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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’. -
Trafalgar Square Publishing Spring 2016 Don’T Miss Contents
Trafalgar Square Publishing Spring 2016 Don’t Miss Contents Animals/Pets .....................................................................120, 122–124, 134–135 28 Planting Design Architecture .................................................................................... 4–7, 173–174 for Dry Gardens Art .......................................................8–9, 10, 12, 18, 25–26 132, 153, 278, 288 Autobiography/Biography ..............37–38, 41, 105–106, 108–113, 124, 162–169, 179–181, 183, 186, 191, 198, 214, 216, 218, 253, 258–259, 261, 263–264, 267, 289, 304 Body, Mind, Spirit ....................................................................................... 33–34 Business ................................................................................................... 254–256 Classics ....................................................................................43–45, 47–48, 292 Cooking ......................................................1, 11, 14–15, 222–227, 229–230–248 Crafts & Hobbies .............................................................................21–24, 26–27 85 The Looking Design ......................................................................................................... 19–20 Glass House Erotica .................................................................................................... 102–103 Essays .............................................................................................................. 292 Fiction ...............................................42, -
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’. -
The Wade Genealogy (Illustrated.)
The Wade Genealogy (Illustrated.) Compiled by STUART C. WADE. " He tolde a tnle of Wade." OHAUCER:-'l'roih,s and, Oreaseide. NEW YORK, STUART C. WADE, t48 WEST 34TH STREET, 'l'he marshalled Coat of Arms (with r r quarterings) and Crest of Sir William ·waad, Knight, Secretary of the Privy Council, Lieutenant of the Tower of London, and Ambassador. (From his ton.1b in the Parish Church of Mannden in the County of Essex, England, as recently restored by William de \Tins vVadc, Esquire, Solicitor of the Supreme Court of Judicature, Great Dunrno\\·, Essex.) To JEPTHA HOMER '\VADE, ESQ., (of Cleveland), To whose researches so much of this work is clue, and by whose liberal encouragement it was accomplished, the Compiler, with sincere respect, dedicates this volmne. New York, 1900. IMPORTANT NOTICE TO SUBSCRIBERS. The History and Genealogy of the ·wade Family, of which this forms Part r, comprises over <)(Jo pages and 60 inserted illnstrations in ro parts, the six chapters being entitled as specified on the next l ,age. \Vith Part IO ancl in ample time for binding there will be suppl.eel a title page, clcclication, preface, table of contents and list of illu,,rn tions, together with a special set of pages for the inscription of the purchaser's family record. Directions for placing the foll page illus trations will also be supplied as well as a complete set of indices of Vv ades, allied families and places. No further charge will be made for these essential additions. Covers for binding will be supplied or the binding of parts undertaken at moderate cost. -
Charles II – the Power & the Passion
Contents Charles II – The Power & The Passion Cast and Crew . 5 Cast Interviews: Rufus Sewell (Charles II) . 6 Rupert Graves (Duke of Buckingham) . 9 Martin Freeman (Lord Shaftesbury) . 11 Ian McDiarmid (Sir Edward Hyde) . 13 The Women of the Court: Helen McCrory (Lady Barbara Castlemaine) . 15 Shirley Henderson (Queen Catharine of Braganza) . 17 Alice Patten (Lady Frances Stewart) . 19 Emma Pierson (Nell Gwynn) . 21 Mélanie Thierry (Louise de Kéroualle) . 23 Additional Cast Information . 25 Transforming the Czech Republic into 17th-century England . .26 Synopses . 29 The Mistresses of Charles II . 31 10 Things You Didn’t Know About Charles II and his Reign . .33 Charles II (1630-1685) . 34 Family Tree . 36 Key Events 1645-1685 . 37 Accompanying Documentaries: The Boy Who Would Be King . 38 Cromwell – Warts And All . 39 Charles II – The Power & The Passion Cast and Crew Cast and Crew Principal Cast Charles II Rufus Sewell George Villiers,Duke of Buckingham Rupert Graves Barbara Villiers,Countess of Castlemaine Helen McCrory James, Duke of York Charlie Creed-Miles Sir Edward Hyde Ian McDiarmid Catharine of Braganza Shirley Henderson Lord Shaftesbury Martin Freeman James,Duke of Monmouth Christian Coulson Minette Anne-Marie Duff Earl of Danby Shaun Dingwall Louise de Kéroualle Mélanie Thierry Nell Gwynn Emma Pierson Sir Edmund Berry Godfrey David Bradley Queen Henrietta Maria Diana Rigg Lady Frances Stewart Alice Patten General Monck Garry Cooper Louis XIV Perkins Lyautey Monsieur Cyrille Thouvenin Charles I Martin Turner Crew Executive -
Hadows Over the Unshimt Tate Hong Kong's Imperial Democrat
Vol. 3 No. 10 December 1993-January 1994 $5.00 hadows over the Hong Kong's imperial unshimt tate democrat Robin Fitzsimons An intervieV#, not a point of vieV#. Paul Murphy presents a balanced interview. His questions show background knowledge, not personal opinion. So you can make up your own mind. For reliable current affairs six nights a week, watch Paul Murphy. Paul Murphy. Dateline. Monday - Saturday 7pm. We can, if you Will. Few fo rms o f funding help the Burea u bett er in its lo ng term planning and delivery of family services than w ills and beq ues ts. The 13u rea u, established more than 50 years, helps Ca tho lics and non-Ca tho lic families CAT HO LI C FA M I LY W EL FA RE I\URE/1U alike w ith pro fess ional se rv ices w hich incl ude marriage, fa mily, child and grief For l"u rthcr information counse lling: chi ld and youth suppo rt; pll"asL' \vrite to: pre-marri age program s; adoption an d RL"ply Paid No.S. pregnancy counse lling se rvices. Beque.:>! Officer. C nholic Fam il y \XIe iL1re Bureau. lf you are making or updating your w ill P.O. Box 7. North Carlto n. Vic 30S·I please remem ber the fam il ies that we ca n Tel: (0:)) 662 20.).) Fax : (0:\) 662 19:\·1 help, if you w ill. Volume 3 Number 10 December 1993-January 1994 A magazine of public affairs, the arts and theology CONTENTS 4 42 COMMENT SPORTING LIFE Peter Pierce surveys the Spring Camival's 6 tracks and hacks. -
Cinematic Transcendence: Religious Women and Global Migration in the Historical Epic
CINEMATIC TRANSCENDENCE: RELIGIOUS WOMEN AND GLOBAL MIGRATION IN THE HISTORICAL EPIC By HEATHER BIGLEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Heather Bigley 2 For Kwang, who joined me on this adventure 3 ACKNOWLEDGMENTS Many thanks to the English Department at the University of Florida for the time and resources to further study film. Many thanks for the generous four-year Teaching and Research Assistantship that allowed me to teach film courses during my doctoral research. Facing students every semester allowed me to interrogate my own approaches to film; my evolving thinking about film analysis, theory, and interpretation are manifested in this dissertation. I’m especially grateful for the opportunity I had to teach a senior-level Film Studies course on Bollywood Cinema; this course culminated the research I completed for my chapter here on popular Indian cinema. I am greatly indebted to the many religious women in my life, whose curiosity, determination, and work offer me the sisterhood I have always needed: Jennifer Boehm, Sharon Swenson, Lara Walker, Tamara Taysom, Jennifer Thomas, Lucia Fernandez Hansen, Michelle Ross, Rebecca Zimmer, and Malika Kemiche Kehli. Lastly, I thank Barbara Mennel, Mark Reid, Amy Ongiri, and Eric Kligerman for reading and commenting on my dissertation. Their comments, questions, and support have helped guide my thinking and research in productive ways.