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Uninhibited India Eyes Russian Kamov
Follow us on: facebook.com/dailypioneer RNI No.2016/1957, REGD NO. SSP/LW/NP-34/2016-18 @TheDailyPioneer instagram.com/dailypioneer/ Established 1864 OPINION 8 Published From WORLD 12 SPORT 15 DELHI LUCKNOW BHOPAL NO PLACE FOR KAVANAUGH SWORN IN AS ARSENAL THRASH BHUBANESWAR RANCHI RAIPUR MINORITIES IN PAKISTAN US SUPREME COURT JUSTICE FULHAM 5-1 IN PL CHANDIGARH DEHRADUN Late City Vol. 154 Issue 271 LUCKNOW, MONDAY OCTOBER 8, 2018; PAGES 16 `3 *Air Surcharge Extra if Applicable RHEA EXCITED ABOUT DEBUT OF} SARA KHAN} 14 VIVACITY www.dailypioneer.com Naxalism will be Uninhibited India eyes Russian Kamov wiped out in 2-3 Country has independent foreign policy, says Army chief in reaction to US sanction threat PNS n NEW DELHI “allies or partners.” questions. However, an indus- years: Rajnath * Russians are keen on “The (CAATSA presiden- try source said the law is n a clear indication that associating with Indian tial) waiver is narrow, intend- ambiguous about “when a India was not going to buck- defence forces: Rawat ed to wean countries off waiver is necessary so this can The Home Minister said he I PNS n le under the threat of US sanc- * Army chief had held talks with Russian equipment and allow be avoided for years”. LUCKNOW was confident that the speed tion over the S-400 missile deal Russian military officials on for things such as spare parts The National Defense and accuracy with which the with Russia, Army chief Gen enhancing bilateral for previously-purchased Authorization ACT (NDDA) iving credit to the Central CRPF was operating, the men- Bipin Rawat on Sunday said cooperation equipment,” a White House 2019 gives the president the GReserve Police Force ace of Naxalism would be the country has an indepen- National Security Council power to waive of the CAAT- (CRPF) for curbing terrorism wiped out within 2-3 years. -
10 Apps That Made India
10 APPS THAT MADE INDIA ‘APPY IN 2017 Delve into the Universe of mobile applications and learn which ones made it to the list of 10 most popular apps of 2017 – Jagrati Rakheja [email protected] ver wondered about the day when your its CEO shaming India by calling ‘poor india’ has got mobile applications became an integral part Snapchat incredible fame. Though, it was still amongst of your life? Or how the small icons on your the favorite mobile applications for youngsters. Its Esmartphone’s display started playing a crucial features like sharing private messages, sharing images, role in your everyday routine? clicking perfect selfies, re-watching stories, limited life Let us ponder over this thought. The applications on of messages, keeping up-to-date news about celebrity your phones are not just mere service providing tools but gossip, following celebrities and the list goes on has made immortal beings who don’t breathe. Checking phone for people crazy for snapchat. It is a must application for your whatsapp message, sending snap on snapchat, sharing phone. photographs over instagram or listening to music on several online applications has become an innate quality Instagram in today’s generation. Also, if we go by the 106-page report shared by Hootsuite and We Are Social, more than one-third of the world’s population has access to mobile applications. Smartphone applications have transformed the way we live. People spend majority time of their day on these apps. Now, without wasting further time, let us discuss about the 10 most popular apps that have created a spe- cial mark in people’s life in the year 2017. -
Indian Stand-Up Comedians and Their Fight Against India's Anti
Universität Potsdam Institut für Anglistik und Amerikanistik Abschlussarbeit zur Erlangung des akademischen Grades Master of Education (M.Ed.) Erstgutachter: Prof. Dr. Dirk Wiemann Zweitgutachterin: Dr. Tania Meyer Comedy as Resistance: Indian Stand-Up Comedians and Their Fight Against India’s Anti-Democratic Tendencies Lea Sophie Nüske Master: Englisch und Französisch auf Lehramt Matrikelnr.: 765845 Selbstständigkeitserklärung Hiermit versichere ich, Lea Nüske, dass ich die Masterarbeit selbstständig und nur mit den angegebenen Quellen und Hilfsmitteln angefertigt habe. Alle Stellen der Arbeit, die ich aus diesen Quellen und Hilfsmitteln dem Wortlaut oder dem Sinne nach entnommen habe, sind kenntlich gemacht und im Literaturverzeichnis aufgeführt. Berlin, den 3. August 2018 Lea Nüske Zusammenfassung Die vorliegende Arbeit Comedy as Resistance – Indian Stand-Up Comedians and Their Fight Against India’s Anti-Democratic Tendencies beschäftigt sich mit der Frage, ob und inwiefern Stand-Up Comedy in Indien als Mittel zum sozio-politischen Widerstand genutzt wird und wie weitreichend dieser Widerstand einzuschätzen ist. Um diese Frage zu beantworten werden zunächst die Merkmale des Genres sowie ihre Funktionen untersucht, um herauszustellen, weshalb sich besonders Stand-Up Comedy dafür eignet, indirekten politischen Widerstand zu leisten. Auch die Geschichte des satirischen Widerstandes und des Genres Stand-Up Comedy im indischen Kontext sowie die soziale Spaltung der Gesellschaft, die durch verschiedene Konflikte zum Ausdruck gebracht wird -
Laughter Effect
caty borum chattoo center for media & social impact school of communication american university may 2017 the laughter effect: the [serious] role of comedy in social change about the The Laughter Effect: The [Serious] Role of Comedy in Social Change is the second in a three-part inves- project tigation about comedy and social influence. All were directed and written by Caty Borum Chattoo, produced under the auspices of the Center for Media & Social Impact at American University’s School of Communication. All three projects were funded by the Bill & Melinda Gates Foundation. The first project, Entertainment, Storytelling & Social Change in Global Poverty, an experimental design study that examined the persuasive impact of the comedic documentary film, Stand Up Planet, was published in February 2015; it was funded under the auspices of Learning for Action, LLC. Borum Chattoo was also the executive producer and producer of the documentary, which premiered in 2014 in the United States and India. Lauren Feldman, PhD, Associate Professor in the School of Communication and Information at Rut- gers University, served as peer reviewer for The Laughter Effect. For the Center for Media & Social Impact, graduate student fellows Jessica Henry Mariona, Diya Basu and Hannah Sedgwick provided research support; all were students at the American University School of Communication graduate Strategic Communication program. The reports are available at www.cmsimpact.org. about the Caty Borum Chattoo is Director of the Center for Media & Social Impact and Executive in Residence project at the American University School of Communication in Washington, D.C. She works at the intersec- director tion of social-change communication/media, media effects research, and documentary production. -
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! # B(>6 *"C! "C! C SIDISrtVUU@IB!&!!"&#S@B9IV69P99I !%! %! ' 23/0$&2%#. 45) &%-&-. )&*+(, $%&'( 9F6#3$F ?#:#9#=-F 9,9# # 9#( # ,9F ,(,,96#?,(#9 ==6 3F= (5=(,3 $=#;+0,96 3 ($! 0%22# %DD E# #!! 6 ' 46 *7 48 5 * ! "$% !& 9>, “allies or partners.” questions. However, an indus- , ! ) ? “The (CAATSA presiden- try source said the law is n a clear indication that ! tial) waiver is narrow, intend- ambiguous about “when a IIndia was not going to buck- * ed to wean countries off waiver is necessary so this can le under the threat of US sanc- , Russian equipment and allow be avoided for years”. with the investigation said tion over the S-400 missile deal 7 for things such as spare parts The National Defense prima facie it appears that the with Russia, Army chief Gen for previously-purchased Authorization ACT (NDDA) shuttering was hit by a tractor- Bipin Rawat on Sunday said # * equipment,” a White House 2019 gives the president the trolley carrying construction the country has an indepen- National Security Council power to waive of the CAAT- 9>, material, which led to the inci- dent foreign policy and it might spokesperson told PTI hours SA sanctions if it is a national dent but the cause is yet to be go ahead with acquiring the ! after the conclusion of the S- security interest. n yet another incident gross ascertained. “Nine people were Kamov helicopters and other - 400 contract. But for the pres- It also mentions several Inegligence on part of the con- injured when the shuttering of weapon systems from Moscow. -
TVF's Arunabh Kumar (Left) Won the Vdonxt Person of the Year Award
January 16-31, 2017 Volume 5, Issue 15 `100 13 DIGITAL VIDEO MASTERS TVF’s Arunabh Kumar (left) won the vdonxt Person of the Year Award - New Media while All India Bakchod (Gursimran Khamba, centre, and Tanmay Bhat) won the vdonxt Person of the Year - Content Creator award at India’s largest convention on the rapidly growing digital video space. Subscriber copy not for resale editorial This fortnight... Volume 5, Issue 15 his publication recently decided to revive an old section called ‘Who’s That’, EDITOR Sreekant Khandekar T a section in which we used to profile the rising stars, on and off screen, in the PUBLISHER January 16-31, 2017 Volume 5, Issue 15 `100 advertising and media industry. A few days back, we made a list of people we could Prasanna Singh kick-start ‘Who’s That - 2.0’ with, and I was amazed to see that eight out of the top EXECUTIVE EDITOR ten names were from the online video business. Actors, scriptwriters, content creators, Ashwini Gangal platform heads… what have you. Evidently, the online video space is where all the ASSOCIATE EDITOR Sunit Roy action lies. PRODUCTION EXECUTIVE Andrias Kisku Over the past 14 months, we’ve published some memorable cover stories around 13 ADVERTISING ENQUIRIES professionals from this promising industry, including a detailed piece on All India Shubham Garg DIGITAL VIDEO MASTERS 81301 66777 (M) TVF’s Arunabh Kumar (left) won the vdonxt Person of the Year Award - New Bakchod, and an in-depth interview with The Viral Fever’s Arunabh Kumar. Also Media while All India Bakchod (Gursimran Khamba, centre, and Tanmay Bhat) won the vdonxt Person of the Year - Content Creator award at India’s Apoorv Kulshrestha largest convention on the rapidly growing digital video space. -
Mediating Rape: the 'Nirbhaya Effect'
Mediating rape: the `Nirbhaya effect' in the creative and digital arts Article (Accepted Version) Kaur, Raminder (2017) Mediating rape: the ‘Nirbhaya effect’ in the creative and digital arts. Signs: Journal of Women in Culture and Society, 42 (4). pp. 945-976. ISSN 0097-9740 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/61990/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Mediating Rape: The ‘Nirbhaya Effect’ in the Creative and Digital Arts Raminder Kaur (2016) Accepted for publication in Signs: Journal of Women in Culture and Society. -
Stand-Up Comedy and Caste in India
IAFOR Journal of Media, Communication & Film Volume 7 – Issue 1 – Summer 2020 Humour and the Margins: Stand-Up Comedy and Caste in India Madhavi Shivaprasad, Tata Institute of Social Sciences, Mumbai, India Abstract Stand-up comedy as an art form has been known as one of the most powerful forms of expression to speak truth to power. In India, political satire as stand-up is highly popular. However, there is a serious gap in recognising and critiquing social hierarchies, particularly the Indian caste system. Most comedians, including the women who are known as strong critics of patriarchal structures within Indian society and the comedy industry in India, do not see the lack of representation of a Dalit voice in the industry as a structural problem. When caste is specifically named in the routines performed by them, all of them incidentally are a reference to their upper-caste identities in a non-ironical manner. Through critical discourse analysis, the article analyses stand-up comedy videos by these comedians online videos, as well as other non-humorous critiques they have offered on other platforms such as social media in order to understand the implications of these references. The article argues that these narratives reflect the general dominant caste discourse that the upper-caste comedians are a part of and also reconstitute the same by reiterating their own locations within the caste system. Finally it reflects on the significance of humour and particularly stand-up comedy to effect change. Recognising that humour and laughter are social activities also means to acknowledge that they hold potential to break existing stereotypes. -
Laughing About Caste an Analysis of How Caste Considerations Find Representation in the Genre of English Stand- up Comedy on the Internet in India
Connections: A Journal of Language, Media and Culture Laughing About Caste An analysis of how caste considerations find representation in the genre of English stand- up comedy on the internet in India Shreyashi Ganguly1 1 Department of Sociology, University of Victoria, British Columbia, Canada E-mail: [email protected] Abstract The literature on humour in India has largely evaded the question of how humour intersects with caste stratification. Not much has been written about humour’s potential to discriminate against certain caste groups of the lower social order. Similarly, the traditional media in India has been silent about the issue of caste following which, social media has emerged as the ‘counter publics’ where caste identity can be collectively and freely expressed. Taking the now flourishing brand of English stand-up comedy on the Internet in India as an entry point, this study investigates if the symbolic articulation of caste identities is at all made possible in this genre. Using a combination of discourse analysis and social media analysis, to examine the jokes produced in stand-up shows, in this paper I try to gauge how frequently, and in what ways, caste finds mention in these performances on the Internet. I find that caste identity, and the associated discrimination, are hardly evoked in the comedians’ discourse. And when spoken about, they are often done so in a disparaging light. I conclude this paper by illuminating the ways in which this disparaging humour bolsters caste discrimination, sustains stereotypes and, in the process, conditions the normalized exclusion of lower-caste groupings from the public sphere. -
INDIAN OTT PLATFORMS REPORT 2019 New Regional Flavours, More Entertaining Content
INDIAN OTT PLATFORMS REPORT 2019 New Regional Flavours, more Entertaining Content INDIAN TRENDS 2018-19 Relevant Statistics & Insights from an Indian Perspective. Prologue Digital technology has steered the third industrial revolution and influenced human civilization as a whole. A number of industries such as Media, Telecom, Retail and Technology have witnessed unprecedented disruptions and continue to evolve their existing infrastructure to meet the challenge. The telecom explosion in India has percolated to every corner of the country resulting in easy access to data, with Over-The-Top (OTT) media services changing how people watch television. The Digital Media revolution has globalized the world with 50% of the world’s population going online and around two-thirds possessing a mobile phone. Social media has penetrated into our day-to-day life with nearly three billion people accessing it in some form. India has the world’s second highest number of internet users after China and is fully digitally connected with the world. There is a constant engagement and formation of like-minded digital communities. Limited and focused content is the key for engaging with the audience, thereby tapping into the opportunities present, leading to volumes of content creation and bigger budgets. MICA, The School of Ideas, is a premier Management Institute that integrates Marketing, Branding, Design, Digital, Innovation and Creative Communication. MICA offers specializations in Digital Communication Management as well as Media & Entertainment Management as a part of its Two Year Post Graduate Diploma in Management. In addition to this, MICA offers an online Post-Graduate Certificate Programme in Digital Marketing and Communication. -
India's Edgiest Comedy Collective
INDIA’S EDGIEST COMEDY COLLECTIVE AUSTRALIAN TOUR 2016 MELBOURNE THE FORUM FRIDAY 6 MAY Book at Ticketmaster 136 100 www.ticketmaster.com.au SYDNEY ENMORE THEATRE SUNDAY 8 MAY Book at Festival Box Office 9020 6966 www.sydneycomedyfest.com.au or Ticketek 132 849 www.ticketek.com.au TICKETS ON SALE NOW All IndiA BAkchod (AIB) is India's edgiest, most infamous comedy collective. They are the biggest selling stand-up ACt in India and are famous for sketches released on their wildly popular YouTube chAnnel with over 1.4 million subscribers. They executed India's first celebrity roast in 2015, the video for which garnered 11 million views in 3 days. Apart from performing all across India, they have toured their irreverent brand of comedy in Singapore and Dubai. This will be their first tour of Australia. The 60-minute show will feature stand-up, songs and sketches. TAnmAy BhAt, GursimrAn KhAmbA, Rohan Joshi and Ashish ShAkyA, AIB are widely regarded as India’s premier comedic tour-de-force across multiple forms of media. Gursimran is the co-founder of AIB and has been a standup comic since 2009. He enjoys talking about things people don't like talking about. “Perhaps the most outrageous comic” Deccan Herald. Tanmay Bhat is one of India’s brightest comedians. He is also a television writer and feature film writer, humour columnist with First Post and Time Out MumbAi. His television credits include India’s first English sketch comedy special Ripping The DeCAde on StAr World. “Tanmay is such an exciting tAlent thAt you need more thAn just your hAnds to clAp for him.