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Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48
FOR IMMEDIATE RELEASE Media contacts: March 23, 2016 Chalena Cadenas 310.360.1981 [email protected] Mauli Singh [email protected] Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48 Lab Recognizes and Supports Six Emerging Independent Filmmakers from India Los Angeles, CA — Sundance Institute and Drishyam Films today announced the artists and creative advisors selected for the second Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48. The Lab supports emerging filmmakers in India, as part of the Institute’s sustained commitment to international artists, which in the last 25 years has included programs in Brazil, Mexico, Jordan, Turkey, Japan, Cuba, Israel and Central Europe. Now in its second year, the fourday Lab is a creative and strategic partnership between Drishyam Films and Sundance Institute, and gives independent screenwriters the opportunity to work intensively on their feature film scripts in an environment that encourages innovation and creative risktaking. The Lab is centered around oneonone story sessions with creative advisors. Screenwriting fellows engage in an artistically rigorous process that offers lessons in craft, a fresh perspective on their work and a platform to fully realize their material. Leading the Lab in India is Drishyam founder, Manish Mundra. He said, “A beautiful heritage city in my hometown of Rajasthan, Udaipur forms an ideal writers retreat, and is the perfect environment for a diverse group of emerging writers and renowned mentors to have a refreshing and productive exchange. Our goal is that the six selected Indian projects, after undergoing a comprehensive mentoring process, will quickly move from script to screen and make their mark globally. -
2020-21 Slno CET No APP No CANDIDATE NAME
KARNATAKA EXAMINATIONS AUTHORITY LIST OF CANDIDATES ELIGIBLE FOR AGRICULTURIST QUOTA - 2020-21 SlNo CET_No APP_No CANDIDATE_NAME Eligibile 1 AA056 109031 JATHIN A L D Yes 2 AA064 293661 ANNAPURNA KAVISHETTI Yes 3 AA107 143046 CHETHANA S K Yes 4 AA230 141353 NIKHIL R K Yes 5 AA256 230961 LEENA RANGANATH Yes 6 AA294 280302 VINAY S K Yes 7 AA337 149623 YOGISHWAR V N Yes 8 AB001 249927 SUMANTH S N Yes 9 AB070 167770 PRAJWAL A C Yes 10 AB123 124767 LIKHITH H G Yes 11 AB128 241563 ASHWATH K H Yes 12 AB158 168406 K AKASH KUMAR Yes 13 AB175 156884 MADHU K CHARI Yes 14 AB182 139118 DINESH K Yes 15 AB280 241727 BHOOMIKA N K Yes 16 AB294 102959 MADAN S N Yes 17 AB299 131693 ROHITH N Yes 18 AB353 187131 VIKAS M G Yes 19 AB426 193340 KEERTHI KUMAR S Yes 20 AC004 160361 SAHANA V Yes 21 AC015 196084 ARAVIND A Yes 22 AC027 151104 NAGENDRA T B Yes 23 AC087 117172 VAISHNAVI H GOWDA Yes 24 AC109 286647 AISHWARYA RANI K A Yes 25 AC123 157776 NISARGA L Yes 26 AC171 136799 ROHITH ARADHYA B N Yes 27 AC216 184225 PAVAN B R Yes 28 AC236 260775 BHOOMIKA R Yes 29 AC265 301277 DEEPIKA S Yes 30 AC270 199515 SUMITHRA SHIVANANDA SHIRALASHETTI Yes 31 AC279 104150 NIHAL KUMAR GOWDA S Yes 32 AC316 184046 AJAY SWAMY V C Yes 33 AD018 121230 SAVITA AMRUTARAYA BIRADAR Yes 34 AD026 225644 RAKESH A Yes 35 AD126 173442 SAHANA M Yes 36 AD202 198697 SUMITHRA T H Yes 37 AD224 200242 MALLANNA MALLEDA Yes 38 AD225 273249 YASHWANTH M Yes 39 AD231 292856 SRINIDHI M N Yes 40 AD235 221843 IMPANA A M Yes 41 AD444 271435 POOJA B S Yes 42 AD476 149244 VIJAY U Yes 43 AD496 199811 SUPRITA -
THE ISSUE of NATIONAL INTEGRATION in BOLLYWOOD with SPECIAL REFERENCE to LAGAAN and CHAK DE! INDIA By: Shashi Prajapati
Episteme: an online interdisciplinary, multidisciplinary & multi-cultural journal Bharat College of Arts and Commerce, Badlapur, MMR, India Volume 8, Issue 2 September 2019 THE ISSUE OF NATIONAL INTEGRATION IN BOLLYWOOD WITH SPECIAL REFERENCE TO LAGAAN AND CHAK DE! INDIA By: Shashi Prajapati Abstract: India is a country of diverse identity where each individual identifies himself/herself with regard to his/ her class, caste, religion, gender, language, region etc. Sometimes these identities lead to the conflicting situations especially when one is obsessed with any particular identity. This may sometimes lead to the threat to our national integrity. In such a case, maintaining the togetherness becomes a tough task. The contribution of Bollywood in this regard is not encouraging especially in the last few decades. The obsession of Bollywood with hero worship has done the huge damage to our society. Most of the films in the name of national integration create a narrow vision of Hindu-Muslim harmony. Films based on public participation are rare to find. Keeping these facts into consideration, the present paper picks up two classic Bollywood movies of 21st century - Lagaan and Chak De! India which relate the story of public participation. Keywords: National Integration, Nation building process, Patriarchy, Bollywood. 60 BCAC-ISSN-2278-879 Episteme: an online interdisciplinary, multidisciplinary & multi-cultural journal Bharat College of Arts and Commerce, Badlapur, MMR, India Volume 8, Issue 2 September 2019 Introduction The date, 14th August 1947, doesn't mark the independence of India and Pakistan alone. There were 565 princely states formerly under the British control, became independent too. These princely states had two options; either to form an independent country of its own or to merge with India or Pakistan. -
“Low” Caste Women in India
Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny. -
Magazine1-4Final.Qxd (Page 2)
Comical and illogical...Page 4 SUNDAY, NOVEMBER 27, 2016 INTERNET EDITION : www.dailyexcelsior.com/magazine Why disrespect....Page 3 TALWARA goes organic Dr. Banarsi Lal Jammu and Kashmir is a mountainous state in which Jammu region is predominantly sub-tropical while Kashmir and Ladakh regions are temperate. The total geographical area of Jammu & Kashmir state is 2, 22, 236 sq. km and its population is 1, 25, 48,926 as per 2011 Census. Agriculture is the mainstay of Jammu and Kashmir state. This sector provides employment to about 70 per cent of the state population. Agriculture contributes about 65 per cent of the state revenue which signi- fies the overdependence of the state on agriculture. The average size of land holding of the state is only 0.67 hectare against 1.33 hectares' land holding size on national basis. Organic farming is picking up pace in the state and there is need of awareness and trainings of farmers for organic farming. J&K has huge potential for organic farming as the large area in the state is already under semi- organic cultivation in hilly districts of the state due to the lack of availability of chemical fertilizers in these areas and the farmers of these areas avoid to apply the chemical fertilizers. Basmati rice of R. S. Pura, rajmash of Bhaderwah, pota- to of Gurez and Machil and red rice of Tangdar, Kupwara, ginger and turmer- ic of Pouni, Reasi are major exportable organic products in the state and have the potential to fetch more returns in the market. Organic farming means holis- tic production systems which refer earth friendly methods for cultivation and food processing. -
S.No Name Designation Department 1 MRS.JESSIE RAJASEKAR Sr
S.No Name Designation Department 1 MRS.JESSIE RAJASEKAR Sr. Secretary SECRETARIAL POOL 2 MRS.RUTH RAJKUMARI Secretary III CLERICAL POOL 3 MRS.VIMALA BACKIAROYAN Sr. Gr. I Telephone Operator TELEPHONE EXCHANGE 4 MRS.APPOLONI DOSS Sr. Gr. III Telephone Operator TELEPHONE EXCHANGE 5 MRS.ESTHER AARON Sr. Librarian II COLLEGE OF NURSING 6 MS.CYNTHIA D Sr.Sel Gr.ECG Technician I CARDIOLOGY TECHNICIAN 7 MS.SIGAMANISELVAKUMARI Medical Lab Technician Instructor I TRANSFUSION MEDICINE AND IMMUNO HAEMATOLOGY 8 MS.VIJAYALAKSHMI B Sr.Sel.Gr.Clinical Biochemist CLINICAL BIOCHEMISTRY 9 MRS.SHANTHI R Instructor I Graduate Medical Lab Technician TRANSFUSION MEDICINE AND IMMUNO HAEMATOLOGY 10 MRS.RACHEL EVELYN Medical Lab Technician Instructor I GENERAL PATHOLOGY 11 MR.SURENDAR SINGH G Instructor I Graduate Medical Lab Technician TRANSFUSION MEDICINE AND IMMUNO HAEMATOLOGY 12 MR.KARTHIGEYAN V Sr. Gr. I Electrician ENGINEERING ELECTRICAL 13 MRS.MARGARET ANBUNATHAN Sr. Gr. I Telephone Operator TELEPHONE EXCHANGE 14 MR.GOVINDARAJI S. Staff Gr Asst. Engineer I ENGINEERING ELECTRICAL 15 MS.NIRMALA R Sel Gr.Librarian I RUHSA 16 MRS.KONDAMMA N. House Keeping Attendant Gr. I PM OFFICE RELIEF POOL 17 MR.YESUDOSS T SR. HOUSE KEEPING ATTENDANT NURSING SERVICE 18 MS.THIRUMAGAL E Sr. Sel. Gr.Pharmacist I COMMUNITY HEALTH DEPARTMENT 19 MR.NAGARAJ N. Staff Gr Asst. Engineer I ENGINEERING PLANNING 20 MR.MUNIRATHINAM S Staff Gr I Technician RUHSA 21 MR.RAVI K S Staff Gr II Technician OPHTHALMOLOGY 22 MR.JOHN BASKARAN B. Sel. Gr. Staff Clerk I MICROBIOLOGY 23 MR.JAYAKUMAR K. Sr.Gr.Artisan(Non ITI) II RUHSA 24 MRS.SHIRLEY ANANDANATHAN External Designation CENTRE FOR STEM CELL RESEARCH 25 MR.NARASIMHAN V Staff Gr. -
Portrayal of Women in the Popular Indian Cinema Wizerunek Kobiet W
Portrayal of Women in the Popular Indian Cinema Wizerunek kobiet w popularnym kinie indyjskim Sharaf Rehman THE UNIVERSITY OF TEXAS – RIO GRANDE VALLEY, USA Keywords Indian cinema, women, stereotyping Słowa klucze kino indyjskie, kobiety, stereotypy Abstract Popular Indian cinema is primarily rooted in formulaic narrative structure relying heavily on stereotypes. However, in addition to having been the only true “mass medium” in India, the movies have provided more than escapist fantasy and entertainment fare. Indian popular cinema has actively engaged in social and political criticism, promoted certain political ideologies, and reinforced In- dian cultural and social values. This paper offers a brief introduction to the social role of the Indian cinema in its culture and proceeds to analyze the phenomenon of stereotyping of women in six particular roles. These roles being: the mother, the wife, the daughter, the daughter-in-law, the widow, and “the other woman”. From the 1940s when India was fighting for her independence, to the present decade where she is emerging as a major future economy, Indian cinema has Artykuły i rozprawy shifted in its representation and stereotyping of women. This paper traces these shifts through a textual analysis of seven of the most popular Indian movies of the past seven decades. Abstrakt Popularne kino indyjskie jest przede wszystkim wpisane w schematyczną strukturę narracyjną. Mimo, że jest to tak naprawdę jedyne „medium masowe” w Indiach, tamtejsze kino to coś więcej niż rozrywka i eskapistyczne fantazje. Kino indyjskie angażuje się w krytykę społeczną i polityczną, promuje pewne Portrayal of Women in the Popular Indian Cinema 157 ideologie a także umacnia indyjskie kulturowe i społeczne wartości. -
Gangs of Wasseypur As an Active Archive of Popular Cinema
M A D H U J A M U K H E R J E E Of Recollection, Retelling, and Cinephilia: Reading Gangs of Wasseypur as an Active Archive of Popular Cinema This paper studies Gangs of Wasseypur (Parts 1 and 2, 2012) as a definitive text via which Anurag Kashyap’s style became particularly provocative and pointed. While a range of films (both directed and produced by Kashyap) seemingly bear a certain ‘Kashyap mark’ in the manner in which they tackle subjects of violence and belligerent speech with an unpredictable comic sense, I argue that, more importantly, these films work within a particular visual framework with regard to its mise-en- scène (including the play of light, camera movement, modes of performance), as well as produce recognisable plot structures (involving capricious and realistic events), settings and locations (like the city’s underbelly, police stations, etc.), and so on. Indeed, Kashyap has made a set of films—including Paanch (unreleased), No Smoking (2007) and Ugly (2014)—which deal with similar issues, and explore contemporary cityscapes, especially Mumbai, with fervidness, thereby commenting on urban dystopia.1 Furthermore, these films speak to what has been analysed as the ‘Bombay noir’ mode by Lalitha Gopalan, by means of thoughtful art and set design, engaging (and often hand-held) camera movements and swish-pans, uses of blue or yellow filters, character prototypes, and reflective performances, which generate a world that is engulfed by a deep sense of disquiet and distress. This paper draws attention to such stylistic explorations, especially JOURNAL OF THE MOVING IMAGE 91 to the ways in which it has developed through Kashyap’s recent films. -
375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82, -
Consolidated Report of Hospital Based Cancer Registries 2004
Preliminary Pages Page Nos. Main Title Page ...................................................................... i e Contents ...............................................................................r v Acknowledgements ..............................................................o vi l Foreword .............................................................................a vii Preface ...............................................................................g viii National Cancer Registry Programmen ..................................ix Summary ..............................................................................a xi Individual Registries write-upB Z Mumbai ...............................................................P, xiv-xv Z Bangalore ..........................................................R xvi-xvii Z Chennai ............................................................C xviii-xix Z ThiruvananthapuramN .......................................... xx-xxiv Z Dibrugarh ........................................................ xxv-xxvi e r o l a g n a NATIONAL CANCER R B P, Indian Council of Medical Research R C EGISTRY PROGRAMME N Hospital Based Cancer Registries Consolidated Report of An Assessment of the Burden and Care of Cancer Patients 2004-2006 Bangalore, India October 2009 e r o l a g © National Cancer Registry Programme (Indian Council of Medical Research) n No. 557, ‘Srinivasa Nilaya’, 7th Main, New BEL Road, Dollars Colony, a Bangalore - 560 094, INDIA. Email : [email protected], [email protected] -
J. Pharm. Inn. Res. | June 2015 | Vol - 2 | Issue - 2
ISSN : 2350-1332 J. Pharm. Inn. Res. | June 2015 | Vol - 2 | Issue - 2 'NEXUS' - Alumni Association SJCOPS, Chalakudy 1 J. Pharm. Inn. Res. | June 2015 | Vol - 2 | Issue - 2 ISSN : 2350-1332 2 'NEXUS' - Alumni Association SJCOPS, Chalakudy ISSN : 2350-1332 J. Pharm. Inn. Res. | June 2015 | Vol - 2 | Issue - 2 CONTENTS Page No. • Isolation of a Triterpenoid from Methanolic Extract of Leaves of Bischofia Javanica Blume from Sikkim Himalaya 1 - 5 L.Sutharson, L.K.Nath, J Rajan Vedasiromoni, G.Mariappan • Development and Validation of Spectrophotometric Method for Simultaneous Determination of Montelukast Sodium and Levocetirizine Hydrochloride 6 - 10 N.Tamilselvi, Abdel Salam Hamid idris Mohamed, Basheer C, Nidhin Louis L • Formulation and In-Vitro Evaluation of pH Sensitive Mebeverine Hydrochloride Nanoparticles for Colon Targeting 11 - 19 Bhaktha Pragalathan G, Ayyappan T, Vetrichelvan T • A Retrospective Study to Determine the Prevalence of Left Ventricular Systolic Dysfunction 20 - 23 Jayakumar K.S, Anitha L, Harikrishnan S, Perumal P • An Insight into Chemometrics Concepts in Pharmaceutical Analysis 24 - 33 N. Satheeshkumar, S. Shantikumar, David Paul • A Review on Clinical Trials of Natural Polyphenol Nutraceuticals in the Management of Diabetes 34 - 42 K. Umaa, V. Abinaya, T. Gokul, G. Saipriya, A. Nagarajan • Microchip: New Era in Novel Drug Delivery Systems - A Review 43 - 55 P. Manikandan, R.Nethaji, N.S.Surenderan, G.Babu • In-vitro Techniques for Cytotoxic Evaluation 56 - 69 Rajasree R.S, Greeshma P, Sibi P.I. • A review on analytical tools used for controlling drug expenses 70 - 74 Siraj Sundaran, Sanjay Sreekumar, Babu G. • Green Coconut Water-Alginate Hydrogel: Anti-microbial Studies 75 - 80 Anish John, Dineshkumar B, Krishnakumar K, Amulya K. -
Since July Last Year, Film-Maker Rajat Kapoor Has Been Exhorting His Two-Lakh-Plus Followers on Twitter to Crowdfund His Next Project: RK/R Kay
FILM AgonyThe Kapoor Since July last year, film-maker Rajat Kapoor has been exhorting his two-lakh-plus followers on Twitter to crowdfund his next project: RK/R Kay. The budget of the film is `2.5 crore, and he needs 50,000 people to give `500 each. Which begs the question: why is one of India’s finest independent film-makers perennially short of cash? BY EKTA MOHTA omeone needs to gift Rajat Kapoor a book on how wire the money. And, most recently, for another of his scripts, Kadakh, to win friends and influential people. He’s already a the producer “ran away before the shooting started. But, somehow we gifted screenwriter, film-maker, theatre director and managed to finish the shoot anyway.” actor. But, given recent events, no one can deny he Kapoor is now ready with a script called RK/R Kay, which has a needs help as a salesman. “slightly mad” plot. It’s a film-within-a-film in which the fictional lead Kapoor has written and directed six films: Private character becomes a person in real life. He needs `2.5 crore to make it, SDetective, Raghu Romeo, Mixed Doubles, Mithya, Fatso! and Ankhon but given his history, he isn’t knocking on the doors of film producers Dekhi. His signature is to make entertaining films in an artistic way, for the dough. “They (producers) read the script, and they reject it,” which is why film critics are usually pleasant towards him, such as he says, without any trace of heartburn. “They say, ‘It’s very nice, but Shubhra Gupta, who wrote in The Indian Express, “He is one of the not for us.’” What of the producers who have already worked with few Indian directors who understand whimsy.” But, in a classic case of him? “Sunil Doshi produced Mixed Doubles and Bheja Fry, and then self-sabotage, Kapoor has a knack for attracting creatives and repelling he stopped the business.