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Ashoke Kumar
Ashoke Kumar The boss's wife and leading actress of a leading Film Company runs off with her lead man. She is caught and taken back but not the lead man who is unceremoniously dismissed. So now the company needs a new hero. The boss decides his laboratory assistant would be the Film Company's next leading man. A bizzare film plot??? Hardly. This real life story starred the Bombay Talkies Film Company, it's boss Himansu Rai , lead actress Devika Rani and lead man Najam-ul-Hussain and last but not least its laboratory assistant Ashok Kumar. And thus began an extremely successful acting career that lasted six decades! Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man. Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936) . Devika Rani and he did a string of films together - Izzat (1937) , Savitri (1937) , Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939) , Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya , Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular! Ashok Kumar initiated a more natural style of acting compared to the prevaling style that followed theatrical trends. -
Inside a Dark Hall: Space, Place, and Accounts of Some Single-Theatres in Kolkata
South Asian History and Culture ISSN: 1947-2498 (Print) 1947-2501 (Online) Journal homepage: http://www.tandfonline.com/loi/rsac20 Inside a dark hall: space, place, and accounts of some single-theatres in Kolkata Madhuja Mukherjee To cite this article: Madhuja Mukherjee (2017): Inside a dark hall: space, place, and accounts of some single-theatres in Kolkata, South Asian History and Culture, DOI: 10.1080/19472498.2017.1304086 To link to this article: http://dx.doi.org/10.1080/19472498.2017.1304086 Published online: 23 Mar 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsac20 Download by: [Madhuja Mukherjee] Date: 23 March 2017, At: 21:24 SOUTH ASIAN HISTORY AND CULTURE, 2017 http://dx.doi.org/10.1080/19472498.2017.1304086 Inside a dark hall: space, place, and accounts of some single-theatres in Kolkata Madhuja Mukherjee Department of Film Studies, Jadavpur University, Kolkata, India ABSTRACT KEYWORDS This essay is a part of ongoing attempts to shift the focus of research on Single-theatre; Calcutta; Indian cinemas from textual analyses, studies of authorial styles, move- viewership; film industry; ments, also from language specific readings of cinema of the regions, to film history a more complex understanding of film practices and viewership. Through research conducted on certain single-theatres of Calcutta, it shows how some of these theatres, namely Rupabani, Chhabighar, and Regal, operating since the 1930s, bore the signs of historical changes. The emphasis on ‘spatial’ transformation draws attention to alterations within the industry, narratives of migration into the city, changes within public cultures and cinematic forms, and the ‘Bengali’ film industry’s dependence on Hindi films or its big-Other. -
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Bombay Talkies
A Cinematic Imagination: Josef Wirsching and The Bombay Talkies Debashree Mukherjee Encounters, Exile, Belonging The story of how Josef Wirsching came to work in Bombay is fascinating and full of meandering details. In brief, it’s a story of creative confluence and, well, serendipity … the right people with the right ideas getting together at the right time. Thus, the theme of encounters – cultural, personal, intermedial – is key to understanding Josef Wirsching’s career and its significance. Born in Munich in 1903, Wirsching experienced all the cultural ferment of the interwar years. Cinema was still a fledgling art form at the time, and was radically influenced by Munich’s robust theatre and photography scene. For example, the Ostermayr brothers (Franz, Peter, Ottmarr) ran a photography studio, studied acting, and worked at Max Reinhardt’s Kammertheater before they turned wholeheartedly to filmmaking. Josef Wirsching himself was slated to take over his father’s costume and set design studios, but had a career epiphany when he was gifted a still camera on his 16th birthday. Against initial family resistance, Josef enrolled in a prestigious 1 industrial arts school to study photography and subsequently joined Weiss-Blau-Film as an apprentice photographer. By the early 1920s, Peter Ostermayr’s Emelka film company had 51 Projects / Processes become a greatly desired destination for young people wanting to make a name in cinema. Josef Wirsching joined Emelka at this time, as did another young man named Alfred Hitchcock. Back in India, at the turn of the century, Indian artists were actively trying to forge an aesthetic language that could be simultaneously nationalist as well as modern. -
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. -
RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et
Direction de la communication DOSSIER DE PRESSE VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE et www.centrepompidou.fr VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) DDirection sommaire de la communication 75 191 Paris cedex 04 responsable du pôle presse I. COMMUNIQUE DE PRESSE page 2 Carole Rio-Latarjet chargée des relations presse Albane Jouis-Maucherat II. VOUS AVEZ DIT « BOLLYWOOD » ! page 4 téléphone par Nadine Tarbouriech 00 33 (0)1 44 78 13 81 télécopie III PROGRAMMATION ET SYNOPSIS DES FILMS page 6 00 33 (0)1 44 78 13 02 mél IV. CALENDRIER DES PROJECTIONS page 29 albane.jouis-maucherat @cnac-gp.fr V. RENCONTRE ORGANISEE PAR LES FORUMS DE SOCIETE La « résistance » de Bollywood ? page 38 VI. EVENEMENTS AUTOUR DE LA MANIFESTATION page 40 VII. LISTE DES PHOTOS DISPONIBLES POUR LA PRESSE page 48 VIII. REMERCIEMENTS page 52 IX. INFORMATIONS PRATIQUES page 53 VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) Direction Pour la première fois en France, une grande rétrospective consacrée à la cinématographie de la communication indienne populaire est proposée par les Cinémas du Centre Pompidou. 75 191 Paris cedex 04 responsable du pôle presse er Carole Rio-Latarjet Pensée en deux temps, la manifestation rend d’abord hommage, du 4 février au 1 mars 2004, chargée des relations presse aux auteurs des grands classiques en noir et blanc des années 50 considérées comme l’âge Albane Jouis-Maucherat d’or des studios indiens : Guru Dutt, Raj Kapoor, Bimal Roy, Mehboob Khan, V. -
Contemporary Cinema & Indian Nationalism
Contemporary Cinema & Indian Nationalism History 175C: Special Topics in Indian History UCLA: Spring 2018 Tuesdays & Thursdays 2-3:15 PM, in Public Affairs 1222 Vinay Lal Department of History, UCLA Office: Bunche Hall 5240 Office Hours: Tuesdays & Thursdays, 3:30-4:30 PM, and by appointment Tel: 310.825.8276; Department Office (Bunche 6265): 310.825.4601 email: [email protected] Instructor’s website: southasia.ucla.edu Instructor’s webpages on cinema: http://southasia.ucla.edu/culture/cinema/ Course website: https://moodle2.sscnet.ucla.edu/course/view/18S-HIST175C-1 YouTube page: youtube.com/user/dillichalo Blog: https://vinaylal.wordpress.com This upper-division lecture course, offered for the first time, takes up the twin stories of Indian cinema and nationalism in the colonial and postcolonial period, and suggests that the intersection of history and cinema might have some unusual insights to offer about the nature of nationalist narratives. In broader terms, this lecture course also furnishes an introduction to the culture and history of modern Hindi-language cinema, the study of modern Indian history, some of the broader theoretical literature on nationalism and patriotism, and the study of popular culture. The use of films and visual material in the study of history has become increasingly popular over the course of the last three decades; however, this course does not view cinema merely an as instrument for the study of Indian history. Popular cinema, this lecture presumes, is an intrinsically interesting subject of inquiry, even if Indian scholars have come to this realization long after the Indian public had already declared its unmitigated affection for the movies. -
Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
Deepa Mehta's Elemental Trilogy and the Depiction of Indian Culture In
Deepa Mehta’s Elemental Trilogy and the Depiction of Indian Culture in Select Filmic Adaptations A Thesis Submitted to For the award of DOCTOR OF PHILOSOPHY IN ENGLISH Submitted by: Supervised by: Ishfaq Ahmad Tramboo Dr. Nipun Chaudhary Reg. No. 11512772 Assistant Professor Department of English LOVELY FACULTY OF BUSINESS AND ARTS LOVELY PROFESSIONAL UNIVERSITY PHAGWARA-144411 (PUNJAB) 2019 Declaration I hereby declare that the thesis entitles Deepa Mehta’s Elemental Trilogy and The Depiction of Indian Culture in Select Filmic Adaptations submitted for the partial fulfillment of the requirements for the award of degree of Doctor of Philosophy is entirely my original work. All the ideas and references are duly acknowledged. It does not contain any other work for the award of any other degree or diploma at any university or institution. I hereby confirm that I have carefully checked the final version of printed and softcopy of the thesis for the completeness and for the incorporation of all the valuable suggestions of Doctoral Board of the University. I hereby submit the final version of the printed copy of my thesis as per the guidelines and the exact same content in CD as a separate PDF file to be uploaded in Shodhganga. Place: Phagwara Ishfaq Ahmad Tramboo Date: 31 July 2019 (11512772) ii Certificate By Advisor I hereby affirm as under that: 1) The thesis presented by Ishfaq Ahmad Tramboo entitled “Deepa Mehta’s Elemental Trilogy and The Depiction of Indian Culture in Select Filmic Adaptations” is worthy of consideration for the award of the degree of Doctor of Philosophy. -
Madan Mohan Tribute: 'Each Word of the Lyric Gained Significance
Hindi Film Music Madan Mohan tribute: ‘Each word of the lyric gained significance through the way he tuned the song’ Sanjeev Kohli provides a rare look at his father’s early years, his struggles in the Hindi film industry, and his professional relationships. by Nasreen Munni Kabir Published Mar 11, 2019 · 09:18 am Madan Mohan. | www.madanmohan.in Madan Mohan’s song list is astonishing. Though famous for his ghazals, his musical range and depth of feeling can be heard in every musical genre. His orchestral melodies can sweep you away. I am thinking of Lata Mangeshkar’s Lag Ja Gale from Woh Kaun Thi? (1964), written by Raja Mehdi Ali Khan and recently voted the best love song of all times. And when Madan Mohan foregrounds poetry – he knew Urdu poetry perfectly – he would compose a melody holding back his orchestra and using only a few instruments to create a contemplative mood. Think of Mohammed Rafi’s Main Ye Soch Kar Uske Dar Se Utha Tha from Haqeeqat (1964), written by Kaifi Azmi. Like the great composers of the past, Madan Mohan worked with the top lyricists and poets too, encouraging excellent performances from his musicians. The voices of all the leading playback singers, including Mangeshkar and Rafi, express so much in his songs that they have given an extended lifespan to films that otherwise would be totally forgotten today. I had the pleasure of meeting Madan Mohan’s eldest son, Sanjeev Kohli, in London in the early 1990s. He was instrumental in helping me direct and produce a six-part series for Channel 4 TV titled Lata in her own voice. -
Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.793 (IIFS)
Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.793 (IIFS) GURU DUTT: A MULTITALENTED PERSONALITY Sandeep Kaur Project Fellow Dept of Comparative Literature Central University of Punjab, Bathinda The film history of cinema begins in India on the seventh of July 1896, when Times of India advertisement invited Mumbai residents to witness “the marvel of the century, the wonder of the world” at Watson’s hotel that day. The attraction was described as “living photographic pictures in life-sized reproductions” by Lumiere Brothers. It was called the cinematographe. The cinema was received in India like any one of the magic shows that were so popular with the audience of that time and era. After two weeks of the shows the Times of India carried a further announcement: At the desire of a large number of Bombay residents who have flocked recently in spite of bad weather to see the cinematographe, the patentee has obtained a fresh lease of Novelty Theatre for a few more nights. (Times of India) Marius Sestier, a representative of Paris-based Lumiere-Brothers, had perfected his process of ‘living photographic pictures” and had held the first public exhibition only a few months earlier in Paris on 28 of December 1895. The image which flickered in Bombay’s Watson Hotel on that evening became India’s first film show and hotel’s clientele which saw it formed the first audience. The day’s programme started with an item “Entry of cinematographe” introducing the new medium.