Archive of Vol. XVII No. 16, December 1-15, 2007
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2. a Superhit Goddess
Ganesh, lord of auspicious beginnings and father of goddess Santoshi Ma. A Superhit Goddess Jai Santoshi Maa and Caste Hierarchy in Indian Films Part One Philip Lutgendorf “Audiences were showering coins, perennials of its vast output, yet they quarter of national cinematic output) flower petals and rice at the screen constitute one of the least-studied enjoys the largest audience in appreciation of the film. They aspects of this comparatively under- throughout the Indian subcontinent entered the cinema barefoot and set studied cinema. Indeed, I will venture and beyond. Sholay (“Flames”) and up a small temple outside…. In that for scholars and critics, Deewar (“The Wall”), were both Bandra, where mythological films mythologicals have generally been heavily-promoted “multi-starrers” aren’t shown, it ran for fifty weeks. It “hard to see.” Yet DeMille’s words belonging to the then-dominant genre was a miracle”. —Anita Guha, also belie the fact that most sometimes referred to as the masala (actress who played goddess mythologicals—like most commercial (“spicy”) film: a multi-course cinematic Santoshi Ma; cited in Kabir films of any genre—flop at the box banquet incorporating suspenseful office. The comparatively few that drama, romance, comedy, violent 2001:115). have enjoyed remarkable and action sequences, and song and Genre, Film & Phenomenon sustained acclaim hence merit study dance. Both were expensive and Cecil B. DeMille’s famously both as religious expressions and as slickly made by the standards of the cynical adage, “God is box office,” successful examples of popular art and industry, and both featured Amitabh may be applied to Indian popular entertainment. -
Unit 2 Radio, Television and Cinema
UNIT 2 RADIO, TELEVISION AND CINEMA 2.0 Objectives 2.1 Introduction 2.2 Origin and Development of Radio in India 2.2.1 The Indian Broadcasting Company 2.2.2 All India Radio 2.2.3 First Three Plans 2.2.4 Chanda Committee 2.25 Code for Broadcasteis 2.2.6 Verghese Committee 2.2.7 The Present Status 1 2.2.8 Audiena Research I 2.2.9 Radio's Effectiveness 23 Origin and Deveiopment of Television in India Ii I 2.3.1 TV Comes to India 2.3.2 SITE 2.3.3 Commercial Servia I 2.3.4 National Broadcest Trust I 23.5 Development in the Eighties 2.3.6 Joshi Committee ! 2.3.7 Video Boom 2.3.8 Cable TV 2.3.9 Effectiveness of Doordarshan 2.4 Origin and Development of Films in India 2.4.1 The Beginning 2.4.2 Film mesto India 2.4.3 The Silent Era 2.4.4 The Talkie 2.4.5 Government Oiganizations 2.4.6 Need for Good Films 2.5 Let Us Sum Up 2.6 Glossary 2.7 Further Reading 2.8 Check Your Pmgms : Model Answers 2.0' OBJECTIVES After going through this unit, you should be able to : trace the development of radio, TV and film over the yeam ae a media of maw cbmrnunication; describe the reach and effectiveness of mdio, TV and film as media of mass communication; compare the development of radio, TV and film in India. 2.1 INTRODUCTION In unit 1 we traced the origin and development of the Indian press. -
Yakshagana Plays Based on Mahabharata
Yakshagana Plays Based on Mahabharata No Prasanga Name Author 1. Akshayambara Vilasa Thalengala Shambhatta 2. Anusalva Garva Bhanga matthu Niladhwajana Kalaga Ajjana Gaddhe Shankaranarayana 3. Abhaya Pradhana Dr D Sadashiva Bhatta 4. Abhimanyu Kalaga matthu Saindhava Vadhe 5. Abhimanyu Kalaga Parameshwara 6. Abhimanyu Kalaga Venkatesha V Pai 7. Ashwaththama Kiriya Balipa Narayana Bhagavatha 8. Ashwamedha Jwale Hosthota Manjunatha Bhagavatha 9. Ashwamedha Parva Kudreppadi Ishwara 10. Ashwamedha Parva Shivarama Hegade Bale Gaddhe 11. Adhiparva Sam. M. V. Hegade 12. Indrakeelaka Vishnu Ramaputra 13. Indhrakeelaka Devidasa 14. Uttharada Paurusha Puttanna, Mangalore 15. Uddhalaka Sheni Gopalakrishna Bhat [or Vishma Dampatya] 16. Ubhaya kula Billoja Bottakere Purushottama Poonja 17. Ekalavya Pandeshwara Kadappa 18. Ekalavya Hosthota Manjunatha Bhatta 19. Eni Bandhana Panduranga Ananta Shenoy 20. Airavata Parthisubba 21. Kanakangi Kalyana Nityananda Avadhoota 22. Karna Kshama Yachana Babu Kudthadka [Or Drona Senadhipatya] 23. Karna Pattabhisheka Seethanadi Ganapayya Shetty 24. Karna Parva Gerasoppe Shanth(ppa)yya 25. Karna Parva Venkatachala Bhatta,Keremane 26. Karna Ratnavathi M G Baravani 27. Karnarjunara Kalaga Venkata 28. Kitnaraja Parsango Badakabailu Parameshwarayya 29. Keechaka Vadham Naraharikeshava Bhatta, Chipageri 30. Kunti Swayamvara Seetanadhi Ganapayya Shetty 31. Kurukshetra Adura Balakila Vishnayya 32. Krishna Garudi Kota Srinivasa Nayaka 33. Krishnarjunara Kalaga Halemakkirama 34. Krishnarjunara Kalaga Mulki Ramakrishna 35. Krishnarjunara Kalaga Peruvadi Sankayya Bhagavata 36. Krishnarjunara Kalaga Balipa Narayana Bhagavata 37. Khandava Vana Dahana Ajjana Gadde Ganapayya Bhagavata 38. Gandugali Bhimasena Seetandi Ganapayya Shetty 39. Gadhaparva Subbanna Shastri, Chakrakodi 40. Gadhaparva Balipa Narayana Bhagavatha 41. Gandhari Anantaram Bangadi 42. Geetopadesha Malpe Ramadasa Samaga 43. Guru Drona Korgi Suryanarayana Upadhyaya 44. Ghatotkacha Janma M G Baravani 45. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप. -
Contribution of Music Trinity
Contribution of Music Trinity (Proceedings of the National Seminar - 2018) Editor Dr. V Premalatha Central University of Tamil Nadu Thiruvarur 2020 ISBN: 978-93-5407-985-6 Contribution of Music Trinity (Proceedings of the National Seminar -2018) (A Collection of Peer reviewed papers presented at the National Seminar on Karnataka Music, in February 2018, organised by the Department of Music, Central University of Tamil Nadu, Thiruvarur). Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur. Published by Central University of Tamil Nadu, Thiruvarur. Editorial Board (Peer - Reviewers) 1. Dr. V Premalatha 2. Prof Ritha Rajan 3. Prof Mandapaka Sarada 4. Dr. R S Jayalakshmi 5. Dr. Arati N Rao First Edition - 2020 © Central University of Tamil Nadu Thiruvarur Contribution of Music Trinity (Proceedings of the National Seminar -2018) Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur Published by Central University of Tamil Nadu, Thiruvarur 2020 Dr. V Premalatha Dean, School of Performing Arts and Fine Arts Head, Department of Music Central University of Tamil Nadu Thiruvarur - 610005 Editorial Note Thiruvarur is known to be a holy land of Music and is the birth place of the Trinity of South Indian Classical Music. The Department of Music was established at the Central University of Tamil Nadu, Thiruvarur in the year 2016-17, which happened to be the 250th birth anniversary of Sri Tyagaraja, one of the Trinity of Music. A National seminar on the “Contribution of Trinity to Karnataka music” was organised in February 2018. -
{TEXTBOOK} Tamil Cinema: the Cultural Politics of Indias Other Film
TAMIL CINEMA: THE CULTURAL POLITICS OF INDIAS OTHER FILM INDUSTRY PDF, EPUB, EBOOK Selvaraj Velayutham | 220 pages | 30 Apr 2009 | Taylor & Francis Ltd | 9780415492195 | English | London, United Kingdom Verify your identity The beginnings of this connection started quite early. During the silent era, the popular entertainment was commercial drama that has come to be known as company drama. There were nearly touring drama companies operating at this time in the Madras presidency. As long as cinema remained silent, there was no interaction between the drama artists and the film makers. The drama artists were mostly singers and musicians and there was no place for them in the silent screen. But once sound was introduced in cinema, the world of drama companies moved into the cinema studios. Most of the talkie films made during the first decade of the sound era were plays that had proved popular. The normal practice was to engage a drama troupe, make them enact the play and shoot it, head on, in long takes. Remember that we are talking about , when the Civil Disobedience Movement, a major event in India's struggle for freedom, was at its height. The dramatic salt march by Gandhi was part of this movement. Most of the drama companies had already been highly politicized, particularly after the Jallianwalabagh massacre of , in which hundreds of people attending a political meeting were killed by 16 British police, and they supported the cause of freedom struggle through their dramas and songs. Numerous plays were banned. Many well-known actors took part in direct political action and courted arrest. -
Paper Teplate
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) The aspects of ‘Third Cinema’ storytelling in Tamil films and the ‘Digital Kinetoscope’ experience of Digital citizens. *1Subramanian, N & 2 Antony Raja, Jone *1Bharathiar University, Ph.D Research Scholar, Department of Visual Communication, Hindusthan College of Arts and Science, Coimbatore, Tamil Nadu & India. 2 Bharathiar University, Associate Professor, Department of Visual Communication, Hindusthan College of Arts and Science, Coimbatore, Tamil Nadu & India. ABSTRACT Storytelling is an institutional effort. The controlled traditional media were functioning as agent of storytelling through epics and myths which was a connection of group and social behaviors. The collaborative structure (sound, sight and light) of film (film language) made both the experience of ‘kinetoscope’ and ‘cinema’. The cinema became a trade, it transformed and was adopted by many social groups. By questions against the film language, the trade of storytelling and the profit of the industry made different kinds of ‘film movements’. The ‘Third cinema’ movement (1960s-1970s) -normally encompasses ‘Cinema Novo, ‘Imperfect Cinema, and ‘Third Estate’- questioned against Hollywood (first cinema) and European (second cinema) films on the functions of its aesthetics and techniques. “Third Cinema films aspire to be socially realistic portrayal of life and emphasize topics and issues such as poverty, national and personal identity, tyranny, and revolution, colonialism, class and cultural practices”-John LeBlanc (2010). The consequences of ‘Third cinema’ movement, the purpose of storytelling, continentally become the reflection of the reality of life. The Tamil film industry has changed its story telling. This study focuses on the aspects of ‘Third cinema’ storytelling in Tamil film and comparatively focuses on the structure of a song ‘Azhagumalaraada’ from ‘Vaidehi Kathirunthal’ (1984) and the content of ‘Peranbu’ (2019). -
Death Drive Objet Athe Graph of Desire
The Subject D esireH egel (Master/Slave) Death Drive O bjet aT he Graph of Desire (phase II) "the real, the symbolic and the imaginary are the whole of what is, and figuring their connections is a cosmological exercise" (Bowie 195) "The would-be truth-seeker will find that the imaginary, the symbolic and the real are an unholy trinity whose members could as easily be called Fraud, Absence and Impossibility" (Bowie 112) The psychoanalytic theory of Jacques Lacan poses some particular problems for explication because it is primarily a synchronic scheme, while it must inevitably be explored diachronically. That is, while Lacan had increasing recourse to topologies depicting everything from the fundamental series of forces that shape and deform subjectivity to the core movement of desire which constitutes the essence of subjective being, even he had to supplement these often enigmatic diagrams with narrative commentary. This pressure is even more inevitable for the commentator at the second or third degree of remove from the original thought. Thus, in the absence of a sudden capacity to produce a full-blown and immediately comprehensible explication on the spot, I will simply begin my diachronic exploration of the fundamental structures of Lacan’s psychoanalysis with the caveat that unless otherwise explicitly stated, the phenomena I define are to be thought of first as structures and only secondarily (if at all) as processes. RSI and the Borromean Knot: Back to the top. The fundamental structure in Lacanian psychoanalysis is a tripartite confluence of what Lacan called the real, the imaginary, and the symbolic orders.1 I will define each of these in turn shortly, but first it is important to conceive of their interrelationship as "the fundamental classification system around which all [Lacan’s] theorising turns" (Evans 132). -
SYBAMMC Question Bank
ACHEIVERS COLLEGE CLASS- SYBAMMC SUBJECT- Film Communication - II SEMESTER- IV 1. Which of the following the first foreign film was demonstrated in India? Magic Lamp Arrival of the train Sea Birth Life of Christ 2. Who among the following made the first fully indigenous silent feature film in India? Mani Sethna Lumiere Brothers Dada Saheb Phalke Dhirendra Nath Ganguly 3. Who among the following was the first Indian woman producer and director in Indian cinema? Ardeshir Irani WM Khan Alam Ara Fatma Begum 4. Which was the first India's talkie film? Nal Damayanti Raja Harishchandra Alam Ara Kalidasa 5. Which of the following regional cinema referred to as Kollywood? Punjabi Cinema Marathi Cinema Tamil cinema Malayalam Cinema 6. Which of the following was the first made indigenous, coloured film of India Devdas Alama Ara Pather Panchali Kisan Kanya 7. who is the first female superstar in Bollywood? madhubala sadhna Nargiz Sridevi 8. what is full form of F. D. I? formation direct investment Foreign direct india Foreign direct investment foreign director investment 9. golden era of hindi film industry 1967-1976 1980-1990 1934-1956 1940-1960 10. Which industry have more foreign direct investment? Bollywood tollywood mollywood kollywood 11. The world cinema was first introduced in 1890 1899 1875 1879 12. The New Indian Wave Movement is also known as? parallel cinema art cinema black and white cinema animation cinema 13. Which of the following is a function of cinema? Entertainment Catharsis Education dark side of society 14. In 1896, the Lumie're films were shown in ? Mumbai Chennai Kolkata Delhi 15. -
Newsletter from Raju and Prasad Chartered Accountants ` November 2017 Volume 4, Issue 9
Raju and Prasad Chartered Accountants Raju and Prasad Chartered Accountants FOCAL POINT Newsletter from Raju and Prasad Chartered Accountants ` November 2017 Volume 4, Issue 9 ` Contact us: Email : [email protected] Website: www.rajuandprasad.com <Hyderabad » NewDelhi » Mumbai » Bangalore » Jalgaon » Navi Mumbai » Tirupati > Raju and Prasad Chartered Accountants Page 1 Dear Reader, Our editorial comments for this month are on “Recapitalisation of Banks”. This month we have covered ‘’ Cinema Industry” in our Industry Review which is a coincidence of V Shantaram’s 116th Birthday. Please give your views and also send this newsletter to your friends. Regards For Raju & Prasad Chartered Accountants M Siva Ram Prasad Partner <Hyderabad » NewDelhi » Mumbai » Bangalore » Jalgaon » Navi Mumbai » Tirupati > Raju and Prasad Chartered Accountants Page 2 Contents Contents .................................................................................................................................................................................................. 2 Editorial .................................................................................................................................................................................................... 4 Recapitalisation of Banks .................................................................................................................................... 4 Industry Review ............................................................................................................................................................................... -
Textual Traditions in Indian Classical Dances 93 Priyashri V
V 1 ISSN. 0970-3101 tUlje lou n tal of tEljc jHustc jHafrras Devoted to the Advancement of the Science and Art of Music Vol. 82 2011 f ^ n f t r v $ t \ TT^rfiT: *lwRd 7T5T frfgrfh ^TC^II 'I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (hut) where my Bhaktas sing, there he I, Narada !" Narada Bhakti Sutra EDITOR Pappu Venugopala Rao i I j I l i THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email [email protected] Website www.musicacademymadras.in \ Copyright © The Music Academy Madras December 2011 oJ Ip Statement about ownership and other particulars about newspaper "JOURNAL OF THE MUSIC ACADEMY MADRAS" to be published in the first issue every year after the last day of February Form IV (See Rule 8) 1. Place of Publication - New No. 168, T.T.K. Road Chennai 600 014 2. Periodicity of its publication - Annual 3. Printer's Name - Mr. N. Subramanian All Correspondence relating to the journal should be addressed Nationality - Indian and all books, etc., intended for it should be sent in duplicate to (a) Whether a citizen of India ? - Yes the Editor, The Journal of the Music Academy Madras, New 168, (b) If a foreigner, the country of origin, - N/A T.T.K. Road, Chennai 600 014. Address - Sudarsan Graphics Offset Press 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. -
Reconnecting to the NRI Through Popular Hindi Cinema
BOLLYWOODIZING DIASPORAS: Reconnecting to the NRI through Popular Hindi Cinema A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors with Distinction. and Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy in Interdisciplinary Studies. By Pulkit Datta Miami University Oxford, Ohio 2008 2 ABSTRACT _____________________________ This project explores the recent shift in focus of popular Hindi (Bollywood) films from domestic characters encountering social issues, to members of the South Asian diaspora (primarily in the West) negotiating their ethnic identities. This project offers insights into the evolution of the Bollywood narrative where identities are being renegotiated and connections with traditional Indian culture are being challenged. Acknowledging the economic liberalization of India as catalyst, this paper examines the representation of the Non-Resident Indians (NRIs) and their connectedness with the diasporic reality in which they live. The representation is discussed in terms of the impact that religion, gender, sexuality, and regional/national politics have on the creation of a hybridized ethnic identity. Moreover, recent NRI-centric films are openly utilizing the diasporic characters as a safer experimental platform to negotiate these complex issues. The 2003 release of Kal Ho Naa Ho acts as the central example of a film that follows all the Bollywood conventions, yet due to its complete focus on the diaspora, can also be seen as non-Bollywood. The film's multiple subplots, tackling a wide range of issues among the diaspora, offer an engaging explanation of India's portrayal of its expatriates as a socially liberal, affluent, culturally liminal, and hybridized ethnic population within their host societies.