17Th October, 2007

Total Page:16

File Type:pdf, Size:1020Kb

17Th October, 2007 German rights for Peepli Live acquired before official Berlinale Special Screening Mumbai, 15 February 2010: After rave audience and critics reviews at the Sundance Film Festival, Peepli Live, directed by Anusha Rizvi, co‐produced by UTV Motion Pictures & Aamir Khan Productions has just been picked up by specialty film German distribution company Rapid Eye Movies. Theatrical release for Peepli Live in Germany is planned for third quarter of 2010. Rapid Eye has also acquired the Home Video and Television for the territory. Stephan Holl, founder of Rapid Eye Pictures commented on his acquisition, "We are thrilled to bring to the German audience a true Indian art house film that entertains whilst telling a serious story" Amrita Pandey, VP, International Distribution and Syndication, UTV Motion Pictures, said, "Rapid Eye is an ideal distribution partner for us to plan a theatrical Germany release for the film." Peepli Live is Anusha Rizvi’s first feature. It is a fresh and intelligently spun satire of the real‐life epidemic of farmer suicides that have plagued India for the past decade. With a deft hand, Rizvi infuses humor and buoyancy in depicting this tragic predicament, illuminating the true colors of many corridors of Indian society. Peepli Live, is the first Indian film ever to be selected at the Sundance Film Festival (World Cinema Dramatic competition) and is also screening in out of competition at the Berlin Film Festival. Critics who have watched the film say: “A peppy screwball comedy with elements of social satire... Debuting writer‐director Anusha Rizvi manages to wrest a lively feature out of a gravely serious issue, capturing the desperation of India's village farmers, as well as the nation's shift from agriculture to industrialization, without losing sight of the entertainment principle.” – Rob Nelson, VARIETY “A comic gem set in India's beleaguered rural communities... Both funny and sobering, this film, produced by Bollywood icon Aamir Khan (the Oscar‐nominated "Lagaan"), aims beyond Indian audiences.” – Kirk Honeycutt – THE HOLLYWOOD REPORTER UTV Software Communications Ltd. Regd. Office: Parijaat House, 1076, Dr. E. Moses Road, Worli Naka, Mumbai – 400 018. • Tel.: 2490 5353 • Fax: 2492 0804 • http://www.utvnet.com “PEEPLI LIVE is a film about land ownership and suicide that makes you laugh. In her debut feature, Anusha Rizvi entertains with a bawdy take on the rural class struggle as she examines a serious injustice in India today. Her comedy is as wildly funny as it is outrageous.” – David D’Arcy, SCREEN INTERNATIONAL About UTV: UTV Software Communications Limited is India’s leading global integrated media house with business interests in Television, Movies, Broadcasting, Games Content and New Media. UTV India & its subsidiaries (UTV) create, aggregate and disseminate content of various genres across varied distribution platforms. About UTV Motion Pictures Established in 1995, UTV Motion Pictures has played an active role in pioneering the studio model in the Indian film industry, where it is able to leverage script development, budget and time management and international distribution. UTV Motion Pictures has emerged as a strong player in Indian and International cinema with the success of movies like Rang De Basanti, Khosla Ka Ghosla, The Namesake, A Wednesday & I Think I Love My Wife. UTV has co-produced movies like Ashutosh Gowariker's Jodhaa-Akbar, which was the biggest blockbuster of 2008 and M. Night Shyamalan's The Happening which is amongst the top grossers in Hollywood. UTV has also distributed movies like Aamir Khan's directorial debut Taare Zameen Par & his production Jaane Tu Ya Jaane Na in the international markets. Following an successful line up of films in the year 2009 which comprised of blockbusters like Dev.D, Kaminey and Wake Up Sid UTV has an equally aggressive slate of movies like Prakash Jha’s Raajneeti, Sanjay Leela Bansali’s Guzaarish, Tigmanshu Dhulia’s Paan Singh Tomar, and many more. UTV Software Communications Ltd. Regd. Office: Parijaat House, 1076, Dr. E. Moses Road, Worli Naka, Mumbai – 400 018. • Tel.: 2490 5353 • Fax: 2492 0804 • http://www.utvnet.com .
Recommended publications
  • Khorana Peepli Live FINAL
    Peepli Live and No One Killed Jessica 66 Peepli Live and No One Killed Jessica: Remediating the “Bollywoodization” of Indian TV News Sukhmani Khorana Lecturer University of Wollongong Wollongong, Australia [email protected] Introduction: Evolution of “Bollywoodization” in Indian TV news In the third edition of her pioneering book on the Indian media business, Vanita Kohli-Khandekar makes the following observation: There are two media segments that define the contour, body and tastes of the Indian market. Television is one of them, the other being film. Both have a mesmerising hold over Indian audiences―and even over investors and advertisers.1 This article begins with this note because of the increasingly central place occupied by television in the Indian media sphere and the uniquely Indian context of the mutual interdependence of the television and film industries. While television has appropriated Hollywood film genres since its inception,2 in India, popular film culture is increasingly drawing on the pre-eminence of satellite television. A grasp of these facets of the subcontinent’s television story is essential before examining how TV news has taken on discursive and practice-based elements of the nation’s popular film culture, Bollywood. This will be undertaken through a close textual analysis of two recent Bollywood films, Peepli Live (2010) and No One Killed Jessica (2011). Both feature television journalism as an important narrative catalyst, or a remediator for the socio-political issues faced by the protagonist(s). In doing this, the films themselves turn into a remediation device for the Bollywoodization of news on Peepli Live and No One Killed Jessica 67 Indian television.
    [Show full text]
  • Chindia's Energy Curse
    COMMENTARY little can be done about rural indebtedness Now, on the other hand, corporate entities 3 There are nonetheless some dissenting voices which are heartening. For instance, see Kanitkar (2010). (except shedding tears) b ecause its eco- and groups have a wide range of economic 4 Apart from receiving the Padma Bhushan in 2010, nomic/political causes cannot be identi- interests and most of them are also Aamir Khan has also shared a platform on educa- tion with visiting US Secretary of State Hillary Clin- fied. The “public” acclaim for the film will i ncreasingly involved in the media. This ton, something which could not have happened perhaps reinforce the government’s5 faith means that capital presents a united front without the government’s tacit approval. The reason was apparently his film Taare Zameen Par (2007) in gestures – the same kind of gestures that against social and economic criticism, as it about educating a mentally disadvantaged child. Peepli Live blandly criticises it for making. were. If this is granted, there is perhaps a 5 Ronamai (2010) also notes that LK Advani was also all praise for Aamir Khan. The acceptance of the To conclude, it will be useful to specu- greater degree of censorship today – at the film by politicians of different ideological hues (the late briefly about why, despite its concern, level of ideation – although the censoring Congress as well as the BJP) confirms that Peepli Live is politically and economically non-committal. Peepli Live is more timid in its social criti- authority is not the State but the economy.
    [Show full text]
  • Desertion of Rural Theme from Hindi Cinema: a Study
    International Journal of Humanities & Social Science Studies (IJHSSS) A Peer-Reviewed Bi-monthly Bi-lingual Research Journal ISSN: 2349-6959 (Online), ISSN: 2349-6711 (Print) Volume-III, Issue-V, March 2017, Page No. 335-339 Published by Scholar Publications, Karimganj, Assam, India, 788711 Website: http://www.ijhsss.com Desertion of Rural theme from Hindi Cinema: A Study Neema Negi Research Scholar, Department of Journalism and Communication, Dev Sanskriti Vishwavidyalaya, Hardwar, U.K., India Abstract Hindi Cinema caters different themes from last 100 glorious years and in earlier phase it reflects the nation’s conflict, difficulties and struggle of a common man in a true manner. In past era one of the major themes rural has been an integral part of Bollywood storytelling. However over the year’s Hindi cinema has changed in terms of film making, content, representation of issues and technological changes. But during the transition of modern Cinema some of the popular themes have vanished. Cinema become bold and creative today and brings different genres with ample of independent filmmakers. The present paper deals with the study of films which depicted the village theme and also explore the causes of disappearance of village theme. Keywords: village theme, Hindi Cinema, farmers, social issues, vanished I- Disappearance of village theme: Indian Cinema acknowledged for the largest producer of films which caters the widest themes and genres from past 100 magnificent years. In every era Hindi cinema represents the social relevant issues in a very different narrative style. In the past six decades Hindi cinema has played a significant role in nation-building, constructing a national awareness, portraying an ideal family system, attacking terrorism, criticizing class prejudice and propagating various phenomena such as globalization, westernization, urbanization and modernization in India.
    [Show full text]
  • Semester: Fall 2015 Office Hours: MW 12-1, PAR 27
    UGS 303 Bollywood, India, and After Instructor: Shingavi, S – Cross-lists: N/A [email protected] Flags: N/A Unique #: 61495, 61500, 61505, 61510, 61515, TA: 61520 Computer Instruction: N Semester: Fall 2015 Office Hours: MW 12-1, PAR 27 Description: Bollywood cinema became a global phenomenon sometime after the economic liberalization of India. It became, in many ways, the cultural ambassador for an “India Shining,” the impossible dream of uninterrupted growth, for the rest of the world. But Bollywood’s roots were much grittier, with the social films of the 60s and the “Angry Young Men” films of the 1970s and 1980s, the progressive theater, and more. This long history of Bollywood is also in many ways a reflection of important historical changes that India has undergone: urbanization, globalization, uneven economic development. This class is broken up (more or less) into four historical periods: 1947-1975 (the era of high nationalism); 1975-1991 (the Emergency to the Economic Reforms); 1991-2004 (from Mandir, Masjid, Mandal to “India Shining”); and 2004-present. We will trace representations of India in cinema by looking at three classic landscapes: the country, the city (Bombay), and the slums. The goal of organizing the class in this way is not only to provide a sort of filmic history of India, but also to see how changes in the economy and in the social organization of India affected cultural representations of stock figures (the peasant, the slum dweller, the super-rich urbanite, etc.). We will also be particularly interested in considering representations of women, Muslims, and the lower castes (also called scheduled or backward castes).
    [Show full text]
  • FILMS and SOCIETY One of My Previous Students from South Korea Had Posed a Question
    www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 2 April 2018 | ISSN: 2320-2882 Ms Swagata Chakravorty Assistant Professor of the Department of Languages. T.John College,Bangalore University B-402,Casa Ansal Apartment,No 18,Bannerghatta Road,Bangalore-560076 FILMS AND SOCIETY One of my previous students from South Korea had posed a question, ``Madam, I have watched plenty of Hindi movies. A lot of skin exposure and violence is usually what the film focuses on. But during my visit into this country, I found a sharp contrast between the reality and the reel world. People here are austere, bent towards religiousness and extremely moralistic. Why then do you portray a misleading image to the rest of the world.’’ The question struck me and I got immersed in a realm of musing and pondering. Was it our sundry, vibrant, ever evolving society which has been the backdrop of our films since time immemorial Or Is it the nitty- gritty of the movies which in the long run shape, modify and redefine society. Citizens often criticise the recent movies as the source of crime and moral degradation. Late back in 1963 Gaban (written by Munshi Premchand) portrayed a clerk’s deteriorating moralistic values.Shatranj ke khiladi(written by Munshi Premchand) is another masterpiece which reminds us the fatal downfall of the royal families engrossed in chess, neglecting their respective duties. I should not forget to mention the name of `Parineeta’, a popular novel by Sarat Chandra Chatterjee, reviving feminist sentiments of a woman torn in between two men who are equally essential and choice worthy.
    [Show full text]
  • Nov 10-14 2010
    2010 $5.00/US Rehoboth beach Film Society nov 10-14 2010 PUblication 302-645-9095 / www.rehobothfilm.com 6 s T en T InsIde... Festival Dedication 7 A Word From the Governor 9 A Word From the Film Society President 10 Sponsors 12-13 A Word From the Festival Program Director 14 Board Members / Staff 15 Everything You Need to Know About the Festival 16-17 Table of Con Table Audience Awards/Film Guidance System 18 Film Schedule 20-21 Film Index 22 Film Planner 23-24 About the Cover 26 Reel Manners 27 Features 32-55 Documentaries 58-64 Shorts 66-72 Special Screenings 76 Regional Showcase 77-78 Country Spotlight: India Sidebar 80-81 Lights, Camera...ACTION! Sidebar 82 Difficult Films...Rewarding Viewing Sidebar 83 Seminars 86-89 Live in the Lounge 92-93 36 Hour Film Challenge 96 Children’s Cinema Corner 97 Fierberg Award 98 Our Thanks 100 Film Society Members 102-103 Contributors 104 Comment Form 105 Membership Application 106 Guide to Advertisers 108-109 Beyond the Festival Back Cover www.rehobothfilm.com 302-645-9095 107 Truitt avenue, Rehoboth beach, delaware 19971 The film society does its best to make this program accurate but always check the website for the most up-to-date information: www.rehobothfilm.com 7 f es TI fesTIval dedICaTIon val Dedicating the Rehoboth beach independent Film Festival is a special occasion as there have been only three such honors over the years. this year’s Festival is dedicated to the memory of founding board member lee Jones and long-time member and volunteer Roz Fierberg, both of whom passed d away earlier this year.
    [Show full text]
  • Film Industry in India: New Horizons
    Film industry in India: New horizons Media & Entertainment industry in India With more than 600 television channels, 100 million pay-TV auctions (phase III), expected in the near future, is expected households, 70,000 newspapers and 1,000 films produced see radio networks adding around 700 radio stations across annually, India’s vibrant media and entertainment (M&E) the country. industry provides attractive growth opportunities for global Then, there are India’s diverse content markets. The bulk of the corporations. Enticed by economic liberalization and high country’s urban consumption is from non-metro cities (the tier volumes of consumption, many of the world’s media giants have 2 and tier 3 towns) and comprises regional markets with distinct been present in the Indian market for more cultures, languages and content preferences. These markets, than two decades. However, in recent which are huge markets within markets, provide global M&E years, with near double-digit annual companies with a variety of opportunities to deliver localized growth and a fast-growing middle content. Many global film studios and TV broadcasters have class, there has been a renewed surge already entered these markets and are producing regional in investments into the country by language content. global companies. Finally, there is the evolution of consumption of digital content, Media sectors, regarded as “sunset” which is at an inflection point in India. Although internet industries in mature markets, are penetration is currently low in the country, the recent launch of flourishing in India, presenting 3G services and the eventual launch of 4G are expected to bring global media companies with exciting a late surge in wireless-based broadband adoption.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Debt Sentences: The Poetics and Politics of Credit Culture in India, Italy, and the Inland Empire, 1930-Present Permalink https://escholarship.org/uc/item/1jc4j29c Author Rawal, Tanya Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Debt Sentences: The Poetics and Politics of Credit Culture in India, Italy, and the Inland Empire, 1930-Present A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Tanya Rawal August 2015 Dissertation Committee: Dr. Marguerite Waller, Co-Chairperson Dr. John N. Kim, Co-Chairperson Dr. Tabassum ‘Ruhi’ Khan Dr. Mariam Lam Copyright by Tanya Rawal 2015 The Dissertation of Tanya Rawal is approved: Committee Co-Chairperson Committee Co-Chairperson University of California, Riverside Acknowledgements Words can never explain how grateful I am to have had the opportunity to be a student of Dr. Marguerite Waller. Dr. Waller has been a major influence in my research since my second year of college; the path from Italian cinema to human rights and globalization is a windy course, but it is nothing short of exciting with a trailblazer like Dr. Waller to pave the way. It is with her kindness and patience that I have been able to complete my dissertation. And I can only hope that the arguments and logic that I have introduced in my scholarship can attest to her intellectual guidance and support. Dr. Waller gave me the tools to challenge normative frameworks and my co-chair, Dr.
    [Show full text]
  • LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
    LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No.
    [Show full text]
  • Chapter 1 Nation and Nationalism
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/60257 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. “The Home and the World” Representations of English and Bhashas in Contemporary Indian Culture Vedita Cowaloosur A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English and Comparative Literary Studies University of Warwick Department of English and Comparative Literary Studies June 2013 [S]he wanted words with the heft of stainless steel, sounds that had been boiled clean, like a surgeon’s instruments, with nothing attached except meanings that could be looked up in a dictionary— —Amitav Ghosh, The Hungry Tide vvv […] there are no “neutral” words and forms—words and forms can belong to “no one;” language has been completely taken over, shot through with intentions and accents. —Mikhail Bakhtin, The Dialogic Imagination 4 TABLE OF CONTENTS LIST OF IMAGES 6 ACKNOWLEDGEMENTS 7 DECLARATION 8 ABSTRACT 9 ABBREVIATIONS 10 INTRODUCTION 11 A. AAMCHI MUMBAI 11 B. INDIAN FICTION AND THE POLITICS OF LANGUAGE 25 C. THESIS STRUCTURE 36 CHAPTER 1 NATION AND NATIONALISM 40 1.1. LANGUAGE AND THE “NATION” QUESTION 42 1.2. LINGUISTIC NATIONALISM IN THE INDIAN SUBCONTINENT 47 1.3.
    [Show full text]
  • 279 a Aadukalam, 239 Aag, 28, 33 Aaj Tak, 210 Aamir, 13 Aayega
    Index A Anand, Vijay, 94 Aadukalam, 239 The Anatomy of National Aag, 28, 33 Fantasy:Hawthorne, Utopia, and Aaj Tak, 210 Everyday Life (Lauren Berlant), Aamir, 13 230n5 aayega aanewala melody, 121–2, see also Andaz, 47, 190–1 Mangeshkar, Lata Anjali, 91 Abachetan, 86n18 antinomies of culinary, 225–8 Abhishapta Chambal (The Accursed Apsara Film & Television Producers Chambal), 22 Guild Awards, 176n32 Abraham, John, 165, 173n3, 213 Apte, Shanta, 52–4 acousmetre, notion of, 134n21 Arabian Nights, 141 action films, 165, 187, 192, 215, Aravindan, G, 244 231n25, 251n5 The Archive and the Repertoire: Performing action-masala film of 1980s, 12 Cultural Memory in the Americas Actress, 140 (Diana Taylor), 40n26 Advani, Nikhil, 237 archiving Bollywood, 218–21 ad world, Hindi film stars migration to, Arroyo, José, 258 97 Art and Agency: An Anthropological Theory Agamavagisa, Krishnananda, 107, 109 (Alfred Gell), 37n10 Agneepath, 12, 172 Arundale, Rukmini, 144 Agyaat, 208 Asoka, 173n3 Ajab Prem Ki Ghazab Kahani, 210 Asperger’s syndrome, 93, see also My Ajnabee, 153 Name is Khan Akhtar, Farhan, 166, 169, 208–9 Athaiya, Bhanu, 48 Akhtar, Zoya, 209, 230n11 Auro, 93, 97, see also Bachchan, Ali, Imtiaz, 222 Amitabh; Paa Allen, Richard, 246 Aurora, Malaika, 216 alternative, sources of, 242–46 Australia, 255 always-graphic image, 25 Avatar, 266n1 Aman, Zeenat, 17n20, 23, 57–8, 152–4 avatars, 259–60 Amar Akbar Anthony, 193 Awara, 47 Amar Jyoti (The Immortal Flame), 141 Aya Toofan (The Typhoon), 144 American Idol, 185 An American in Paris, 220 B Amitabh: The
    [Show full text]
  • Centre of South Asian Studies ANNUAL REVIEW ISSUE 75: September 2010 - August 2011 SOAS
    SOAS, UNIVERSITY OF LONDON South A Centre of South Asian Studies ANNUAL REVIEW ISSUE 75: September 2010 - August 2011 SOAS STUDYING AT SOAS The international environment and CONTENTS cosmopolitan character of the School make student life a challenging, rewarding and exciting experience. We welcome students 3 Letter from the Chair from more than 130 countries, and more 4 Centre Members than 45% of them are from outside the UK. 6 Members News The SOAS Library has more than 1.5 million 14 Annoucements items and extensive electronic resources. It 18 Academic Events Summary is the national library the study of Africa, Asia and the Middle East and attracts scholars all 20 Event Reports over the world. 32 Research Students 34 Charles Wallace Visiting Fellowships SOAS offers a wide range of undergraduate, postgraduate and research degrees. 36 Research & Enterprise Students can choose from more than 38 Centre for the Study of Pakistan 400 undergraduate degree combinations 39- Join the Centre and from more than 80 postgraduate programmes (taught and distance learning) in the social sciences, humanities and languages with a distinctive regional focus The School of Oriental and African Studies and global relevance, taught by world- (SOAS) is a college of the University of London renowned teachers in specialist faculties. and the only Higher Education institution in the UK specialising in the study of Asia, Africa The School is consistently ranked among and the Near and Middle East. the top higher education institutions in the UK and the world. The School’s academic SOAS is a remarkable institution. Uniquely excellence has also been recognised in combining language scholarship, disciplinary research assessment exercises (RAEs) expertise and regional focus, it has the largest concentration in Europe of academic SOAS offers a friendly, vibrant environment staff concerned with Africa, Asia and the right in the buzzing heart of London.
    [Show full text]