UTV Gets Rekha, Katrina and Aditya Together for a Classic Love Story
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Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
UTV Acquires the Feature Film Rights of Ashwin Sanghi's
UTV acquires the Feature Film rights of Ashwin Sanghi’s ‘Chanakya’s Chant’ ~ A film based on the #1 National Bestseller to go on floors soon ~ Mumbai, Wednesday, June 15th, 2011: UTV Motion Pictures has acquired rights to Ashwin Sanghi’s national bestseller - Chanakya’s Chant, published by Westland. The interesting fast-paced story based on politics in two radically different eras will now be adapted into a film by the studio. Chanakya's Chant, a historical political thriller, released by Westland in January 2011, shot into the Top-5 Bestsellers of India within 2 weeks of its launch, proving that Chanakya’s neetis are as relevant today as they were in ancient times. The book narrates two parallel political tales, one in Chanakya’s puranic Bharat 2300 years ago and the other in post-independence contemporary India. While the ancient story is largely historical, based upon Chanakya’s rise to power and the clever tactics applied by him towards installing Chandragupta Maurya on the throne, the modern story is mostly fictional and tells the tale of Kanpur’s Pandit Gangasagar Mishra who draws inspiration from the master strategist Chanakya and employs his strategies in a modern context to get his protégée Chandini Gupta appointed to the highest office in India. On announcing the film, Siddharth Roy Kapur, CEO, UTV Motion Pictures, said "Chanakya’s Chant is one of those rare books with a storyline that has the potential to be translated into a superbly cinematic and immensely entertaining screenplay. The tale is about the underbelly of national politics which the book superbly exposes, where strategies developed by Chanakya 2300 years ago are still as valid in the modern day political scenario. -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Jawed El-Berni
Jawed El-Berni Gender: Male Height: 6 ft. 0 in. Weight: 175 pounds Eyes: Brown Hair Length: Short Waist: 33 Inseam: 34 Shoe Size: 10.5 Physique: Athletic Coat/Dress Size: 40R Ethnicity: Caribbean, Eastern European, Indian/South Asian, Latin/Hispanic, Mediterranean, Middle Eastern, Mixed, Native American, Pacific Islander / Polynesian, Other Photos Film Credits Black Adam stunt double Tom Harper Samaritan stunts Justin Yu / JJ Perry The Suicide Squad stunts Tim Wong Saaho stunt double Bob Brown Thugs of Hindostan Stunt Double: Amitabh Bachchan Parvez Sheikh / Franz Spilhaus Peppermint Stunts Keith Woulard Hotel Artemis Stunts Wade Allen Senior Moment Stunt Double: Carlos Miranda America Young (Stunt Driving) Jumanji Stunts Jack Gill, Gary Hymes, Oakley Lehman Cliffs of Freedom Stunt Double: Raza Jaffrey Matt Leonard Generated on 10/05/2021 10:54:20 am Page 1 of 4 Pete Turner Savage Dog Stunts Luke LaFontaine Doomsday Stunts Arnold Chon Outcast Supporting/Arabic Sword Nick Powell Bang Bang Stunt Double Hrithik Roshan / Pradit Seeluem Chain Fighter Hitman: Agent 47 Stunt Double Rupert Friend Johnathan Eusebio Dysfunktion Fight Choreographer Exertion Films Black Salt Stunt - Yakusa Ron Yuan Ek Tha Tiger Stunt Double Salman Khan Markos Rounthwaite White Tiger Principal/Stunts Kazu Tang Ninja: Shadow of a Tear Supporting/Stunts Isaac Florentine / Tim Man Brawl Lead/Stunts David Ismalone V/H/S: Viral Stunts - Skull Face Vince Cupone Mystic Blade Supporting David Ismalone The Mark: Redemption Stunts Pradit Seeluem Housefull 2 Stunt Double Akshay Kumar Pradit Seeluem The Mark Stunt Double Eric Roberts Pradit Seeluem The Viral Factor Stunts Kar Lok Chin / Dante Lam Rascals Stunts/dance perfomer David Dhawan Ready Stunt Double Salman Khan Pradit Seeluem Television Better Call Saul stunt double Al Goto DMZ stunt double Glenn Foster The Walking Dead stunt double M. -
Brief Historical Overview A. Indus Valley Civilization
Brief Historical Overview A. Indus Valley civilization (3,000-1,500 B.C.) 1. 3,000-2,000 B.C.: high civilization, urban, literate, settled agriculture; Harappa/Mohenjo Daro (first grid plan cities) 2. 2,000-1,500 B.C.: Indo-Aryan invasion, pushed Dravidians South, and brought an Aryan group which had a strong hierarchical division between priests, warriors and nomads, and a language similar to Sanskrit (an Indo-Aryan/Indo-European language) B. Vedic Age - 1500 – 1000 BC 1. Vedas: poetic Sanskrit hymns passed down orally for thousands of years ( mostly fire sacrifices, chants, and spells) 2. Rig Veda: 1028 Hymns of praise to Aryan gods (personified forces of nature). C. Classical period (600 B.C. to 600 A.D.): Articulation of Hinduism (Vedas, Upanishads, Bhagavad Gita); establishment of varna system (Brahmins, Kshatriyas, Vaishyas, Shudras) - which provided the foundation of the present jajmani system (to be discussed Week Three) D. Islamic period: invasion by Mahmud of Ghazni in 1057 A.D., from Afghanistan; followed by the Sultanate of Delhi (1206-1526); the great Mughal empire (1527-1857): best known emperors were Akbar, Jehangir and Shah Jehan (builder of the Taj Mahal); effective rule ended in 1748. Akbar created a political system which provided a synthesis of the great diversities in India, which provides a model for accommodation between groups today. [Note: Be thinking of this as we watch Jodhaa Akbar.] E. The British Raj 1. First entered as the British East India Company in Bengal. 2. Established various kinds of taxation and land tenure systems, and organized groups (e.g., tribes, zamindars) into new forms. -
'Malang'- Wanton Mush and Gritty Mayhem
B-12 | Friday, February 14, 2020 AUTO www.WeeklyVoice.com ‘Malang’- Wanton Mush And Gritty Mayhem “Malang”; Cast: Anil Kapoor, While the suspense builds up is clearly Aditya’s attempt at an Aditya Roy Kapoor, Disha Pa- with brutal urgency in the pre- image makeover and, although tani, Kunal Kemmu; Direction: sentday track, the lashback pic- imagined with over-the-top ab- Mohit Suri; Rating: * * * (three ture that moves parallely is one ofsurdity, the actor does a ine job stars) sunny romance. portraying Advait. For Disha Pa- The lashbacks are soaked in tani, this is her strongest role yet, By Vinayak Chakravorty the sun and sands of Goa, and and she is impressive in the way they usher Disha Patani into the she retains the allure about her “Malang” must be the most picture as Sara. Vikas Sivara- character. stylishly executed Bollywood man’s camera virtually lays out Few in Bollywood relish por- thriller in a while, also the most a pretty pamphlet in motion for traying grey shades as Anil twisted. It is really an old-school Goa Tourism as Advait and Sara Kapoor. In “Malang”, he -is un revenge thriller that manages a paint the club circuit red. The apologetically wicked, executing few clever spins despite an over- ilm also gives leeting peek intovillainy with wry humour. all adherence to loud masala. Goa’s psychedelic drug scene For Kunal Kemmu, this is his Mohit Suri’s “Malang” is a Mohit Suri’s storytelling gets most remarkable act since his wanton play of oomph and ma- able aid from Devendra Murdesh- child artist performance in 1998’s chismo, mush and mayhem, mel- Scene from ‘Malang’ war’s editing. -
Great Expectations on Screen
UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Violeta Martínez-Alcañiz Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Tesis presentada por Violeta Martínez-Alcañiz Licenciada en Periodismo y en Comunicación Audiovisual para la obtención del grado de Doctor Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair” (Charles Dickens, A Tale of Two Cities) “Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?” (Sergei Eisenstein, “A dialectic approach to film form”) “An honest adaptation is a betrayal” (Carlo Rim) Table of contents ACKNOWLEDGMENTS 13 CHAPTER 1. INTRODUCTION 15 CHAPTER 2. LITERATURE REVIEW 21 Early expressions: between hostility and passion 22 Towards a theory on film adaptation 24 Story and discourse: semiotics and structuralism 25 New perspectives 30 CHAPTER 3. -
Syllabus for M.Sc. (Film Production)| 1
Syllabus for M.Sc. (Film Production)| 1 Detailed Syllabus for Master of Science (Film Production) (Effective from July 2019) Department of Advertising & Public Relations Makhanlal Chaturvedi National University of Journalism and Communication B-38, Press Complex, M.P. Nagar, Zone-I, Bhopal (M.P.) 462 011 Syllabus for M.Sc. (Film Production)| 2 MAKHANLAL CHATURVEDI NATIONAL UNIVERSITY OF JOURNALISM AND COMMUNICATION (DEPARTMENT OF ADVERTISING AND PUBLIC RELATIONS) Master of Science (Film Production) (Effective from July 2019) Marks Distribution Subject Theory Practic Intern Total Credit al al CCC-1 Evolution of Cinema 80 00 20 100 6 CCC-2 Origin and Growth of Media 80 00 20 100 6 Introduction to Socio CCC-3 80 00 20 100 6 Economic Polity Sem - I CCE-1 Art of Cinematography 50 30 20 OR OR 100 6 CCE-2 Storyboarding 50 30 20 OE-1 Understanding Cinema 25 15 10 50 3 CCC-4 Drama & Aesthetics 50 30 20 100 6 CCC-5 Lighting for Cinema 50 30 20 100 6 CCC-6 Audiography 50 30 20 100 6 Sem - II CCE-3 Art of Film Direction 50 30 20 OR OR 100 6 CCE-4 Film Journalism 50 30 20 OE-2 Ideation and Visualization 25 15 10 50 3 CCC-7 Multimedia Platform 50 30 20 100 6 Editing Techniques & CCC-8 50 30 20 100 6 Practice CCC-9 Film Research 50 30 20 100 6 Sem - III Screenplay Writing for CCE-5 50 30 20 Cinema OR 100 6 OR CCE-6 50 30 20 Advertisement Film Making OE-3 Film Society & Culture 40 00 10 50 3 CCC-10 Film Business & Regulations 80 00 20 100 6 CCC-11 Cinematics 50 30 20 100 6 CCC-12 Project Work on Film Making 00 80 20 100 6 Sem - Literature & Cinema CCE-7 80 00 20 IV OR OR 100 6 Film Management & CCE-8 80 00 20 Marketing OE-4 Documentary Film Making 25 15 10 50 3 Syllabus for M.Sc. -
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. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
Film Tourism in India – a Beginning Towards Unlocking Its Potential
Film tourism in India – a beginning towards unlocking its potential FICCI Shoot at Site 2019 13 March 2019 Film tourism is a growing phenomenon worldwide, fueled by both the growth of the entertainment industry and the increase in international travel. Film tourism sector has seen tremendous growth in the past few years. It represents a gateway to new and more intense ways of experiencing destinations. At the same time, it creates the potential for new communities by way of an exchange of insights, knowledge and experience among the tourists themselves. Films play a significant role in the promotion of tourism in various countries and different states of India. A film tourist is attracted by the first-hand experience of the location captured on the silver screen. Not only is film tourism an excellent vehicle for destination marketing, it also presents new product development opportunities, such as location tours, film museums, exhibitions and the theme of existing tourist attractions with a film connection. This report focusses on the concept of film tourism and the various initiatives taken by both the state and central government of India for boosting film induced tourism through their respective film production policies. Dilip Chenoy Secretary General - Federation of Indian Chamber of Commerce and Industry Foreword The significance of cinema in today’s times has gone beyond its intended purpose of mass entertainment. Cinema is a portal for people to escape from reality and into their world of fantasy. Cinema is a source of inspiration for some, a source of entertainment for some and a source of education for some. -
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Prime Focus Limited Q3FY17 Investor Presentation February 2017 Safe Harbor Certain statements in this document may be forward-looking statements. Such forward- looking statements are subject to certain risks and uncertainties like regulatory changes, local political or economic developments, and many other factors that could cause our actual results to differ materially from those contemplated by the relevant forward-looking statements. Prime Focus will not be in any way responsible for any action taken based on such statements and undertakes no obligation to publicly update these forward-looking statements to reflect subsequent events or circumstances. Investor Update Q3 FY17 Contents Page Q3 & 9M FY17 Performance 04-15 About Prime Focus 16-21 Annexure 22-25 Financials 22-24 Shareholding pattern 25 Q3 & 9M FY17 Performance Delivering Profitable growth: EBITDA up 71% YoY, well ahead of target Segmental Highlights: All businesses witness robust growth Revenue Rs 5.1 bn Creative Services Consolidated revenues up 8% YoY driven by strong • Delivered movies include Fantastic Beasts and Where to Find Them and growth across businesses Assassin's Creed • Order book at $250 mn+ with projects like Pacific Rim: Uprising, Justice League, Dunkirk, The Mummy, Wonder Woman, Fast 8, Geostorm etc. EBITDA* Rs 1.2 bn • Revenue up 13%; EBITDA Margin at 22.8% Margin @ 24.1%, up~ 884 bps with margins expanding Tech/Tech Enabled Services in all divisions; Above mid-term target of 20% • Continued to Invest in Marketing & Product Development, hired head of business development for Canada • Signed a deal with existing client Tata Sky to create exclusive PAT Rs 227 mn subscriber communications for their Value Added Services • Order book at c.