Paper III B: LITERATURE, FILMS & MASS COMUNICATION Unit a Unit

Total Page:16

File Type:pdf, Size:1020Kb

Paper III B: LITERATURE, FILMS & MASS COMUNICATION Unit a Unit Paper III B: LITERATURE, FILMS & MASS COMUNICATION MM 100 MARKS Unit A 1. Basic Concepts, Cinematic Image, Aspects of mis-en-seen, Editing Styles 2. The Historical Relation Between Film and Literature – Mutual Influence, Adaption 3. Theory and Analysis Unit B Kurosava's : Rushaman Guru Dutt's : Sahib Bibi and Gulam Satyajit Ray's : Pather Panchali Dev Anand's : Guide Ismail Merchant's : In Custody A.G. Lerner's : My Fair Lady Dev Benegal's : English August Robert Wise : Sound of Music Ashutosh Gowarikar's : Lagaan Deepa Mehta's : Earth 1947 Unit C 1. History and Theory of Mass Communication 2. Ideologies of Representation 3. Journalism: History Tabloid, Rise of Daily News Paper, Electronic Journalism, Journalistic Skills, Leader Writing, Feature Writing, Reviews, Interviews. Unit D 1. Radio- Types of Programme 2. Television – The Polysemy of T.V. Text: Segmentation, Flow and Programming, Intertextuality, Types of Programme, Their Nature & the Techniques involved T.V. & the State Television, Consumerism & advertising. Practical analysis of Programmes Unit E 1. Advertising and Mass Publicity. History of advertising, Relationship between advertising and the developed capitalism. Advertising in Print Media. Radio advertising. Visual & Social Psychology. Management Practices Books Recommeded: 1. Elain Baldwin et – al ed. Introducing Cultural Studies. London, Prentice Hall Europe 2. Terry Eagleton – Idea of Culture. London , Bassil Blackwell 3. M. Madhav Prasad: Ideology of the Hindi Film / A Historical Construction O.U.P. 4. Bimal Prasad: Swami Vivekanand an Anthology. Vilas Publishing House 5. Diane Carson, Linda Dittmar a Jarice, R. Welsch. Ed. Multiple Voices in Feminist Film Criticism. 6. Leo Brandy, Ed. Film Theory & Criticism. Introductory Readings. Marshall Cohen 7. Marshall Mcluhan – Popular Culture. .
Recommended publications
  • Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
    Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd.
    [Show full text]
  • Oscar-Winning 'Slumdog Millionaire:' a Boost for India's Global Image?
    ISAS Brief No. 98 – Date: 27 February 2009 469A Bukit Timah Road #07-01, Tower Block, Singapore 259770 Tel: 6516 6179 / 6516 4239 Fax: 6776 7505 / 6314 5447 Email: [email protected] Website: www.isas.nus.edu.sg Oscar-winning ‘Slumdog Millionaire’: A Boost for India’s Global Image? Bibek Debroy∗ Culture is difficult to define. This is more so in a large and heterogeneous country like India, where there is no common language and religion. There are sub-cultures within the country. Joseph Nye’s ‘soft power’ expression draws on a country’s cross-border cultural influences and is one enunciated with the American context in mind. Almost tautologically, soft power implies the existence of a relatively large country and the term is, therefore, now also being used for China and India. In the Indian case, most instances of practice of soft power are linked to language and literature (including Indians writing in English), music, dance, cuisine, fashion, entertainment and even sport, and there is no denying that this kind of cross-border influence has been increasing over time, with some trigger provided by the diaspora. The film and television industry’s influence is no less important. In the last few years, India has produced the largest number of feature films in the world, with 1,164 films produced in 2007. The United States came second with 453, Japan third with 407 and China fourth with 402. Ticket sales are higher for Bollywood than for Hollywood, though revenue figures are much higher for the latter. Indian film production is usually equated with Hindi-language Bollywood, often described as the largest film-producing centre in the world.
    [Show full text]
  • 1. How Many West Flowing Rivers Are There in Kerala?
    Maximum : 100 marks Exam held on 29-06-2002 Time: 1 hour and 15 minutes 1. How many west flowing rivers are (B) Copper Sulphate (C) Diabetes (D) Diarrhoea there in Kerala? (C) Sodium Chloride (E) None of these (A) 3 (B) 40 (D) Potassium Chloride 16. Trachoma is a disease of the: (C) 41 (D) 21 (E) Alum (A) Eye (B) Skin. (E) 5 9. The Celsius scale is used to measure: (C) Ear (D) Lungs 2. Biggest back water of Kerala? (A) Length (B) Velocity (E) Liver (A) Sastamkotta Lake (C) Temperature 17. The IMR (Infant Mortality Rate) (B) Ashtamudi Lake (D) Weight (E) None of these of Kerala is approximately: (C) Veli Lake 10. Ammonia is a : (A) 13 per 1000 (D) Paravoor Lake (A) Fertilizer (B) Refrigerant (B) 3 per 7000 (E) Vembanad Lake (C) Insecticide (C) 36 per 7000 3. Which of the following hydroelec- (D) Fire extinguisher (D) 13 per 100 tric projects has the highest in- (E) Larvicide (E) 31 per 1000 stalled capacity ? 11. Rocket fuel is : 18. Who among the following per- (A) Sabarigiri (B) Idukki (A) Liquid Oxygen sons is associated with Narmada (C) Pallivasal (D) Edamalayar (B) Liquid Nitrogen Bachao Andolan? (E) Kuttiyadi (C) Liquid Ammonia (A) Shoba De 4. How many Rajya Sabha seats are (D) Petroleum (E) Diesel (B) Medha Patkar there from Kerala ? 12. Which gas is used in the prepara- (C) Madhuri Dixit (A) 14 (B) 5 tion of soda water? (D) Margerret Alva (C) 20 (D) 9 (A) Carbon monoxide (E) None of these (E) 11 (B) Nitrogen dioxide 19.
    [Show full text]
  • Indian Cinema in the Time of Celluloid : from Bollywood to the Emergency
    Bollywood reality as freak show. Shilpa Gupta, The Bigg Boss Series - Stills from a Reality Show (digital photograph, 2007). 'BOLLYWOOD' 2004 The Globalized Freak Show of What Used to Be Cinema "1^ > othing in the hugely marketed hype of the 'Indian Summer' of London, 2002, was more characteristic of the season than the 'recreation' of movie star Dimple Kapadia's Bombay home on the ground floor of the London department store Selfridges, by designers Abu Jani and Sandeep Khosla. But then these were not normal times. An event that might well have seen Dimple's straight rise to the dimensions of a present-day Lola Montes, with crowds ogling at simulations of her living spaces, was here no more than an announcement of 'Bollywood at Selfridges, May 2002', to be attended by Amitabh Bachchan, Madhuri Dixit and Dimple Kapadia. The event jostled for media coverage with a series, through the year, of other crowd-pulling shows: 'ImagineASIA' (April) at the British Film Institute, launching 'an 8-month-long, nationwide celebration of South Asian cinema. Screenings, exhibi- tions, books and talks galore!'; the 'Bombay Dreams Week' (June) to 'celebrate Sir Andrew Lloyd Webber's production of A.R. 3 May 2002: Star Mansion. Rahman's Bollywood musical with a week of special features'; and {Top) Dimple Kapadia's four- poster bed, [bottom) centre the 'Devdas Week' (July) 'to mark the release of the most anticipated table and zordozi-covered Bollywood movie this summer. Including exclusive interviews cushions. Selfridges launched their Bollywood season with a with the stars'. 'star-studded gala at their flag- At a multicultural music, art and dance series at Trafalgar Square, ship London store'.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • Kyle Stevens and Murray Pomerance
    Close-up: great international performances Kyle Stevens and Murray Pomerance Humans are storytelling creatures, and as, in the last century, the dominant medium for public narratives shift ed from theater to cinema, cinema placed the fruits of performative labor before the eyes of the world in an unprecedented way. What actors do in front of the camera remains central to the att raction of cinema for audiences, and infl uences—even marks the standard for—performance styles in other audiovisual media. Indeed, one could go further: many of the fi gures discussed in the pages that follow became cultural and mythical icons in the global consciousness of their time. Audiences care about actors, the characters they create, and the responses they engender. Performances are even the reason some fi lms are preserved. But beyond vague assertions about which performances are ineff ably great, profoundly moving, hopelessly terrible, or cringe-worthy, relatively litt le discussion of what actors really do exists, either in popular or academic fi lm criticism. Movements within the discipline of Film Studies (semiotics, psychoanalysis, cognitive psychology, and so forth) tend to look fi rst to the sciences, and thus outside fi lms themselves, for legitimate—meaning objective—means of verifying claims about movies. Th is poses a problem for the analysis of performance, as we respond to and love the displays of feelings, desires, and intentions at a personal level, if also collectively. We might thus wish to grapple with questions of what makes a performance meaningful, how we can share this sense, and, in sharing, possibly come to agreement.
    [Show full text]
  • Ivory, James (B. 1928), and Ismail Merchant (1936-2005) by Patricia Juliana Smith
    Ivory, James (b. 1928), and Ismail Merchant (1936-2005) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Perhaps the most enduring and influential gay partnership in film history, James Ivory and Ismail Merchant are known for their visually sumptuous period pieces based on familiar literary works. So closely intertwined was this team that many assume that "Merchant Ivory" is the name of one individual. But while associated in many minds with British literary and cultural traditions, their professional and personal relationship actually brought together diverse elements of American and Indian culture. James Francis Ivory, who is the director in Merchant Ivory Productions, was born in Berkeley, California on June 7, 1928. After graduating from the University of Oregon, he received an advanced degree from the University of Southern California School of Cinema and Television in 1957. His first film was an acclaimed documentary about Venice, and his second, The Sword and the Flute, examined Indian art. In 1960, at a New York screening of this latter film, he met his future partner and collaborator. Ismail Noormohamed Abdul Rehman, later Merchant, was born December 25, 1936, in Bombay, India. He came to the United States as a student, and received an M.B.A. degree from New York University, a background that prepared him for his role as the producer and business mind of the partnership. While working for an advertising agency, he produced a film based on Indian myth, Creation of Woman (1961), which earned an Academy Award for Best Short Subject.
    [Show full text]
  • National Affairs
    NATIONAL AFFAIRS Prithvi II Missile Successfully Testifi ed India on November 19, 2006 successfully test-fi red the nuclear-capsule airforce version of the surface-to- surface Prithvi II missile from a defence base in Orissa. It is designed for battlefi eld use agaisnt troops or armoured formations. India-China Relations China’s President Hu Jintao arrived in India on November 20, 2006 on a fourday visit that was aimed at consolidating trade and bilateral cooperation as well as ending years of mistrust between the two Asian giants. Hu, the fi rst Chinese head of state to visit India in more than a decade, was received at the airport in New Delhi by India’s Foreign Minister Pranab Mukherjee and Science and Technology Minister Kapil Sibal. The Chinese leader held talks with Indian Prime Minister Manmohan Singh in Delhi on a range of bilateral issues, including commercial and economic cooperation. The two also reviewed progress in resolving the protracted border dispute between the two countries. After the summit, India and China signed various pacts in areas such as trade, economics, health and education and added “more substance” to their strategic partnership in the context of the evolving global order. India and China signed as many as 13 bilateral agreements in the presence of visiting Chinese President Hu Jintao and Prime Minister Manmohan Singh. The fi rst three were signed by External Affairs Minister Pranab Mukherjee and Chinese Foreign Minister Li Zhaoxing. They are: (1) Protocol on the establishment of Consulates-General at Guangzhou and Kolkata. It provides for an Indian Consulate- General in Guangzhou with its consular district covering seven Chinese provinces of Guangdong, Fujian, Hunan, Hainan, Yunnan, Sichuan and Guangxi Zhuang autonomous region.
    [Show full text]
  • INDIAN BUSINESSMEN in KENYA DURING the TWENTIETH CENTURY: a CASE STUDY John Irving Zarwan
    INDIAN BUSINESSMEN IN KENYA DURING THE TWENTIETH CENTURY: A CASE STUDY John Irving Zarwan To cite this version: John Irving Zarwan. INDIAN BUSINESSMEN IN KENYA DURING THE TWENTIETH CEN- TURY: A CASE STUDY. History. Yale University, 1977. English. tel-01259828 HAL Id: tel-01259828 https://halshs.archives-ouvertes.fr/tel-01259828 Submitted on 21 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. This is an authorized facsimile, made from the microfilm master copy of the original dissertation or masters thesis published by UMI. Prior to publishing, UMI microfilms the original manuscript and returns it to the author or institution granting the degree. When an order is placed, the complete document is reproduced, on paper or in microform, from the master film copy. This is called on-demand publishing. The bibliographic information for this thesis is contained in UMI's Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. l Dissertation UMa Information Service University Microfilms International A Bell & Howell Information Company 300 N. Zeeb Road, Ann Arbor, Michigan 48106 800-521-0600 OR 313/761-4700 Printed in 1987 by xerographic process on acid-free paper INFORMATION TO USERS This material was produced from a microfilm copy of the original document.
    [Show full text]
  • History India’S Story Is One of the Grand Epics of World History
    © Lonely Planet Publications 39 History India’s story is one of the grand epics of world history. Throughout thousands of years of great civilisations, invasions, the birth of religions and countless cataclysms, India has time and again proved itself to be, in the words of its first prime minister, Jawaharlal Nehru, ‘a bundle of contradictions held together by strong but invisible threads’. Indian history has always been a work-in-progress, a constant process of reinvention and accumulation that can prove elusive for those seeking to grasp its essential essence. And yet, from its myriad upheavals, a vibrant, diverse and thoroughly modern nation has emerged, as enduring as it is dynamic and increasingly well equipped to meet the challenges of the future. INDUS VALLEY CIVILISATION The Indus Valley, straddling the modern India–Pakistan border, is the cradle of civilisation on the Indian subcontinent. The first inhabitants of this land Harappa (www.harappa were nomadic tribes who cultivated land and kept domestic animals; indeed, .com) provides an it is no leap of the imagination to wonder whether in some parts of rural illustrated yet scholarly India, little has changed. Over thousands of years, an urban culture began coverage of everything to emerge from these tribes, particularly from 3500 BC. By 2500 BC large you need to know about cities were well established, the focal points of what became known as the the ancient Indus Valley Harappan culture, which would flourish for more than 1000 years. civilisations, including a The great cities of the Mature Harappan period were Moenjodaro and link to recent Harappa (both excavated in the 1920s) in present-day Pakistan, and Lothal archaeological ( p728 ) near Ahmedabad.
    [Show full text]
  • The 'Bollywoodization' of the Indian Cinema: Cultural Nationalism in a Global Arena
    Inter-Asia Cultural Studies ISSN: 1464-9373 (Print) 1469-8447 (Online) Journal homepage: http://www.tandfonline.com/loi/riac20 The 'Bollywoodization' of the Indian cinema: cultural nationalism in a global arena Ashish RAJADHYAKSHA To cite this article: Ashish RAJADHYAKSHA (2003) The 'Bollywoodization' of the Indian cinema: cultural nationalism in a global arena, Inter-Asia Cultural Studies, 4:1, 25-39, DOI: 10.1080/1464937032000060195 To link to this article: http://dx.doi.org/10.1080/1464937032000060195 Published online: 10 Dec 2010. Submit your article to this journal Article views: 1437 View related articles Citing articles: 39 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=riac20 Download by: [McGill University Library] Date: 22 December 2015, At: 07:24 Inter-Asia Cultural Studies, Volume 4, Number 1, 2003 The ‘Bollywoodization’ of the Indian cinema: cultural nationalism in a global arena Ashish RAJADHYAKSHA 1. Rajnikant in Japan The West may have the biggest stalls in the world’s media bazaar, but it is not the only player. Globalization isn’t merely another word for Americanization — and the recent expansion of the Indian entertainment industry proves it. For hundreds of millions of fans around the world, it is Bollywood — India’s film industry — not Hollywood, that spins their screen fantasies. Bollywood, based in Mumbai, has become a global industry. India’s entertainment moguls don’t merely target the billion South Asians, or desis, at home: they make slick movies, songs and TV shows for export. Attracted by a growing middle class and a more welcoming investment environment, foreign companies are flocking to Bollywood, funding films and musicians.
    [Show full text]
  • South Asian Film & Television 16 + Guide
    SOUTH ASIAN FILM & TELEVISION 16 + GUIDE www.bfi.org.uk/imagineasia This and other bfi National Library 16+ guides are available from http://www.bfi.org.uk/16+ IMAGINEASIA - SOUTH ASIAN FILM & TELEVISION Contents Page IMPORTANT NOTE ........................................................................................ 1 GENERAL INFORMATION ............................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst.................................. 4 INTRODUCTION ............................................................................................ 6 BANGLADESH............................................................................................... 7 Focus on Filmmakers: Zahir Raihan................................................................. 9 BHUTAN, NEPAL & TIBET.............................................................................. 9 PAKISTAN..................................................................................................... 10 Focus on Filmmakers: Jamil Dehlavi ................................................................ 16 SRI LANKA .................................................................................................... 17 Focus on Filmmakers: Lester James Peries ..................................................... 20 INDIA · General References............................................................................ 22 · Culture, Society and Film Theory ......................................................... 33 · Film
    [Show full text]