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Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham..
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Sunny Singh London Metropolitan University [email protected]
The Road to Rāmar ājya : Analysing Shah Rukh Khan’s Parallel Text in Commercial Hindi Cinema Sunny Singh London Metropolitan University [email protected] This paper attempts to trace the construction of Shah Rukh Khan’s parallel text with explicit references to the Hindu epic Rāmāyana through an analysis of key cinematic texts produced from 1995 to 2007. The analysis follows the development of Shah Rukh Khan’s star text as a growing narrative drawn from, and interacting with, the epic and its protagonist, Rāma , and his idealised reign, Rāmar ājya , which is used in India to refer to an epoch of social stability. In addition, the paper explores how the star’s parallel text intersects the aspirations of a nation poised at the edge of monumental change, and the ways in which it challenges and subverts the popularly accepted notions of the growth of Hindu nationalist politics in the country in the late-1990s, finally leading to the assertion of a new, post-Hindutva, post-globalization identity as an Indian Muslim. Keywords: Shah Rukh Khan; India; stars; Bollywood; Rāmāyana . Este estudio intenta delinear la construcción del texto paralelo del actor Shah Rukh Khan con referencias explícitas al clásico épico hindú Rāmāyana por medio de análisis de textos cinematográficos del actor producidos entre 1995 y 2007. El análisis demuestra el desarrollo del texto paralelo de Khan como una narrativa basada en—y dialogando con—el clásico épico, su protagonista, Rāma , y su reino ideal, el Rāmar ājya . Además, el ensayo explora las maneras en que dicho texto llega a representar las pretensiones de una nación al borde de cambios monumentales, y las formas en las que desafía y subvierte las ideas generalmente aceptadas del desarrollo de nacionalismo hindú en el país durante la década de los noventa.
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Viveck Prabhu Vaswani Selected Profile 2019
VIVECK PRABHU VASWANI SELECTED PROFILE 2019 Campion School,’77 Cathedral School,’80 Sydenham College,’83 (Bachelor of Commerce) PART ONE/ THE ACTOR Theatre (Selected Bibliography) 1. Elephant Man/ Pearl Padamsee 2. Love and God by Woody Allen/ Pearl Padamsee 3. Night of Jan 16 by Ayn Rand/ Pearl Padamsee 4. Antigone/ Vijay Crishna 5. Mary Stuart/ Toni Patel 6. Savaksa by Gieve Patel/ Pearl Padamsee 7. Saint Joan/ Vijay Crishna 8. Bedroom Farce/ Adi Marzban 9. Caught On The Hop/ Hosi Vasunia 10. Loot by Joe Orton/ Hosi Vasunia (with Amjad Khan) 11. You Can’t Take It With You/ Kaufman & Hart/ Hima Devi 12. The Soul Of Chein Nu Leaves Her Body/ Producer 13. A Woman In A Dressing Gown/ Adi Marzban Actor in Films (Selected Filmography) 1. Zulm Hi Zulm/ A Salam 2. Zakham/ Irfan Khan 3. Soldier/ Abbas Mustan 4. Chori Chori Chupke Chupke/ Abbas Mustan 5. 36, Chinatown/ Abbas Mustan 1 6. Khel/ Raakesh Roshan 7. King Uncle/ Raakesh Roshan 8. Loafer/ David Dhawan 9. Hum Kisise Kum Nahin/ David Dhawan 10. Maine Pyar Kyun Kiya/ David Dhawan 11. Inspctor Kirron/ Ashok Panjabi 12. Josh/ Mansoor Khan 13. Aa Ab Laut Chalen/ Rishi Kapoor 14. Aashiq Aawara/ Umesh Mehra 15. Barsaat/ Suneel Darshan 16. Shakalaka Boom Boom/ Suneel Darshan 17. Raju Ban Gaya Gentleman/ Aziz Mirza 18. Patthar Ke Phool/ Anant Balani 19. Gawaahi/ Anant Balani 20. Dulha Mil Gaya/ Mudassar Aziz 21. Mastizaade/ Milap Zaveri 22. Buddha In A Traffic Jam/ Vivek Agnihotri 23. Satta/ Madhur Bhandarkar 24. Luv U Soniyo/ Joe Rajan 25. Hum Hain Rahi Car Ke/ Jyotin Goel 26.
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The Making of the Man's Man: Stardom and the Cultural Politics of Neoliberalism in Hindutva India
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 6-1-2021 THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA Soumik Pal Southern Illinois University Carbondale, [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/dissertations Recommended Citation Pal, Soumik, "THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA" (2021). Dissertations. 1916. https://opensiuc.lib.siu.edu/dissertations/1916 This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA by Soumik Pal B.A., Ramakrishna Mission Residential College, Narendrapur, 2005 M.A., Jadavpur University, 2007 PGDM (Communications), Mudra Institute of Communications, Ahmedabad, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Degree College of Mass Communication and Media Arts in the Graduate School Southern Illinois University Carbondale May 2021 DISSERTATION APPROVAL THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA by Soumik Pal A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of Mass Communication and Media Arts Approved by: Dr. Jyotsna Kapur, Chair Dr. Walter Metz Dr. Deborah Tudor Dr. Novotny Lawrence Dr.
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Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His muniﬁcence is reﬂected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof.
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The Mega Opportunity for Destinations
The Mega Opportunity for Destinations Title Film Tourism – The Mega Opportunity For Destinations Author MRSS India Date March 2018 Copyright No part of this publication may be reproduced in any form by photo, photo- print, microfilm or any other means without written permission of FICCI and MRSS India Disclaimer The information and opinions contained in this document have been compiled or arrived at from sources believed to be reliable, but no representation or warranty expressed is made to their accuracy, completeness or correctness. This document is for information purpose only. The information contained in this document is published for the assistance of the recipient but is not to be relied upon as authoritative or taken in substitution for the exercise of judgment by any recipient. This document is not intended to be a substitute for professional, technical or legal advice. All opinions expressed in this document are subject to change without notice. Neither MRSS India and FICCI, nor other legal entities in the group to which they belong, accept any liability whatsoever for any direct or consequential loss however arising from any use of this document or its contents or otherwise arising inconnection herewith. Many of the conclusions and inferences are specific inferences made by MRSS India in their expert capacity specifically in tourism sector and does not have any correlation with financing related outlook that as a research organization may have. Contact Address FICCI Majestic Research Services and Headquarters Solutions Limited Rahul Chakravarty Chandramouli Guin Consultant,Tourism Head - Government Practice Federation House 1, Tansen Marg MRSS India Ltd. New Delhi - 110001 C-19, II & III Floor, D.D.A.
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The Road to Rāmar ājya : Analysing Shah Rukh Khan’s Parallel Text in Commercial Hindi Cinema Sunny Singh London Metropolitan University [email protected] This paper attempts to trace the construction of Shah Rukh Khan’s parallel text with explicit references to the Hindu epic Rāmāyana through an analysis of key cinematic texts produced from 1995 to 2007. The analysis follows the development of Shah Rukh Khan’s star text as a growing narrative drawn from, and interacting with, the epic and its protagonist, Rāma , and his idealised reign, Rāmar ājya , which is used in India to refer to an epoch of social stability. In addition, the paper explores how the star’s parallel text intersects the aspirations of a nation poised at the edge of monumental change, and the ways in which it challenges and subverts the popularly accepted notions of the growth of Hindu nationalist politics in the country in the late-1990s, finally leading to the assertion of a new, post-Hindutva, post-globalization identity as an Indian Muslim. Keywords: Shah Rukh Khan; India; stars; Bollywood; Rāmāyana . Este estudio intenta delinear la construcción del texto paralelo del actor Shah Rukh Khan con referencias explícitas al clásico épico hindú Rāmāyana por medio de análisis de textos cinematográficos del actor producidos entre 1995 y 2007. El análisis demuestra el desarrollo del texto paralelo de Khan como una narrativa basada en—y dialogando con—el clásico épico, su protagonista, Rāma , y su reino ideal, el Rāmar ājya . Además, el ensayo explora las maneras en que dicho texto llega a representar las pretensiones de una nación al borde de cambios monumentales, y las formas en las que desafía y subvierte las ideas generalmente aceptadas del desarrollo de nacionalismo hindú en el país durante la década de los noventa.
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1St Filmfare Awards 1953
FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963.....................................................................................................
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Who Is Afraid of Shah Rukh Khan? Neoliberal India’S Fears Seen Through a Cinematic Prism
WHO IS AFRAID OF SHAH RUKH KHAN? NEOLIBERAL INDIA’S FEARS SEEN THROUGH A CINEMATIC PRISM Alessandra Consolaro Università degli Studi di Torino, Dipartimento di Studi Umanistici, [email protected] Abstract. 21st century India constructs itself as a neoliberal and consumerist superpower. In his cinematic career Shah Rukh Khan has become an icon of a rampant middle class, transforming himself from an antihero into a model story of Indian success. Focusing on identity politics, in this article his persona is utilized as a prism through which some representations of fears connected to 20th century India can be observed. Keywords: Indian cinema – Contemporary Indian history – Identity – Communalism 1. Bollywood Badshah At the beginning of the 21st century India constructs itself as a neoliberal and consumerist superpower. Working with the assumption that visual culture, specifically film, draws on wider hegemonic discourses circulating within the public space to construct its own narrative, and that hegemonic definitions emerge and take shape within ‘public culture,’ of which film is a part; this article utilizes Shah Rukh Khan [hereafter SRK]’s persona as a prism through which some representations of fears connected to contemporary India can be Governare la paura - 2014, luglio - ISSN 1974-4935 Alessandra Consolaro observed. In his cinematic career SRK has become an icon of a rampant middle class, transforming himself from antihero into a model story of Indian success. I will use some of SRK’s films, from Darr to My Name Is Khan, in order to uncover a trajectory of some of India’s fears over a decade and a half.
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Indische Filme
Indische Filme Titel Jahr Regie Länge 102 Not Out 2018 Umesh Shukla 102 Min. 1942 - A Love Story 1994 Vidhu Vinod Chopra 159 Min. 1983 2014 Abrid Shine 138 Min. 2 States 2014 Abhishek Varman 149 Min. 3 Deewarein 2003 Nagesh Kukunoor 115 Min. 3 Idiots 2009 Rajkumar Hirani 165 Min. 36 Chowringhee Lane 1981 Vanraj Bhatia 122 Min. 7 Khoon Maaf 2011 Vishal Bhardwaj 148 Min. 99 2009 Raj Nidimoru 133 Min. A Wednesday 2008 Neeraj Pandey 104 Min. Aaja Nachle 2007 Anil Mehta 153 Min. Aakrosh 2010 Priyadarshan 146 Min. Aamir 2008 Raj Kumar Gupta 96 Min. Aar-Paar 1954 Guru Dutt 146 Min. Aarakshan 2011 Prakash Jha 158 Min. Aashayein 2010 Nagesh Kukunoor 125 Min. Aashiqui 2 2013 Mohit Suri 132 Min. ABCD 2 2015 Remo D'Souza 154 Min. Abhijan 1962 Satyajit Ray 145 Min. Abhimaan 1973 Hrishikesh Mukherjee 122 Min. Adaminte Makan Abu 2011 Salim Ahmed 105 Min. Ae Dil Hai Mushkil 2016 Karan Johar 157 Min. Afsana Pyar Ka 1991 Shahjahan 143 Min. Agantuk 1991 Satyajit Ray 120 Min. Agneepath 2012 Karan Malhotra 174 Min. Agneepath 1990 Mukul S. Anand 167 Min. Airlift 2016 Raja Menon 130 Min. Aisha 2010 Rajshree Ojha 126 Min. Aiyaary 2016 Neeraj Pandey 157 Min. Aiyyaa 2012 Sachin Kundalkar 146 Min. Ajaana Anjaani 2010 Siddharth Anand 152 Min. Akele Hum Akele Tum 1995 Mansoor Khan 154 Min. Akira 2016 A. R. Murugadoss 138 Min. Aligarh 2016 Hansal Mehta 120 Min. All Is Well 2015 Umesh Shukla 215 Min. Allah Ke Banday 2010 Faruk Kabir 132 Min. Amal 2007 Richie Mehta 101 Min.
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Sindhi's in Film Industry
in Sindhi’sFilm Industry By Deepak Ramchandani This is the inventory of Sindhi People in Film Deepak Ramchandani industry which include www.ramchandanidays. Indian Cinema, television wordpress.com E m a i l - and in foreign films deepakgr2007@rediffmail . c o m 1 0 / 1 / 2 0 1 3 Prephase: A CD was presented to me by my Sister and Brother-in-Law which contained about 800 songs, I had copied in my mobile and from some months these songs had became part of my life, especially I here Master Chandur daily. One of the song “ Wafaia Ja Putla Wafadar Sindhi, Hu Hara Fanna Me Ahin Hoshiyar Sindhi” In this song Master Chander narrated the name of Gope Kamlani, comedian actor in Hindi Film industry for which I was not knowning. One one day I along with my wife Asha attended a program in Sindhology Adipur in which music on voilen was performed by Master Kanayalal Lalwani, he had worked along with many music director and it was also told that his children are also working for music in film industry. These facts were unknown to me and also to many Sindhis. Most often while watching television ,my wife Asha, son Yash and daughter Sonam discussed about who is sindhi artist in film and television industry. These event brought a thought in my mind to list the Sindhis who are working in film industry, hence I started searching on web. I hoped that I could collect more than 100 names but this figure reached more than 350 numbers which are listed and detailed in this collection.
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Will the Cameras Roll for Sikkim? a Correction, in Contrast, Is a Retraction Without All the Nervous Groveling
free with 17 June, 2005, edition of NOW! On Language A NOW! WEEKEND GUIDE turn overleaf for fiction by CHETAN by WILLIAM SAFIRE RAJ SHRESTHA a Retraction song hen is an apology not W enough? What is the difference between a clarification and and a correction or an admission of error? Is a retraction the same as a recantation? To recant is to withdraw or disavow a declared PART 2 two belief, as in renouncing a philosophy or abjuring fealty to a F R I D A Y religion. The most famous years recantation in history was that made by the Italian astronomer Galileo Galilei, when threatened by the Inquisition in 1633 with dire punishment for advocating the theory of Copernicus that the The crew of earth was not the center of the Nepali movie, universe but that it moved around Priyatama, set the sun: ‘’I abjure, curse and up a shot at detest the aforesaid errors and Pangthang, heresies,’’ swore the intimidated above Gangtok scientist, legendarily adding under his breath, “eppur si Bollywood’s muove” - “but it moves.” [That Sharad Kapoor retraction of his recantation is poses for a apocryphal, probably the starry- photograph with eyed wish of subsequent a fan at Thegu. astronomers.] He was shooting To retract, from the Latin for for the Bengali “to draw back,” is directed to a film Black specific statement more than a Cheetah body of work. The most famous retraction this year was made by Newsweek magazine after it apologized for a portion of an article alleging that an internal military investigation had uncovered an instance of desecration of the Koran.
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