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Imtiaz Ali and Actor Huma Qureshi Join Hands to Essay the New Kesh King Ad Story by : INVC Team Published on : 15 Mar, 2016 05:38 PM IST
Imtiaz Ali and Actor Huma Qureshi join hands to essay the new Kesh King ad story By : INVC Team Published On : 15 Mar, 2016 05:38 PM IST INVC NEWS Chandigarh, Kesh King , the popular Ayurvedic hair care brand of India is set to release the first ever ad film post its big ticket acquisition by the Kolkata based leading Indian FMCG CompanyEmami Limited. For its new television commercial, Kesh King has brought together talented duo of Bollywood under one umbrella, viz Imtiaz Ali, the famed film director of Bollywood hits like Jab We Met, Rockstar, Highway etc , and the gorgeous Huma Qureshi of Gangs of Wasseypur, DedhIshqiya to narrate the new ad film story of Kesh King. The new TVC goes on air on the national television from mid March, 2016. Speaking on this occasion, Ms. Priti A. Sureka, Director, Emami Limited, said, “Till now the brand Kesh King used to run mass communication messages focusing only on the functional benefits of the product. Post-acquisition of the brand, we have conducted extensive consumer research which threw up myriad moments of truth in the life of an Indian woman for her falling, damaged, dull & lifeless hair due to daily stress, improper diet, pollution, weather and many other reasons. We have found out that many women tend to suffer from low confidence, low self-esteem and even depression due to problems like excessive hair fall, premature greying and unhealthy hair quality. Basis this insight, we thought of weaving in these consumer findings in our ad story and establish Kesh King as the one stop solution for all these hair woes of women and give them back healthy lustrous hair along with their lost confidence and happiness. -
Eros International
Result Update June 2, 2016 Rating matrix Rating : Hold Eros International (EROINT) | 206 Target : | 225 Target Period : 12 months Improving clarity on transfer pricing… Potential Upside : 9% • Revenues were expected to be subdued in the quarter as it had no What’s changed? big budget movie release. During the quarter, there were six medium Target Changed from 164 to | 225 and six low budget movies, respectively. Hence, revenues came in at EPS FY17E Changed from | 23.8 to | 25.2 | 269.9 crore, down 39.9% YoY and 19.5% QoQ EPS FY18E Introduced at | 28.2 • EBITDA came in at | 32.1 crore vs. our expectation of | 37.9 crore Rating Unchanged while margins came in at 11.9% (estimated 14.9%). Margins came in Quarterly performance lower than estimated owing to higher-than-expected operating Q4FY16 Q4FY15 YoY (%) Q3FY16 QoQ (%) expenses, which came in at | 208.3 crore vs. estimate of | 199 crore Revenue 269.9 449.1 -39.9 335.4 -19.5 • PAT came in at | 32.7 crore, higher than our estimate of | 21.9 crore. EBITDA 32.1 68.2 (52.9) 66.8 -52.0 The beat was due to tax credit of | 5 crore EBITDA (%) 11.9 15.2 -329 bps 19.9 -803 bps Leading producer/distributor with one of the largest film libraries PAT 32.7 51.7 (36.8) 37.8 -13.4 Eros, a producer/distributor, has a large film library of over 2000 films. Key financials Also, it has launched Trinity Pictures to focus on franchise films. -
F a S Hionab
AY, JUNE 14, 2019 Britain's Prince William, Duke of Cam- bridge and Britain's Catherine, Duch- ess of Cambridge inspect local pro- O N duce during a visit to the market town I A of Keswick, north west England. H B S L A E Britain's Prince William, Duke of Cambridge holding Prince Harry gives a speech at the Lauch of Invic- F Prince Louis, Prince George, Princess Charlotte and tus 2017 Toronto at the Fairmont Royal York Hotel Britain's Catherine, Duchess of Cambridge stand with on May 2, 2016 in Toronto, Canada. other members of the Royal Family on the balcony of Buckingham Palace to watch a fly-past of aircraft by GLOBE the Royal Air Force, in London King Willem-Alexander of the Netherlands and Queen Maxi- Bollywood actress Daisy ma pose for a photo with Irish President Michael Higgins Shah attends the premiere and his wife Sabina at their official residence in Aras an of Hindi film 'Bharat' in Uachtarain on the first day of the Dutch state visit to Ireland Mumbai. Bollywood actress Disha Patani attends the premiere of Hindi film 'Bharat' in Mumbai. Bollywood actress Huma Qureshi poses for Kyra Sedgwick and Erika Christensen attend the photographs as she attends the premiere of the 2019 Women In Film Annual Gala Presented by Max Netflix's Indian original series 'Leila' in Mumbai Mara with additional support from partners Delta on June 7, 2019. (Photo by Sujit Jaiswal / AFP) Air Lines and Lexus at The Beverly Hilton Jaime King, wearing Max Mara, attends the 2019 Women In Film Annual Gala Presented by Max Mara with additional sup- port from partners Delta Air Mishel Prada Lines and Lexus at The Beverly Hilton Nicolas Mirzayantz and Alexandra Mirzay- attends the antz, Princess Alexandra of Greece attend 2019 Women In the 2019 Fragrance Foundation Awards at Film Annual the David H. -
Sex, Songs and the Desi Feminist Noir1
NCJCF 12 (1+2) pp. 97–111 Intellect Limited 2014 New Cinemas: Journal of Contemporary Film Volume 12 Numbers 1 & 2 © 2014 Intellect Ltd Article. English language. doi: 10.1386/ncin.12.1-2.97_1 Krupa shandilya Amherst College The long smouldering night: sex, songs and the desi feminist noir1 absTracT Keywords This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh film noir Ishqiya/Romance 1.5 (Chaubey, 2014) by Abhishek Chaubey, represent a new genre feminism of films, namely the ‘desi feminist noir’, which is characterized by all the elements of Ishqiya film noir, such as the murky distinction between good and evil, the lawlessness of the Dedh Ishqiya streets and the femme fatale. However, in these films the figure of the femme fatale is Bollywood used to forward explicitly feminist trajectories of love, romance and sex. I give a brief queer desire history of romantic coupling in Hindi cinema, and analyse the films’ departure from these articulations of romance. Next, I focus on a song sequence from each of the films to explicate the desi feminist femme fatale’s subversion of the romantic conven- tions of the Hindi film song and her inauguration of a new aesthetic of romance. In conclusion, I consider the implications of this new genre for Bollywood cinema. This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh 1. Many thanks to Crystal Parikh, Naomi Schiller, Ishqiya/Romance 1.5 (Chaubey, 2014) represent a new genre of films, namely Jini Kim Watson and the ‘desi feminist noir’. The ‘desi feminist noir’ is characterized by all the Joseph Keith for their elements of film noir, such as the murky distinction between good and evil, invaluable comments on an early draft of the lawlessness of the streets and the femme fatale. -
EROS INTERNATIONAL PLC (Translation of Registrant’S Name Into English)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 6-K REPORT OF FOREIGN PRIVATE ISSUER PURSUANT TO SECTION 13a-16 OR 15d-16 UNDER THE SECURITIES EXCHANGE ACT OF 1934 For the month of June, 2016 001-36176 (Commission file number) EROS INTERNATIONAL PLC (Translation of registrant’s name into English) 550 County Avenue Secaucus, New Jersey 07094 (Address of principal executive office) ________________________________________ Indicate by check mark whether the registrant files or will file annual reports under cover Form 20-F or Form 40-F. Form 20-F ☑ Form 40-F ☐ Indicate by check mark whether the registrant by furnishing the information contained in this Form is also thereby furnishing the information to the Commission pursuant to Rule 12g3-2(b) under the Securities Exchange Act of 1934. Yes ☐ No ☑ If “Yes” is marked, indicate below the file number assigned to the registrant in connection with Rule 12g3-2(b): Other Events This report on Form 6-K is being furnished to disclose the press release issued by the Registrant on June 28, 2016. The purpose of the press release, furnished as Exhibit 99.1, was to announce the Registrant’s results of operations for the fourth quarter and fiscal year ended March 31, 2016. The information in this Form 6-K and Exhibit 99.1 attached hereto shall not be deemed “filed” for purposes of Section 18 of the Securities Act of 1934. SIGNATURE Pursuant to the requirements of the Securities Exchange Act of 1934, the registrant has duly caused this report to be signed on its behalf by the undersigned, thereunto duly authorized. -
Presskit Award Winning Dj / Remixer / Music Producer
presskit award winning dj / remixer / music producer www.djangel.in biography DJ Angel is an Indian DJ and remixer based out of Mumbai, India. She was a drummer in school who realized her passion for spinning tunes in the year 2007. She has done a number of remixes and songs, including the song "Horn OK Please" by Dedh Ishqiya as a music producer with Vishal Bhardwaj. The fifth track of Dedh Ishqiya is the remixed version of "Dil ka mizaaj ishqiya" by DJ Angel. Angel has cut her way the distance to being one of the highest blenders in Bollywood and something else. Aashiqui 2, Boss, Bullet Raja, Jai Ho, Psycho (ABCD), Shaadi ke Side effects, Dishkiyaoon, Heropanti, Creature, Kick, Tevar, Khamosiyaan and Roy and these were released by some of big music companies including Sony Music India, Eros now, Shemaro, T-series etc. and these were official Bollywood remixes she has done. Her style is unique with an added experience in clubs and private parties making it high on beats and people to dance on toes, DJ ANGEL has dominated the club and music industry scene, and she prides herself on the way that she can read the gathering of people's psyche and keep them celebrating throughout the night. achievements FIRST FEMALE DJ TO GET ARTIST ALOUD MUSIC AWARD FOR BEST DANCE SONG 2018. (Beardo anthem) RANKED AS NO #2 BEST FEMALE DJ BY DJANE MAG IN 2016 AMONST TOP 10 BEST FEMALE DJS IN INDIA RANKED AS NO #2 IN INDIA ON TOP DJANES LIST IN 2017. -
Super Dancer Chapter 4
ENTERTAINMENT TRULY TIMES 8 JAMMU, SATURDAY, MAY 22, 2021 COFFEE BREAK Kundali Bhagya SPOILER ALERT: Will Preeta's master plan to CARTOON catch Akshay's killer put Prithvi and Sherlyn in trouble? In the latest episode of Prithvi that Preeta, Srishti, Kundali Bhagya, we saw and Sameer had reached her Preeta aka Shraddha Arya, house to steal the phone. Srishti aka Anjum Fakih, She had accused him of and Sameer aka Abhishek sending someone on his Kapur reaching Megha's behalf to steal the phone. place dressed up as eunuchs However, Prithvi had to steal Akshay's phone. denied his involvement. Preeta has learned that And now, we will see Preeta Megha is carrying Akshay's stumbling upon another clue child. She also knows that or rather a new piece of the Megha knows the identity puzzle. In the upcoming of her husband's killers as episode of Kundali Bhagya, she (Preeta) heard Megha we will see Akshay's phone threatening someone on a slipping from Sameer's phone. Now, Preeta is hell- hand. He will stop Mahira's bent on finding the real mother from picking the killer, and hence she had phone and would reveal that reached Megha's house. it is Akshay's phone. Prithvi, phone, Preeta and others Preeta will learn that the Preeta seems to have man- Sherlyn, and Mahira would would try to find the real third person is in the house 1246 Henry Raspe is elected anti-king by the Rhenish aged to get her hands on be shocked on learning that killer as Akshay was duping as the person's phone would prelates in France. -
First Choice Niket Shah ([email protected]); +91 22 3982 5426 Investors Are Advised to Refer Through Disclosures Made at the End of the Research Report
Initiating Coverage | 26 August 2013 Sector: Entertainment PVR First Choice Niket Shah ([email protected]); +91 22 3982 5426 Investors are advised to refer through disclosures made at the end of the Research Report. PVR PVR: First Choice Page No. Summary .......................................................................................................... 3-5 India’s largest and fastest growing multiplex chain ................................... 5-11 Profitability higher than peers; to improve further ................................ 12-19 Evolving into a lifestyle entertainment company.................................... 20-22 Expect earnings CAGR of 49% over FY13-15 .............................................. 23-24 Initiating coverage with a Buy rating........................................................ 25-26 Annexure-I: Company background ............................................................ 27-29 Annexure-II: Key industry trends ............................................................... 30-36 Financials and valuation............................................................................. 37-38 26 August 2013 2 Initiating Coverage | 26 August 2013 Sector: Entertainment PVR BSE SENSEX S&P CNX 18,519 5,472 CMP: INR368 TP: INR470 Buy First choice; aggressive expansion extending leadership Initiating coverage with a Buy rating Post the acquisition of Cinemax, PVR has become India’s largest multiplex chain with 89 Bloomberg PVR IN properties, 383 screens and 93k seats. Being the only player that is still expanding Equity Shares (m) 39.6 aggressively, it is further extending its leadership. M.Cap. (INR b)/(USD b) 14.4/0.3 With 55m footfalls annually, 23-25% Bollywood box office share and 30-35% Hollywood 52-Week Range (INR) 375/179 box office share, we expect PVR to attract greater ad spends. Post amalgamation of 1,6,12 Rel. Perf. (%) 13/18/94 Cinemax, PVR will get the benefit of economies of scale, helping to reduce costs in the F&B segment, a 70% gross margin business. -
Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr. -
1 Sample Question Paper on Cinema Prepared by : Naresh Sharma: Director
1 Sample question paper on cinema prepared by : Naresh Sharma: Director. CRAFT Film School.Delhi.www.craftfilmschool.com: [email protected] Disclaimer about this sample paper ( 50+28 Objective questions ) by Naresh Sharma: 1. This is to clarify that I, Naresh Sharma, neither was nor is a part of any advisory body to FTII or SRFTI , the authoritative agencies to set up such question paper for JET-2018 entrance exam or any similar entrance exam. 2. As being a graduate of FTII, Pune, 1993, and having 12 years of Industry experience in my quiver as well the 12 years of personal experience of film academics, as being the founder of CRAFT FILM SCHOOL, this sample question-answers format has been prepared to give the aspiring students an idea of variety of questions which can be asked in the entrance test. 3. The sample question paper is mainly focused on cinema, not in exhaustive list but just a suggestive list. 4. As JET - 2018 doesn't have any specific syllabus, so any question related to General Knowledge/Current Affair can be asked. 5. Since Cinema has been an amalgamation of varied art forms, Entrance Test intends to check as follows; a) Information; and b) Analysis level of students. 6. This sample is targeted towards objective question-answers, which can form part of 20 marks. One need to jot down similar questions connected with Literature/ Panting Music/ Dance / Photography/ Fine arts etc. For any Query, one can write: [email protected] 2 Sample question paper on cinema prepared by : Naresh Sharma: Director. -
Page 01 Jan 13.Indd
MONDAY 13 JANUARY 2014 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Exceptional films compete CAMPUS • Birla Public School for Oscars teachers attend two-day workshop P | 4 P | 8-9 MARKETPLACE • McDonald’s offers chance to watch World Cup match in Brazil The US First Lady celebrates her P | 5 50th birthday FASHION on January 17. • H&M lines up to Here are a few compete in booming facts in the face sportswear market of persistent P | 7 fictions. HEALTH • Fad diets can work, but experts find no magic slimming bullet P | 11 TECHNOLOGY • Smartphones replace keys in smart door locks P | 12 Learn Arabic FIVE MYTHS ABOUT • Learn commonly used Arabic words and their meanings MICHELLE OBAMA P | 13 2 PLUS | MONDAY 13 JANUARY 2014 COVER STORY By Robin Givhan company’s stock 16 percent by wearing its clothes. Yet other first ladies have had more personal ichelle Obama entered the White relationships with designers — and opened the House as a chimera. To some, she White House doors to them in a way Obama has was emblematic of fully realised not. Jacqueline Kennedy designated Oleg Cassini African-American womanhood her official dressmaker, and the style they created and an incomparable fashion icon. inspired generations of women and designers. Lady MTo others, she was the voice of racial grievance, Bird Johnson in 1968 hosted a formal fashion show the nanny state and Seventh Avenue vanity. She that involved models parading through the State has proved herself to be neither vengeful nor the Dining Room as the wives of visiting governors patron saint of activist feminism. -
A Case Study on Hindi Movie Scripts
Quantitative Characterization of Code Switching Patterns in Complex Multi-Party Conversations: A Case Study on Hindi Movie Scripts Adithya Pratapa Monojit Choudhury Microsoft Research, India Microsoft Research, India [email protected] [email protected] Abstract man et al., 2017). Nevertheless, there are no large- scale quantitative studies of code-switched conver- In this paper, we present a framework sations, primarily because currently the only avail- for quantitative characterization of code- able large-scale datasets come from social media. switching patterns in multi-party conver- These are either micro-blogs without any conver- sations, which allows us to compare and sational context or data from Facebook or What- contrast the socio-cultural and functional sApp with very short conversations. On the other aspects of code-switching within a set of hand, functions of CS are most relevant and dis- cultural contexts. Our method applies cernible in relatively long multi-party conversa- some of the proposed metrics for quan- tions embedded in a social context. For instance, tification of code-switching (Gamback and it is well documented (Auer, 2013) that CS is mo- Das, 2016; Guzman et al., 2017) at the tivated by complex social functions, such as iden- level of entire conversations, dyads and tity, social power and style accommodation, which participants. We apply this technique to are difficult to elicit and establish from short social analyze the conversations from 18 recent media texts. Hindi movies. In the process, we are able In this work, we propose a set of techniques for to tease apart the use of code-switching analyzing CS styles and functions in conversations as a device for establishing identity, socio- grounded over social networks.