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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans. -
Choreographing Sharbjit Movie Was Very Difficult for Me Because of Its Hard Hitting Story : Vishnu Deva
Choreographing Sharbjit movie was very difficult for me because of its hard hitting story : Vishnu deva By : INVC Team Published On : 11 May, 2016 11:18 PM IST INVC NEWS Mumbai, Vishnu Deva who is known for his creative and amazing moves in bollywood, makes the stars move to his peppy innovative moves. His creative dance style is praised by many critics. Now Aishwarya Rai Bachchan, Randeep Hooda and Richa Chadda starrer Sarbjit will see more of Vishnudeva's catchy moves. The film is currently in the news for its hard-hitting storyline. The trailer and the posters of the film have left us stunned with Aishwarya’s never seen avatar in this film. Well, finally the much awaited and refreshing Tung Luk song from Sarbjit is finally out which is choreographed by none other than Vishnu deva. This Punjabi number is surely going to make each and everyone dance on their feet and moreover, Aishwarya looks stunning in her Punjabi avatar. With high energy and desi look, Aish is totally killing this desi swag. The Punjabi number has been sung by Sunidhi Chauhan and Sukhwinder Singh, who are very well known for their Punjabi songs. On the other hand, Randeep Hooda and Richa Chaddha also make stunning appreace in the song, as they dance on the Punjabi beats. After some heart-wrenching songs and trailer of the film, this song is surely going to give some positive vibes. Vishnu Deva Said, "Sarabjit was a difficult movie to choreograph because of its hard hitting story. Aishwarya and Randeep impress with their charms and energy. -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
TIARA Research Final-Online
TIARAResearch Insight Based Research Across Celebrities Indian Institute of Human Brands 2020 About IIHBThe Indian Institute of Human Brands (IIHB) has been set up by Dr. Sandeep Goyal, India’s best known expert in the domain of celebrity studies. Dr. Goyal is a PhD from FMS-Delhi and has been researching celebrities as human brands since 2003. IIHB has many well known academicians and researchers on its advisory board ADVISORY Board D. Nandkishore Prof. ML Singla Former Global Executive Board Former Dean Member - Nestlé S.A., Switzerland FMS Delhi Dr. Sandeep Goyal Chief Mentor Dr. Goyal is former President of Rediffusion, ex-Group CEO B. Narayanaswamy Prof. Siddhartha Singh of Zee Telefilms and was Founder Former Managing Director Associate Professor of Marketing Chairman of Dentsu India IPSOS and Former Senior Associate Dean, ISB 0 1 WHY THIS STUDY? Till 20 years ago, use of a celebrity in advertising was pretty rare, and quite much the exception Until Kaun Banega Crorepati (KBC) happened almost 20 years ago, top Bollywood stars would keep their distance from television and advertising In the first decade of this century though use of famous faces both in advertising as well as in content creation increased considerably In the last 10 years, the use of celebrities in communication has increased exponentially Today almost 500 brands, , big and small, national and regional, use celebrities to endorse their offerings 0 2 WHAT THIS STUDY PROVIDES? Despite the exponential proliferation of celebrity usage in advertising and content, WHY there is no organised body of knowledge on these superstars that can help: BEST FIT APPROPRIATE OR BEST FIT SELECTION COMPETITIVE CHOOSE BETTER BETWEEN BEST FITS PERCEPTION CHOOSE BASIS BRAND ATTRIBUTES TRENDY LOOK AT EMERGING CHOICES FOR THE FUTURE 0 3 COVERAGE WHAT 23 CITIES METRO MINI METRO LARGE CITIES Delhi Ahmedabad Nagpur (incl. -
Richa Chadha
F1’s Hottest Ticket: Amber Lounge 2016 The 1947 Partition Archive Opinion: Ri cha Brexit & Canadians Bollywood’s Baddest in the UK BabeChad ha: AUG/SEP 2016 $4.99 CAD | Dhs 18.08 AED Meditation: Clarity, | £3.28 Creativity & Consciousness 2 SHE CANADA HOSPITALITY DEVELOPMENT ENTERTAINMENT The Sunray Group is a dynamic and innovative organization specializing in the fast-growing hospitality industry in such areas as hotel development and management, property development and entertainment. The Group is successfully building an ever-increasing portfolio of award-winning brands, which include partnerships with Marriott Hotels, Best Western, Choice Hotels, McDonald’s and Tim Horton’s. The Sunray Group currently owns and operates 15 hotels across Ontario and Quebec. Most recently the Group has expanded into the entertainment industry, collaborating with some of India’s finest talent to bring to Canadian audiences. www.sunraygroup.ca | [email protected] | 1011 Bloor Street East, Oshawa, ON SHE CANADA 3 Editor/Publisher KAMRAN ZAIDI Executive Editor PRIYA KUMAR Associate Editor AAISHA ZAFAR ISLAM Art Layout Lead CHRISTINA GWIRA Travel Contributor ZEBUNNISA MIRZA Features Contributors LINDSAY COOPER, ROWAN DALKIN, SIDRA SHEIKH Marketing Manager ERUM ZEHRA Marketing Assistant DEIDRA BARTON Subscription Inquiries: Please go to http://shemagazine.ca/subscribe To Contact SHE Canada: Write to SHE Canada, 1999 Avenue Rd., Toronto, ON, M5M 4A5 Or [email protected], Facebook: SHECanada Twitter: @SHECanada For Advertising Inquiries: Please contact Kamran Zaidi, 416 644 7788, 416 878 0SHE [email protected] SHE MAGAZINE CANADA IS A REGISTERED TRADEMARK OF KAMRA ON PRODUCTIONS INC. COPYRIGHT © 2015 KAMRA ON PRODUCTIONS INC. ALL RIGHTS RESERVED. -
Annual Report 2018-19 the Purpose of Life Is Not to Be Happy
Annual Report 2018-19 The purpose of life is not to be happy. It is to be useful, to be honorable, to be compassionate, to have it make some difference that you have lived and lived well. Ralph Waldo Emerson Photographs courtesy by: Jayati Saha, Saheli Das, Nilargha Chatterjee, Om Prakash Yadav and the staff of Iswar Sankalpa Annual Report 2018-19 SARBANI DAS ROY Dear friends, SECRETARY In the magical 12th year of its journey, I am happy to share the struggles and successes of the mind champions and Team Iswar Sankalpa through the difficult terrains of recovery-oriented programs of treatment, care and rehabilitation. The single most important thread running through all the pages of the year was the way in which we have broken the stony walls of social isolation and embraced our fellow citizens – doubly marginalised by homelessness and mental illness. For too long, have we looked away from this bundle of rags and dirt. For too long have we been afraid of her unpredictable behaviour. But it has taken this embrace to touch the pain in her and the human in me. The discovery of the deepest reservoirs of strength and ‘capacity’ of persons whom the world had held with increasing despair and the way in which we have succeeded in bringing delight to the care process have been ‘magical moments’ we have cherished over the year. Hope you will enjoy reading this testament of love and toil of a committed team of changemakers. CONTENT 08 12 16 Naya Daur: Outreach Sarbari and Urban Mental Health Programme Marudyan: Shelter Programme Programmes 20 23 24 -
Psyphil Celebrity Blog Covering All Uncovered Things..!! Vijay Tamil Movies List New Films List Latest Tamil Movie List Filmography
Psyphil Celebrity Blog covering all uncovered things..!! Vijay Tamil Movies list new films list latest Tamil movie list filmography Name: Vijay Date of Birth: June 22, 1974 Height: 5’7″ First movie: Naalaya Theerpu, 1992 Vijay all Tamil Movies list Movie Y Movie Name Movie Director Movies Cast e ar Naalaya 1992 S.A.Chandrasekar Vijay, Sridevi, Keerthana Theerpu Vijay, Vijaykanth, 1993 Sendhoorapandi S.A.Chandrasekar Manorama, Yuvarani Vijay, Swathi, Sivakumar, 1994 Deva S. A. Chandrasekhar Manivannan, Manorama Vijay, Vijayakumar, - Rasigan S.A.Chandrasekhar Sanghavi Rajavin 1995 Janaki Soundar Vijay, Ajith, Indraja Parvaiyile - Vishnu S.A.Chandrasekar Vijay, Sanghavi - Chandralekha Nambirajan Vijay, Vanitha Vijaykumar Coimbatore 1996 C.Ranganathan Vijay, Sanghavi Maaple Poove - Vikraman Vijay, Sangeetha Unakkaga - Vasantha Vaasal M.R Vijay, Swathi Maanbumigu - S.A.Chandrasekar Vijay, Keerthana Maanavan - Selva A. Venkatesan Vijay, Swathi Kaalamellam Vijay, Dimple, R. 1997 R. Sundarrajan Kaathiruppen Sundarrajan Vijay, Raghuvaran, - Love Today Balasekaran Suvalakshmi, Manthra Joseph Vijay, Sivaji - Once More S. A. Chandrasekhar Ganesan,Simran Bagga, Manivannan Vijay, Simran, Surya, Kausalya, - Nerrukku Ner Vasanth Raghuvaran, Vivek, Prakash Raj Kadhalukku Vijay, Shalini, Sivakumar, - Fazil Mariyadhai Manivannan, Dhamu Ninaithen Vijay, Devayani, Rambha, 1998 K.Selva Bharathy Vandhai Manivannan, Charlie - Priyamudan - Vijay, Kausalya - Nilaave Vaa A.Venkatesan Vijay, Suvalakshmi Thulladha Vijay 1999 Manamum Ezhil Simran Thullum Endrendrum - Manoj Bhatnagar Vijay, Rambha Kadhal - Nenjinile S.A.Chandrasekaran Vijay, Ishaa Koppikar Vijay, Rambha, Monicka, - Minsara Kanna K.S. Ravikumar Khushboo Vijay, Dhamu, Charlie, Kannukkul 2000 Fazil Raghuvaran, Shalini, Nilavu Srividhya Vijay, Jyothika, Nizhalgal - Khushi SJ Suryah Ravi, Vivek - Priyamaanavale K.Selvabharathy Vijay, Simran Vijay, Devayani, Surya, 2001 Friends Siddique Abhinyashree, Ramesh Khanna Vijay, Bhumika Chawla, - Badri P.A. -
Theaters 3 & 4 the Grand Lodge on Peak 7
The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall -
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REPUBLIC OF KENYA SELECTION PANEL FOR THE APPOINTMENT OF COMMISSIONERS OF THE INDEPENDENT ELECTORAL AND BOUNDARIES COMMISSION ADVERTISEMENT PUBLICATION OF NAMES AND QUALIFICATIONS OF ALL APPLICANTS FOR THE POSITIONS OF CHAIRPERSON AND MEMBER OF THE INDEPENDENT ELECTORAL AND BOUNDARIES COMMISSION PURSUANT to Articles 88, 166(3) and 250 of the Constitution of Kenya, 2010, sections 5 and 6 of the Independent Electoral and Boundaries Commission Act, 2011 and Paragraph 3 of the First Schedule thereto, and the First Schedule of the Election Laws (Amendment) Act, 2016, the Selection Panel for the Appointment of Commissioners of the Independent Electoral and Boundaries Commission (IEBC) hereby publishes the names of all applicants who have applied for the positions of Chairperson and Member of the IEBC and their qualifications.* *This is a summary of the qualifications of these applicants. The applicants may have other qualifications. 1. APPLICATIONS FOR CHAIRPERSON OF THE IEBC (Ref. SP/IEBC/1/2016) S/NO NAME GENDER I.D/ COUNTY QUALIFICATIONS PP NO. 1. Andrew M 440999706 American PhD, International Law, New Jonathan York Law School Franklin BBA, Bernard M. Baruch College, City University of NY 2. David Mukii M 343680 Murang’a LLM, UON Mereka LLB, UON Page 1 of 119 S/NO NAME GENDER I.D/ COUNTY QUALIFICATIONS PP NO. 3. John Kangu M 0675657 Kakamega PhD Law, University of the Mutakha ( Dr.) Western Cape LLM, UNISA LLB, UON Dip. Legal Practice, KSL 4. John Tentemo M 9743660 Kajiado MA (Economics), UON Ole Moyaki BA, Moi University 5. Joshua M 23647427 Nyeri MBA, Strategic Management, Kamwere UON Wanjiku B.Comm (Accounting), CUEA CPA (K), KASNEB 6. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. 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=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
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.