UTV Joins Hands with Ace Director Sundar C and Producer Khushbu Sundar to Produce Masala Café

Total Page:16

File Type:pdf, Size:1020Kb

UTV Joins Hands with Ace Director Sundar C and Producer Khushbu Sundar to Produce Masala Café UTV joins hands with ace director Sundar C and Producer Khushbu Sundar to produce Masala Café Chennai, October 17th 2011: Continuing its alliance with some of the most prominent names in the South Film Industry, UTV Motion Pictures has now partnered with the popular director Sundar C for his film Masala Café in association with his wife - Khushbu Sundar’s production house Avni CineMax. With a slate of successful films like Ullathai Alli Tha, Mettukudi, Superstar Rajinikanth’s Arunachalam, Kamal Haasan’s Anbe Sivam, Winner, Giri, London, Rendu to his credit, Sundar C is back to writing and directing with his latest venture Masala Café. The film slated to be a comic entertainer stars the current young heroes Vimal, “Mirchi” Shiva, Anjali, Santhanam among others. Sundar C along with directing is also penning the story and screenplay while dialogues are being written by Badri and camera by U.K. Senthil Kumar. The music composer is Ebinizer, from the film Kanden fame.Targeted at the youth, Masala Café will be a summer 2012 release. The film will commence shooting in Kumbakonam and Chennai from November 2011. UTV Motion Pictures, post releasing the highly appreciated Deiva Thirumagal and Muran will also release Vettai, Vazhakku Enn 18/9 and Kumki produced in association with Lingusamy’s Thiruppathi Brothers and is currently in the process of commencing the shooting of Mysskin’s Mugamoodi, starring Jiiva, Narain, Pooja Hegde and others. About UTV Motion Pictures: The Motion Pictures division of UTV, established in 2004, is an integrated studio model in the Indian film industry as well as in the whole of South Asia region. The activities of the studio span across creative development, production, marketing, distribution, licensing, merchandising and syndication of films worldwide. UTV has a library of over 50 films including Hindi, Regional, Animation and International Productions. The last decade in Indian cinema has seen UTV delivering some of the most iconic films including Swades, Rang De Basanti, Jodhaa Akbar, A Wednesday, Dev D, Khosla Ka Ghosla, The Namesake, Life in a Metro, Oye Lucky! Lucky Oye!, Kaminey and more recently Raajneeti, Udaan and Peepli [Live]. Over the years, UTV has worked with some of the most eminent talent in the industry like Aamir Khan, Karan Johar, Mira Nair, M. Night Shyamalan, Ashutosh Gowariker, Prakash Jha, Sanjay Leela Bhansali, Farah Khan, Vishal Bhardwaj, Anurag Kashyap, Madhur Bhandarkar, Anurag Basu and Shyam Benegal, while backing new talent like Neeraj Pandey, Raj Kumar Gupta, Nishikant Kamat, Dibakar Banerjee, Vikramaditya Motwane, Amit Trivedi and many others. UTV opened the year 2011 on a strong note with the breakout hit No One Killed Jessica, critically acclaimed Dhobi Ghat and Delhi Belly, which has emerged an instant cult hit opening doors for a whole new genre of cinema and has an impressive slate of movies lined up for the rest of the year with My Friend Pinto, Barfii, Rowdy Rathore, Ghanchakkar, Joker, Ek Main Aur Ekk Tu and many more. .
Recommended publications
  • Paper Teplate
    Volume-04 ISSN: 2455-3085 (Online) Issue-03 RESEARCH REVIEW International Journal of Multidisciplinary March-2019 www.rrjournals.com[UGC Listed Journal] Effect of Visuality of Indian Cinema on Society and Individual Psychology Anchal Dahiya M.A (English), D.U. ________________________________________________________________________________________________________ Visuality simply means the state or property of being Bollywood is the most important aspect of Indian cinema. visual. The word was coined by a Scottish historian Thomas Other branches include Tamil Cinema, Bhojpuri cinema, Carlyle. These days the term is much used in the field of visual Parallel cinema etc. For years Bollywood has been affecting culture which includes films, sculptures, paintings etc. Cinema the popular culture of India. From the coming out of the bobby is an immensely popular element of visual culture. colour after the film Bobby to Salman Khan‟s hairstyle in the film Tere Naam and Kareena Kapoor‟s size zero figure in the It embraces limitless possibilities for the expression and film Tashan, Bollywood has never failed to sway the audience representation of ideas, especially in a country like India with and act as a trendsetterfor fashion and music sense of the diverse languages, religions and cultures. Indian cinema binds nation. this diversity in one common thread. It is not only a major source of entertainment but if deployed wisely, it has enormous Let‟s have a look at some of the Bollywood films from the potential of bringing about social changes. last decade that helped in bringing about major cultural changes in India. Films like Girlfriend and Dostana brought Woodman Taylor in his essay, „Penetrating Gazes: Sight forward the gay culture to the popular discourse.
    [Show full text]
  • Khorana Peepli Live FINAL
    Peepli Live and No One Killed Jessica 66 Peepli Live and No One Killed Jessica: Remediating the “Bollywoodization” of Indian TV News Sukhmani Khorana Lecturer University of Wollongong Wollongong, Australia [email protected] Introduction: Evolution of “Bollywoodization” in Indian TV news In the third edition of her pioneering book on the Indian media business, Vanita Kohli-Khandekar makes the following observation: There are two media segments that define the contour, body and tastes of the Indian market. Television is one of them, the other being film. Both have a mesmerising hold over Indian audiences―and even over investors and advertisers.1 This article begins with this note because of the increasingly central place occupied by television in the Indian media sphere and the uniquely Indian context of the mutual interdependence of the television and film industries. While television has appropriated Hollywood film genres since its inception,2 in India, popular film culture is increasingly drawing on the pre-eminence of satellite television. A grasp of these facets of the subcontinent’s television story is essential before examining how TV news has taken on discursive and practice-based elements of the nation’s popular film culture, Bollywood. This will be undertaken through a close textual analysis of two recent Bollywood films, Peepli Live (2010) and No One Killed Jessica (2011). Both feature television journalism as an important narrative catalyst, or a remediator for the socio-political issues faced by the protagonist(s). In doing this, the films themselves turn into a remediation device for the Bollywoodization of news on Peepli Live and No One Killed Jessica 67 Indian television.
    [Show full text]
  • Research Paper Impact Factor
    Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • The Female Journalist in Bollywood Middle-Class Career Woman Or Problematic National Heroine?
    CRITICALviews CRITICALviews The Female Journalist in Bollywood MIDDLE-CLASS CAREER WOMAN OR PROBLEMATIC NATIONAL HEROINE? On the screen as in reality, female journalists in India have historically struggled to gain equality with their male peers. But a slew of recent Bollywood films depicting female reporters indicate that change may be afoot, as SUKHMANI KHORANA discusses. Growing up during India’s economic and communications ‘revolution’, my young mind revelled in the promise of a career in journalism that would serve both the aspirational self and the modernising nation. A role model emerged in Barkha Dutt, the LAKSHYA independent yet feminine reporter at the still-credible New Delhi Television (NDTV). I recall her fearless stint in the trenches during difficulty for career-minded women in the occasionally surface as updates on social India’s war with Pakistan in the mountains liberal West, subsequent internships at com- media, there still appears to be a plethora of Kargil (in the militancy-affected territory of mercial stations confirmed Schwartz’s views. of work opportunities in India, especially Kashmir). To my fifteen-year-old eyes, this Add to that the lack of visibility of ‘women vis-a-vis the media of the developed world. was not the beginning of embedded journal- of colour’ on Australian free-to-air televi- Moreover, as Hinglish (a mix of Hindi and ism in India. Rather, it was a milestone for sion news (barring SBS) and my journalism English) and vernacular language channels aspiring and working Indian female journal- dream was ready to shift gears and venture grow in number and importance, it is not just ists with a serious interest in hard news.
    [Show full text]
  • Download the Previous Society Member List
    I as a o 3 F.No.M- 17O13/4/2016-DO(FTII a o 5 ,\v ttrtl tl 0. li GOVERNUENT OF IITDIA *rgrnm 1/. dl MIITISTRY OT' IITFORIUA'TION & BROAIrcASTIITG 'A'Wlng, Shastri Bhawan, New Delhl-l1OOO1 *ffi ?A Dated tho November 10, 2Ol ORDER In pursuance of Rule 3 read with Rule 6 of the Regulations of the Satyajit Ray Film & Television Institute (SRFTI), Kolkata, it has been decided to reconstitute the Society for the block starting from 18.O8.2016 for a period of three years or until further orders, whichever is earlier' 2, In pursuance of Rules 3 end' 22 of the Regulations of the Satyajit Ray Film & Television Institute (SRFT!, Kolkata, the Government of India nominate Shrl Victor Banerjee as the President of the SRFTI Society and Chairman of its Governing Council. 3. In pursuance of Rule 3(1) of the Regulations of SRFTI, the Govemment of India nominates the following ex-oflicio members of the SRFTI Society. They shall remain members of the Societ5r as long as they retain the oflice or status by virtue of which ttrey became members of the Society: (1) Addl. Secretary & FA, Member Min. of I&8. or his/her Nominee not below the rank of Deputy Secretary (21 Joint Secretary (Films), Member Min. of I&B or his/her Nominee not below the rank of Deputy Secretary (3) Chief Executive Officer, Member Prasar Bharati or his/her ""rr;;" not below ttre rank of Deputy Director Generai Contd...../ ,',PP"\s -2- (4) Managing Director, NFDC, Mumbai Member (5) Director, FTII, Pune Member (6) Director, SRFTI, Kolkata Member 4.
    [Show full text]
  • A STAR That Shines, Quite and Bright
    The Dirty Picture was the first movie that he released Pan India, and the movie eventually was a block buster paving the way for a line of super hits A star THat SHINES, to follow, like Lage Raho Munna Bhai, Rang de Basanti, Don, Taare Zameen QUITE AND BRIGHT Par, Jodhaa Akbar , Ghajini, My Name is Khan, No One Killed Jessica, Agneepath, Ashiqui-2, Student of the Year, Ek Villain , Bahubali, Raaes, Raazi and many more. Recently, Anil Anil Thadani, founder of AA films, the disliked them. Thadani’s AA Films had also teamed largest single owner film distribution He started his journey by distributing up with Dhanush’s Wunderbar Films company in India which has released films made under Yash Raj Films and Lyca Productions to release films across a range of languages banner, the first film he distributed Superstar Rajinikanth’s Kaala in North such as Hindi, English, Telugu, was “Yeh Dillagi” and soon after India. Marathi and Tamil. He was born and he distributed “Dilwale Dulhania After his marriage to Bollywood diva brought up in suburbs of Mumbai. He Le Jayenge” which rewrote history RaveenaTandon – ever since he has loves spending quality time with his as one of the biggest blockbuster been a doting father to four lovely kids wife, parents and kids. of Bollywood. Over the years since and of course the most caring and A completely filmy guy, who now 1993 he has won credibility and has loving husband. A disciplined family really enjoys watching every single single handedly made AA films, one man that Anil is – even with his busy movie but there was a time when of the largest and most trusted house professional commitments, he had movies used to disturb him and he of distribution and exhibition.
    [Show full text]
  • Sensitizing Gender Parity in Urban India: a Cinematic Revolution
    International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 91 ISSN 2278-7763 Sensitizing Gender Parity in Urban India: A Cinematic Revolution. Rashmi Condra Abstract: Gender concern has always remained a core issue of social evolution in every period known. India sustainably going through the process of modernizing could not evade ‘change’ and outlook towards sections that was emancipating. As cities developed so went up the standard of living vis-à-vis continuous efforts to maintain it. Cinema in India reflected this transformation but dealt mainly in focusing on inequity than on social balance. This paper analyze the role of working women in urban society and their representation in Indian Cinema. This includes formation of equal space, her sartorial style, patriarchal marginalization, dealing with male chauvinism and call for change as projected in Indian cinema. An attempt will be also be made to understand representation of Urban working Woman and her dynamics in contemporary Cinema and whether the celluloid woman has made considerable progress towards realizing the motto, ‘the freedom to choose, and the right to excel’ like most of her ‘real’ life counterpart. IJOART Copyright © 2014 SciResPub. IJOART International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 92 ISSN 2278-7763 Sensitizing Gender Parity in Urban India: A Cinematic Revolution. Rashmi Condra Assistant Professor RTM Nagpur University. Social milieu in Modern India and Indian Cinema: Gender concern has always remained a core issue of social evolution in every period known. India sustainably going through the process of modernizing could not evade ‘change’ and ‘outlook’ towards sections that was emancipating.
    [Show full text]
  • Unit-2 Silent Era to Talkies, Cinema in Later Decades
    Bachelor of Arts (Honors) in Journalism& Mass Communication (BJMC) BJMC-6 HISTORY OF THE MEDIA Block - 4 VISUAL MEDIA UNIT-1 EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA UNIT-2 SILENT ERA TO TALKIES, CINEMA IN LATER DECADES UNIT-3 COMING OF TELEVISION AND STATE’S DEVELOPMENT AGENDA UNIT-4 ARRIVAL OF TRANSNATIONAL TELEVISION; FORMATION OF PRASAR BHARATI The Course follows the UGC prescribed syllabus for BA(Honors) Journalism under Choice Based Credit System (CBCS). Course Writer Course Editor Dr. Narsingh Majhi Dr. Sudarshan Yadav Assistant Professor Assistant Professor Journalism and Mass Communication Dept. of Mass Communication, Sri Sri University, Cuttack Central University of Jharkhand Material Production Dr. Manas Ranjan Pujari Registrar Odisha State Open University, Sambalpur (CC) OSOU, JUNE 2020. VISUAL MEDIA is made available under a Creative Commons Attribution-ShareAlike 4.0 http://creativecommons.org/licences/by-sa/4.0 Printedby: UNIT-1EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA Unit Structure 1.1. Learning Objective 1.2. Introduction 1.3. Evolution of Photography 1.4. History of Lithography 1.5. Evolution of Cinema 1.6. Check Your Progress 1.1.LEARNING OBJECTIVE After completing this unit, learners should be able to understand: the technological development of photography; the history and development of printing; and the development of the motion picture industry and technology. 1.2.INTRODUCTION Learners as you are aware that we are going to discuss the technological development of photography, lithography and motion picture. In the present times, the human society is very hard to think if the invention of photography hasn‘t been materialized. It is hard to imagine the world without photography.
    [Show full text]
  • State Funeral for Sridevi Work Aimed at Addressing Gender- Asha J Singhh Based Violence at Universities and Continued Form Page 3 Lived in Lokhandwala Complex
    A-4 | Friday, March 2, 2018 FRONT PAGE www.WeeklyVoice.com THE WEEKLY VOICE Gender Is EDITOR Bala Menon Main Theme CONTRIBUTING WRITERS Preeti Thandi Of Budget Harj Chaggar Continued from page 3 Amitabh Saxena into account. The Liberals also included a “gender results frame- Graphic Design Tamarind Tree work,’’. To bolster these efforts, HarSimrat Panfer the Liberals are also committing millions of dollars to improving GENERAL MANAGER the collection of data needed to Dhruv Ghosh do this. That includes $6.7 mil- lion over ive years and $600,000 ACCOUNT MANAGERS a year thereafter, for Statistics Manu Ramachandran Canada to set up a new Centre for G Prasaad Gender, Diversity and Inclusion Rohit Malhotra Statistics. Actors Anil Kapoor, third left and Arjun Kapoor, second left, stand beside as the body of Sridevi SEXUAL ASSAULTS ON ONLINE MARKETING covered with the Indian lag is carried in truck during her funeral. (AP Photo/Rajanish Kakade) CAMPUS: MANAGER The government is Amitabh Saxena committing $5.5 million over ive years to develop a national- frame ACCOUNTS State Funeral For Sridevi work aimed at addressing gender- Asha J Singhh based violence at universities and Continued form page 3 lived in Lokhandwala Complex. demise, the Kapoor household colleges. They are also backing PHOTOGRAPHER ing through some of the poshest Among the prominent person- had witnessed a steady stream up the initiative with a threat: if Manohar Sagoo areas of Andheri and Vile Parle alities who attended the funeral of visitors including Rajinikanth,a post-secondary institution is suburbs, with a massive portrait in Vile Parle were Amitabh Bach- Kamal Haasan, Shah Rukh Khan,not serious enough about deal- of Sridevi visible from a distance.
    [Show full text]
  • Analysing the Subject Plot and Characterisation of Women Oriented Bollywood Films: 2015-2019
    Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Analysing the Subject plot and Characterisation of Women Oriented Bollywood Films: 2015-2019 Dr Komal H Shah Asst Prof Dept. of Communication & Journalism Gujarat University Ahmedabad, Gujarat, India Email: [email protected] Contact: 9375683893 Abstract The success of many Bollywood films has been dependent on the female characters of the individual films, which have seen their role develop from being just the eye candy for the audience to being the central character of the storyline. These genres of 'women-oriented' films made in every era of 100 years of the Indian film industry but their percentage has been less. The last decade from 2010 to 2020 also saw many such feministic oriented Bollywood films made on urban as well as rural issues about women. A few biopics on female sports stars, some on health issues faced by rural and urban women, some on women achievement stories at the national level and the list goes on for the experimental roles written exclusively for women actors in Bollywood. Cinema wields a remarkable command on the public and shapes public view as compared to other mediums. Looking at this 'power-wielding' capability of the film as a medium one would question the accountability of the medium and also periodically assess the medium on various parameters like treatment of Indian women in films; actual or fictionalisation of female characters; addressing the issues of Indian urban as well as rural women and many more. This paper analyses the subject plots and characterisation of a few women-oriented films made in Bollywood between 2015 to 2019.
    [Show full text]
  • Women in Higher Education in India
    Women in Higher Education in India Women in Higher Education in India: Perspectives and Challenges Edited by Hari Ponnamma Rani and Madhavi Kesari Women in Higher Education in India: Perspectives and Challenges Edited by Hari Ponnamma Rani and Madhavi Kesari This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Hari Ponnamma Rani, Madhavi Kesari and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0854-4 ISBN (13): 978-1-5275-0854-5 CONTENTS Chapter One ................................................................................................ 1 Streeling-Punling-Samething H.P. Rani, G. Siranjeevi, B. Sai Krishna Chapter Two ................................................................................................ 8 Transforming the Identity of Women—From Tradition to Modernity— Through Cinema: Towards Gender Equality Madhavi Kesari Chapter Three ............................................................................................ 14 Gender Discrimination in India: A Fly in the Ointment Suneetha Yedla, Sailaja Mukku Chapter Four .............................................................................................
    [Show full text]