Yash Raj Films (Yrf) - Filmography
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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Seeking Offense: Censorship and the Constitution of Democratic Politics in India
SEEKING OFFENSE: CENSORSHIP AND THE CONSTITUTION OF DEMOCRATIC POLITICS IN INDIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Ameya Shivdas Balsekar August 2009 © 2009 Ameya Shivdas Balsekar SEEKING OFFENSE: CENSORSHIP AND THE CONSTITUTION OF DEMOCRATIC POLITICS IN INDIA Ameya Shivdas Balsekar, Ph. D. Cornell University 2009 Commentators have frequently suggested that India is going through an “age of intolerance” as writers, artists, filmmakers, scholars and journalists among others have been targeted by institutions of the state as well as political parties and interest groups for hurting the sentiments of some section of Indian society. However, this age of intolerance has coincided with a period that has also been characterized by the “deepening” of Indian democracy, as previously subordinated groups have begun to participate more actively and substantively in democratic politics. This project is an attempt to understand the reasons for the persistence of illiberalism in Indian politics, particularly as manifest in censorship practices. It argues that one of the reasons why censorship has persisted in India is that having the “right to censor” has come be established in the Indian constitutional order’s negotiation of multiculturalism as a symbol of a cultural group’s substantive political empowerment. This feature of the Indian constitutional order has made the strategy of “seeking offense” readily available to India’s politicians, who understand it to be an efficacious way to discredit their competitors’ claims of group representativeness within the context of democratic identity politics. -
Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
Indian Movies, Brand Australia and the Marketing of Australian Cosmopolitanism
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2013 Indian movies, brand Australia and the marketing of Australian cosmopolitanism Andrew Hassam University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Hassam, Andrew, "Indian movies, brand Australia and the marketing of Australian cosmopolitanism" (2013). Faculty of Law, Humanities and the Arts - Papers. 919. https://ro.uow.edu.au/lhapapers/919 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Indian movies, brand Australia and the marketing of Australian cosmopolitanism Abstract Indian movies shot overseas have attracted the attention of not only advertising agencies keen to see their clients' brands appearing on-screen, but also government tourism commissions eyeing India's growing middle classes as potential visitors. Australian federal and state governments offer Indian film producers financial incentives to film in Australia, and Australian cities now regularly supply Indian movies with backdrops of upmarket shopping malls, stylish apartments and exclusive restaurants. Yet in helping to project the lifestyle fantasies of India's new middle classes, Australian government agencies are supporting an Indian view of Australia. While this image may attract Indian tourists to Australia, it presumes Australia is culturally White and British, and as a result Australian agencies market an Australian cosmopolitanism defined not in terms of cultural diversity but in terms of the availability of global brands. -
Futureworks Delivers Quality Remote Colour Grading for Amazon Prime's
COLOUR GRADING RAHUL PURAV FUTUREWORKS DELIVERS QUALITY REMOTE COLOUR GRADING FOR AMAZON PRIME’S TANDAV WEB SERIES Remote Production is increasingly becoming prevalent in the post- production business. Tandav, an Amazon web series relied on FutureWorks Media to deliver remote production. Rahul Purav, Senior Colourist & Director of Imaging at FutureWorks Media Ltd and the team of artists delivered the colour grading for Tandav using FilmLight’s Baselight grading software and the monitoring was done using Dolby PRM 4200 monitor. BROADCAST AND FILM 15 JANUARY - FEBRUARY 2021 COLOUR GRADING Tandav is an Indian web series on Amazon Prime Video, directed by Ali Abbas Zafar. Saif Ali Khan portrays the role of a powerful politician in the series that started streaming from 15 January 2021 on Amazon Prime Video. This nine-episode series features Sunil Grover, Tigmanshu Dhulia, Dimple Kapadia, Mohammed Zeeshan Ayyub, Dino Morea, and Anup Soni. Rahul Purav, Senior Colourist & Director of Imaging at Future Works Media Ltd shares his insight on the challenges he faced on the colour grading Tandav and how he executed a seamless look for the whole series. “It was a challenging project with a specific teal and orange palette, travelling through elegant palaces down to the rustic dark neighbourhood exposing various environments and situations. Tandav depicts a strong visual language directed by Ali Abbas Zafar and captured by Karol Stadnik. One of the most notable feature of this project was that the entire grading was done remotely... Karol was in Warsaw and Ali was in his hometown. We could only achieve this with a carefully crafted and aligned visual workflow. -
Tiger Zinda Hai 1 Download 720P Movie
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MOVIE NAME SONG NAME Naina's Theme (Instrumental) Oye Hichki
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Cocktailtamiltorrentdownload.Pdf
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Indian Police Journal for the Year 2016
The Indian Police Journal January-March, 2016 Vol. LXIII No. 1 EDITORIAL BOARD CONTENTS 1. Transforming Police into Smart Police 4 Shri N.R. Wasan, IPS Rajeev Tandon 2. “Ama Police”- The Community Policing 12 DG, BPR&D, MHA Scheme of Odisha Adviser Satyajit Mohanty 3. Human Rights, Police and Ethics: Towards 22 an Understanding of transforming the Shri Radhakrishnan Kini, IPS Police from a ‘Force’ to ‘Social Service’ SDG, BPR&D, MHA Dr. Harjeet S. Sohal 4. The Armed Forces (Special Powers) Act, 41 Editor-in-Chief 1958 – Urgency of Review Caesar Roy 5. A Requiem for Free Speech 68 Dr. Nirmal Kumar Azad, IPS Umesh Sharraf IG/Director (S&P) 6. Pragmatic Approach Towards Youths In 93 Editor 21st Century Amit Gopal Thakre 7. Right To Life Vis-À-Vis Death Penalty: 110 Shri B.S. Jaiswal, IPS Analyzing The Indian Position DIG/DD (S&P) Shakeel Ahmad and Tariq Ashfaq 8. The Women Victims of Alcohol Induced 124 Editor Domestic Violence and the Role of Community Police in Kerala: An Empirical Study Kannan. B, Dr. S. Ramdoss 9. Personality of Female Prisoners: An 145 Analytical Study Nouzia Noordeen, Dr. C. Jayan 10. A Correlational Study of PsyCap, EQ, 160 Hardiness and Job Stress in Rajasthan Police Officers Prof. (Dr). S.S Nathawat 11. Police Job’s Stressors: Does It Effect on the 170 Editor Job Performance, Quality of Life and Work of Police Personnel? Gopal K.N. Chowdhary Dr. Manoj Kumar Pandey 12. The People’s Friendly Police & 206 Community Policing K.N. Gupta 13. Police Response to Violence Against 229 Women in Punjab: Law, Policy & Practice Upneet Kaur Mangat 14. -
Guru Randhawa Is an Indian Singer, Songwriter and Music Composer Associated with Punjabi, Bhangra, Indi-Pop and Bollywood Music
Sunanda Sharma is an Indian singer and actress. She made her debut with the song "Billi Akh". Sharma also recently began her acting career in the film Sajjan Singh Rangroot with co-stars Diljit Dosanjh and Yograj Singh. Sunanda Sharma started her Bollywood career with "Tere Naal Nachna" song. Harrdy Sandhu, is an Indian singer and actor. His first song was Tequilla Shot, and he gained popularity with Soch (2013) and Joker (2014), which were written by Jaani. Sandhu made his acting debut in Yaaran Da Katchup (2014). His song "Soch" was remade for the 2016 Bollywood film Airlift. SoundTrack:- *Joker * Soch * Yaar Superstar * Kya Baat Ay * Naah * Backbone * Hornn Blow * Naa Ji Naa * Aashqui Te Loan * Kudi Tu Pataka Dhvani Bhanushali is an Indian singer. She is mostly known for her singing in "Dilbar", from the movie Satyameva Jayate. She started her music career with the song "Ishtehaar" from the film Welcome To New York. *Veere *Dilbar *Psycho Saiyaan *Ishare Tere *Leja Re *Main Teri Hoon *Vaaste *Ishtehaar *Smiley *Mukhda Vekh Ke *Koka. Manj Musik, is an Indian music composer, singer and filmi scorer. He was the former lead vocalist and music composer for the bhangra music group RDB, which he formed with his two brothers Surjeet Singh and Kuljeet Ral in 2000, Manj Musik began producing his own singles and also began to produce music in Bollywood, and has worked with established actors such as Saif Ali Khan, Shahrukh Khan and Akshay Kumar, among others. In 2014 Manj founded his own music label Muzik ONE Records. In 2017, his son, (stage name "Noopsta"), dropped his first single named "You Can’t Stop The Party" featuring popular desi hip hop artists Raftaar and Humble the Poet. -
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. -
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Filmoteca de Andalucía Sala Val Del Omar Programación OCT 2017 ciclo SÁB El NuEVO BOllywOOD 14 18:00 Befikre Aditya Chopra. India. 2016. 104 min. Color. v.o.s.e. De esta forma tan poco habitual, el espectador ve desarrollarse ante sus ojos una historia de amor empezando por su ruptura. A través de flashbacks y flashforwards , iremos recomponiendo la tortuosa relación de los protagonistas indiscutibles del filme: Dharam (Ranveer Singh) y Shyra (Vaani Kapoor). Dharam llega a París procedente de Delhi para trabajar como cómico en el local nocturno de su hermano, pero en su primera noche de fiesta se encuen - tra con la incombustible Shyra, una muchacha francesa de padres indios que trabaja como guía turística y que romperá todos sus esquemas. Entusiasmado con su nuevo hogar, Dharam le dirá a su hermano “París es genial, olvídate de las castas, aquí se mezclan todos con todos”, refiriéndose FICHA TÉCNICA por supuesto a sus compañeras de piso lesbianas con las que fantaseará en más de una ocasión. Título original: Befikre. Nacionalidad: India. Año de producción: 2016. Shyra irrumpirá en su vida como un tifón para ponerlo todo patas arriba, for - Dirección, guión y productor: Aditya Chopra. zando sus límites y llevándole a hacer todo tipo de insospechadas locuras Producción: Yash Raj Films. mientras recorren París como dos enamorados más. Entre ellos surgirá una Fotografía: Kaname Onoyama. especie de juego, un tira y afloja para animar al otro a ir un paso más allá, Montaje: Namrata Rao. retándose continuamente. Esto se nos cuenta en el filme durante el número Ayte.