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James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
Over His Long Career, the Icon of American Cinema Defined a Style of Filmmaking That Embraced the Burnished Heights of Society, Culture, and Sophistication
JAMES IVORY OVER HIS LONG CAREER, THE ICON OF AMERICAN CINEMA DEFINED A STYLE OF FILMMAKING THAT EMBRACED THE BURNISHED HEIGHTS OF SOCIETY, CULTURE, AND SOPHISTICATION. BUT JAMES IVORY AND HIS LATE PARTNER, ISMAIL MERCHANT, WERE ALSO INVETERATE OUTSIDERS WHOSE ART WAS AS POLITICALLY PROVOCATIVE AS IT WAS VISUALLY MANNERED. AT AGE 88, THE WRITER-DIRECTOR IS STILL BRINGING STORIES TO THE SCREEN THAT FEW OTHERS WOULD DARE. By CHRISTOPHER BOLLEN Photography SEBASTIAN KIM JAMES IVORY IN CLAVERACK, NY, FEBRUARY 2017. COAT: JEFFREY RUDES. SHIRT: IVORY’S OWN. On a mantle in James Ivory’s country house in but also managed to provoke, astonish, and seduce. the depths of winter. It just got to be too much, and I IVORY: I go all the time. I suppose it’s the place I love IVORY: I saw this collection of Indian miniature upstate New York sits a framed photo of actress In the case of Maurice, perhaps because the film was remember deciding to go back to New York to work most in the world. When I went to Europe for the paintings in the gallery of a dealer in San Francisco. Maggie Smith, dressed up in 1920s finery, from the so disarmingly refined and the quality of the act- on Surviving Picasso. first time, I went to Paris and then to Venice. So after I was so captivated by them. I thought, “Gosh, I’ll set of Ivory’s 1981 filmQuartet . By the fireplace in an ing and directing so strong, its central gay love story BOLLEN: The winters up here can be bleak. -
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. -
Journal of Bengali Studies
ISSN 2277-9426 Journal of Bengali Studies Vol. 6 No. 1 The Age of Bhadralok: Bengal's Long Twentieth Century Dolpurnima 16 Phalgun 1424 1 March 2018 1 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Journal of Bengali Studies (ISSN 2277-9426), Vol. 6 No. 1 Published on the Occasion of Dolpurnima, 16 Phalgun 1424 The Theme of this issue is The Age of Bhadralok: Bengal's Long Twentieth Century 2 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 ISSN 2277-9426 Journal of Bengali Studies Volume 6 Number 1 Dolpurnima 16 Phalgun 1424 1 March 2018 Spring Issue The Age of Bhadralok: Bengal's Long Twentieth Century Editorial Board: Tamal Dasgupta (Editor-in-Chief) Amit Shankar Saha (Editor) Mousumi Biswas Dasgupta (Editor) Sayantan Thakur (Editor) 3 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Copyrights © Individual Contributors, while the Journal of Bengali Studies holds the publishing right for re-publishing the contents of the journal in future in any format, as per our terms and conditions and submission guidelines. Editorial©Tamal Dasgupta. Cover design©Tamal Dasgupta. Further, Journal of Bengali Studies is an open access, free for all e-journal and we promise to go by an Open Access Policy for readers, students, researchers and organizations as long as it remains for non-commercial purpose. However, any act of reproduction or redistribution (in any format) of this journal, or any part thereof, for commercial purpose and/or paid subscription must accompany prior written permission from the Editor, Journal of Bengali Studies. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
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. -
Introduction – Liberal, Humanist, Modernist, Queer? Reclaiming Forster’S Legacies
Notes Introduction – Liberal, Humanist, Modernist, Queer? Reclaiming Forster’s Legacies 1. For another comprehensive monograph on different models of intertextual- ity, see Graham Allen, Intertextuality (2000). 2. See Bloom (1973). Bloom’s self-consciously idiosyncratic study has received mixed responses; its drive against formalist depersonalization has been appreciated by prominent thinkers such as Jonathan Culler, who affirms that ‘[t]urning from texts to persons, Bloom can proclaim intertextuality with a fervor less circumspect than Barthes’s, for Barthes’s tautologous naming of the intertextual as “déjà lu” [“already read”] is so anticlimactic as to preclude excited anticipations, while Bloom, who will go on to name precursors and describe the titanic struggles which take place on the battlefield of poetic tra- dition, has grounds for enthusiasm’ (1976, p. 1386; my translation). Other critics, such as Peter de Bolla, have attempted to find points of compromise between intertextuality and influence. He offers that ‘the anxiety that a poet feels in the face of his precursor poet is not something within him, it is not part of the psychic economy of a particular person, in this case a poet, rather it is the text’ (1988, p. 20). He goes on to add that ‘influence describes the relations between texts, it is an intertextual phenomenon’ (p. 28). De Bolla’s attempt at finding a crossroads between formalist intertextuality and Bloomian influence leans perhaps too strategically towards Kristeva’s more fashionable vocabulary and methodology, but it also points productively to the text as the material expression of literary influence. 3. For useful discussions and definitions of Forster’s liberal humanism, including its indebtedness to fin de siècle Cambridge, see Nicola Beauman, 1993; Peter Childs, 2007; Michael Levenson, 1991; Peter Morey, 2000; Parry, 1979; David Sidorsky, 2007. -
Master of the Sights and Sounds of India
M129 JUNE 2014 Presented by INDIA ABROAD PERSON OF THE YEAR 2013 INDIA ABROAD FRIEND FRANCO ORIGLIA/GETTY IMAGES OF INDIA AWARD 2013 MASTER OF THE SIGHTS JAMES IVORY AND SOUNDS OF INDIA M130 JUNE 2014 Presented by INDIA ABROAD PERSON OF THE YEAR 2013 ‘I still dream about India’ Director James Ivory , winner of the India Abroad Friend of India Award 2013 , speaks to Aseem Chhabra in his most eloquent interview yet about his elegant and memorable films set India Director James Ivory, left, and the late producer Ismail Merchant arrive at the Deauville American Film Festival in France, where Ivory was honored, in 2003. Their partnership lasted over four decades, till Merchant’s death in May 2005. James Ivory For elegantly creating a classic genre; for a repertoire of exquisitely crafted films; for taking India to the world through cinema. PHILIPPE WOJAZER/REUTERS ames Ivory’s association with India goes back nearly remember it very clearly. When we made Shakespeare Wallah it six decades when he first made two documentaries We made four feature films in a row and I think of that was much better. Plus we couldn’t see our about India. He later directed six features in India — time as a heroic period in the history of MIP ( Merchant rushes. We weren’t near any place where Jeach an iconic representation of India of that time Ivory Productions ). We had no money and it was very hard we could project rushes with sound. For period. to raise money to make the kind of films we wanted to The Householder we found a movie theater Ivory, 86, recently sat in the sprawling garden of his coun - make. -
From Shakespearean Text to Cinema: a Study of Select Dramaturgic Adaptations
FROM SHAKESPEAREAN TEXT TO CINEMA: A STUDY OF SELECT DRAMATURGIC ADAPTATIONS THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Doctor of philosophy In English By FATIMAH JAVED UNDER THE SUPERVISION OF PROF. SAMINA KHAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (U.P) INDIA 2017 Professor Samina Khan Department of English Aligarh Muslim University, Aligarh Phone No: 09997398308 [email protected] Certificate Certified that the thesis entitled “From Shakespearean Text to Cinema: A Study of Select Dramaturgic Adaptations” submitted by Ms. Fatimah Javed for the award of the degree of the Doctor of Philosophy is an original work carried out under my supervision and has not been submitted, in part or full, to this University or any other University. Prof. Samina Khan Date: Supervisor Acknowledgements I am sincerely indebted to all those people who have helped, guided and encouraged me while I was working on my thesis. First and foremost, I thank my supervisor, Prof. Samina Khan who appreciated the idea and supported me at each and every phase of my research. I owe her my heartfelt gratitude for being there as my guide. This work would not have been possible without her able guidance and support. I would like to thank the Chairperson, Department of English, for her help and support. I would also like to extend a big thanks to Dr. Jawed S. Ahmad for his diligent proofreading of my various chapters. I am equally thankful to Dr. Akbar Joseph A. Syed and Dr. Rashmi Attri for their valuable suggestions and feedback. I also thank my friend Dr. -
Madhur Jaffrey Was an Actress First—She Still Is by Mayukh Sen • November 3, 2016
Madhur Jaffrey Was an Actress First—She Still Is by Mayukh Sen • November 3, 2016 Madhur Jaffrey spent the morning mulling over whether to go to an audition. She languished during those hours reading a play in her Greenwich Village apartment. Should she have auditioned? She wasn’t sure. By the time we met later that afternoon, Jaffrey couldn’t even remember the name of the play. Just when she thought she had it, it escaped her. At first, she thought it was Still Life, but no—that was another Noël Coward play. It had been awhile since she’d done this. Today, in the British and American imaginary, Jaffrey has been cast in primary colors as the West's bellwether of Indian food: the “queen of curries,” “the global authority on Indian cuisine,” “the Julia Child of Indian Cookery.” (Her grandmotherly mien welcomes this. She is a short, unimposing woman who wears her hair in a mild frenzy of a bob; her face conveys biblical wisdom.) But she is, first and foremost, an actress. “I have always known myself as that,” she told me. “Acting is what I went to school for. But people don’t know me as anything but as a cookbook author.” Jaffrey, born in 1933 as Madhur Bahadur in the Delhi of British India, grew up watching movies since the age of three. Her father was an erudite, ardent cinephile who worked as the manager of a ghee factory. He raised her and her five siblings on a coleslaw of British, American, and Indian films, ranging from Laurence Olivier’s Henry V (1944) to the early films of Indian cinema’s first female stars, Devika Rani and Leela Chitnis. -
November 16. 2017 Enquiries
VOL 5 ISSUE 45 ● DALLAS ● NOVEMBER 10 - NOVEMBER 16. 2017 ● ENQUIRIES: 646-247-9458 THE INDIAN PANORAMA 2 ADVERTISEMENT FRIDAY, NOVEMBER 10, 2017 www.theindianpanorama.news VOL 5 ISSUE 45 ● DALLAS ● NOVEMBER 10 - NOVEMBER 16, 2017 ● ENQUIRIES: 646-247-9458 Two Summits & an Straws in Shakespeare Jawahar Lal Priyanka Chopra Agenda: Scene set for the Gujarat Wallah, the Nehru, the first Prime gets a stylish home 8 a Global Tug and Pull 9 breeze 12 movie 16 Minister of India 14 in New York City In Beijing, Trump inks $250 Billion deals, but gains little on N Korea Resurgence of Democrats US President Donald Trump and Chinese President shocks Republicans Xi Jinping during a welcome ceremony Women and Minorities give Groundbreaking Wins in Beijing. Photo courtesy PTI Dr. Ralph Northam Phil Murphy Bill de Blasio Laura Curran (Nassau Melinda Katz BEIJING (TIP): Despite his heavy criticism of China (Governor of Virginia) (Governor of New Jersey) (Mayor of New York) County Executive) (Queensborough President during last year's campaign, the president toned down his rhetoric dramatically during a visit to Beijing, continuing a I.S. Saluja Medicaid under Obamacare. Some goal, tax reform: The House bill pattern of extreme shifts between insults and praise. Tone NEW YORK (TIP): What accounts for voters may have been motivated by the undercuts some key party positions, and aside, the summit may not result in much more cooperation on the wave of Democratic successes in sense that their values were threatened the Senate just unveiled a competing North Korea policy, as the U.S. and Chinese views of the Tuesday's elections? Health care was a by President Trump's authoritarian plan. -
Shashi Kapoor
NUMBER. 1 2015 SHASHI KAPOOR NATIONAL DOCUMENTATION CENTRE ON MASS COMMUNICATION NEW MEDIA WING (FORMERLY RESEARCH REFERENCE AND TRAINING DIVISION) (MINISTRY OF INFORMATION AND BROADCASTING) Room No.437-442, Phase IV, Soochana Bhavan, CGO Complex, New Delhi Compiled, Edited & Issued by National Documentation Centre on Mass Communication New Media Wing (Formerly Research, Reference & Training Division) Ministry of Information & Broadcasting Chief Editor L. R. Vishwanath Editor H. M. Sharma Assistant Editor Alka Mathur SHASHI KAPOOR Veteran actor Shashi Kapoor who is known for his considerable and versatile acting skills, a producer of off-beat films and a patron of theatre has been conferred the Dada Saheb Phakle Award for the year 2014. He is the 46th recipient of the award. He has been selected for his outstanding contribution to the growth and development of Indian cinema. He gets a Swarna Kamal, a cash prize of Rs. 10 lakh and a shawl. Shashi Kapoor was born as Balbir Raj Kapoor in Calcutta on March18, 1938 to Prithviraj Kapoor and Ramsarni Devi. He is the younger brother of Raj Kapoor and Shammi Kapoor. From the age of four, Shashi Kapoor acted in plays directed and produced by his father Prithviraj Kapoor while travelling with Prithvi Theaters. He started acting in films as a child artiste in the late 1940s appearing in commercial films including Sangram (1950) and Dana Pani (1953) under the name of Shashiraj as there was another actor by the same name who used to act in mythogical films as a child artiste. His best known performances as a child artiste were in Aag (1948) and Awaara (1951) where he played the younger version of the characters played by his brother Raj Kapoor and in Sangram (1950) where he played younger version of Ashok Kumar.