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A Study of Shakespeare Contribution in Hindi Cinema
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala. -
Dossier-De-Presse-L-Ombrelle-Bleue
Splendor Films présente Synopsis Dans un petit village situé dans les montagnes de l’Himalaya, une jeune fille, Biniya, accepte d’échanger son porte bonheur contre une magnifique ombrelle bleue d’une touriste japonaise. Ne quittant plus l’ombrelle, l’objet L’Ombrelle semble lui porter bonheur, et attire les convoitises des villageois, en particulier celles de Nandu, le restaurateur du village, pingre et coléreux. Il veut à tout prix la récupérer, mais un jour, l’ombrelle disparaît, et Biniya bleue mène son enquête... Note de production un film de Vishal Bhardwaj L’Ombrelle bleue est une adaptation cinématographique très fidèle à la nouvelle éponyme de Ruskin Bond. Le film a été tourné dans la région de l’Himachal Pradesh, située au nord de l’Inde, à la frontière de la Chine et Inde – 2005 – 94 min – VOSTFR du Pakistan, dans une région montagneuse. La chaîne de l’Himalaya est d’ailleurs le décor principal du film, le village est situé à flanc de montagne. Inédit en France L’Ombrelle bleue reprend certains codes et conventions des films de Bollywood. C’est pourtant un film original dans le traitement de l’histoire. Alors que la plupart des films de Bollywood durent près de trois heures et traitent pour la plupart d’histoires sentimentales compliquées par la religion et les obligations familiales, L’Ombrelle bleue s’intéresse davantage aux caractères de ses personnages et à la nature environnante. AU CINÉMA Le film, sorti en août 2007 en Inde, s’adresse aux enfants, et a pour LE 16 DÉCEMBRE vedettes Pankaj Kapur et Shreya Sharma. -
Psychoanalysis of Female Characters in Vishal Bharadwaj's Trilogy
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) Psychoanalysis of Female Characters in Vishal Bharadwaj’s Trilogy Maqbool, Omkara and Haider Shikha Rani, Research Scholar MJP Rohilkhand University Bareilly Alka Mehra Assistant Professor Government Degree College Bisalpur MJP Rohilkhand University Bareilly Abstract: Freud’s theory of psychology that he referred as psychoanalysis has been accepted and extended in analyzing literature and other arts too. Freud believes that literature and other arts are like dreams and psycho symptoms which contain imaginative fancies, so literature and other arts are capable to fulfill wishes that are commonly restricted by social standards and norms. My research paper is an attempt to focus on the psychoanalysis of female protagonists in Bharadwaj’s worldwide acclaimed movies ‘Maqbool’, ‘Omkara’ and ‘Haider’ which are an adaptation of Shakespeare’s famous tragedies ‘Macbeth’, ‘Othello’ and ‘Hamlet’. These female characters are just like puppet in grip of unconscious urges. This study further analysis human’s helplessness under the arrest of its uncontrolled passions. Through this study, I want to find out the strong and weak unconscious fancies of Nimmi, Dolly and Gazala and their fight against their own id, ego and superego which brutally influenced them mentally as well as physically. Nimmi who is a complex character, struggles as a mistress of don and as a beloved of Maqbool. Dolly suffers mentally due to male’s suspicious nature and patriarchal society whereas Gazala tries to make conciliation with her second marriage and with her adult obsessive son. Keyword: psychoanalysis, sex complex obsessive, conflict. Shakespeare’s plays have been adapted all over the world due to his universality and cosmopolitan nature. -
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. -
Kaminey 2.1(Roman)
KAMINEY By Supratik Sen Abhishek Chaubey Sabrina Dhawan Vishal Bhardwaj July 13th, 2009 Draft 2.1 Roman 1 On black, we hear the sound of gospel singing in chorus. 1 FADE IN: EXT. AFRICAN HAMLET-TWILIGHT A sleepy African hamlet in the twilight. The sound of the gospel spreads over the countryside. A group of small kids play football with a plastic bottle in the village square. SUPER appears- CUANGO VALLEY,ANGOLA INT. AFRICAN HAMLET- LOCAL CHURCH As the camera tracks down from the bleeding visage of Christ, a group of local village elders stand in a row and sing the gospel. EXT. AFRICAN HAMLET-LOCAL CHURCH A battered cross on the church roof. As the camera cranes up,a convoy of inconspicuous jeeps can be seen on a distant hilly road,making their way towards the village. INT. AFRICAN HAMLET-VILLAGE HOUSE-KITCHEN / LIVING ROOM A heavily pregnant girl, LIBERTA, takes out hot soup into bowls from a vessel on the top of the gas stove. An intense discussion can be heard coming out of the living room. The camera travels with her as she walks into the room to set the dinner table. An old couple and two three male elders, sit around the table. There is tension in the air. Leading the discussion is WELKETT, the husband of the pregnant lady. They notice her presence and the argument stops. DANIEL mimics the size of her belly. DANIEL She can’t get out of the door of the house with the size of her belly and you are asking us to leave the village. -
Sex, Songs and the Desi Feminist Noir1
NCJCF 12 (1+2) pp. 97–111 Intellect Limited 2014 New Cinemas: Journal of Contemporary Film Volume 12 Numbers 1 & 2 © 2014 Intellect Ltd Article. English language. doi: 10.1386/ncin.12.1-2.97_1 Krupa shandilya Amherst College The long smouldering night: sex, songs and the desi feminist noir1 absTracT Keywords This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh film noir Ishqiya/Romance 1.5 (Chaubey, 2014) by Abhishek Chaubey, represent a new genre feminism of films, namely the ‘desi feminist noir’, which is characterized by all the elements of Ishqiya film noir, such as the murky distinction between good and evil, the lawlessness of the Dedh Ishqiya streets and the femme fatale. However, in these films the figure of the femme fatale is Bollywood used to forward explicitly feminist trajectories of love, romance and sex. I give a brief queer desire history of romantic coupling in Hindi cinema, and analyse the films’ departure from these articulations of romance. Next, I focus on a song sequence from each of the films to explicate the desi feminist femme fatale’s subversion of the romantic conven- tions of the Hindi film song and her inauguration of a new aesthetic of romance. In conclusion, I consider the implications of this new genre for Bollywood cinema. This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh 1. Many thanks to Crystal Parikh, Naomi Schiller, Ishqiya/Romance 1.5 (Chaubey, 2014) represent a new genre of films, namely Jini Kim Watson and the ‘desi feminist noir’. The ‘desi feminist noir’ is characterized by all the Joseph Keith for their elements of film noir, such as the murky distinction between good and evil, invaluable comments on an early draft of the lawlessness of the streets and the femme fatale. -
Role of Media and Usage of Films and Documentaries As Political Tool
© 2018 JETIR June 2018, Volume 5, Issue 06 www.jetir.org (ISSN-2349-5162) Role of Media and Usage of Films and Documentaries as Political Tool DR. VIKRAMJIT SINGH, ASSOCIATE PROFESSOR DEPARTMENT OF POLITICAL SCIENCE, DAYANAND COLLGE, HISAR, HARYANA, INDIA Abstract Now days the usage of print as well as digital media is widely used for the propaganda to have the political advantage by the political parties. A number of movies and documentaries are intentionally released so that the political benefits can be taken. In this manuscript, the case scenarios of such movies and the film based propaganda are addressed so that the overall motive and the goals of the political parties can be identified. In this research paper, the case studies and the scenarios of assorted films and documentaries are cited so that the clear theme can be addressed with the higher degree of references and the proof of the mentioned work. In current scenarios, the political parties whether these are opposition or the ruling they are getting the huge benefits with the exploitations of emotions of the general public with the integration of films to defame or fame the particular person or parties. By this way, the overall scenario and integrity of movies and bollywood is getting affected with the favor of particular political benefits. Keywords: Propaganda Movie, Role of Media in Politics, Cinema as Political Tool Introduction The filmmakers are now days more focused on polishing the image of particular person or defaming the image of particular parties and these are visible from the assorted movies specifically in the time of elections but it is not the good practices to exploit the image of particular parties. -
Pak. Releases Jadhav Video, India Terms It Propaganda
Downloaded from: www.iascgl.com Downloaded from: www.jioepaper.com follow us: friday, january 5, 2018 Delhi City Edition thehindu.com 36 pages ț 10.00 facebook.com/thehindu twitter.com/the_hindu Manmohan writes to Vijay Mallya declared ‘Bannon leaks’ trigger India to play rst Test A. Raja, says happy a proclaimed oender fury of U.S. President against South Africa at with his vindication in FERA violation case Donald Trump Cape Town from today page 10 page 11 page 12 page 15 Printed at . Chennai . Coimbatore . Bengaluru . Hyderabad . Madurai . Noida . Visakhapatnam . Thiruvananthapuram . Kochi . Vijayawada . Mangaluru . Tiruchirapalli . Kolkata . Hubballi . Mohali . Malappuram . Mumbai . Tirupati . lucknow NEARBY Pak. releases Jadhav video, Govt. refuses to list triple India terms it propaganda talaq Bill changes rst Heated arguments over second slot in day’s agenda Rajnath rejects charge Such exercises simply carry no credibility, says statement issued by MEA on Assam’s NRC Special Correspondent New Delhi NEW DELHI Suhasini Haidar conducting a business in Mubashir Zaidi Trinamool Congress Iran when he was kidnapped The government’s move to NEW DELHI/KARACHI members in the Lok Sabha on by Pakistani operatives. list the Muslim Women (Pro Thursday alleged a Accusing Pakistan of violat The government made tection of Rights on Mar conspiracy to drive out the ing the human rights of Kulb more than a dozen requests riage) Bill as a second entry Bengalispeaking population hushan Jadhav again, India for consular access to Pakis in the legislative business from Assam, a charge on Thursday dismissed as tani authorities, failing irked the Opposition on rejected by Union Home “propaganda” another video which, it approached the In Thursday, leading to anoth Minister Rajnath Singh. -
Bollywood Sounds
Bollywood Sounds Bollywood Sounds The Cosmopolitan Mediations of Hindi Film Song Jayson Beaster-Jones 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Beaster-Jones, Jayson. Bollywood sounds : the cosmopolitan mediations of Hindi film song / Jayson Beaster-Jones. pages cm Includes bibliographical references and index. ISBN 978–0–19–986254–2 (pbk. -
Jurassic Park June 30, 1992
JURASSIC PARK screenplay by David Koepp based upon the novel by Michael Crichton and on adaptations by Michael Crichton and Malia Scotch Marmo AMBLIN ENTERTAINMENT May 26, 1992 JUNE 30, 1992 -- STEVEN SPIELBERG ONLY! THIS MATERIAL IS THE PROPERTY OF AMBLIN ENTERTAINMENT AND IS INTENDED AND RESTRICTED SOLELY FOR USE BY AMBLIN PERSONNEL. DISTRIBUTION OR DISCLOSURE OF THIS MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, COPYING, OR REPRODUCTION OF THIS MATERIAL IN ANY FORM IS ALSO PROHIBITED. 1 EXT JUNGLE NIGHT 1 An eyeball, big, yellowish, distinctly inhuman, stares raptly between wooden slats, part of a large crate. The eye darts from side to side, alert as hell. FROM INSIDE THE CRATE, we get glimpses of what's on the other side of those wooden slats -- jungle foliage, MEN with rifles, searing searchlights. The view is herky-jerky as the crate is lowered into the thick of the foliage. IN THE JUNGLE, the crate THUDS to the jungle floor and the ropes that held it aloft are unhitched and drop like so many dead snakes. A legend tries to place us -- ISLA NUBLAR 120 MILES WEST OF COSTA RICA -- but to us it's still the middle of nowhere. It's quiet for a second. A ROAR rises up from the jungle, deafening. The trees shake as something very, very large plows ahead through them, right at us. Every head gathered in this little clearing snaps, turning in the direction of the sound as it bursts through the trees. It's a bulldozer. It drops its scoop and pushes forward, into the back end of the crate, shoving it across the jungle floor toward an impressive fenced structure that towers over an enclosed section of thick jungle. -
MONSOON WEDDING a NEW MUSICAL by MIRA NAIR a Leeds Playhouse Production in Association with the Roundhouse
PRESS RELEASE – Thursday 5th December 2019 IMAGES CAN BE DOWNLOADED HERE MonsoonWeddingmusical.co.uk / @Monsoonmusical MONSOON WEDDING A NEW MUSICAL BY MIRA NAIR A Leeds Playhouse production in association with the Roundhouse • A NEW MUSICAL THEATRE ADAPTATION OF THE HIT FILM MONSOON WEDDING WILL PLAY AT LEEDS PLAYHOUSE AND LONDON’S ROUNDHOUSE IN SUMMER 2020 • DIRECTED BY THE FILM’S DIRECTOR MIRA NAIR, THE NEW MUSICAL FEATURES A BOOK BY SABRINA DHAWAN AND ARPITA MUKHERJEE AND LYRICS BY MASI ASARE AND SUSAN BIRKENHEAD WITH MUSIC BY VISHAL BHARDWAJ Nearly 20 years after the multi award-winning Monsoon Wedding broke all moulds by becoming one of the most successful international films of all time and introducing a worldwide audience to Indian culture through the joy of the rom-com, the beautiful story of finding love against the odds returns as a brand-new musical. Co-Directors Mira Nair (Salaam Bombay, Mississippi Masala and forthcoming BBC adaptation A Suitable Boy) and Stephen Whitson (West Side Story Edinburgh International Festival and BBC Prom and UK associate for Hamilton) have worked with book writers Arpita Mukherjee (Artistic Director of Hypokrit Theatre, 2018-2020 WP Theater Directors Lab member, 2018 Eugene O’Neill National Directing Fellow) and Sabrina Dhawan (original Monsoon Wedding screenplay, written for 20th Century Fox, HBO, Disney Animations, Fox Star and Killer Films), award-winning composer Vishal Bhardwaj (over 40 Bollywood films, 6 National Film Awarads, winner of People’s Choice Award at Rome Film Festival for Hamlet) and lyricists Masi Asare (Music and Lyrics for Sympathy Jones, music and lyrics for Family Resemblance Theatre Royal Stratford East) and Susan Birkenhead and orchestrator Jamshied Sharfiri (winner of the Tony© for Best Orchestration for The Band’s Visit) to bring the film to life on the stage. -
Bend It Like Beckham
Bend It Like Beckham Dir. Gurinder Chadha, UK/Germany 2002, Certificate 12A Introduction Bend It Like Beckham was one of the surprise hits of 2002, making over £11,000,000 at the UK Box Office and hitting a chord with a range of audiences at cinemas. A vibrant and colourful British comedy about a young girl from a Sikh family who desperately wants to play football against the wishes of her traditional parents, the film can be seen to follow the path of other recent British-Asian films such as Bhaji on the Beach, Anita and Me and East Is East in its examination of culture clashes and family traditions. Bend It Like Beckham takes these themes and adds extra ingredients to the dish – football, Shakespearean confusions over identity and sexuality, in-jokes about both British pop culture and the Sikh way of life, and a music soundtrack mixing a range of East/West sounds and musical styles. It is also useful to look at Bend It Like Beckham within a wider context of the British Asian experience in popular culture and media, such as portrayal of Asian culture on television including Ali G, Goodness Gracious Me, families in soaps such as Coronation Street and EastEnders – even the new Walkers Crisps advert has Gary Lineker in a mini-Bollywood musical - and the Asian language, music and fashion that has now flowed into the mainstream. © Film Education 2003 1 Film Synopsis Jesminder (known as Jess) is a Sikh teenager living in Hounslow, who loves to play football. Her parents disapprove, wanting her to settle down, get a job as a lawyer and marry a nice Indian boy.