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Blacks and Asians in Mississippi Masala, Barriers to Coalition Building
Both Edges of the Margin: Blacks and Asians in Mississippi Masala, Barriers to Coalition Building Taunya Lovell Bankst Asians often take the middle position between White privilege and Black subordination and therefore participate in what Professor Banks calls "simultaneous racism," where one racially subordinatedgroup subordi- nates another. She observes that the experience of Asian Indian immi- grants in Mira Nair's film parallels a much earlier Chinese immigrant experience in Mississippi, indicatinga pattern of how the dominantpower uses law to enforce insularityamong and thereby control different groups in a pluralistic society. However, Banks argues that the mere existence of such legal constraintsdoes not excuse the behavior of White appeasement or group insularityamong both Asians and Blacks. Instead,she makes an appealfor engaging in the difficult task of coalition-buildingon political, economic, socialand personallevels among minority groups. "When races come together, as in the present age, it should not be merely the gathering of a crowd; there must be a bond of relation, or they will collide...." -Rabindranath Tagore1 "When spiders unite, they can tie up a lion." -Ethiopian proverb I. INTRODUCTION In the 1870s, White land owners recruited poor laborers from Sze Yap or the Four Counties districts in China to work on plantations in the Mis- sissippi Delta, marking the formal entry of Asians2 into Mississippi's black © 1998 Asian Law Journal, Inc. I Jacob A. France Professor of Equality Jurisprudence, University of Maryland School of Law. The author thanks Muriel Morisey, Maxwell Chibundu, and Frank Wu for their suggestions and comments on earlier drafts of this Article. 1. -
Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Banal Dreams
Banal Dreams Bombay Dreams is a hodge-podge of clichéd, uninspiring lines meshed together to punctuate one dance number from the next. Shekhar Deshpande Broadway is that great New York institution. Like everything else, and unlike Disney World, it is a mixed bag. There are some shows and some theater. The shows are nothing but a tourist attraction. It is a thing to do along with an expensive meal, a trip around town, preferably with a date of your choice and often a ritual with someone who needs to be courted for one reason or another. Theater on the other hand, such as it is in the age of mass produced media, is a rare and small art form that thrives in some corners. Theater is self-conscious; Broadway shows are not. The latter are a shameless exercise in showmanship. But some people like it. It is hard to figure out the reaction of the audience to Bombay Dreams. They seem to be responsive, mostly people of European origins. They were laughing, clapping and generally quite engaged with the production. So when one writes about Bombay Dreams, this becomes an essential ingredient. Perhaps Bombay Dreams, that celebrated production that arrived here from the U.K. with inspiration and guidance from Andrew Lloyd Webber and Shekhar Kapoor, serves the needs of tourists. It offers a good example of the kind of showmanship they expect, an exotic stop on their tourist route and perhaps a palatable taste of what we have come to call Bollywood. Bombay Dreams begins with an invocation of the magic of Bollywood. -
Bombay Dreams2
Bombay Dreams Judith van Praag Mark your calendars for Bollywood is coming to town! Seattle's 5th Avenue Theatre is the final stop on the National Tour of "Bombay Dreams". Entranced by the allure of Bollywood movies and the music of celebrated Indian composer A.R. Rahman (The Lord of the Rings: The Musical) filmmaker Shekhar Kapur and Andrew Lloyd Webber came up with the idea of a Bolllywood based musical. Bollywood is the epicenter of the thriving South Asian film industry, India's answer to Hollywood. Bollywood films already show the elements of a musical: song and dance. But Bollywood films offer more than that; they are extravaganzas complete with comedy and daredevil thrills. The plots are usually melodramatic and frequently employ familiar story lines such as: star-crossed lovers, angry meddling parents, love triangles and conniving villains. "Bombay Dreams" tells the story of Akaash (Sachin Bhatt – known for The Asian/European tour of West Side Story, Aida at the Gateway Playhouse), a handsome young tour guide from the slums of Bombay who dreams of becoming the next Bollywood star, the object of his desire Priya (Reshma Shetty – known for West Side Story, La Boheme, Don Giovanni) and all the complications that arise when Akaash faces fame, fortune, and the obligations to his family, friends and Paradise slum. The plot includes frequent reference to the city's change of name from Bombay to Mumbai, as well as the accompanying identity issues. This musical journey within "Bombay Dreams" is an exploration of the importance of cultural heritage, the price of success, the bonds of friendship and the power of true love. -
Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
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. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
The Country and the City the Perception of the Nri in Indian Cinema
INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745 (ICI) KY PUBLICATIONS REVIEW ARTICLE ARTICLE Vol. 5. Issue.2., 2018 (April-June) THE COUNTRY AND THE CITY THE PERCEPTION OF THE NRI IN INDIAN CINEMA NAYANA GEORGE MA English (2017-2019) The English and Foreign Languages University, Hyderabad Email: [email protected] ABSTRACT This paper seeks to explore and relate the notions of the country and the city as given in the works of Raymond Williams, particularly The Country and the City and Keywords, to the Bollywood film Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995), among a few others. This film marked a turning point in Bollywood on a variety of fronts, but especially in the way the Non-Resident Indian came to be perceived and understood. The ideas elaborated in the twenty-fourth chapter, “The New Metropolis”, of The Country and the City resonates in the way the distinctions between the country and the city are expanded on a global scale when the underdeveloped countries— which in this particular case, is restricted to India— are seen as the countryside to the city that is the developed countries. Keywords: Raymond Williams, The Country and the City, Keywords, Dilwale Dulhaniya Le Jayenge, Bollywood, Indian Cinema.. Introduction Who is the NRI in Bollywood? The term “Non-resident Indian” or NRI is commonly used to describe people of Indian origin living overseas. In India, the NRI, like the Indian film industry, has made a marked transition in the past two decades from “being configured as an errant native seduced by the wealth and glamour of the West, at the expense of Indian values, to being an icon of the desirable cosmopolitan Indian citizen straddling the globe”. -
Hollywood Films Have Inspiration for Hindi Film Industry
PRLog - Global Press Release Distribution Hollywood Films Have Inspiration For Hindi Film Industry The Hollywood influence is evident in some of the forthcoming biggies like Paa, Action Replay, Agyaat and Pyaar Impossible. June 23, 2009 - PRLog -- Right from cult classics like Baazi (1951) to Sholay (1975) and Baazigar (1993) - and even Ghajini (2008) - all have some western movie as the stimulus. The Hollywood influence is evident in some of the forthcoming biggies like Paa, Action Replay, Agyaat and Pyaar Impossible. Guru Dutt's debut Baazi was inspired by the Rita Hayworth starrer Gilda (1946), while Sholay is widely called an 'Indian curry Western film', with inspiration from seven Hollywood films including - Once Upon A Time In The West (1968), Spaghetti Westerns, The Wild Bunch (1969), Pat Garrett & Billy the Kid (1973) and Butch Cassidy and the Sundance Kid (1969). Baazigar and Ghajini are said to be Indianised versions of A Kiss Before Dying (1991) Memento (2000) respectively. Paa supposedly draws its plot from the 1996 comedy-drama Jack, about a boy who ages faster than normal due to a disease, while Akshay Kumar-starrer Action Replay is an alleged take-off on the reverse-ageing drama The Curious Case of Benjamin Button. Promos of Ram Gopal Varma's horror thriller Agyaat suggest sequences from sci-fi horror Predator (1987). Pyaar Impossible is apparently sketched around reality TV series Beauty and the Geek and 1999s Notting Hill - on a relationship between a film actress and her fan. David Dhawan, Karan Johar and Abbas-Mustan are working on remakes of The Wedding Crashers (2005), Stepmom (1998) and The Italian Job (1969 and 2003). -
Copyright by Peter James Kvetko 2005
Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English ISSN: 0976-8165
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal In English ISSN: 0976-8165 In- Between This and That: The Anxiety and Burden of Culture in Mira Nair’s Mississippi Masala Nidhi Chadha M.A. English Literature with Communication Studies Christ University, Bengaluru. Abstract: Migrant or diasporic communities are often seen wrestling with the question of identity, a sense of home and belonging. The distress such communities have to face is a sense of this or that, a sense of anxiety between assimilation of the host country’s culture and traditions or an urge to stay in touch with their own cultural roots, traditions and practices. Mira Nair’s Mississippi Masala (1991) offers to its viewers the dilemma faced by a diasporic (Gujarati) community in Mississippi, who are lost in- between different identities. The diasporic anguish is reflected through the movie, showing a loss of culture, loss of home and above all a loss of sense of belonging somewhere. The paper will examine the ways in which culture becomes a burden along with an attempt to understand the role of space and place in the formation of one’s identity. Keywords: Diaspora, In-betweeness, culture, Post- colonial Mississippi Masala (1991) a passionate drama film directed by Mira Nair brings to its viewers an interracial romance set in the Deep South. -
'Displacement' and Its Aftermath in Diaspora: a Study on Mira Nair's
[Jaleel *, Vol.5 (Iss.6): June, 2017] ISSN- 2350-0530(O), ISSN- 2394-3629(P) ICV (Index Copernicus Value) 2015: 71.21 IF: 4.321 (CosmosImpactFactor), 2.532 (I2OR) InfoBase Index IBI Factor 3.86 Social ‘DISPLACEMENT’ AND ITS AFTERMATH IN DIASPORA: A STUDY ON MIRA NAIR’S FILMS MISSISSIPPI MASALA AND THE NAMESAKE Abdul Jaleel KV *1 *1 Research Scholar, Centre for Studies and Research in Diaspora, Central University of Gujarat, India DOI: https://doi.org/10.5281/zenodo.821362 Abstract Diaspora, one of the major disciplines in post-colonial studies, extensively deals with migration, displacement and its consequences. The idea of displacement tells that it may occur in two ways voluntary and involuntary. While involuntary (forced) displacement happens due to the natural calamities, political, social, religious turmoil and what not, voluntary displacement, more over psychologically, takes place due to mainly aspiration for better life, globalization and its offshoots. Though the displacement helped to have developments in all fields to the diasporic people as well as the people in homeland, it creates immeasurable problems physically and psychologically such as assaults from host community, identity crises, cross-cultural conflict, alienation, home and host issues, trauma of uprooting and re-rooting, gender problems etc. in diasporic people. The study tries to find out the major issues in the hostland after displacement and how do diasporic people respond to it. Taking examples for voluntary and involuntary displacement from Indian Diasporic director Mira Nair’s movies The namesake (2006) and Mississippi Masala (1991), the study aims to understand the consequences of displacement and psychological issues of the diaspora.