Eros International's English Vinglish on Track to Become

Total Page:16

File Type:pdf, Size:1020Kb

Eros International's English Vinglish on Track to Become EROS INTERNATIONAL’S ENGLISH VINGLISH ON TRACK TO BECOME THE BIGGEST BOLLYWOOD RELEASE IN SOUTH KOREA 02/05/2014 Company expands its presence into new markets worldwide LONDON--(BUSINESS WIRE)-- Eros International Plc (NYSE:EROS) (“Eros”), a leading global company in the Indian film entertainment industry announced today that it will release the blockbuster film, English Vinglish, in South Korea on February 6, 2014. Following on the heels of the film’s success in Hong Kong and Germany last year, English Vinglish will be released across 150 screens, making it one of the biggest Bollywood releases in South Korea to date. The film, directed by Gauri Shinde, has performed exceptionally well in new markets. In Taiwan, the film was released across 6 screens in December, 2013 and amassed over US$ 300,000, making it the second biggest grossing Bollywood film in Taiwan. English Vinglish also continues to hold a firm position in Taiwan’s top 10 charts. Speaking on the film’s success, Kumar Ahuja, President, Business Development, Eros International Media Ltd, said, “English Vinglish is a universal story that truly resonates with global audiences, especially as it relates to acceptance and the challenges of learning a new language. With newer markets for the film consistently opening, we believe audiences worldwide will continue to find a connection with this captivating film. “In several new markets, including Asia, audiences have shown that they love Indian ethos and drama. In response to the growing appetite, we plan to release additional films like Dabaang, Dabaang 2, Ra.One and Go Goa Gone into new markets in the coming year.” In 2014, Eros will look to further expand its presence in Asia by releasing films such as Cocktail, Student Of The Year and Table no 21 in Taiwan and Chalo Dilli, English Vinglish, Dabaang, Student Of The Year and Agent Vinod in Japan. The Japanese market has already proven to be a strong one for Eros as the Company’s release of Farah Khan’s Om Shanti Om across 14 screens earned over US $ 150,000 at the Japanese box office in 2013. Eros is also making inroads in Eurasia and Russia with plans to release some of its hit films including, Yeh Jawaani Hai Deewani, Rockstar, Zindagi Na Milegi Dobara, Student of the Year, Vicky Donor and Desi Boyz in these territories during 2014. This activity comes on the heels of the successful Eros film, Cocktail, which was released in March, 2013 across 19 screens in Kazakhstan and Kyrgyzstan and became the first Indian film in these countries to gross over US$ 100,000 at the box office. Finally, Eros has expanded into African markets with the release of its hugely successful Krrish 3 across 14 screens in Egypt this past December. About Eros International Plc Eros International Plc (NYSE:EROS) is a leading global company in the Indian film entertainment industry that acquires, co-produces and distributes Indian films across all available formats such as cinema, television and digital new media. Eros International Plc became the first Indian media company to list on the New York Stock Exchange. Eros International has experience of over three decades in establishing a global platform for Indian cinema. The Company has a competitive advantage through its extensive and growing movie library comprising of over 2,000 films, which include Hindi, Tamil, and other regional language films for home entertainment distribution. Eros International has built a dynamic business model by combining the release of new films every year with the exploitation of its film library. For further information please visit: www.erosplc.com Source: Eros International Plc Eros International Plc Sean Hanafin, 44 (0)20 7258 9909 Chief Corporate Officer [email protected] or Group Communications & Investor Relations Jamie M.M Kirkwood, 44 207 258 9906 [email protected] or Media: Sloane & Company Whit Clay, 212-446-1864 [email protected] .
Recommended publications
  • EDITED TRANSCRIPT Eros STX Global Corporation – Business Update Call
    NOVEMBER 04, 2020 / 9:30PM GMT, Eros STX Global Corporation – Business Update Call REFINITIV STREETEVENTS EDITED TRANSCRIPT Eros STX Global Corporation – Business Update Call EVENT DATE/TIME: NOVEMBER 04, 2020 / 9:30PM GMT REFINITIV STREETEVENTS | www.refinitiv.com | Contact Us ©2020 Refinitiv. All rights reserved. Republication or redistribution of Refinitiv content, including by framing or similar means, is prohibited without the prior written consent of Refinitiv. 'Refinitiv' and the Refinitiv logo are registered trademarks of Refinitiv and its affiliated companies. 1 NOVEMBER 04, 2020 / 9:30PM GMT, Eros STX Global Corporation – Business Update Call CORPORATE PARTICIPANTS Adam Fogelson: STX Films - Chairman Andy Warren: Eros STX Global Corporation - CFO Bob Simonds: Eros STX Global Corporation - Co-Chairman & CEO Drew Borst: Eros STX Global Corporation - EVP Investor Relations & Business Development Noah Fogelson: Eros STX Global Corporation - Co-President Rishika Lulla Singh: Eros STX Global Corporation - Co-President & Director CONFERENCE CALL PARTICIPANTS Eric Katz, Wolfe Research, LLC - Research Analyst Robert Routh, FBN Securities, Inc., Research Division - Research Analyst Robert Fishman, MoffettNathanson LLC - Analyst Ted Cronin, Citigroup Inc., Research Division - Research Analyst Tim Nollen, Macquarie Research - Senior Media Analyst PRESENTATION Operator Good afternoon, ladies and gentlemen, and welcome to Eros STX Global Corporation Business Update Call. This call is being broadcast live on the Internet, and a replay of the call will be available on the company's website. The company published earlier certain financial information, including a 20-F transition report and 6-K filing which are available on the company's website. The company would like to remind everyone listening that during this call, it will be making forward- looking statements under the safe harbor provisions of the federal securities laws.
    [Show full text]
  • 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.
    [Show full text]
  • Use and Abuse of Female Body in Popular Hindi Films: a Semiotic Analysis of Item Songs
    Use and Abuse of Female Body in Popular Hindi Films: A Semiotic analysis of Item Songs *Dr. G. K. Sahu Assistant Professor Dept. of Mass Communication Aligarh Muslim University Aligarh- 202002 & **Sana Abbas Research Scholar Dept. of Mass Communication Aligarh Muslim University Aligarh-202002 India Abstract The item songs have become an important element of Bollywood movies. Women are featured as a commodity, only to satisfy male urge and their bodies are featured in a way as if they are meant for male consumption. In an environment where a plethora of movies are releasing every year, putting a peppy item song in a movie, is a good trick to gain the attention of viewers . Brazen lyrics are used to enhance the popularity of these songs. Many established film makers in the industry are using this trick to gain huge financial returns. They are attracting and engaging audiences by using as well as abusing female body in their films. The paper makes an attempt to analyze the item songs by employing semiotic method to examine the use and abuse of female body in Hindi films. Key Words: Hindi Films, Item Songs, Female Body, Use & Abuse, Portrayal, Commoditization. www.ijellh.com 14 Introduction Cinema and dance have had a long history of engagement. Cinema enlisted dance from its very beginnings – the spectacular display of movement. The shared investment in movement ensured a spontaneous intermediality (transgression of boundaries) between early cinema and dance. Songs with dance have always played a crucial role in Hindi movies. The role of song and its demand changed with the entry of „item songs‟.
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • Om Shanti Om
    Om Shanti Om REŻYSERIA FARAH KHAN W KINACH OD 30 MAJA 2008 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (22) 536 92 00 fax: (22) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl Reżyseria Farah Khan Producent Gauri Khan Scenariusz Farah Khan Mushtaq Sheikh Mayur Puri Muzyka Vishal Dadlani Shekhar Ravjiani Pyarelal Ramprasad Sharma Choreografia Farah Khan Występują Shah Rukh Khan Arjun Rampal Deepika Padukone Shreyas Talpade Kirron Kher Produkcja Eros International Red Chillies Entertainment Indie rok produkcji: 2007 czas trwania: 162 minut kolor – Dolby SR – 1.85:1 2 Om Shanti Om to drugi film w karierze reżyserskiej Farah Khan. Pierwszy – Jestem przy tobie, zdobył serca wielu widzów dzięki roli Shah Rukh Khana, jako majora Rama poszukującego swojego brata i broniącego córki generała w przebraniu studenta. Najnowszy film Farah Khan to zrealizowany z ogromnym rozmachem film ku czci króla Bollywoodu – Shah Rukh Khana. Om Shanti Om jest filmem o marzeniach, miłości i zemście. Akcja filmu rozpoczyna się w roku 1977. Om Prakash Makhija (Shah Rukh Khan) jest statystą, zakochanym bez pamięci w gwieździe indyjskiego kina Shanti (Deepika Padukone). Om jest jej najwierniejszym fanem, gotowym w razie potrzeby oddać za nią życie. Gdy na planie ich wspólnego filmu wybucha pożar, Om ratuje Shanti i zostaje jej przyjacielem. Marzy o wspólnej przyszłości, jednak życie Shanti nie jest tak piękne, jak mogłoby się wydawać. Om przez przypadek poznaje tajemnicę Shanti. Wkrótce potem oboje giną… Druga część filmu rozpoczyna się w roku 2007. Om Kapoor (Shah Rukh Khan) jest wielkim gwiazdorem. Żyje beztrosko, wydaje się, że ma cały świat u swoich stóp.
    [Show full text]
  • 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..
    [Show full text]
  • Aspirational Movie List
    SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2 Like Stars on Earth 2007 Feature 8.5 71,581 3 Rang De Basanti 2006 Feature 8.4 57,061 4 Gangs of Wasseypur 2012 Feature 8.4 32,853 5 Lagaan: Once Upon a Time in India 2001 Feature 8.2 54,714 6 Mughal-E-Azam 1960 Feature 8.4 3,425 7 A Wednesday 2008 Feature 8.4 30,560 8 Udaan 2010 Feature 8.4 23,017 9 Swades 2004 Feature 8.4 47,326 10 Dil Chahta Hai 2001 Feature 8.3 38,159 11 Pyaasa 1957 Feature 8.4 2,677 12 Black Friday 2004 Feature 8.6 6,126 13 Sholay 1975 Feature 8.6 21,695 14 Anand 1971 Feature 8.9 7,826 15 Special 26 2013 Feature 7.9 22,078 16 Queen 2014 Feature 8.5 28,304 17 Andaz Apna Apna 1994 Feature 8.8 22,766 18 Haider 2014 Feature 8.5 28,728 19 Guru 2007 Feature 7.8 10,337 20 Dev D 2009 Feature 8.1 16,553 21 Paan Singh Tomar 2012 Feature 8.3 16,849 22 Chakde! India 2007 Feature 8.4 34,024 23 Sarfarosh 1999 Feature 8.1 11,870 24 Mother India 1957 Feature 8 3,882 25 Bhaag Milkha Bhaag 2013 Feature 8.4 30,313 26 Barfi! 2012 Feature 8.3 43,308 27 Zindagi Na Milegi Dobara 2011 Feature 8.1 34,374 28 PK 2014 Feature 8.4 55,878 29 Baby 2015 Feature 8.4 20,504 30 My Name Is Khan 2010 Feature 8 56,169 31 The Legend of Bhagat Singh 2002 Feature 8.1 5,481 32 Munna Bhai M.B.B.S.
    [Show full text]
  • Form 20-F Eros International
    SECURITIES AND EXCHANGE COMMISSION WASHINGTON, DC 20549 FORM 20-F ☐ REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR 12(g) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ☑ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2019 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ☐ SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Commission file number 001-36176 EROS INTERNATIONAL PLC (Exact name of Registrant as specified in its charter) Not Applicable (Translation of Registrant’s name into English) Isle of Man (Jurisdiction of incorporation or organization) 550 County Avenue Secaucus, New Jersey 07094 Tel: +1(201) 558 9001 (Address of principal executive offices) Oliver Webster IQ EQ (Isle of Man) Limited First Names House Victoria Road Douglas, IM2 4DF Isle of Man Tel: (44) 1624 630 630 Email: [email protected] (Name, Telephone, E-mail and/or Facsimile number and Address of Company Contact Person) Securities registered or to be registered pursuant to Section 12(b) of the Act. Trading Title of each class Symbol(s) Name of each exchange on which registered A ordinary share, par value GBP 0.30 per share EROS The New York Stock Exchange Securities registered or to be registered pursuant to Section 12(g) of the Act. None (Title of Class) Securities for which there is a reporting obligation pursuant to Section 15(d) of the Act None (Title of Class) Indicate the number of outstanding shares of each of the issuer’s classes of capital or common stock as of the close of the period covered by the annual report.
    [Show full text]
  • FILM FOKUS EZEBHANYABHANYA Bollywood Comes Alive
    FILM FOKUS EZEBHANYABHANYA bollywood comes alive NEVILLE ADONIS DVD Selector, Acquisitions Section that, this being a Yash Raj production, family values will eventually triumph, the fi lm serves up a bonny, bouncing two-and-a-half hours any people confuse the terms of dialogue-driven entertainment. Hollywood and Bollywood. The ‘Khan, who since Hum tum is proving perception is that Bollywood has M to be a real leading man, plays Nikhil ‘Nick’ its origin from Hollywood, but in fact the Arora, a failed architecture student turned only thing the two names have in common chef who is a minor celebrity in Melbourne. is that both have to do with the fi lm industry. Zinta, the most substantial actress among Hollywood is a place and Bollywood is the younger Bollywood group, plays the role Indian cinema. Although Bollywood used to of Ambar Malhotra, a medical student from be mainly shown in India, more and more combines a comedy about Indians Down Bangalore who moonlights at a local radio western countries have shown interest in Under with a dramedy about a yuppie facing station, Salaam Namaste, to pay for her edu- this cinema genre. In my opinion, Bollywood up to fatherhood. With two of the brightest cation. In typical romantic-comedy style, the plots are a little melodramatic with themes of young stars of Hindi cinema, Saif Ali Khan two self-obsessed leads get off on the wrong love-triangles, kidnapping, corrupt politicians and Preity Zinta in Hugh Grant and Julianne foot when Nikhil is late for an interview on and angry parents and, yes, it also features Moore roles, plus the comforting realisation Ambar’s radio show.
    [Show full text]
  • KPMG FICCI 2013, 2014 and 2015 – TV 16
    #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways.
    [Show full text]
  • Interlingual and Intersemiotic Transfer of Indian Cinema in Hong Kong
    Indian Journal of Comparative Literature and Translation Studies | 45 Author(s): Andy Lung Jan CHAN Published by: Indian Journal of Comparative Literature and Translation Studies (IJCLTS) Issue Number: Volume 2, Number 1, February, 2014 ISSN Number: 2321-8274 Issue Editor: Rindon Kundu Editor : Mrinmoy Pramanick & Md Intaj Ali Website Link: http://ijclts.wordpress.com/ Interlingual and Intersemiotic Transfer of Indian Cinema in Hong Kong Abstract The history of Indian immigration to Hong Kong can be traced to the 1840s, when Hong Kong became a colony of the British Empire. However, Hong Kong Chinese people‟s knowledge of the local Indian community is limited. The stereotyping of Indian culture in the Hong Kong movie Himalaya Singh shows that Indian people and culture are often distorted and negatively portrayed in the media, and the secluded Indian community in Hong Kong is marginalised and neglected in the mainstream media. In recent years, Indian cinema has gained popularity in Hong Kong, but this survey of the Chinese movie titles, trailer subtitles and other publicity materials of four Indian movies (Slumdog Millionaire; 3 Idiots; English, Vinglish; and The Lunchbox) show that the films have to be recast and transfigured during interlingual and intersemiotic transfers so that it can become more accessible to Hong Kong Chinese audiences. 1. Introduction The history of Indian immigration to Hong Kong can be traced to the 1840s, when Hong Kong became a colony of the British Empire. In the social and economic development during the early colonial days, Indian people played an important role. Some Indian families have lived in the territory for generations and consider Hong Kong their home.
    [Show full text]
  • 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.
    [Show full text]