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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Dde18june21.Pdf
StudentId ROLLNO PROLLNO REGNO StudentName PAGE MName SUB1 SUB2 SUB3 SUB4 SUB5 SUB6 SUB7 174330 101010001 - 1025DDEJM20 BABLU SHARMA SHAM LAL SHARMA GEETA DEVI AA-101 ED-101 PY-101 GG-101 174331 101010002 - 1026DDEJM20 NITIN SHARMA ASHOK KUMAR ASHA DEVI AA-101 HT-101 SO-101 PS-101 174332 101010003 - 1027DDEJM20 AVNEET SINGH HARCHARAN SINGH RAVINDER KOUR AA-101 ED-101 PS-101 PU-101 174333 101010004 - 1028DDEJM20 TARUN SHARMA BHUSHAN LAL MAMTA DEVI AA-101 ED-101 SO-101 PS-101 174334 101010005 - 1029DDEJM20 KAMAL KUMAR VIJAY KUMAR JYOTI DEVI AA-101 ED-101 SO-101 PS-101 174464 101010006 - 1159DDEJM20 SHAID AHMED MOHD HAFIEEZ MANIZA BEGUM AA-101 ED-101 SO-101 GG-101 174466 101010007 - 1161DDEJM20 AJEET SINGH NARESH SINGH TRIPTA DEVI AA-101 ED-101 SO-101 PL-101 174468 101010008 - 1163DDEJM20 KAMALJEET KUMAR KALA RAM DARSHNA AA-101 ED-101 HT-101 HI-101 174469 101010009 - 1164DDEJM20 NAUSHAD AHMED AZAD MOHD RAZAQ AZMAT BI AA-101 HS-108 SO-101 PS-101 174470 101010010 - 1165DDEJM20 RAHUL KUMAR DARSHAN KUMAR ANITA DEVI AA-101 ED-101 PS-101 PL-101 174535 101010011 - 1230DDEJM20 KARTIK BHAN MAHRAJ KRISHAN BHAN PINKY BHAN AA-101 HT-101 SO-101 PS-101 174461 101010012 - 1156DDEJM20 PANKAJ SINGH CHARAK PARVEEN SINGH CHARAK JYOTI RANI AA-101 ED-101 SO-101 PS-101 174399 101010013 - 1094DDEJM20 SIDDHARATH SINGH BALI BAL KRISHAN BALI GIYAN DEVI AA-101 ED-101 HT-101 PS-101 174416 101010014 - 1111DDEJM20 ABHINASH SHARMA RAM LAL KAMLESH SHARMA AA-101 ED-101 PY-101 MA-101 174398 101010015 - 1093DDEJM20 BHUPINDER SINGH JASBIR SINGH TRIPTA DEVI AA-101 MA-101 PS-101 -
The Domestic Is Not Free, Nov 2—10, Spotlighting the Ways Women Have Created, Challenged, and Subverted Domesticity
BAM presents Women at Work: The Domestic Is Not Free, Nov 2—10, spotlighting the ways women have created, challenged, and subverted domesticity October 9, 2018/Brooklyn, NY—From Friday, November 2 through Saturday, November 10 BAM presents Women at Work: The Domestic Is Not Free, a wide-ranging series spotlighting the overlooked work women take on in the home as house-workers, caretakers, and familial partners. The Domestic Is Not Free is the third edition of the ongoing Women at Work series—following Women at Work: Labor Activism in March and Women at Work: Radical Creativity in August—and highlights the historically erased and undervalued physical and emotional labor women perform, often invisibly, every day. The series considers the myriad ways in which women around the world have challenged and subverted traditional associations between gender and domesticity. Exploring the intersections of labor, race, class, and social environment, these films embody human stories of sacrifice and endurance. BAM Cinema Department Coordinator and programmer of the series Natalie Erazo explains, “I learned early on to value the domestic space and appreciate the women around me who shaped it. I hope this series will encourage viewers to acknowledge the monotony and emotional bearing of a life often relegated to being behind the scenes.” The series opens with Ousmane Sembène’s seminal Black Girl (1966—Nov 2). Screening with short films Fannie’s Film (Woods, 1979) and Fucked Like a Star (Saintonge, 2018), these films depict black women in roles of domestic service while also giving audiences access to their inner thoughts, feelings, and struggles. -
A Weekend of Film on Partition Flyer
home box office mcr. 0161 200 1500 org home PARTITION A weekend of screenings and special events marking the 70th anniversary of the Partition of India. Qissa, 2013 FRI 9 – SUN 11 JUN HOME presents a weekend The Cloud-Capped Star Qissa of cinematic representations and responses to the events that divided India in 1947, creating first Pakistan and later Bangladesh. The season is designed to THE CLOUD-CAPPED STAR (PG) ONE HOUR INTRO/ PARTITION ON enhance understanding of (MEGHE DHAKA TARA) FILM this momentous historical Sun 11 Jun, 17:00 event, as well as exploring Sat 10 Jun, 15:15 Dir Ritwik Ghatak/IN 1960/122 mins/Bengali wEng ST Tickets £4 full / £3 concs the meanings and legacies of Supriya Choudhury, Anil Chatterjee, Gyanesh Mukherjee This talk will reflect on the imaginings Partition today. Through its tale of Nita’s struggle to keep her refugee family afloat,The of Partition, notably in Indian cinema, Curated by Andy Willis, Reader Cloud-Capped Star operates as a harsh uncovering the reasons for the continued in Film Studies at the University criticism of the social and economic relative silence around such a divisive of Salford, and HOME’s Senior conditions that arose from Partition - a history, how filmmakers have responded over the years, and the contested Visiting Curator: Film. driving force in the life of celebrated filmmaker Ritwik Ghata. role film has played in the traumatic Partition is generously supported by aftermath. The talk will be supported B&M Retail. QISSA: THE TALE OF A LONELY with sequences from key films on GHOST (CTBA) + Q&A Partition. -
Central Council for Research in Yoga & Naturopathy
Central Council for Research in Yoga & Naturopathy 61-65, Institutional Area, Janakpuri, New Delhi -110058 S. No. Name of the Applicant Address Application D D No. Bank Name Date of DD ID 1. Dr. B. V. Rao C-6 B/109, TF, Janakpuri, Y000003 534525 SBI 16.05.2017 New Delhi -110058 2. Dr. Vadiraja H. S C-4 H/97, GF, Janakpuri, Y000004 298974 SBI 17.05.2017 New Delhi -110058 3. Dr. B. Anasuya C-6 B/109, TF, Janakpuri, Y000005 694871 SBI 17.05.2017 New Delhi -110058 4. Dr. Sangeeth 61-65, Janakpuri, New Delhi - 110058 Y000006 391837 SBI 17.05.2017 5. Dr. Jyoti Pullan 61-65, Janakpuri, New Delhi - 110058 Y000007 391835 SBI 17.05.2017 6. Dr. Vikram Pai D 1-A/119, GF, Jankpuri Y000008 380708 SBI 17.05.2017 New Delhi -110058 7. S. Jeya Poornima JSS, INYS, Coimbatore, T.N., Y000030 708622 SBI 18.05.2017 Ph. 9677771459, 9445878107 8. F. Nithila Catherin JSS, INYS, Coimbatore, T.N., Y000031 708623 SBI 18.05.2017 Ph. 9159127669 9. Naresh Kumar P JSS Institute of Naturopathy Yogic Y000016 708620 SBI 18.05.2017 Sciences, Palakkad Highway, Navakkarai, Coimbatore - 641105 Tamil Nadu, Ph. 9976157398 10. N. Nagarajan JSS Institute of Naturopathy Yogic Y000017 708619 SBI 18.05.2017 Sciences, Palakkad Highway, Navakkarai, Coimbatore - 641105 Tamil Nadu, Ph. 9965555994 11. Dr. Umashankar Sharma 233, Ward No. 6, Ary Nagar, Bhind, Y000032 252021 SBI 18.05.2017 M.P. 12. Dr. M. Vaishnavi Thiru. VEE. KA. Nagar, Chinnalapatti, Y000037 960729 SBI 18.05.2017 Diwdigul Ph. -
Monstrous Aunties: the Rabelaisian Older Asian Woman in British Cinema and Television Comedy
Monstrous Aunties: The Rabelaisian older Asian woman in British cinema and television comedy Estella Tincknell, University of the West of England Introduction Representations of older women of South Asian heritage in British cinema and television are limited in number and frequently confined to non-prestigious genres such as soap opera. Too often, such depictions do little more than reiterate familiar stereotypes of the subordinate ‘Asian wife’ or stage the discursive tensions around female submission and male tyranny supposedly characteristic of subcontinent identities. Such marginalisation is compounded in the relative neglect of screen representations of Asian identities generally, and of female and older Asian experiences specifically, within the fields of Film and Media analysis. These representations have only recently begun to be explored in more nuanced ways that acknowledge the complexity of colonial and post-colonial discoursesi. The decoupling of the relationship between Asian and Indian, Pakistani and Bangladeshi heritage, together with the foregrounding of religious rather than national-colonial identities, has further rendered the topic more complex. Yet there is an exception to this tendency. In the 1990s, British comedy films and TV shows began to carve out a space in which transgressive representations of aging Asian women appeared. From the subversively mischievous Pushpa (Zohra Segal) in Gurinder Chadha’s debut feature, Bhaji on the Beach (1993), to the bickering ‘competitive mothers’ of the ground-breaking sketch show, Goodness, Gracious Me (BBC 1998 – 2001, 2015), together 1 with the sexually-fixated grandmother, Ummi (Meera Syal), in The Kumars at Number 42 (BBC, 2001-6; Sky, 2014), a range of comic older female figures have overturned conventional discourses. -
Female SC Merit List-1218 Complete-Updated Decimal Place.Xlsx
Constable (Civil Police) 2015- Select List for SC category (Female) Remarks/ Merit High Rule15 Pet TOTAL RegNo Rollno Name DOB Inter % Horizontal Remarks Order School % Marks Marks Marks Reservation 1 10301363339 00016204 ANJALI KUMARI 28/06/1997 85.50 90.60 266.70 152 418.70 Selected Earlier 2 10306400379 00085949 PRAMILA KUMARI 08/06/1997 82.20 78.20 238.60 180 418.60 Selected Earlier 3 10303778641 00048732 KM SHWETA 10/05/1997 69.35 84.60 238.55 180 418.55 Selected Earlier 4 10302593079 00033277 KM PRIYANKA 03/04/1996 81.33 78.60 238.53 180 418.53 Selected Earlier 5 10301614118 00019998 KM BABEETA KUMARI 01/01/1995 85.67 82.40 250.47 168 418.47 Selected Earlier 6 10303638909 00047126 KM REENU 01/01/1997 84.83 68.80 222.43 196 418.43 Selected Earlier 7 10302396769 00030387 NEETU BHARTI 07/07/1996 82.33 84.00 250.33 168 418.33 Selected Earlier 8 10301106354 00012967 POOJA 10/05/1997 87.50 77.40 242.30 176 418.30 Selected Earlier 9 10302927693 00037734 RUBI 20/05/1996 83.50 75.40 234.30 184 418.30 Selected Earlier 10 10301943074 00024946 KM PUNAM KUMARI 05/05/1997 74.67 73.80 222.27 196 418.27 Selected Earlier 11 10302497767 00031880 KHUSHBOO 02/10/1996 71.67 81.20 234.07 184 418.07 Selected Earlier 12 10301790259 00022767 SUSHEELA DEVI 08/11/1994 76.83 76.60 230.03 188 418.03 Selected Earlier 13 10305205884 00069796 KM SAROJ BHRTI 07/08/1996 80.80 88.60 258.00 160 418.00 Selected Earlier 14 10303469628 00045801 KM KARISHMA 05/12/1995 82.00 76.00 234.00 184 418.00 Selected Earlier 15 10300702814 00008100 NEHA KUMARI 28/06/1996 83.17 89.40 -
The Cinema of Satyajit Ray Between Tradition and Modernity
The Cinema of Satyajit Ray Between Tradition and Modernity DARIUS COOPER San Diego Mesa College PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written perrnission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Sabon 10/13 pt. System QuarkXpress® [mg] A catalog record for this book is available from the British Library Library of Congress Cataloging in Publication Data Cooper, Darius, 1949– The cinema of Satyajit Ray : between tradition and modernity / Darius Cooper p. cm. – (Cambridge studies in film) Filmography: p. Includes bibliographical references and index. isbn 0 521 62026 0 (hb). – isbn 0 521 62980 2 (pb) 1. Ray, Satyajit, 1921–1992 – Criticism and interpretation. I. Title. II. Series pn1998.3.r4c88 1999 791.43´0233´092 – dc21 99–24768 cip isbn 0 521 62026 0 hardback isbn 0 521 62980 2 paperback Contents List of Illustrations page ix Acknowledgments xi Introduction 1 1. Between Wonder, Intuition, and Suggestion: Rasa in Satyajit Ray’s The Apu Trilogy and Jalsaghar 15 Rasa Theory: An Overview 15 The Excellence Implicit in the Classical Aesthetic Form of Rasa: Three Principles 24 Rasa in Pather Panchali (1955) 26 Rasa in Aparajito (1956) 40 Rasa in Apur Sansar (1959) 50 Jalsaghar (1958): A Critical Evaluation Rendered through Rasa 64 Concluding Remarks 72 2. -
Music, Partition and Ghatak Priyanka Shah
Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Vol. 3, No. 1, pp. 120–136 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 120 Vol. 3, No. 1, pp. 120–136 Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Maulana Azad College, University of Calcutta, [email protected] At a time when the ‘commercial’ Bengali film directors were busy caricaturing the language and the mannerisms of the East-Bengal refugees, specifically in Calcutta, using them as nothing but mere butts of ridicule, Ritwik Ghatak’s films portrayed these ‘refugees’, who formed the lower middle class of the society, as essentially torn between a nostalgia for an utopian motherland and the traumatic present of the post-partition world of an apocalyptic stupor. Ghatak himself was a victim of the Partition of India in 1947. He had to leave his homeland for a life in Calcutta where for the rest of his life he could not rip off the label of being a ‘refugee’, which the natives of the ‘West’ Bengal had labelled upon the homeless East Bengal masses. The melancholic longing for the estranged homeland forms the basis of most of Ghatak’s films, especially the trilogy: Meghe Dhaka Tara (1960), Komol Gondhar (1960) and Subarnarekha (1961). Ghatak’s running obsession with the post-partition trauma acts as one of the predominant themes in the plots of his films. To bring out the tragedy of the situation more vividly, he deploys music and melodrama as essential tropes. Ghatak brilliantly juxtaposes different genres of music, from Indian Classical Music and Rabindra Sangeet to folk songs, to carve out the trauma of a soul striving for recognition in a new land while, at the same time, trying hard to cope with the loss of its ‘motherland’. -
List of Students- 2014-2021.Xlsx
V. ̀R. Siddhartha Engineering College Student Placements 2017-18 S.No Name Roll No Branch Company Pay 1 DAMARLA BHAVYA SREE 148W1A0516 CSE MICROSOFT 11.00 2 RAYINEEDU DIVYA CHOWDARY 148W1A0539 CSE MICROSOFT 11.00 3 KOTA PURNA CHANDRA RAO 148W1A0528 CSE DEVELOPMENT BANK OF SINGAPORE 7.00 4 VADLAMUDI SAI PRANEETHA 148W1A0551 CSE DEVELOPMENT BANK OF SINGAPORE 7.00 5 KOTTAKKI PUJITHA SRAVYA 148W1A05E8 CSE DEVELOPMENT BANK OF SINGAPORE 7.00 6 SEGIREDDY SRAVANI 148W1A05G8 CSE DEVELOPMENT BANK OF SINGAPORE 7.00 7 B.G AKSHAYA 148W1A0504 CSE EPAM 6.00 8 CHEGIREDDY JAHNAVI 148W1A0513 CSE EVIVE 6.00 9 SEGIREDDY SRAVANI 148W1A05G8 CSE EPAM 6.00 10 PREM TEJA SREE 158W1F0042 MCA ALT Global India Private Limited 6.00 11 GADIPARTHI NANDINI 168W1E0015 MBA MOBIS INDUS INDIA 5.45 12 TURLAPATI GNANESHWARA SREERAMA VARDHAN 148W1A02B3 EEE HFFC 5.00 13 BADA BHARATHI 148W1A0505 CSE MAQ SOFTWARE 5.00 14 ANDE HARSHITHA 148W1A05C0 CSE ADP 5.00 15 KOTA LEELA NARESH 158W5A1008 EIE ACCENTURE 3.75 16 MENDU SRI NEHA KANAKA DURGA 148W1A04F1 ECE HFFC 5.00 17 CHAPARALA NAGA NYSHA 148W1A1271 IT HCL 4.80 18 L.SAI PRANEETH 148W1A04E5 ECE HCL 4.80 19 SARANAM SAI LEELADHAR 148W1A03B0 ME HEXAGON 4.70 20 GHANTA RAMYA 148W1A0518 CSE SALES FORCE 4.50 21 KOTA RAVISANKAR 148W1A0529 CSE SALES FORCE 4.50 22 CHEEKATI VAMSI KRISHNA 148W1A1010 EIE ALLSEC 2.50 23 AV SAI TEJASWINI 148W1A04O0 ECE ZOHO TECHNOLOGIES PVT LTD 4.20 24 MATURI BHUVANESWARI 148W1A0203 EEE GO-SPEEDY-GO 4.00 25 GANDIKOTA MURALI KRISHNA 148W1A0213 EEE PATH FRONT 4.00 26 JONNALAGADDA SOWMYA RAJESWARI 148W1A0218 EEE -
The Big City
THE BIG CITY (Mahanagar) Directed by Satyajit Ray Anil Chatterjee, Madhabi Mukherjee, Haren Chatterjee, Jaya Bhaduri India 1963, 131 mins, Cert PG Winner: Silver Bear for Best Direction, Berlin Film Festival, 1964 Newly restored and back on the big screen in its 50th Anniversary year Opening on 16 August 2013 at BFI Southbank & selected cinemas nationwide 12 June 2013 – On 16 August the BFI brings Satyajit Ray’s The Big City to cinemas across the UK. This richly absorbing tale of family and city life from the master of Bengali cinema is set in mid-50s Calcutta, a society still adjusting to IndependenCe and gripped by social and finanCial crisis. The film’s nationwide release will coinCide with a two-month complete retrospective of the director’s work at BFI Southbank during August and September. Subrata Mazumdar (Anil Chatterjee), a young bank clerk struggling to support his entire extended family on a meagre salary, firmly believes that ‘a woman’s place is with her cooking pots’. Unsurprisingly, he experiences conflicting emotions when his wife Arati (Madhabi Mukherjee) helps out by taking a job as a door-to- door ‘salesgirl’ peddling knitting machines to rich housewives. Though shy and nervous to begin with, Arati soon proves a huge suCcess, relishing her new-found independence (not to mention the joys of lipstick) and thoroughly upsetting the family dynamic. Bengali star Madhabi Mukherjee, with her expressive frown and mischievous smile, gives a ravishing, spirited performanCe as Arati. This was Mukherjee’s first film with Ray (she was later to star in his Charulata) and she confessed herself ‘stunned’ by his extraordinary ‘woman-centred’ screenplay, so different from anything she had previously encountered. -
The Merit List of NEET-UG 2020 Qualified Candidates of Manipur
The Merit List of NEET-UG 2020 qualified Candidates of Manipur Sl No. ROLL Candidate NAME SEX_N CAT PH TOTAL NEET_R 1 3201008292 SAMANANDA YUMNAM MALE OBC (NCL) NO 661 2068 2 3201012149 TASLIMA SAHANI FEMALE OBC (NCL) NO 638 6365 3 3201003028 VIRAJ CHINGSUBAM MALE UR NO 638 6421 4 3201004334 CHETANNA RAJKUMARI FEMALE OBC (NCL) NO 635 7042 5 3114016240 CHANGAMAYUM PRITHVIRAJ SINGH MALE UR NO 631 8348 6 3201003183 SOUGAIJAM NGANBA MALE UR NO 630 8458 7 3201009076 LAIPUBAM RAHUL SHARMA MALE OBC (NCL) NO 628 9030 8 3201002306 LAIMAYUM SIDHANTH SHARMA MALE UR NO 628 9105 9 3201012181 NINGTHOUJAM JINA DEVI FEMALE OBC (NCL) NO 626 9661 10 3201009010 CHANDRIKA THONGRAM FEMALE OBC (NCL) NO 623 10576 11 3201014029 NONGMAITHEM MINIKETAN SINGH MALE SC NO 620 11784 12 3201001417 JAYALAKSHMI NARENGBAM FEMALE UR NO 620 11798 13 3201015130 HWANGTALE SHIMPRUI FEMALE ST NO 618 12434 14 3201014161 HELIX SORAM MALE UR NO 616 12958 15 3201002292 KSHETRIMAYUM SWAMINATH SINGH MALE OBC (NCL) NO 616 13028 16 3201014074 CHONGTHAM BELINDA DEVI FEMALE OBC (NCL) NO 616 13031 17 3201004042 LOITONGBAM SARDA FEMALE OBC (NCL) NO 615 13393 18 1402104217 LANTHOIBA LAISHRAM MALE OBC (NCL) NO 612 14723 19 3201008040 KORIMAYUM FIRDOZ MALE OBC (NCL) NO 610 15522 20 3201001228 ROHEN PHANJOUBAM MALE SC NO 606 17176 21 3201002039 KANGABAM ROBIN SINGH MALE OBC (NCL) NO 601 19253 22 3201004325 KHUNDONGBAM NISHAN SINGH MALE OBC (NCL) NO 601 19393 23 3201002316 RUSTAM SINGAMAYUM MALE OBC (NCL) NO 600 19725 24 3201013227 USHAM CHINGKHEINGANBI FEMALE OBC (NCL) NO 600 19816 25 3201016179