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Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
Semi-Supervised Automatic Generation of Wikipedia Articles for Named Entities
The Workshops of the Tenth International AAAI Conference on Web and Social Media Wiki: Technical Report WS-16-17 Semi-Supervised Automatic Generation of Wikipedia Articles for Named Entities Yashaswi Pochampally Kamalakar Karlapalem Navya Yarrabelly IIIT Hyderabad, India IIIT Hyderabad / IIT Gandhinagar, India IIIT Hyderabad , India [email protected] [email protected] [email protected] Abstract would help in maintaining similarity of article structure across articles of a Wikipedia category, but at the cost of We investigate the automatic generation of Wikipedia articles as an alternative to its manual creation. We pro- losing uncommon headings that might be important for the pose a framework for creating a Wikipedia article for topic chosen. For instance, the common headings for film ac- a named entity which not only looks similar to other tors are early life, career, filmography and awards. But the Wikipedia articles in its category but also aggregates Wikipedia article generated by this method for some expired the diverse aspects related to that named entity from the actor, say Uday Kiran, while including the aforementioned Web. In particular, a semi-supervised method is used headings still would not contain information about his death. for determining the headings and identifying the con- An unsupervised approach which clusters text related to the tent for each heading in the Wikipedia article generated. topic into various headings would include all topic-specific Evaluations show that articles created by our system for headings and solve the issue, but at the cost of losing simi- categories like actors are more reliable and informative larity in article structure (common headings) across articles compared to those generated by previous approaches of Wikipedia article automation. -
REFERENCES Bharucha Nilufer E. ,2014. 'Global and Diaspora
REFERENCES Bharucha Nilufer E. ,2014. ‘Global and Diaspora Consciousness in Indian Cinema: Imaging and Re-Imaging India’. In Nilufer E. Bharucha, Indian Diasporic Literature and Cinema, Centre for Advanced Studies in India, Bhuj, pp. 43-55. Chakravarty Sumita S. 1998. National Identity in Indian Popular Cinema: 1947-1987. Texas University Press, Austin. Dwyer Rachel. 2002. Yash Chopra. British Film Institute, London. ___________. 2005. 100 Bollywood Films. British Film Institute, London. Ghelawat Ajay, 2010. Reframing Bollywood, Theories of Popular Hindi Cinema. Sage Publications, Delhi. Kabir Nasreen Munni. 1996. Guru Dutt, a Life in Cinema. Oxford University Press, Delhi. _________________. 1999/2005. Talking Films/Talking Songs with Javed Akhtar, Oxford University Press, Delhi. Kaur Raminder and Ajay J. Sinha (Eds.), 2009. Bollywood: Popular Indian Cinema through a Transnational Lens, Sage Publications, New Delhi. Miles Alice, 2009. ‘Shocked by Slumdog’s Poverty Porn’. The Times, London 14 January 2009 Mishra Vijay, 2002. Bollywood Cinema, Temples of Desire. Psychology Press, Rajyadhaksha Ashish and Willeman Paul (Eds.), 1999 (Revised 2003). The Encyclopedia of Indian Cinema. Routledge, U.K. Schaefer David J. and Kavita Karan (Eds.), 2013. The Global Power of Popular Hindi Cinema. Routledge, U.K. Sinha Nihaarika, 2014. ‘Yeh Jo Des Hain Tera, Swadesh Hain Tera: The Pull of the Homeland in the Music of Bollywood Films on the Indian Diaspora’. In Sridhar Rajeswaran and Klaus Stierstorfer (Eds.), Constructions of Home in Philosophy, Theory, Literature and Cinema, Centre for Advanced Studies in India, Bhuj, pp. 265- 272. Virdi Jyotika, 2004. The Cinematic ImagiNation: Indian Popular Films as Social History. Rutgers University Press, New Jersey. -
Veer–Zaara Regie: Yash Chopra
Veer–Zaara Regie: Yash Chopra Land: Indien 2004. Produktion: Yash Raj Films (Mumbai). Regie: Yash Chopra. Buch: Aditya Chopra. Regie Actionszenen: Allan Amin. Kamera: Anil Mehta. Ton: Anuj Mathur. Musik: Madan Mohan. Neueinspielung: Sanjeev Kohli. Arrangements: R.S. Mani. Liedtexte: Javed Akhtar. Sänger: Lata Mangeshkar, Udit Narayan, Sonu Nigam, Roop Kumar Rathod, Gurdas Mann, Ahmed Hussain, Mohammed Hussain, Mohammed Vakil, Javed Hussain, Pritha Majumder. Ausstattung: Sharmishta Roy. Choreographie: Saroj Khan, Vaibhavi Merchant. Kostüme: Manish Malhotra. Beratung (Drehbuch & Ausstattung): Nasreen Rehman. Schnitt: Ritesh Soni. Produzenten: Yash Chopra, Aditya Chopra. Co-Produzenten: Pamela Chopra, Uday Chopra, Payal Chopra. Aufnahmeleitung: Sanjay Shivalkar, Padam Bhushan. Darsteller: Shahrukh Khan (Veer Pratap Singh), Rani Mukerji (Saamiya Siddiqui), Preity Zinta (Zaara), Kirron Kher, Divya Dutta, Boman Irani, Anupam Kher, Amitabh Bachchan, Hema Malini, Manoj Bajpai, Zohra Segal (Bebe), S.M. Zaheer (Justice Qureshi), Tom Alter (Dr. Yusuf), Gurdas Mann (als er selbst), Arun Bali (Abdul Mallik Shirazi, Razas Vater), Akhilendra Mishra (Gefängniswärter Majid Khan), Rushad Rana (Saahil), Vinod Negi (Ranjeet), Balwant Bansal (Qazi), Rajesh Jolly (Priester), Anup Kanwal Singh (Sänger), Kanwar Jagdish (Glatzkopf im Bus), Dev K. Kantawalla (Munir), Vicky Ahuja (Vernehmungsbeamtin), Ranjeev Verma (Vernehmungsbeamter), Jas Keerat (Junger Cricket-Spieler), Sanjay Singh Bhadli (Bauer), Kulbir Baderson (Töpferin), Shivaya Singh (Kamli), Huzeifa Gadiwalla -
Bollywood Bourgeois Author(S): Rachel Dwyer Source: India International Centre Quarterly, Vol
Bollywood Bourgeois Author(s): Rachel Dwyer Source: India International Centre Quarterly, Vol. 33, No. 3/4, India 60 (WINTER 2006-SPRING 2007), pp. 222-231 Published by: India International Centre Stable URL: http://www.jstor.org/stable/23006084 . Accessed: 07/11/2013 09:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. India International Centre is collaborating with JSTOR to digitize, preserve and extend access to India International Centre Quarterly. http://www.jstor.org This content downloaded from 146.96.128.36 on Thu, 7 Nov 2013 09:20:14 AM All use subject to JSTOR Terms and Conditions INDIA 60 Bollywood Bourgeois cliche of Indian cinema being the domain of the escapist fantasies of the Indian masses can now be safely put to rest. While this may have been true for The the 1980s, when the study of Indian cinema began to grow, the present cinema audiences, who are willing to pay Rs. 200 and upwards for a cinema ticket, are from various sections of the Indian middle classes and elites. These classes now dominate the public sphere in India and film is one of the major media which they are producing and consuming. -
Dhoom Machale Mp4 Video
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HRITHIK ROSHAN the New Emperor of Bollywood
BOLLYWOOD HRITHIK ROSHAN The New Emperor of Bollywood n all the clamour made about the ban- to the latest ‘Jodhaa Akbar’, he has essayed zling depiction of the mysterious Mr. A in ning of the Hindi period romance roles that are as diverse and wide as the ‘Dhoom-2’ — Roshan has displayed an ‘Jodhaa Akbar’ by the Indian states of gamut of emotions and acting skills that he is amazing repertoire of histrionics and Rajasthan, Madhya Pradesh (MP) and capable of exhibiting. breathed life into his on-screen personas so UttarI Pradesh, the subsequent lifting of the Be it any role — a romantic hero much so that you get to see the reel charac- ban by the MP High Court, the protests Rohit/Raj in ‘Kaho Na Pyar Hai’, where he ters and not Roshan, the actor. staged by a motley group in Maharashtra made his stunning debut and caught the But it was as Akbar in Ashutosh against the movie, and about the box-office imagination of the nation, or a convincing Gowariker’s ‘Jodhaa Akbar’ that the true mag- collections that the movie has raked in world- portrayal of a terrorist in ‘Fiza’, or a mind- nificence of Hrithik emerges. wide (about Rs. 740 million worldwide with- blowing interpretation of a growth retarded Roshan as Emperor Jalaluddin Akbar looks in 10 days of its release), one gets a feeling man-child in ‘Koi Mil Gaya’, or a fantastic absolutely larger than life. The film made by that something is not being given the atten- Indian superman avatar in ‘Krrish’, or a daz- Ashutosh Gowiraker is today hailed as one of tion that it richly deserves. -
In the High Court of Judicature at Bombay Ordinary Original Civil Jurisdiction Notice of Motion (L) No
901-NMSL502-2014.DOC agk IN THE HIGH COURT OF JUDICATURE AT BOMBAY ORDINARY ORIGINAL CIVIL JURISDICTION NOTICE OF MOTION (L) NO. 502 OF 2014 IN SUIT NO. 219 OF 2014 MANSOOB HAIDER, Aged 44 years, of Mumbai, Indian inhabitant, having address at 301-A Block, Benston, Behind i!vi College, Off Carter Road, Bandra $%est&, Mumbai 400 050 ( Plaintiff versus 1. YASHRAJ FILMS PVT LTD A com*any duly incor*orated under the Com*anies Act, 195, having its address at 5, Shah Industrial Estate, Veera Desai oad, Andheri (%est&, Mumbai 400 053 2. ADITYA CHO RA, Of Mumbai, Indian inhabitant having address at 5, Shah Industrial .state, /eera Desai Road, Andheri Bombay$%est&, Mumbai 400 High053 Court !. VIJAY "RISHNA ACHARYA, Of Mumbai, Indian inhabitant having office at 5, -hah Industrial .state, /eera Desai Road, Andheri $%est&, Mumbai 400 053 1 #$ !1 ::: Downloaded on - 14/07/2014 14:20:45 ::: 901-NMSL502-2014.DOC 4. MULTI SCREEN MEDIA VT LTD, $)opularly kno1n as 2-ony 3/4& address at Interface Building No.7, 4th Floor, Off Malad Link oad, Malad (%est&, Mumbai 400 0,4 5. MSM SATELLITE (SINGA ORE) TE LTD, Having address at 5, Tam*ines Central 6, #0<-19, Tele*ark Building, Singa*ore 5<+4=< 666 0efendants APPEARANCES FOR THE PLAINTIFF M%. C&'%() M#*', with Mr. Ashok Purohit, Ms. Shalaka Mali, i/b Ashok Purohit & Co., FOR DEFENDANTS NOS. M%. V. R. D&#+*, Seni#% A*.#/(0-, with 1-3 Mr. Rashmin Khandekar, i/b Keystone Partners, FOR DEFENDANTS NOS. 4 M%. R.M. K(*(1, Seni#% A*.#/(0-, with & 5 Mr. -
Dhoom 1 Full Movie Hd 1080P
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THE BUCHAREST UNIVERSITY of ECONOMIC STUDIES The
THE BUCHAREST UNIVERSITY OF ECONOMIC STUDIES The Faculty of International Business and Economics The Department of Modern Languages and Business Communication of ASE Iuliu Hațieganu University of Medicine and Pharmacy Cluj- Napoca 7th International Conference: Synergies in Communication Bucharest, Romania, 22 - 23 November 2018 BEHIND THE SCREENS: A STUDY OF THE FILMS OF THREE INDIAN WOMEN DIRECTORS Minouti NAIK1 Abstract Indian films, even after 76 years of independence and 105 years of Indian Cinema, are a predominantly male domain. The percentage of women film makers, in the industry, is a mere 9.1%. Despite this, the films directed by women have compelled audiences to take notice, because of the wide spectrum of issues they have touched upon. Three women directors, whose movies have left an indelible mark on the audiences, include Tanuja Chandra, Meghna Gulzar and Gauri Shinde. This paper analyses the work of these three women directors, for the uniqueness of their themes and the characters they have sketched, and attempts to find out, what has led to their films being etched deeply, into the consciousness of their audience. This will be analysed against the backdrop of the realities of the society from which these films emerge, and as a reflection of the gender dynamics existing in Indian society. Keywords: Indian cinema, women, themes, characters, uniqueness 1. Introduction Men have sight, women insight. - Victor Hugo Victor Hugo‟s observation, penned down in his memoirs, might be an apt point to begin with, when one reflects upon films made by Indian women filmmakers. Despite films forming a very important facet of the Indian society and the fact that India completed 105 years of cinema, this year, the number of women making films in India is very small. -
MOVIE NAME SONG NAME Naina's Theme (Instrumental) Oye Hichki
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Corporate Events • Dealers Meeting • Conferences • R&R Program
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