CIRCULAR NO. 4 Please Find Enclosed a Copy of the Pre-Festival
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Tribute to Kishore Kumar
Articles by Prince Rama Varma Tribute to Kishore Kumar As a child, I used to listen to a lot of Hindi film songs. As a middle aged man, I still do. The difference however, is that when I was a child I had no idea which song was sung by Mukesh, which song by Rafi, by Kishore and so on unlike these days when I can listen to a Kishore song I have never heard before and roughly pinpoint the year when he may have sung it as well as the actor who may have appeared on screen. On 13th October 1987, I heard that Kishore Kumar had passed away. In the evening there was a tribute to him on TV which was when I discovered that 85% of my favourite songs were sung by him. Like thousands of casual music lovers in our country, I used to be under the delusion that Kishore sang mostly funny songs, while Rafi sang romantic numbers, Mukesh,sad songs…and Manna Dey, classical songs. During the past twenty years, I have journeyed a lot, both in music as well as in life. And many of my childhood heroes have diminished in stature over the years. But a few…..a precious few….have grown……. steadily….and continue to grow, each time I am exposed to their brilliance. M.D.Ramanathan, Martina Navratilova, Bruce Lee, Swami Vivekananda, Kunchan Nambiar, to name a few…..and Kishore Kumar. I have had the privilege of studying classical music for more than two and a half decades from some truly phenomenal Gurus and I go around giving lecture demonstrations about how important it is for a singer to know an instrument and vice versa. -
A Study of Shakespeare Contribution in Hindi Cinema
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala. -
2016-17 B.Com. First Year
UNIVERSITY COLLEGE OF COMMERCE & MANAGEMENT STUDIES MOHANLAL SUKHADIA UNIVERSITY, UDAIPUR. ELECTORAL LIST- 2016-17 B.COM. FIRST YEAR S. No. Name of Applicant Father Name ADDRESS 1 AAFREEN ARA ASHFAQ AHMED 113 nag marg outside chandpol 2 AAFREEN SHEIKH SHAFIQ AHMED SHEIKH 51 RAJA NAGAR SEC 12 SAVINA 3 AAISHA SIDDIKA MR.ABDUL HAMEED NAYA BAJAR KANORE THE-VALLABHNAGER DIS-UDAIPUR 4 AAKANKSHA KOTHARI PRAVEEN KUMAR KOTHARI 5, KANJI KA HATTA, GALI NO.1, OPP. SH DIG JAIN SCHOOL 5 AAKASH RATHOR ROSHAN LAL RATHOR 17 RAMDAWARA CHOWK BHUPALWARI UDAIPUR 6 AANCHAL ASHOK JAIN 61, A - BLOCK, HIRAN MAGRI SEC-14, UDAIPUR 7 AASHISH PATIDAR KAILASH PATIDAR VILL- DABOK 8 AASHRI KHATOD ANIL KHATOD 340,BASANT VIHAR,HIRAN MAGRI,SEC-5 9 AAYUSHI BANSAL UMESH BANSAL 4/543 RHB COLONY GOVERDHAN VILAS SEC. 14 UDAIPUR 10 AAYUSHI SINGH KACHAWA SHAKTI SINGH KACHAWA 1935/07 NEW RAMPURA COLONY SISARMA ROAD 11 ABHAY JAIN PRADEEP JAIN 18, GANESH GHATI, 12 ABHAY MEWARA SUBHASH CHANDRA MEWARA 874, MANDAKINIMARG BIJOLIYA 13 ABHISHEK DHABAI HEMANT DHABAI 209 OPP D E O SECOND GOVERDHAN VILLAS UDAIPUR 14 ABHISHEK JAIN PADAM JAIN HOUSE NO 632 SINGLE STORIE SEC 9 SAVINA 15 ABHISHEK KUMAR SINGH KHOOB SINGH 1/26 R.H.B. colony,Goverdhan Vilas,Udaipur(Raj.) 16 ABHISHEK PALIWAL KISHOR KALALI MOHALLA, CHHOTI SADRI 17 ABHISHEK SANADHYA DHAREMENDRA SANADHYA 47 ANAND VIHAR ROAD NO 2 TEKRI 18 ABHISHEK SETHIYA GOPAL LAL SETHIYA SADAR BAZAR RAILMAGRA 19 ABHISHEK SINGH RAO NARSINGH RAO 32-VIJAY SINGH PATHIK NAGAR SAVINA Page 1 of 187 20 ADITYA SINGH SISODIA BHARAT SINGH SISODIA 39, CHINTA MANI -
N.M.D.C LIMITED Adv.No.02/2018 Roll No. Wise List for the Post Of
N.M.D.C LIMITED Page No.1/65 Adv.No.02/2018 Roll No. Wise List for The Post of "JUNIOR OFFICER (MECHANICAL) TRAINEE" Date Of Exam ‐10/06/2018 Sl.No. Roll.No. Reg.No. Candidate's Name Catg. Mark Obtained in Written Test 1 14710006 520882 SRIDEEP BISWAS UR 61 2 14710007 515424 NARESH SAHU OBC (NCL) 60 3 14710009 529188 SHASHANK SHARMA UR 47 4 14710012 520155 YOGESH KUMAR NIMJE OBC (NCL) 20 5 14710013 507288 SAURABH KUMAR RAWTE ST 57 6 14710014 507467 PRICHA RUCHI DUPARE SC 40 7 14710018 519744 P N UMANG UR 49 8 14710019 524958 TOMESHWAR LAL OBC (NCL) 33 9 14710023 535821 JAIPRAKASH SAHU UR 44 10 14710029 519341 MANOJ KUMAR SAHOO OBC (NCL) 57 11 14710034 524621 APURV YADAV OBC (NCL) 34 12 14710036 525142 K VINAYA KUMAR UR 41 13 14710038 533370 SANDHYA TEKAM ST 51 14 14710040 524916 ASHUTOSH SINGH UR 44 15 14710041 506472 BIBHAS MANDAL SC 45 16 14710045 520384 SHUBHAM GUPTA UR 40 17 14710047 515597 PRATEEK GUPTA UR 47 18 14710055 525321 ABHISHEK CHOUDHARI UR 48 19 14710057 528697 BRAJESH KUMAR KORI SC 38 20 14710058 531663 ANUMAY KUMAR UR 57 21 14710069 532209 RAVI KUMAR VERMA OBC (NCL) 45 22 14710070 510616 RIPUNJAY SHUKLA UR 38 23 14710073 535254 SOURABH CHAPDI SC 37 24 14710074 533811 SANGAM KRISHNA SUMAN OBC (NCL) 44 25 14710075 500658 RISHABH VAISHNAV UR 67 26 14710077 523001 V DIVAKAR UR 64 27 14710079 509441 VINOD BAJIRAO SHINDE UR 53 28 14710080 500505 SUCHINDRA XALXO ST 36 29 14710081 524956 GUNJAN KUMAR UR 71 30 14710082 500874 GOVINDARAJU G GSC28 31 14710083 527048 VIVEKANAND OBC (NCL) 57 32 14710084 528823 BISWOJIT SAHOO UR 58 -
Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
Journalism Is the Craft of Conveying News, Descriptive Material and Comment Via a Widening Spectrum of Media
Journalism is the craft of conveying news, descriptive material and comment via a widening spectrum of media. These include newspapers, magazines, radio and television, the internet and even, more recently, the cellphone. Journalists—be they writers, editors or photographers; broadcast presenters or producers—serve as the chief purveyors of information and opinion in contemporary mass society According to BBC journalist, Andrew Marr, "News is what the consensus of journalists determines it to be." From informal beginnings in the Europe of the 18th century, stimulated by the arrival of mechanized printing—in due course by mass production and in the 20th century by electronic communications technology— today's engines of journalistic enterprise include large corporations with global reach. The formal status of journalism has varied historically and, still varies vastly, from country to country. The modern state and hierarchical power structures in general have tended to see the unrestricted flow of information as a potential threat, and inimical to their own proper function. Hitler described the Press as a "machine for mass instruction," ideally, a "kind of school for adults." Journalism at its most vigorous, by contrast, tends to be propelled by the implications at least of the attitude epitomized by the Australian journalist John Pilger: "Secretive power loathes journalists who do their job, who push back screens, peer behind façades, lift rocks. Opprobrium from on high is their badge of honour." New journalism New Journalism was the name given to a style of 1960s and 1970s news writing and journalism which used literary techniques deemed unconventional at the time. The term was codified with its current meaning by Tom Wolfe in a 1973 collection of journalism articles. -
Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
Indian Singers' Rights Association
INDIANINDIAN SINGERS’SINGERS’ RIGHTSRIGHTS ASASSOCIASOCIATIONTION Annual Report 2017-18 BOARD OF ADVISORS LATA MANGESHKAR SURESH WADKAR TALAT AZIZ SONU NIGAM SANJAY TANDON BOARD OF DIRECTORS ANUP JALOTA A HARIHARAN KAVITA KRISHNAMURTI S P BALASUBRAHMANIYAM PANKAJ UDHAS SHANTANU MUKHERJEE SRINIVASAN ALKA YAGNIK JASBIR JASSI SHAILENDRA SINGH DORAISWAMY INDIAN SINGERS’ RIGHTS ASSOCIATION 2208, Lantana, Nahar Amrit Shakti, Chandivali, Andheri (E), Mumbai 400 072 NOTICE NOTICE is hereby given that the Meeting of the General Body of the Society will be held at “Eden Hall”, The Classique Club, Behind Infinity Mall, Link Road, Oshiwara, Andheri (W), Mumbai 400 053 on Thursday, 20th September, 2018 at 3pm to transact the following business: ORDINARY BUSINESS: 1. To receive, consider and adopt the Audited Balance Sheet as on 31st March 2018, Statement of Income and Expenditure for the year ended on that date, and the Auditors Report thereon, together with the Directors’ Report as approved by the Board of Directors for the period ending 31st March, 2018. 2. To ratify the appointment of M/s. Kothari Mehta & Associates as the Statutory Auditors of the Company for the financial year ending 31st March, 2019 by passing the following resolution :- “RESOLVED THAT pursuant to provisions of Section 139, 141, 142 and all other applicable provisions, if any, of the Companies Act, 2013 read with Rule 3 of the Companies (Audit and Auditors) Rules, 2014 and pursuant to the resolution passed at the Annual General Meeting of the Company held on September 29, 2014, the consent of the members of the Company be and is hereby accorded to ratify the appointment of M/s. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
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. -
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia.