyalaya, 2009. 240p.; 21cm. ISBN : 978-81-8480-231-3. G 181.4 P9 B193600 11 Muni Vatsalydeep Jain dharma / Muni Vatsalydeep.-- Ahmedabad: Gurjar Grantharatna Karyalaya, 2008. -
Sigaram Thodu’
UTV announces its next Tamil film ‘SIGARAM THODU’ Chennai, 2nd January 2013: UTV Motion Pictures today announced its next home production in Tamil ‘Sigaram Thodu’ which will be written and directed by Gaurav of ‘Thoonga Nagaram’ fame and will star Vikram Prabhu in the lead. After ‘Settai’ (remake of Hindi super hit film Delhi Belly) starring Arya, Santhanam, Premgi, Hansika, Anjali and Nasser and directed by R. Kannan this will be UTV’s next Tamil release this year. The pre-production work for ‘Sigaram Thodu’ has commenced from today and the film’s shooting is expected to begin from April 2013. The other cast and crew is under finalization and will be announced shortly. “As a Studio it has been our constant endeavour to bring across the right mix of content for our consumers like we have done with our Hindi slate. South is a key market for us and we will be announcing an equally eclectic slate this side as well,” said G. Dhananjayan, Chief – South Business, Studios, DisneyUTV In 2013, ‘Settai’ will be UTV’s first release in Tamil which will release in February and ‘Sigaram Thodu’ will hit theatres in December. STUDIOS – DisneyUTV Bringing together the best of both worlds, The Walt Disney Studios and UTV Motion Pictures have formed one of the leading film studios in India. The Studio’s activities span across creative development, production, marketing, distribution, licensing, merchandising and syndication of films in India and worldwide. UTV Motion Pictures as a dominant player in the Indian film industry has been in the forefront of bringing Indian films to a global audience and the last decade in Indian cinema has seen UTV delivering some of the most iconic films including Swades, Rang De Basanti, Jodhaa Akbar, A Wednesday, Dev D, Khosla Ka Ghosla, The Namesake, Life in a Metro, Oye Lucky! Lucky Oye!, Fashion, Kaminey, No One Killed Jessica, Raajneeti, Udaan, Peepli Live, Delhi Belly and more recently Ek Main Aur Ekk Tu, Paan Singh Tomar, Rowdy Rathore, Barfi! and Heroine. -
Aspirational Movie List
SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2 Like Stars on Earth 2007 Feature 8.5 71,581 3 Rang De Basanti 2006 Feature 8.4 57,061 4 Gangs of Wasseypur 2012 Feature 8.4 32,853 5 Lagaan: Once Upon a Time in India 2001 Feature 8.2 54,714 6 Mughal-E-Azam 1960 Feature 8.4 3,425 7 A Wednesday 2008 Feature 8.4 30,560 8 Udaan 2010 Feature 8.4 23,017 9 Swades 2004 Feature 8.4 47,326 10 Dil Chahta Hai 2001 Feature 8.3 38,159 11 Pyaasa 1957 Feature 8.4 2,677 12 Black Friday 2004 Feature 8.6 6,126 13 Sholay 1975 Feature 8.6 21,695 14 Anand 1971 Feature 8.9 7,826 15 Special 26 2013 Feature 7.9 22,078 16 Queen 2014 Feature 8.5 28,304 17 Andaz Apna Apna 1994 Feature 8.8 22,766 18 Haider 2014 Feature 8.5 28,728 19 Guru 2007 Feature 7.8 10,337 20 Dev D 2009 Feature 8.1 16,553 21 Paan Singh Tomar 2012 Feature 8.3 16,849 22 Chakde! India 2007 Feature 8.4 34,024 23 Sarfarosh 1999 Feature 8.1 11,870 24 Mother India 1957 Feature 8 3,882 25 Bhaag Milkha Bhaag 2013 Feature 8.4 30,313 26 Barfi! 2012 Feature 8.3 43,308 27 Zindagi Na Milegi Dobara 2011 Feature 8.1 34,374 28 PK 2014 Feature 8.4 55,878 29 Baby 2015 Feature 8.4 20,504 30 My Name Is Khan 2010 Feature 8 56,169 31 The Legend of Bhagat Singh 2002 Feature 8.1 5,481 32 Munna Bhai M.B.B.S. -
Jo Jeeta Wohi Sikander Full 1080P Hd Moviel
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