DOCSLIB.ORG

30 September 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
30 September 2012 ADELAIDE FESTIVAL CENTRE’S MAJOR FESTIVAL PARTNER 14 - 30 SEPTEMBER 22012012 ozasiafestival.com.au BOOK AT 131 246 ADELAIDE FESTIVAL CENTRE’S 14 - 30 SEPTEMBER 22012012 MAJOR FESTIVAL PARTNER Contents Save & Win 4 Fearless Nadia 5 Peer Gynt BUY A FESTIVAL SUBSCRIPTION 6 Kodo & TaikOz in Concert 7 Anh Do – the Happiest (4 or more shows) Refugee Live! 8 O’Leary Walker to save and WIN! Cooking Demonstrations • Return Qantas economy fl ights for two to Brisbane 10 Sandy Evans’ Indian Project • 2 nights accommodation at the Medina Executive, Brisbane 10 Fire & Water 10 Crouching Tigers • A private tour of Queensland Art Gallery, Gallery of Modern 12 Refl ect Art (QAGOMA)’s fl agship exhibition The 7th Asia Pacifi c Triennial of Contemporary Art (APT7) 13 Keynote Lecture 14 Cambodia Sun Rising • A beautiful merchandise pack including the offi cial exhibition publication and lunch for two at the GOMA Restaurant. 15 Aditi Mangaldas 16 Tan Dun: Martial Arts Trilogy 18 Kailash Kher Be part of the opening weekend celebrations for QAGOMA’s 20 Moon Lantern Festival fl agship exhibition 22 OzAsia On Screen The 7th Asia Pacifi c 24 India On Screen Triennial of 26 Guru short fi lms Contemporary Art (APT7) 26 GreenRoom on 8 – 9 December 2012 27 Tan Dun Masterclass 27 Pathways Thanks to our friends at ShowTravel and QAGOMA, Brisbane 28 Beyond the Self 29 Teeth of the Rice Plant TOTAL PRIZE VALUE $ Asian Art After Dark 2,400 30 The Perfect Finish 30 Irrational & Idiosyncratic To qualify for the Festival Subscription price the same amount of tickets must be purchased for each performance. 31 The Needle on the Gauge Any additional tickets to any performance can be purchased at the Subscription 32 Confucius Institute Lecture price, once the initial subscription of four or more shows has been purchased. 32 Asian Century Forum Existing Adelaide Festival Centre subscribers can already automatically access the 33 Bollywood Workshops subscriber price. You can include the cooking demonstrations, fi lms, An Evening with Ramta Drig and Asian Art After Dark in your Festival Subscription even though no 33 Masamichi Yoshikawa Talk discount applies. For full terms and conditions please go to ozasiafestival.com.au 34 Places to meet and eat 38 Information Purchase your Festival by phone, in person or online Subscription from 39 Calendar 2 Welcome to OzAsia Festival 2012 Our exclusive world premieres this year are as diverse as the region and cultures of Asia. One highlight is the Australian/Indian collaboration Fearless Nadia that will travel to India in November 2012 as part of OzFest – the Australian Government’s major cultural festival in India. Another world premiere is the poignant Cambodia Sun Rising by Geraldine Cox and Cate Fowler featuring young performers from Sunrise Children’s Village. The exclusive Australian premiere of Academy and Grammy-Award winner Tan Dun’s Martial Arts Trilogy will be a must see event. Comedian Anh Do will bring his heart-felt book to life with his show The Happiest Refugee Live!; Yohangza Theatre Company return to Adelaide with Jacinta Thompson their interpretation of Ibsen’s epic Peer Gynt. Kodo & Taikoz will drum their FESTIVAL DIRECTOR, OZASIA FESTIVAL way into your heart and Sandy Evans’ Indian Project will enchant your soul. Be prepared to be charmed by India’s mega star Kailash Kher and his band. TThehe ppeacockeacock hhasas a sspecialpecial pplacelace iinn IIndianndian mmythologyythology aandnd hhistory.istory. The beautiful bird’s dance is associated with the The visual arts program will focus on contemporary voices while the fi lm fi rst gathering of monsoon clouds in the sky, when he program explores stories that unite us in their universal themes. We also fl amboyantly fans his iridescent train to joyfully show off have cooking demonstrations, Bollywood dance workshops and the Keynote its sparkling colours. With India as our country of focus in lecture with the Hawke Centre. This year the Festival closes with our multi- 2012, the peacock is a fi tting symbol for this year’s Festival award winning Moon Lantern Festival. which proudly highlights contemporary Asian culture Together with artists, communities, cultural partners and sponsors, I look through diverse cultural events. forward to seeing you at our unique Festival in September. The State Government has been highlighting the value of Australia’s engagement with Asia for many years and, in the Asian Century, our economic and trade future is strongly linked to genuine cultural exchange. Adelaide Festival Centre’s OzAsia Festival plays an important role in building strong cross-cultural understanding and intercultural communication and, since its start in 2007, the Festival has become a role model event. As well as all this of course, OzAsia is simply a wonderful celebration that continues to excite, delight and challenge audiences. The Hon John Hill I invite you to join us and be part of this amazing showcase of the depth and MINISTER FOR THE ARTS breadth of Asian culture. It is a great honour to be Patron of this festival, a much-loved and important part of our cultural calendar. Australia is looking forward to an Asian century. The OzAsia Festival provides an important means of understanding and appreciating our neighbouring Asian countries through the joy of gathering together, sharing and celebrating the richness of the arts and culture that defi ne this fantastic event. The Festival’s focus on India this year is particularly timely. It is a nation with a long and deep cultural history, and this year South Australians will be able to Hieu Van Le ao revel in the beauty and grandeur of the fascinating Indian continent. In recent years, our local Indian community has grown signifi cantly, and with it the PATRON, OZASIA FESTIVAL enormous value of their contribution to our economy and society through LIEUTENANT GOVERNOR, SA their culture. CHAIRMAN, SOUTH AUSTRALIAN Now in its sixth year, the 2012 OzAsia Festival will again delight us all MULTICULTURAL AND ETHNIC with the spectacular range of events on offer. I urge you to bring your AFFAIRS COMMISSION family and friends. Over the last 12 months the OzAsia Festival has received many signifi cant accolades, including the national AbaF Business Partner Award, AbaF SA Awards and a national Australian Event Award. OzAsia also continues to gain respect internationally as the premier Australian event contributing to and engaging with the cultural landscape of our Asian region. As well as exploring links between Australia and the diverse cultures of our Asian neighbours OzAsia places Asian cultures in an Australian context. New generations of Asian-Australians are now celebrating their traditions and histories to help realise our potential and history as a multicultural nation. Douglas Gautier Thank you to everyone involved in the OzAsia Festival including artists, staff, sponsors, presenting partners and audiences. You have all contributed CEO & ARTISTIC DIRECTOR, to the impact and signifi cance of this wonderful cultural celebration in ADELAIDE FESTIVAL CENTRE South Australia. Welcome to OzAsia Festival 2012 3 Ben Walsh and the Orkestra of the Underground Fearless Nadia AN INDIA-AUSTRALIA COLLABORATION STEEPED IN HISTORY IInn 11930930 oonene ooff A female version of Zorro, together with highlights from her other classic tthehe bbiggestiggest sstarstars Fearless Nadia was the movie appearances.Witness the birth of Bollywood, iinn BBombayombay wwasas a fi rst stunt queen of Indian accompanied by a new and completely original fi lms; a blonde blue-eyed score by musical chameleon Ben Walsh sswordword fi gghting,hting, wwhip-hip- girl from Perth and a (Tom Tom Crew) performed live by the ccracking,racking, ppunch-unch- pioneer in Indian Cinema. Orkestra of the Underground. fl iingingnging AAustralian-ustralian- Marvel at a screening of Special guest musicians and dancers from bbornorn sstunttunt wwomanoman the restored Diamond India will be adding to the adventure. eextraordinaire,xtraordinaire, Queen, one of Nadia’s Including passages for tabla improvised FFearlessearless NNadia.adia. most celebrated fi lms and composed by tabla maestro Aneesh Pradhan. Don’t miss the madness, and wonder at the legend of Fearless Nadia! Whips, quips, swinging hips! That, in a nutshell, describes the legendary Hindi cinema stunt queen Fearless Nadia a.k.a. Mary Evans... Roy Wadia (Grandson of Producer J B H Wadia who created the Nadia persona) Adult $45 .30 .30 7PM 7PM Concession $40 14 FRI 15 SAT Student $25 SEPT SEPT STix (see page 38) $12.50 + Q & A Dunstan Playhouse Groups (6+) $40 Family (2 +2) $120 Duration: 1 hr 40 mins Suitable: 8+ years Additional Child $15 Green Room $19.95 FESTIVAL SUBSCRIPTION Adult $40 Concession $35 4 World Premiere & Australian Exclusive Adelaide Festival Centre in association with AsiaNow Productions present Yohangza Theatre Company Ibsen’s Peer Gynt ADAPTED & DIRECTED BY JUNG-UNG YANG, YOHANGZA THEATRE COMPANY A ccompellingompelling ccontemporaryontemporary Yohangza means voyager and perfectly rre-workinge-working ooff aann IIbsenbsen refl ects the company’s ethos of constant exploration. By blending the details of mmasterpiece.asterpiece. Western classical plays with Korean Peer Gynt is a dreamer, a liar and traditional elements, Yohangza Theatre a serial womaniser. Cast out from Company aims to discover new his home town Peer embarks on a theatrical methods for diverse audiences. thrilling and astonishing adventure in Yohangza return to Adelaide Festival search of fame and fortune. Centre having impressed audiences A village, forest, beach and other with their highly original, award winning imaginary places emerge from one interpretations of Shakespeare’s simple space creating a dynamic A Midsummer Night’s Dream (2007) theatrical experience. The 15 actors and Hamlet (2010). transform into the play’s multitude of Best Production, Best Director characters blending dance, voice and and Best Stage Design at the Korea percussion with Korean folklore.
Load more

Recommended publications
  • Download File
    ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 43 The poster of Zabak (1961) directed by Homi Wadia. Out of Sight: Archiving Hidden Histories of Practice Debashree Mukherjee All photographs courtesy Priya Paul Our understanding of Indian cinema would remain incomplete until we acknowledged its supporting cast of hairdressers, poster painters, costume designers, still photographers, makeup artists and numerous other specialists invisible to the public eye. In January 2013, Debashree Mukherjee curated an exhibition of Hindi film memorabilia titled ‘Maya Mahal’, which featured artefacts from the private collection of Priya Paul, Chairperson of Apeejay Surrendra Park Hotels. In this essay, Mukherjee uses examples from the collection to point to hidden histories of work and practice, and to give us a fragmented view of low-budget films, lost genres and the wage-workers who mark each film with their individual skills. ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 44 ArtConnect: The IFA Magazine, Volume 7, Number 1 eterodox in its scope and the elemental contract of cinema range, Priya Paul’s itself: to deliver sensory excitement, Hcollection of film voyeuristic delight and magical memorabilia represents an eccentric worlds. Thus, the exhibition mix of films. There are archives larger showcased genres, practitioners and than this, there are archives that are aesthetics that are often forgotten in more systematic, but the pleasure of a bid to celebrate auteurs and ‘classics’. serendipity springs from This is an alternative history of juxtaposition, not from order and Hindi cinema—one that is decidedly expanse. Comprising approximately excessive, melodramatic, even 5,000 paper artefacts, the Priya Paul utopian.
    [Show full text]
  • Film Genres, the Muslim Social, and Discourses of Identity C. 1935–1945
    Article BioScope Film Genres, the Muslim Social, and 6(1) 27–43 © 2015 Screen South Asia Trust Discourses of Identity c. 1935–1945 SAGE Publications sagepub.in/home.nav DOI: 10.1177/0974927615586930 http://bioscope.sagepub.com Ravi S. Vasudevan1 Abstract This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. Keywords Muslim social, Mehboob, K.A. Abbas, Islamicate, oriental, Lahore This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation.
    [Show full text]
  • Stardom: Industry of Desire 1
    STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Westminsterresearch Bombay Before Bollywood
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Bombay before Bollywood: the history and significance of fantasy and stunt film genres in Bombay cinema of the pre- Bollywood era Thomas, K. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Prof Katharine Thomas, 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] BOMBAY BEFORE BOLLYWOOD: THE HISTORY AND SIGNIFICANCE OF FANTASY AND STUNT FILM GENRES IN BOMBAY CINEMA OF THE PRE-BOLLYWOOD ERA KATHARINE ROSEMARY CLIFTON THOMAS A thesis submitted in partial fulfilment of the requirements of the University Of Westminster for the degree of Doctor of Philosophy by Published Work September 2016 Abstract This PhD by Published Work comprises nine essays and a 10,000-word commentary. Eight of these essays were published (or republished) as chapters within my monograph Bombay Before Bollywood: Film City Fantasies, which aimed to outline the contours of an alternative history of twentieth-century Bombay cinema. The ninth, which complements these, was published in an annual reader. This project eschews the conventional focus on India’s more respectable genres, the so-called ‘socials’ and ‘mythologicals’, and foregrounds instead the ‘magic and fighting films’ – the fantasy and stunt genres – of the B- and C-circuits in the decades before and immediately after India’s independence.
    [Show full text]
  • Blurring the Binaries, Blending the Gender: a Transition from Male Masculinity to Emale Androgyny in Hindi Cinema
    © Media Watch 8 (2) 287-294, 2017 ISSN 0976-0911 e-ISSN 2249-8818 DOI: 10.15655/mw/2017/v8i2/49019 Blurring the Binaries, Blending the Gender: A Transition from Male Masculinity to emale Androgyny in Hindi Cinema SIMRAN PREET KAUR & VANDANA SHARMA Shri Mata Vaishno Devi University, India The notion of gender identity as immutable has prompted a renewed focus on the rethinking of issues pertaining to the representation of women in Hindi cinema. The most pronounced effect of reconfiguring gender can be seen through the transformation of women identity in the recent decades because of the restructuring of gender relations that it has arguably initiated. Renewed forms of autonomy and reflexivity as critical awareness of oneself have emerged which no longer take into consideration the dichotomy between male domination and female subordination. Drawing upon the insights of Halberstam and Butler, the paper is an attempt to analyze the deconstruction of gender binaries and re-visioning of female masculinity in the portrayal of celluloid females in the action movies Gunday and Mardaani. Emerging with all the outstanding traits, the contemporary portrayal of androgynous females is no doubt nuanced and distinctive but the analysis is based on as to whether such exceptional platform provides better representation, and moreover, whether such representations offer inherent multiplicity within the homogeneous classification of femininity with respect to Indian cinema. Keywords: Gender, autonomy, androgynous, multiplicity The notion of gender identity as immutable has prompted a renewed focus on the rethinking of issues pertaining to the representation of women in Hindi cinema. Since its inception, Hindi cinema has portrayed women as marginalized identities defined within the domain of patriarchal socio-cultural frameworks, struggling to break free from the shackles of ideological stereotypes which denied their self-hood and identity.
    [Show full text]
  • The Tropic Trapeze: Circus in Colonial India
    The Tropic Trapeze: Circus in Colonial India Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig- Maximilians-Universität München vorgelegt von Anirban Ghosh Kolkata, India 2014 1 Erstgutachter: Prof. Dr. Christopher Balme Zweitgutachter: Prof. Dr. Tobias Döring Datum der mündlichen Prüfung: 24.01.2014 2 Acknowledgements No labour of love is achieved single-handedly and this dissertation needed a lot of blessings from a lot of wonderful (if not exotic) people. Firstly, I would like to thank my supervisor Prof. Dr. Christopher Balme for his immense patience and generosity in handling my requests. His written suggestions were invaluable along with the conversations we had over these three years. Nic, the Co-ordinator for our project, was a genie for all of us. I would also like to thank Gero for innumerable evenings of serious discussions. Lisa, who is going to be the one of the best performance studies scholars, I thank for being my soul sister among other things. This dissertation is truly transnational because of its constant travels to Munich including the final stages of writing and no amount of gratitude can alleviate my debt towards Louisa in this regard. Atig, Anirban, Amitava and Neha and Priyanka were my pillars of strength (despite their cynicism). I would like to thank the numerous curators in the archives and museums where I worked. Special mention should also be made of Dr. William Rodenhuis who helped me navigate the labyrinths of Haartman’s Circus Collection in Amsterdam. Mr. Gille, from the Hagenbeck archive, was very helpful in locating exact Indian themes in the archive.
    [Show full text]
  • West-Orient Memsaabs of Indian Films in Colonial Period: the History, Heritage and Hegemony
    West-orient Memsaabs of Indian Films in Colonial period: The History, Heritage and Hegemony Rashmi Condra1 Indian Cinema is essentially considered an institution of modernity. This is because it is at one level ‘a machine engaged in the mechanical reproduction of images, and so has an impact on the way traditions of representations are refracted through its mechanism’. The growth of Indian cinema and their themes during the British colonial rule considerably parallel the political and societal atmosphere of the country of the time thus asserting its historical and cultural identity. Certainly, there has been a significant contribution of western community and the western technology to this cinematic evolution. It can be ascertained that the pre-colonial period generation invariably benefited from each other mainly through the cultural wisdom, integration of modernism and other thought processes. Interestingly, this intercession diluted gender specification as time passed by. Earlier, due to societal prejudices, women of Indian origin were discouraged from becoming a part of the film industry. So we know that preliminary female actors in Indian film industry were of foreign origins. Considering films and feminism, we can regard it as an extension of prevailing political movement initially interested in two main areas: a) The role of women in the film industry: was the emphasis on the ‘great auteur’? This approach promoted the idea of equal representation of women on screen could only come from equal representation in the industry. b) The way in which film used images of women: did this affect the way woman were treated in society? Is there a gap between the way women are represented on screen and in their real lives? In the context of colonial epistemologies, technologies such as films arrived into India at the same time as Europe.
    [Show full text]
  • Women's Studies Women, Media and Films Description of Module Items Description of Module Subject Name Women's Studies Paper
    Paper-10 Module-20 Actresses and Stardom I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita Parmar Allahabad University, Allahabad Paper Coordinator Prof. Sisir Basu Banaras Hindu University, Varanasi Content Writer/Author (CW) Mr.Sudarshan Yadav Assistant ProfessorCentral University of Jharkhand, Ranchi Content Reviewer (CR) Prof. Sisir Basu Benaras Hindu University Language Editor (LE) Prof. Sumita Parmar Allahabad University Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women, Media & Films Module Name/ Title Actresses and Stardom Module ID Paper-10 Module-20 Pre-requisites The reader is expected to have the knowledge of Bollywood. The kind of films made in India and different actors and actresses known in the media. They are also required to keep in their mind the time and the context in which different actresses appeared on-screen. Objectives To make the readers aware about the idea of stardom and star system. In doing so dominance of male actors in the film industry would be discussed. Further the cases of female stars with their prominence would be brought into notice of the reader. Keywords Actress, Star, Stardom, Star System, Positioning, Advertising, Product, USP, Box-office. 1 Women, Media and Films Women’s Studies Actresses and Stardom Actresses and Stardom 1.0. Objectives This module is designed to familiarize you with the idea of Star and the Star system in the film industry. It would tell you about its origin in Hollywood and its extension to Bollywood. Since the focus of this module is on film actresses and their stardom, you will be introduced to the idea through different cases from different eras.
    [Show full text]
  • Women in Punjabi Theatre of East Punjab
    NEGOTIATING SHAME & HONOUR, CASTE & CLASS: WOMEN IN PUNJABI THEATRE OF EAST PUNJAB by RANBIR KAUR JOHAL M. A., The University of British Columbia, 2001 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2020 © Ranbir Kaur Johal, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: NEGOTIATING SHAME & HONOUR, CASTE & CLASS: WOMEN IN PUNJABI THEATRE OF EAST PUNJAB submitted by Ranbir Johal in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in ASIAN STUDIES Examining Committee: Dr. Anne Murphy, Associate Professor, Department of Asian Studies, UBC Supervisor Dr. Adheesh Sathaye, Associate Professor, Department of Asian Studies, UBC Supervisory Committee Member Dr. Sharalyn Orbaugh, Professor, Department of Asian Studies, UBC Supervisory Committee Member Dr. Sunera Thobani, Professor, Department of Asian Studies, UBC University Examiner Dr. George Belliveau, Professor, Faculty of Education, UBC University Examiner ii Abstract Few females participated in early forms of Punjabi theatre until the 1940s and there is a dearth of information available on their contributions in the area. This dissertation examines reasons that prevented females from entering this field, and the stories of women who have. I focus on the life stories of four women who have made significant contributions to Punjabi theatre, Neena Tiwana, Rani Balbir Kaur, Navnindra Behl and Neelam Man Singh Chowdhry, whom I interviewed over a period of three months (February to April) in 2017, to understand what enabled and hindered their success.
    [Show full text]
  • Who Is Fearless Nadia & Why Is She on Today's Google Doodle?
    Who is Fearless Nadia & Why is She on Today's Google Doodle? Google India has paid tributes to Fearless Nadia by creating a Google Doodle on 8th January 2018. She is featured in today's Google Doodle because 8th January 2018 will mark her 110th Birth Anniversary. Google frequently releases an image, gif or an interactive animation on their homepage to mark certain big or small events in History. These are popularly known as ‘Google Doodles‘. These doodles are designed by young illustrators & artists. You can definitely be asked Question based on these important personalities in many of the Government exams like IBPS Clerk, SSC CHSL, SSC CGL, etc. So here’s all you need to know about Mary Evans Wadia or Fearless Nadia to score in your exam! Fearless Nadia - An Introduction Mary Ann Evans - is what she was named after birth, was born on 8th January 1908. She is one of the first women to be a lead in the history Indian Cinema. Mary Ann Evans, also popularly known by her name after marriage - Mary Evans Wadia earlier worked in the Theatre Industry along with Zarko Circus in 1930. She was introduced to Indian Cinema by Jamshed J.B.H. Wadia. This blue-eyed blonde girl soon became popular with the audience which bagged her the main role in the famous movie - Hunterwali (1935). A recent Indian movie - Rangoon, was based on the character of Fearless Nadia. Bollywood actress Kangana Ranaut played the role of Jaanbaaz Julia, which was a tribute to this fearless female. 1 | P a g e Personal Life of Fearless Nadia Fearless Nadia or Mary Ann Evans was born in Perth, Australia.
    [Show full text]
  • India, Australia and the Asian Century
    earless f nadia India, Australia and the The Fearless Nadia Occasional Papers on India-Australia Asian Relations The Fearless Nadia Occasional papers are original essays commissioned by the Australia India Century Institute focusing on various aspects of the relationship between India and Australia. Fearless Nadia (1908- 1996) was an Australian actress born Mary Ann Evans in Perth, Western Australia, who began her career working in the Zarko circus and eventually became a celebrated star of Hindi films in India. Fearless Nadia brought a new joie de vivre and chutzpah into Indian cinema with her breathtaking ‘stunts’. Her role in the Hamish McDonald renowned film Hunterwali, where she appeared dressed in boots and wielding a whip, became an iconic image in 1930s Bombay. The Occasional Papers series seeks to inject a similar audacity and creative dialogue into the relationship between India and Australia. Autumn 2013: Volume One www.aii.unimelb.edu.au The Fearless Nadia Occasional Papers on India-Australia Relations earless f nadia Editor CHRISTOPHER KREMMER Permission to use the name and image of “Fearless Nadia” is a courtesy extended by Wadia Movietone to the Australia India Institute for use only as the title of its Occasional Academic Papers. This is on the clear understanding that the name and image will be used only for the Occasional Academic Papers under this umbrella, and not for any commercial use. Wadia Movietone retains sole global copyright and ownership under intellectual property and copyright law of the Fearless Nadia and Hunterwali characters and personas, and any depiction and usage of the same. The Australia India Institute expresses its deep gratitude to Wadia Movietone for this gesture and wishes to record the contribution of JBH Wadia who thought up the Hunterwali character, gave Mary Evans her screen name, and popularized the Fearless Nadia persona through his films.
    [Show full text]
  • Bombay Before Bollywood Film City Fantasies
    one Bombay before Bollywood Film City Fantasies When I first arrived in autumn 1979 at the modest bungalow in the leafy outskirts of Pune that housed the National Film Archive of India (NFAI), eager to see their paperwork collections, I was directed to one dusty cupboard in the corner of the small library. Inside, higgledy-piggledy, was a random collection of posters and film stills from the ‘new’ or ‘art’ cinema, alongside some stills from Hindi and Marathi classics of the 1950s and earlier. Once I had explained—to the consternation and bemusement of the library staff—that I was interested in the contemporary popular or mainstream Hindi cinema, a script of Vijay Anand’s 1965 film Guide was reluctantly retrieved for me. As it had been nominated for an Academy Award, I was assured that it was a ‘good’ mainstream film—a film of a better kind. I spent a few weeks dutifully working my way through this script and usefully improving my Hindi. But little more was on offer, although it is now clear that their vaults must have held much other uncatalogued material, albeit little of the then recent popular. I soon gave up and made my way down to Bombay where I started to build my own collection of fan postcards and calendars of stars, film song-books and dialogue cassettes from the ubiquitous pavement vendors and small street stalls. I found a film-crazy college student as my unofficial tutor, visited the cinema with her twice or thrice a week, watched Doordarshan’s Sunday night movie and its film song show Chitrahaar with determined regularity and gradually, pincer- movement, made my way into the industry, watching first-hand how films were made.
    [Show full text]