DOCSLIB.ORG

Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2033706 06

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2033706 06 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2033706 06/10/2010 MR. VIJAY GARG trading as ;SHIV SHAKTI TIMBER & FURNITURE 241, INDUSTRIAL AREA, PHASE - I, PANCHKULA - 134113, HARYANA MANUFACTURE & MERCHANTS Address for service in India/Attorney address: S. SINGH & ASSOCIATES 213, 3RD FLOOR PARMANAND COLONY, DR. MUKHERJEE NAGAR DELHI-9 Used Since :02/07/2006 DELHI KITCHEN UTENSILS & CONTAINERS INCLUDING PRESSURE COOKERS, PANS & NON-STICK COOKERS, WATER FILTERS, GLASS WARE, VACUUM FLASK, CROCKERY, TIFFIN CARRIERS, AND CASSEROLES, COOKING RANGE & KITCHEN WARES AND KITCHEN ACCESSORIES AS PER CLASS 21. 2975 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2105351 24/02/2011 MONALISA CERAMICS INDIA PRIVATE LIMITED 227/1809, ROAD NO. 5, MOTILAL NAGAR NO. 1, GOREGAON (W), MUMBAI. MANUFACTUERS AND MERCHANT A PRIVATE LIMITED COMPANY REGSTERED UNDER THE COMPANIES ACT,1956 Address for service in India/Agents address: VARIKASERY LAW & MARKS ROOM NO.31, HAJI HABIB BLDG., A-WING, 1ST FL.,OPP. FIRE STATION, DR. B.A. RD.,DADAR, MUMBAI-400014. Used Since :01/04/2010 MUMBAI HOUSEHOLD OR KITCHEN UTENSILS AND CONTAINERS, COMBS AND SPONGES, BRUSHES(EXCEPT PAINT BRUSHES), BRUSH- MAKING MATERIALS ARTICLES FOR CLEANING PURPOSES, STEELWOOL, UNWORKED OR SEMI- WORKED GLASS (EXCEPT GLASS USED IN BUILDING), GLASSWARE, PORCELAIN AND EARTHNWARE NOT INCLUDED IN OTHER CLASS INCLUDED IN CLASS 21 2976 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2173400 11/07/2011 POLARAM trading as ;NANDI ENTERPRISES NO.2881/1, BEHIND SANGAM THEATRE, 1ST CROSS, HALLADELRI, MYSORE. MANUFACTURER, TRADER, MERCHANTS, SERVICE PROVIDER Address for service in India/Attorney address: P.SAMINATHAN NO-1127, 49TH STREET, VENKATRAMAN NAGAR, KORATTUR, CHENNAI-80 Proposed to be Used CHENNAI PRESSUR COOKER AND TAWA NONSTICK. 2977 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2600279 23/09/2013 SHRI HASMUKHBHAI BALUBHAI KAVATHIYA SHRI GHANSHYAMBHAI NANJIBHAI PADSUMBIA SHRI JAYESHBHAI THOBHANBHAI AGHARA SHRI DHIRAJLAL THOBHANBHAI AGHARA SHRI JITENDRA DHIRAJLAL KAVATHIYA SHRI VIJAY LALJIBHAI JAKASANIA SHRI VIPUL BALUBHAI KAVATHIYA SHRI KANTILAL PRABHUBHAI JAKASANIA trading as ;M/S. MATRIX CERAMIC 8-A, NATIONAL HIGHWAY, OLD GHUNTU ROAD, NR. SHRINATHJEE WAIGHBRIDGE, MORBI - 363 642, GUJARAT MANUACTURERS AND MERCHANTS Address for service in India/Agents address: HIRAL C. JOSHI. 501, VISHWANANAK, CHAKALA ROAD, ANDHERI (EAST), MUMBAI - 400 099. Used Since :01/09/2007 AHMEDABAD CERAMIC GLAZED TILES, PORCELAIN TOILET SET, PORCELAIN WARE, TOILET UTENSILS, WASH HAND BASIN, HOUSEHOLD OR KITCHEN UTENSILS AND CONTAINERS (NOT OF PRECIOUS METAL OR COATED THEREWITH), COMBS AND SPONGES, BRUSHES (EXCEPT PAINTS BRUSHES), BRUSH MAKING MATERIALS, ARTICLES FOR CLEANING PURPOSES, STEELWOOL, UNWORKED OR SEMI-WORKED GLASS (EXCEPT GLASS USED IN BUILDING), GLASSWARE, PORCELAIN AND EARTHENWARE 2978 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 Himalayan Capscon Industries 2669041 29/01/2014 Himalayan Capscon Industries trading as ;Himalayan Capscon Industries C/o Mudit Jain, Deewanji ka bagh, Scheme 10B, Alwar 301001, Rajasthan Manufacturer and Distributor Partnership Firm Address for service in India/Attorney address: VISHAL JAIN 2B, Ramdwara Colony, Mahaveer Nagar, Near Durgapura Railway Station, Jaipur-302018 Used Since :27/03/2012 AHMEDABAD Bottles, Trays, boxes, containers for household or kitchen use, cups, cookery mould, drinking glasses, kitchen containers, refrigeration bottles, vases, subject to association with Application No- 3299033.. 2979 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2835210 31/10/2014 K.V.KATHIRAVAN JAYASUDHAKATHIRAVAN trading as ;VINICARE INTERNATIONAL LLP 149/25, N BLOCK, SECOND FLOOR KRISHNA COLONY,ANNANAGAR EAST, CHENNAI -600102 MANUFACTURERS AND MERCHANTS Address for service in India/Agents address: PUTHRAN & ASSOCIATES B-3, KESAVAN ORCHID (3RD FLOOR), 5/7, NORTH MADA ST., SRI NAGAR COLONY, SAIDAPET, CHENNAI-600015. Proposed to be Used CHENNAI COMBS AND SPONGES; BRUSHES (EXCEPT PAINT BRUSHES): BRUSH-MAKING MATERIALS; ARTICLES FOR CLEANING PURPOSES; STEELWOOL; WASHING BRUSHES; DISHCLOTHS FOR WASHING DISHES; SCRUBBING PADS; SCOURING PADS FOR HOUSEHOLD PURPOSES; SCOURING SPONGES; PADS FOR CLEANING; PLASTIC BOTTLESIN THE MARK SHALL BE LIMITED TO THE COLOURS AS SHOWN IN THE REPRESENTATION ON THE FORM OF THE APPLICATION 2980 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2855523 03/12/2014 ANIL BANSAL trading as ;Anil Kitchenware Plot no. 707, Industrial Area Phase II, Chandigarh. Manufacturer, Merchant & Trader A sole proprietorship concern Address for service in India/Attorney address: ASWAL ASSOCIATES 59 HARMONY APARTMENTS POCKET-1 SECTOR-4 DWARKA NEW DELHI-110078 Used Since :25/09/2013 DELHI HOUSEHOLD AND KITCHEN UTENSILS AND CONTAINERS; STAINLESS STEEL WIRE AND SHEETS UTENSILS STAND; BASKETS; KITCHEN STANDS; KITCHEN RACKS; KITCHEN APPLIANCES; COOKWARE; PRESSURE COOKERS; BASINS; CYLINDER STAND; PLASTICWARE AND HOLLOWWARE ARTICLES FOR HOUSEHOLD PURPOSES; BUCKETS; CERAMICS (SCULPTURES, VASES, VESSELS, BOWLS, PLATES, POTS); CLOTHES DRYING RACKS; CROCKERY; CRYSTAL (GLASSWARE); DUSTBINS; FLASKS; FLAT-IRON STANDS; ARTICLES FOR CLEANING PURPOSES; SPONGES; RAILS AND RINGS FOR TOWELS; UTENSILS; ICE BUCKETS; JUGS; LUNCH BOXES; MUGS; NAPKIN HOLDERS; STEELWOOL. THE MARK SHALL BE LIMITED TO THE COLOURS AS SHOWN IN THE REPRESENTATION ON THE FORM OF THE APPLICATION NO EXCLUSIVE RIGHT OVER THE DESCRIPTIVE MATTER APPEARING ON LABLE. 2981 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2856675 05/12/2014 HEADRUSH MARKETING PRIVATE LIMITED BANDRA RED ROSE, FLAT NO.4, PLOT NO.220, 27TH ROAD, TPS III, BANDRA (WEST), MUMBAI-400050 MANUFACTURERS AND MERCHANTS A COMPANY REGISTERED IN INDIA Address for service in India/Agents address: ARJUN T. BHAGAT & CO. 6/B SHAHEEN APARTMENT,132 / 1, MODI STREET, POST BOX NO. 1865, FORT, MUMBAI - 400 001. Proposed to be Used To be associated with: 2856675 MUMBAI NAIL BRUSHES, EYEBROW BRUSHES, BRUSHES, BRUSHES FOR FOOTWEAR, ELECTRIC BRUSHES, EXCEPT PARTS OF MACHINES, ELECTRIC BRUSHES, EXCEPT PARTS OF MACHINES, COMB CASES, COMBS, LARGE-TOOTHED COMBS FOR THE HAIR, ELECTRIC COMBS, COSMETIC UTENSILS, COTTON WASTE FOR CLEANING, HAIR FOR BRUSHES, MAKE-UP REMOVING APPLIANCES, PERFUME SPRAYERS, POLISHING MATERIALS FOR MAKING SHINY, EXCEPT PREPARATIONS, PAPER AND STONE, POLISHING GLOVES, POWDER PUFFS, POWDER COMPACTS BEING GOODS INCLUDED IN CLASS 21 2982 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2856679 05/12/2014 HEADRUSH MARKETING PRIVATE LIMITED BANDRA RED ROSE, FLAT NO.4, PLOT NO.220, 27TH ROAD, TPS III, BANDRA (WEST), MUMBAI-400050 MANUFACTURERS AND MERCHANTS A COMPANY REGISTERED IN INDIA Address for service in India/Agents address: ARJUN T. BHAGAT & CO. 6/B SHAHEEN APARTMENT,132 / 1, MODI STREET, POST BOX NO. 1865, FORT, MUMBAI - 400 001. Proposed to be Used To be associated with: 2856675 MUMBAI NAIL BRUSHES, EYEBROW BRUSHES, BRUSHES, BRUSHES FOR FOOTWEAR, ELECTRIC BRUSHES, EXCEPT PARTS OF MACHINES, ELECTRIC BRUSHES, EXCEPT PARTS OF MACHINES, COMB CASES, COMBS, LARGE-TOOTHED COMBS FOR THE HAIR, ELECTRIC COMBS, COSMETIC UTENSILS, COTTON WASTE FOR CLEANING, HAIR FOR BRUSHES, MAKE-UP REMOVING APPLIANCES, PERFUME SPRAYERS, POLISHING MATERIALS FOR MAKING SHINY, EXCEPT PREPARATIONS, PAPER AND STONE, POLISHING GLOVES, POWDER PUFFS, POWDER COMPACTS BEING GOODS INCLUDED IN CLASS 21 2983 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2857507 08/12/2014 AMARDEEP SINGH trading as ;FAIR DEAL CLEANING AIDS A-546/1 SHASTRI NAGAR DELHI 110052 MERCHANTS & MANUFACTURERS Used Since :01/10/2011 DELHI COMBS , SPONGES; BRUSHES (EXCEPT PAINTS BRUSHES); ARTICLES FOR CLEANING PURPOSES; WIPERS, MOPS, BROOMS , STEELWOOL INCLUDED IN CLASS 21 2984 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2858239 08/12/2014 GUNDUMOGULA HEMA LATHA trading as ;N-SHINE INDUSTRIES SY. NO. 54/14, PADALA, TADEPALLIGUDEM MANDAL, WEST GODAVARI DISTRICT - 534 101 (ANDHRA PRADESH) MANUFACTURER AND MERCHANTS Address for service in India/Attorney address: LAW PROTECTOR C/o. Nilesh Dhumal, Laxmi Niwas, Behind Kamla Nehru Hospital, Near Barane School, 104 Mangalwar Peth, Pune-411 011. Proposed to be Used CHENNAI HOUSEHOLD OR KITCHEN UTENSILS AND CONTAINERS (NOT OF PRECIOUS METAL OR COATED THEREWITH); COMBS AND SPONGES; BRUSHES (EXCEPT PAINTS BRUSHES); BRUSH MAKING MATERIALS; ARTICLES FOR CLEANING PURPOSES; STEELWOOL; UNWORKED OR SEMI-WORKED GLASS (EXCEPT GLASS USED IN BUILDING); GLASSWARE, PORCELAIN AND EARTHENWARE NOT INCLUDED IN OTHER CLASSES 2985 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2859482 05/12/2014 PRADEEP SHARMA trading as ;Maa Gange Metal Industries 80G, Rajinder Nagar, Industrial Area, Mohan Nagar, Ghaziabad, U.P.-201007 Manufacturing & Trading Proprietorship Firm Address for service in India/Agents address: PRAMOD KUMAR KAPOOR (ADVOCATE) 47-A, GOVIND PARK, KRISHNA NAGAR DELHI Used Since :15/11/2014 DELHI Pressure cooker, Household or kitchen utensils and containers(not of precious metal or coated therewith); combs and sponges; brushes(except paints brushes); brush making materials; articles for cleaning purposes; steelwool; unworked or semi-worked glass (except glass used in building); glassware, porcelain and earthenware not included in other classes 2986 Trade Marks Journal No: 1805 , 10/07/2017 Class 21 2861023 11/12/2014 V.RAMESH KUMAR trading as ;SOUTH INDIA POLYMER INDUSTRIES NO.132, AUDIYAPPA NAICKEN STREET, 1ST FLOOR, SOWCARPET, CHENNAI - 600 001. MANUFACTURER AND MERCHANT, Address for service in India/Agents address: ASHOK KUMAR J. DAGA, ADVOCATE
Load more

Recommended publications
  • Movie Aquisitions in 2010 - Hindi Cinema
    Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
    [Show full text]
  • Demure Heroines Expressing Sexual Desire. Hints of Traditional Motifs in Popular Hindi Cinema
    Demure Heroines Expressing Sexual Desire. Hints of traditional motifs in popular Hindi cinema Sabrina Ciolfi Università degli Studi di Milano Abstract. In some of the most successful and representative popular Hindi films released between the 1990s and the early 2000s, the depiction of amorous feelings often takes traditional forms. The reference here is essentially to those films that come more or less within the broad category of classical family dramas: love stories that come up against all sorts of opposition, characterised by the celebration of the traditional Hindu values and the sacrality of the Indian joint-family institution. A particularly interesting aspect emerging here lies in the way in which the sexual desire of the heroine—typically a chaste and virtuous maiden—finds representation. On the strength of studied re-elaboration of traditional themes and motifs, these films achieve high levels of stylistic inventiveness and poetic refinement, albeit often limited to certain individual sequences. The apparent purpose of this aesthetic sophistication is to endow amorous feelings—always leading inexorably in the direction of marriage—with an aura of purity and authenticity. Indeed, it is a matter of sentiments so noble and intense as to win over the consent and blessing of the families by the end of the film. The paper proposes to identify and analyse the conscious use of these traditional motifs in some of the most representative films in this area. This paper aims to analyse a selection of scenes of popular Hindi films1 in which the depiction of amorous feelings seems to draw on some traditional themes and motifs of Indian classical literature.2 The reference here is essentially to those particularly successful family-centred films, the most prevalent genre which emerged in the mid- 1990s, coming more or less within the broad category of classical ‘family dramas’.3 1 An important point to make here is that we are not referring to Indian cinema in general.
    [Show full text]
  • Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
    Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof.
    [Show full text]
  • Seriously Kissed Sexual Freedom and Its Normative Structures in Raja
    Seriously kissed Sexual freedom and its normative structures in Raja Natwarlal Willem Lenders, 6032257 Master Thesis rMA Cultural Analysis Graduate school of the Humanities University of Amsterdam Date: 10-06-2015 First reader: dhr. dr. M. (Murat) Aydemir Second reader: mw. dr. H.H. (Hanneke) Stuit Willem Lenders, 6032257 University of Amsterdam Table of contents 1. A boy in Bollywood 3 1.1 Visualizing sex and sexual freedom 3 1.2 Approaching Raja Natwarlal 5 2. Playing with patriarchy 9 2.1 Conflating the national with the Hindu female ideal 10 2.2 Visualizing sex in the genre 12 2.3 Queer sexuality through homosociality 17 2.4 Queering gender 20 2.5 Problematizing explicit and implicit visualizations 23 3. Sex and erotics in Raja Natwarlal 25 3.1 Raja and Ziya 26 3.2 The men of Raja 30 3.3 The feminine and the masculine 33 4. Breaking down sexual freedom 37 4.1 Sexual freedom and the repressive hypothesis 38 4.2 Homosexual panic and the regulation of the male body 41 4.3. Raja vs. Bollywood: intersections of sex, gender and the nation 44 Bibliography 49 Attachment 51 2 Willem Lenders, 6032257 University of Amsterdam 1. A boy in Bollywood While travelling through India in the summer of 2014, I was able to experience what it was like to be part of the largest movie industry in the world, Bollywood. For one day my travel buddy and I were asked to be extras in the new and upcoming movie Raja Natwarlal. As the Lonely Planet described to us: “Studios sometimes want Westerners as extras to add a whiff of international flair (or provocative dress, which locals often won’t wear) to a film.” (Lonely Planet, 734).
    [Show full text]
  • Bollywood Images: the Illusions and Realities of Arranged Marriages
    Bollywood Images: The illusions and realities of arranged marriages, weddings, dowries, and attitudes toward the girl child in the lives of women in India Margaret Lundberg Dr. Cynthia Howson TWMN420 March 8, 2012 Bollywood Images | 1 Bollywood films today present a view of Indian life that is filled with images of romance, tradition and love of family above all else. Jam-packed with energetic music, vivid colors, and beautiful portrayals of Indian wedding rituals, these films can be easily lull the viewer into believing that these depictions are accurate representations of Indian life—or at least the attitudes and beliefs of society at large. But the realities of life do not always measure up to the images presented in these films. For many, the call of family loyalty and tradition leads to a second-class status, and becoming literally unwanted. Women and girls especially, pay a high price simply for their existence—and many pay with their lives. Bollywood images just aren’t holding up to the realities of Indian life. My intent is to explore three Bollywood films and the depictions of Indian life that they offer, especially as they relate to attitudes toward women and girls. The ideals held up within each film will be discussed side by side with the images that each presents, then compared and contrasted with the current realities of life for these women and their daughters—looking especially at those involving the abilities of women to choose their husbands, the high cost of weddings and/or dowries, and the all-too-frequent violence inflicted on women and girls in India in the way of dowry-related cruelty, torture and sometimes death.
    [Show full text]
  • SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
    B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments.
    [Show full text]
  • Know Your True Self
    Trade Marks Journal No: 1804 , 03/07/2017 Class 41 KNOW YOUR TRUE SELF 1935501 13/03/2010 MAHESH SHARMA 796/29, FARIDABAD, HARYANA SERVICE PROVIDER Address for service in India/Attorney address: SMART BRAIN 88, GROUND FLOOR, DEFENCE ENCLAVE, OPP. CORPORATION BANK, VIKAS MARG, DELHI-92 Used Since :12/08/2009 DELHI Education; providing of training; entertainment; sporting and cultural activities. REGISTRATION OF THIS TRADE MARK SHALL GIVE NO RIGHT TO THE EXCLUSIVE USE OF THE.words separately. 7242 Trade Marks Journal No: 1804 , 03/07/2017 Class 41 INDIA DANS THEATER 1937320 17/03/2010 MR. FIROZ HAIDER 184 SATYA NIWAS LANE 23 ARJUN NAGAR SAFDARJUNG ENCLAVE SERVICE PROVIDER Address for service in India/Attorney address: RAJNEESH SOOD B-82, IIND FLOOR NARAINA VIHAR NEW DELHI-28 Used Since :17/11/2009 DELHI INSTITUTE FOR TEACHING AND TRAINING OF AU KINDS OF INDIAN AND FOREIGN DANCE FORMS INCLUDING ORGANIZING WORKSHOPS, EVENTS, SHOWS, CONTESTS IN RELATION TO DANCE ACTIVITIES, PROVIDING EDUCATION AND IMPARTING KNOWLEDGE ABOUT VARIOUS DANCE FORMS. REGISTRATION OF THIS TRADE MARK SHALL GIVE NO RIGHT TO THE EXCLUSIVE USE OF THE.INDIA.. 7243 Trade Marks Journal No: 1804 , 03/07/2017 Class 41 1944647 01/04/2010 ANIL KUMAR NAGAR NIKHIL AGARWAL SAURABH BANSAL trading as ;LEARNING CURVE EDUCATIONAL SERVICES 4TH FLOOR, C - 56/21, SECTOR - 62, NOIDA - 201301 . Address for service in India/Agents address: BANSAL & COMPANY 210, JOP PLAZA, { OPP.MC DONALD"S} P-2, SECTOR-18, NOIDA-201 301, NCR DELHI. {INDIA } Used Since :16/03/2010 DELHI EDUCATION AND TRAINING SERVICES. REGISTRATION OF THIS TRADE MARK SHALL GIVE NO RIGHT TO THE EXCLUSIVE USE OF THE.WORDS OF DESCRIPTIVE MATTERS.
    [Show full text]
  • Executive Summary
    EXECUTIVE SUMMARY The study on “In Film Advertising” has been undertaken as part of a project in lieu of the 5th Semester University exam. It provides an insight into the twin worlds of magic realism – advertising and movies – and seeks to establish a cross-functional link between the two. The study covers the gamut of product placements across movies, TV, books, etc., their benefits and risks and focuses on the various product placements in movies over the years. It details the process of In Film Advertising and evaluates its ethical aspect product as a commonly used, and increasingly resorted to, means of advertising. Today advertising plays a very important role in the growth and survival of many businesses in India and all over the world. However growing competition and need for innovation has given rise to a more creative form of advertising- In Film Advertising. In Film Advertising has been a concept popular in the West for a long time now. However its wide presence in the Indian context is has been relatively new. The project also seeks to understand product placement in the Indian perspective as this means of IMC (Integrated Marketing Communication) has gained immense popularity in the past decade and is an important source of financing Hindi movies given the much plagued financial condition of Bollywood and also its growing presence in South Indian commercial cinema. This project also seeks the advantages and disadvantages of In Film Advertising and identifies the impact of the same on the viewer. 1 INTRODUCTION It’s probably the biggest invasion of our times.
    [Show full text]
  • SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2
    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.
    [Show full text]
  • UNIVERSIDAD DE MURCIA Departamento De Filología Inglesa
    UNIVERSIDAD DE MURCIA Departamento de Filología Inglesa Shakespeare, Bollywood and Beyond Shakespeare Transnacional: Su presencia en Bollywood y en la Diáspora Dª. Rosa María García Periago OMNP= To Manolo ACKNOWLEDGEMENTS My primary thanks are for my supervisor Dra. Dña. Clara Calvo López for her support, encouragement, constructive comments and useful feedback for this dissertation. I also have to thank her for always believing in me and in my potential, since she first met me when I was a 2 nd year undergraduate student. She has always been very open-minded to all my ideas and suggestions, and it has been very rewarding to work under her supervision. I also have to thank my tutors during my research stays at Queen’s University Belfast, SOAS (School of Oriental and African Studies) and at King’s College (London), since this project would not have been the same without them. Prof. Mark Thornton Burnett (Queen’s University Belfast) provided me with the necessary background and style to write the dissertation. His careful reading along the way, constructive comments and illuminating conversations were crucial in the early stages of this dissertation. Prof. Rachel Dwyer (SOAS) taught me a considerable part of what I know of Bollywood cinema. I thank her for her enthusiasm, brilliance, interesting comments, but, above all, for letting me attend her Bollywood cinema classes and for encouraging me to learn Hindi language. Last, but not least, I owe thanks to Dr. Sonia Massai for her availability, her kindness and her help. This dissertation would not have been possible without the generous support on FPU scholarship granted by the Ministerio de Educación y Ciencia.
    [Show full text]
  • Banita Sandhu
    B-4 | Friday, February 22, 2019 BOLLYWOOD www.WeeklyVoice.com Thick Skin A Must To Survive In Films: Manoj Bajpayee MUMBAI: National Award days, the “Aligarh” actor said: terror attack in Jammu and Kash- winning actor Manoj Bajpayee “One of my friends invited me for mir’s Pulwama district, saying it says one needs to develop a thick his ilm’s premiere where media is “very sad”. skin to survive in the ilm indus- was also present to click photo- “We can’t imagine what their try. graphs of celebrities. They saw families must be going through,” “We need to have thick skin me and one photographer said he added. to survive in the ilm industry. ‘heI is not important, don’t take ActFest is being organised by have spent quite some time here, his photograph’.” CINTAA (Cine and TV Artistes’ and have realised that you get He continued: “And I just Association). The two-day fes- friends usually with success and thought ‘when my ilm will be tival features popular artistes they go away during your tough successful, people will come participating in discussions, con- days,” Manoj said. again to click my photograph’. I ducting workshops or giving lec- The actor on Friday opened up don’t let vanity affect me.” tures on various aspects of the about the mantra to survive in Manoj believes he was the art. The event is conceived and the industry during an interactive “happiest when I had no acting designed by The 48 Hour Film session with Sushant Singh, ac- offers”. Project, India.
    [Show full text]
  • An Actor Communicates Ideas and Portrays Characters in Theatre, Film, Television, Stage, Radio, Video, and Other Performing Medi
    An Actor communicates ideas and portrays characters in theatre, film, television, stage, radio, video, and other performing media for entertainment, information or education purposes. The actor has to spend time in research of their character's traits, and interpret the writer's script to entertain or educate the audience. Acting as a career involves more than just performing in movies. Working actors perform in live theater productions, at theme parks, in commercials, and on television shows. As actors start their careers, many work multiple jobs, such as working as extras in films or TV, to support themselves financially. While many actors live in large metropolitan areas, such as Los Angeles or New York, production companies all over the U.S. hire actors on a regular basis. Travel is often necessary, and competition for acting positions is extremely high. Acting can be a tiring career, both physically and emotionally; actors often spend hours at a time at repetitive auditions and rehearsals. Rejection is constant for new actors starting their careers. Degree Not required; bachelor's degree helpful in learning the craft Level Degree There are no formal education requirements to become an actor but a Field bachelor's degree in theater arts, drama, acting/ and performing Having more, may be helpful in learning technical skills. Experience is of Experience great importance in this career, as experience will leads to bigger, and higher paying roles Creativity; speaking, literacy, and reading skills; memorization; physical Key Skills stamina; persistence, discipline, and dedication; ability to communicate with a wide variety of people Salary $18.80 (median hourly wage for actors) (2015) Sources: U.S.
    [Show full text]