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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. -
Films 2018.Xlsx
List of feature films certified in 2018 Certified Type Of Film Certificate No. Title Language Certificate No. Certificate Date Duration/Le (Video/Digita Producer Name Production House Type ngth l/Celluloid) ARABIC ARABIC WITH 1 LITTLE GANDHI VFL/1/68/2018-MUM 13 June 2018 91.38 Video HOUSE OF FILM - U ENGLISH SUBTITLE Assamese SVF 1 AMAZON ADVENTURE Assamese DIL/2/5/2018-KOL 02 January 2018 140 Digital Ravi Sharma ENTERTAINMENT UA PVT. LTD. TRILOKINATH India Stories Media XHOIXOBOTE 2 Assamese DIL/2/20/2018-MUM 18 January 2018 93.04 Digital CHANDRABHAN & Entertainment Pvt UA DHEMALITE. MALHOTRA Ltd AM TELEVISION 3 LILAR PORA LEILALOI Assamese DIL/2/1/2018-GUW 30 January 2018 97.09 Digital Sanjive Narain UA PVT LTD. A.R. 4 NIJANOR GAAN Assamese DIL/1/1/2018-GUW 12 March 2018 155.1 Digital Haider Alam Azad U INTERNATIONAL Ravindra Singh ANHAD STUDIO 5 RAKTABEEZ Assamese DIL/2/3/2018-GUW 08 May 2018 127.23 Digital UA Rajawat PVT.LTD. ASSAMESE WITH Gopendra Mohan SHIVAM 6 KAANEEN DIL/1/3/2018-GUW 09 May 2018 135 Digital U ENGLISH SUBTITLES Das CREATION Ankita Das 7 TANDAB OF PANDAB Assamese DIL/1/4/2018-GUW 15 May 2018 150.41 Digital Arian Entertainment U Choudhury 8 KRODH Assamese DIL/3/1/2018-GUW 25 May 2018 100.36 Digital Manoj Baishya - A Ajay Vishnu Children's Film 9 HAPPY MOTHER'S DAY Assamese DIL/1/5/2018-GUW 08 June 2018 108.08 Digital U Chavan Society, India Ajay Vishnu Children's Film 10 GILLI GILLI ATTA Assamese DIL/1/6/2018-GUW 08 June 2018 85.17 Digital U Chavan Society, India SEEMA- THE UNTOLD ASSAMESE WITH AM TELEVISION 11 DIL/1/17/2018-GUW 25 June 2018 94.1 Digital Sanjive Narain U STORY ENGLISH SUBTITLES PVT LTD. -
Contextualizing Power Politics of Tamasha Art and Female Suffering in Dalit Autobiography
Asian Journal of Humanity, Art and Literature, Volume 1, No 2 (2014) Contextualizing Power Politics of Tamasha Art and Female Suffering in Dalit Autobiography Morve Roshan K. Center for Comparative Literature and Translation Studies, School of Language, Literature and Culture Studies, Central University of Gujarat, India ABSTRACT “Tamasha” is a form of entertainment, which came in the Volume 1, Number 2/2014 16th century and transforms it into business and politics after the independence of India. It became a cultural part DOI: of the Kolhati community in Maharashtra. This paper has significant to define that the politics of Tamasha and female suffering through the twentieth century dalit autobiography Kishor Kale‟s Kolhatyach Por (1994). It will Licensed: also discuss that his personal and painful experiences where he born and grown up in the misery environment. Source of Support: Nil It needs to understand that how the dalit women Conflict of Interest: None declared becoming the victims of politics and how their family takes tragic and painful end. Therefore, this paper tries to Email for correspondence: make a link between the Tamasha dancers and the dalit [email protected] experiences through the power politics. In the end, it comes to conclude that emergence of the dehumanized social conditions and ignorance of the dalit Kolhaty community. It demands for their right and the respect of the Tamasha art. Key words: Kolhaty; Maharashta; tamasha; dancer; politics; Dalit autobiography INTRODUCTION „Tamasha‟ is a Persian word meaning is fun or entertainment. Other scholars suppose that diverse pieces of musical dance and dramatic entertainment to form tamasha something came in Maharashtra in the 16th century, in the Mughal period. -
Actress Juhi Chaturvedi (Piku) and Himanshu Announced Madrid As the Cheerfully Shared Pictures and Selfies on Spain Will Get a Better Idea About Bollywood
2 movie masala BOLLYWOOD INSIDER April 2016 April 2016 BOLLYWOOD INSIDER honor 3 IIFA hollers a “Hola!” Bollywood wins big at National Awards 2016 The Bollywood extravaganza, International Indian Film Academy Tanu Weds Manu Returns (IIFA), is heading to Madrid in Spain this June Baahubali Piku Spain,” he said. The new venue aims to reach out to the huge Latin American market for Indian films. Sonakshi said, “The event AND THE WINNERS ARE... is an excellent opportunity for us to take our cinema across the globe. Madrid is a Best Film Nargis Dutt Award for Best Feature thrilling city, and I am looking forward to Baahubali (Telugu) Film on National Integration experiencing another spectacular IIFA in Nanak Shah Fakir another amazing destination.” Best Director Andre Timmins, director, Wizcraft Sanjay Leela Bhansali (Bajirao Mastani) Indira Gandhi Award for Best Debut International, said, “This year our Best Actor Film (Director) excitement for Spain is strongly focused Amitabh Bachchan (Piku) Neeraj Ghaywan (Masaan) on the opportunity to address CSR and Best Screenplay Writer (Original) izcraft International has regale the crowd on the streets. The actors understand where we come from. By June, environmental issues.” IIFA will celebrate Best Actress Juhi Chaturvedi (Piku) and Himanshu announced Madrid as the cheerfully shared pictures and selfies on Spain will get a better idea about Bollywood. IIFA Rocks Fest; IIFA Stomp, an exhibition Kangana Ranaut (Tanu Weds Manu Returns) Sharma (Tanu Weds Manu Returns) Wofficial host of the 17th their social media accounts, soaking in the And Madrid is such a charming city—with of urban trends; and the magnificent IIFA Best Supporting Actor edition of the IIFA gala from June 23 joie de vivre of the city that is tinted in hues an explosion of sounds, colors and textures Awards. -
VOL.LIX January 2016 No. 1 HIGHLIGHTS
VOL.LIX January 2016 No. 1 HIGHLIGHTS Padma Awards announced Panel set up to revamp Censor Board Entries invited for National Film Awards Award announced for most film friendly state st 61 Filmfare Awards presented Aruna Vasudev gets four Lifetime Achievement Awards in a year Rekha honoured with Yash Chopra Memorial award NATIONAL DOCUMENTATION CENTRE ON MASS COMMUNICATION NEW MEDIA WING (FORMERLY RESEARCH, REFERENCE AND TRAINING DIVISION ) MINISTRY OF INFORMATION AND BROADCASTING Room No.437-442, Phase IV, Soochana Bhavan, CGO Complex, New Delhi-3 Compiled, Edited & Issued by National Documentation Centre on Mass Communication NEW MEDIA WING (Formerly Research, Reference & Training Division) Ministry of Information & Broadcasting Chief Editor L. R. Vishwanath Editor Alka Mathur CONTENTS FILM APPOINMENTS 1-2 AWARDS International 5-6 National 2-3 Private 4-7 FESTIVALS/RETROSPECTIVES Bimal Roy 6 Chennai 3-4 OBITUARIES 8-9 REVIEW/DEVELOPMENT 1-3 REVIEW/DEVELOPMENT IN STATES 9-10 REVIEW/DEVELOPMENT Padma Awards announced The government has announced the Padma Awards on January 26, 2016. These awards are conferred annually on civilians for their exemplary contribution to their respective area of activity. The film personalities who have been honoured this year include:- Padma Vibhushan Rajinikanth (film actor) Padma Bhushan Anupam Kher (film actor) and Udit Naryan (Playback singer) Padma Shri Ajay Devgn (actor and filmmaker), , Nil Madhab Panda (film director), S.S. Rajamouli (film director), Priyanka Chopra (film actress) and Saeed Jaffrey (film actor) (Posthumous) Dainik Jagran (26 January 2016) Tribune (26 January 2016) Panel set up to revamp Censor Board The Ministry of Information and Broadcasting has constituted a committee headed by eminent filmmaker Shyam Benegal to look into the revamp of the Censor Board, functioning of which has been mired in controversies in recent past. -
Role of Sufi Saints in North –Western India
International Journal Online of Humanities (IJOHMN) ISSN: 2395-5155 Volume 5, Issue 1, February 2019 DOI: https://doi.org/10.24113/ijohmn.v5i1.113 Role of Sufi Saints in North –Western India Dr R. Subramony Associate Professor and Head Department of English The Madura College (Autonomous) Madurai, India [email protected] Abstract The eighteenth century in Indian History is characterized as an epoch of political anarchy and social chaos that spread unchecked in the wake of the collapse of the Mughal empire. But disintegration of the imperial center and its administrative institutions did not produce any profound effect on the pre-existing pluralistic socio-cultural structure, which was distinguished by widespread Hindu Muslim unity and culture syncretism in northern India. Keywords- Sufi syncretism, Khwaja Muinuddin Chishti, Miyan Mir India during the Eighteenth Century Zahir Uddin Malik states, “The eighteenth century in Indian History is characterized as an epoch of political anarchy and social chaos that spread unchecked in the wake of the collapse of the Mughal empire. But disintegration of the imperial center and its administrative institutions did not produce any profound effect on the pre-existing pluralistic socio-cultural www.ijohmn.com 13 International Journal Online of Humanities (IJOHMN) ISSN: 2395-5155 Volume 5, Issue 1, February 2019 structure, which was distinguished by widespread Hindu-Muslim unity and culture syncretism in northern India. Religious ideologies did not play any role in the relentless struggles for political hegemony between prominent regional powers as represented by the Marathas, Jats, Sikhs and Afghans. Even the foreign invasions launched by the rulers of Afghanistan from Ahmad Shah to Zaman Shah(1748-1800) on the Punjab were inspired more by motives of territorial expansion and plunder of wealth than religious considerations. -
Bollywood Cinema: a Critical Genealogy
Bollywood Cinema: A Critical Genealogy Vijay Mishra Asian Studies Institute Vijay Mishra is Professor of English Literature at Murdoch University, Perth. Born in Fiji, he graduated from Victoria University of Wellington in 1967. This was followed, via Christchurch Teachers’ College, Macquarie and Sydney, by doctorates from ANU and Oxford. Among his publications are: Dark Side of the Dream: Australian Literature and the Postcolonial Mind (with Bob Hodge) (1991), The Gothic Sublime (1994), Devotional Poetics and the Indian Sublime (1998), Bollywood Cinema: Temples of Desire (2002). His next book (entitled The Literature of the Indian Diaspora: Theorizing the Diasporic Imaginary) will be published by Routledge (London) in March 2007. He plays the Indian harmonium, is a Beatles fan, and reads Sanskrit. ISSN: 1174-9551 ISBN-10: 0-473-11621-9 ISBN-13: 978-0-473-11621-7 ISBN (PDF): 978-1-877446-11-5 Series editor Stephen Epstein Desktop publisher Laila Faisal Printed October 2006 PDF Printed February 2008 Asian Studies Institute Victoria University of Wellington PO Box 600 Wellington, New Zealand Telephone +64 4 4635098 Fax +64 4 463 5291 Email [email protected] Web www.vuw.ac.nz/asianstudies Vijay Mishra Bollywood Cinema: A Critical Genealogy Vijay Mishra “Bollywood” has finally made it to the Oxford English Dictionary. The 2005 edition defines it as: “a name for the Indian popular film industry, based in Bombay. Origin 1970s. Blend of Bombay and Hollywood.” The incorporation of the word in the OED acknowledges the strength of a film industry which, with the coming of sound in 1931, has produced some 9,000 films. -
THE ARCHITECTURE of SONGS and MUSIC: Soundmarks of Bollywood, a Popular Form and Its Emergent Texts
Screen Sound n3, 2012 THE ARCHITECTURE OF SONGS AND MUSIC: Soundmarks of Bollywood, a Popular Form and its Emergent Texts Madhuja Mukherjee Abstract This article provides detailed historical context for contemporary Bollywood melodramas, including a handful of feature films shot in Australia. It draws on interactions between technologies and media industries, and popular culture. The first section introduces the uses of music in Hindi films between 1930s and 1960s. Anna Morcom’s (2007) discussions emphasising the ‘eclecticism’ of Hindi film music, dominant tendencies, and modes through which these films deploy certain sounds and songs to produce a recognizable soundtrack are problematised. The second section of this article discusses two major shifts that occur in the patterns of production and consumption of music during the 1970s and 1980s, followed by the formation of ‘brand Bollywood’ in the 1990s. Referring to M. Madhava Prasad’s (1998) formulations, the problem of industrial, and formal ‘mobilisation’ is revisited through screen sound. While Sangita Gopal and Sujata Moorti (2008) study the popularity of Bollywood music, the author presents a more complicated mapping by investigating older musical exchanges. In this section, specific films like Disco Dancer (Babbar Subhash, 1982), as well as films situated in Australia—specifically Dil Chahta Hai (Farhan Akhtar, 2001) and Salaam Namaste (Siddharth Anand, 2005)—are analysed in relation to the musical designs of contemporary Bollywood films. This article locates the soundmarks of a popular form and historicises its new routes. In this context, Bollywood films appear like a productive model that enables us to more generally recognise the function of songs and music in cinema. -
INOX Leisure Reco: Buy
Visit us at www.sharekhan.com September 28, 2015 INOX Leisure Reco: Buy Poised to script a blockbuster CMP: Rs219 Company details Key points Making of a mega show: INOX Leisure Ltd (ILL), India’s second largest multiplex Price target: Rs307 operator with 101 properties and 393 screens across 55 cities accounting for about Market cap: Rs2,112 cr 23% of the multiplex screens in India, is scripting a blockbuster growth story through a mix of inorganic (acquisition of Satyam Cineplexes that provides it a foothold in 52-week high/low: Rs270/145 the lucrative northern market) and aggressive organic expansion plan to scale up NSE volume: 2.4 lakh the total screen count to 565-570 screens over the next 24-30 months. In addition (No of shares) to its aggressive push in the northern region (where it aims to challenge the BSE code: 532706 dominance of PVR Cinemas), ILL is leveraging on its strong brand and balance sheet to increase its presence in tier-II and tier-III towns where the multiplex phenomenon NSE code: INOXLEISUR is gradually catching the mindshare, in line with India’s inclusive growth story. Sharekhan code: INOXLEISUR Top-class casting and script in place: The ILL mega show is supported by an improving Free float: 5.0 cr content quality in the Indian mainstream and regional cinema with its movies regularly (No of shares) hitting the Rs100-crore or Rs200-crore box-office collection mark. The acceptance of Hollywood movies has also provided another source of quality saleable content for Shareholding pattern multiplexes not just in metros but across cities in the country. -
Song Listing Station Listing Lata Mangeshkar
SONG LISTING STATION LISTING LATA MANGESHKAR 01. Chupchup Khade Ho Zaroor Koi Baat Hai 37. Dekh Liya Maine Kismat Ka Tamasha 71. Chandan Ka Palna Resham Ko Dori Film: Badi Bahen Film: Deedar Film: Shabab Artistes: Lata Mangeshkar, Premlata Artistes: Mohammed Rafi, Artistes: Lata Mangeshkar,Hemant Kumar Lata Mangeshkar 02. Chhod Gaye Balam Mujhe 72. Dekho Woh Chand Chhupke Film: Barsaat 38. Hamein Ho Gaya Tumse Pyar Film: Shart Artistes: Lata Mangeshkar, Mukesh Film: Madhosh Artistes: Lata Mangeshkar, Artiste: Lata Mangeshkar Hemant Kumar 03. Hawa Mein Udta Jaye Film: Barsaat 39. Thandi Hawayein 73. Gaya Andhera Hua Ujala Artiste: Lata Mangeshkar Film: Naujawan Film: Subah Ka Tara Artiste: Lata Mangeshkar Artistes: Lata Mangeshkar, 04. Barsaat Mein Humse Mile Talat Mahmood Film: Barsaat 40. Aaja Aaja Tera Intezar Hai Artiste: Lata Mangeshkar Film: Sazaa 74. Jeevan Ke Safar Mein Rahi Artistes: Lata Mangeshkar, Film: Munimji 05. Jiya Beqarar Hai Talat Mahmood Artiste: Lata Mangeshkar Film: Barsaat Artiste: Lata Mangeshkar 41. Mohe Bhool Gaye Sanwariya 75. Suno Chhoti Si Gudiya Ki Kahani Film: Baiju Bawra (Happy) 06. Patli Kamar Hai Artiste: Lata Mangeshkar Film: Seema Film: Barsaat Artiste: Lata Mangeshkar Artistes: Lata Mangeshkar, Mukesh 42. Tu Ganga Ki Mauj Film: Baiju Bawra 76. Man Mohana Bade Jhoothe 07. Meri Ankhon Mein Bas Gaya Koi Re Artistes: Lata Mangeshkar, Film: Seema Film: Barsaat Mohammed Rafi Artiste: Lata Mangeshkar Artiste: Lata Mangeshkar 43. Jhoole Mein Pawan Ki Aai Bahar 77. O Janewale Mud Ke Zara 08. Uthaye Ja Unke Sitam Film: Baiju Bawra Film: Shree 420 Film: Andaz Artistes: Lata Mangeshkar, Artiste: Lata Mangeshkar Artiste: Lata Mangeshkar Mohammed Rafi 78. -
147004 Phone: +91-9779584271 Email: [email protected] Website: Blog: FADE IN
Screenplay Ostracised Mahesh Seelvi True incident Mahesh seelvi # 8A/37, Anand Nagar - B, Patiala (Pb.)-147004 Phone: +91-9779584271 Email: [email protected] Website: www.filmNvoice.com Blog: www.copywritermahesh.wordpress.com FADE IN: EXT.HOME-MORNING A big Tent (Pandal) comes in view. INT. PANDAL- MORNING Whole pandal is packed to its capacity. A man sitting on the dias comes in view. He is the sarpanch of the vaish biradri. close up of sarpanch.Sarpanch watches the whole activity in the pandal.Then SARPANCH (In impressive voice) bulao naresh aur uske bete ko One man runs through the people and disappears out of the pandal. Mid shot of sarpanch. More activity in the pandal comes in view. some people are blowing big handmade fans on the people, for air. Long shot. More activity comes in view in the pandal. Every one in the pandal including sarpanch are looking at the door of pandal. Naresh, Nikhil, Seema, Akshi and Arushi, with folded hands, enter the door. They are followed till they reach in the middle. Naresh and Nikhil are in underwear banian and gamchhas are hanging in their necks. SARPANCH CONTD. (looks at women) inko bhejo andar. aurton ne kuchh naheen karna hai. in dono ne apradh kiya hai to dand bhee in ko hee bhugtaa hai Ladies return. Naresh and Nikhil walk towards sarpanch and reach near the sarpanch.They stand with folded hands and bowed heads. SARPANCH CONTD. (To Naresh) lao jee pahle jurmane ki rakam do Naresh puts his hand into the pocket of his banyan and pulls out money, Rs.50000, and hands over them to Raghbar Dayal. -
Hindi Cinema and Society: Select Films and Their Filming
Zeichen Journal ISSN No: 0932-4747 Hindi Cinema and Society: Select Films and their Filming A study on the factors of narrative techniques that influence the society Rochak Saxena1, Dhruv Dave2 1Assistant Professor, Faculty of Journalism & Communication, The M S University of Baroda, Vadodara, Gujarat 2Student, Bachelors in Journalism & Mass Communication, Institute of Language Studies and Applied Social Sciences (ILSASS), Sardar Patel University, VallabhVidyanagar, Anand, Gujarat Abstract Examining the Hindi film industry, subjects selected and the elements of treatments seem prolific. Since its inception, Hindi cinema is debated and discussed on various aspects at extremes. However, films are appreciated for the diversity and versatility reflected in it, they have witnessed a major relation with how society functions at two main fronts. The perennial argument of whether the films are influenced by the society or it happens vice versa has always been doing the rounds. While the actual answer could be that it occurs both ways, it also depends on the subjects that a film is made on or an individual’s perception whether or not it will strike a conversation in the society. The initial ideation for a story rises from the ingrained issues in the society and eventually to give a potential solution to them by means of screenplay and characterization. However, the films also then have a direct or indirect, conscious or subconscious effect on the way how a particular subject is received by the mass. The present paper aims to study the aspects of filmmaking of the Hindi films made on societal issues prevalent in the times they were made inand their influence to the effective dimension of the moral for the masses within the society.