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Eating-In-Delhi
S No. Premises Name Premises Address District 1 DOMINOS PIZZA INDIA LTD GF, 18/27-E, EAST PATEL NAGAR, ND CENTRAL DISTRICT 2 STANDARD DHABA X-69 WEST PATEL NAGAR NEW DELHI CENTRAL DISTRICT 3 KALA DA TEA & SNACKS 26/140, WEST PATEL NAGAR, NEW DELHI CENTRAL DISTRICT 4 SHARON DI HATTI SHOP NO- 29, MALA MKT. WEST PATEL NAGAR NEW CENTRAL DISTRICT DELHI 5 MAA BHAGWATI RESTAURANT 3504, DARIBA PAN, DBG ROAD, DELHI CENTRAL DISTRICT 6 MITRA DA DHABA X-57, WEST PATEL NAGAR NEW DELHI CENTRAL DISTRICT 7 CHICKEN HUT 3181, SANGTRASHAN STREET PAHAR GANJ, NEW CENTRAL DISTRICT DELHI 8 DIMPLE RESTAURANT 2105,D.B.GUPTA ROAD KAROL BAGH NEW DELHI CENTRAL DISTRICT 9 MIGLANI DHABA 4240 GALI KRISHNA PAHAR GANJ, NEW DELHI CENTRAL DISTRICT 10 DURGA SNACKS 813,G.F. KAMRA BANGASH DARYA GANJ NEW DELHI- CENTRAL DISTRICT 10002 11 M/S SHRI SHYAM CATERERS GF, SHOP NO 74-76A, MARUTI JAGGANATH NEAR CENTRAL DISTRICT KOTWALI, NEAR POLICE STATION, OPPOSITE TRAFFIC SIGNAL, DAR 12 AROMA SPICE 15A/61, WEA KAROL BAGH, NEW DELHI CENTRAL DISTRICT 13 REPUBLIC OF CHICKEN 25/6, SHOP NO-4, GF, EAST PATEL NAGAR,DELHI CENTRAL DISTRICT 14 REHMATULLA DHABA 105/106/107/110 BAZAR MATIYA MAHAL, JAMA CENTRAL DISTRICT MASJID, DELHI 15 M/S LOCHIS CHIC BITES GF, SHOP NO 7724, PLOT NO 1, NEW MARKET KAROL CENTRAL DISTRICT BAGH, NEW DELHI 16 NEW MADHUR RESTAURANT 26/25-26 OLD RAJENDER NAGAR NEW DELHI CENTRAL DISTRICT 17 A B ENTERPRISES( 40 SEATS) 57/13,GF,OLD RAJINDER,NAGAR,DELHI CENTRAL DISTRICT 18 GRAND MADRAS CAFE GF,8301,GALI NO-4,MULTANI DHANDA PAHAR CENTRAL DISTRICT GANJ,DELHI-55 19 STANDARD SWEETS 3510,CHAWRI BAZAR,DELHI CENTRAL DISTRICT 20 M/S CAFE COFFEE DAY 3631, GROUND FLOOR, NETAJI SUBASH MARG, CENTRAL DISTRICT DARYAGANJ, NEW DELHI 21 CHANGEGI EATING HOUSE 3A EAST PARK RD KAROL BAGH ND DELHI 110055 CENTRAL DISTRICT 22 KAKE DA DHABA SHOP NO.47,OLD RAJINDER NAGAR,MARKET,NEW CENTRAL DISTRICT DELHI 23 CHOPRA DHABA 7A/5 WEA CHANNA MKT. -
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 -
Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
720P Dual Audio Movies Love Guru
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Cultural Mooring in Amish Tripathi's Raavan: Enemy of Aryavarta
INFOKARA RESEARCH ISSN NO: 1021-9056 Cultural Mooring in Amish Tripathi’s Raavan: Enemy of Aryavarta Kavitha Vishnu Sankari.K M.Phil Scholar, PG and Research Department V.O. Chidambaram College Thoothukudi. Affiliated to Manonmaniam Sundaranar University, Tirunelveli Tamilnadu, India. [email protected] Abstract Modern Indian writers had started to review and retell the mythical stories in different perspectives. Amish Tripathi is one among those authors of the new era. His contribution to mythology gave him an outstanding place in Indian English Literature. His books are famous for combining myths with fiction and for creating a new world for the same. In Raavan: Enemy of Aryavarta, the third book of the Ram Chandra Series; has cultural moorings such as code of conduct, traditions, customs and religious practices, lifestyle, music, ethics of war, festivals, languages. Though India has its cultural variations based on regional, linguistics its basic culture is bound to Hindu civilisation. This paper explores the ancientness and mythopoeic facets embedded in the book. Keywords: cultural moorings, ancientness, mythopoeic facets,mythology,cultural history. Volume 8 Issue 11 2019 156 http://infokara.com/ INFOKARA RESEARCH ISSN NO: 1021-9056 Indian writing in English has an independent status in the realm of World literature. Indian novels dealt with wide range of themes and continue to reflect traditional social values and even Indian history through the depiction of life. Over the last few years, mythological fiction has gained vast grounds in India. A number of Indian writers such as Amish Tripathi, Anuja Chandra Mouli, Kavita Kane, Chitra Banerjee Divakaruni, Devdutt Pattanaik, and Anand Neelakandan proved to be the most outstanding authors who have brought a massive change in mythological platform. -
Satsang Sandesh a Monthly News Magazine Of
Satsang Sandesh A monthly news magazine of India Temple Association, Inc. Hindu Temple, 25 E. Taunton Ave, Berlin, NJ 08009 SOUTH JERSEY ♦ DELAWARE ♦ PENNSYLVANIA (Non-Profit Tax Exempt Organization, Tax ID # 22-2192491) Vol. 45 No. 1 Phone: (855) MYMANDIR (855-696-2634) www.indiatemple.org MAY 2014 Religious Calendar Upcoming Programs in May May 1 Thursday Shri Parshuram Jayanti Dr. Ram Kamaldasji sermon on "SUNDERKAAND" From Ramayana May 2 Friday Monday, April 28 to Friday, May 2, 7pm-8:30pm; Saturday May 3, 10:30- Akha Trij/Akshya Tritiya 12pm, followed by mahaprasad May 3 Saturday Bal Vihar and Yuva Dar- Bal Vihar and Yuva Darshan Annual Day shan Annual Day Saturday May 3, 10am at Thomas E. Harrington Middle School May 4 Sunday Shri Aadya Shank- Asian Indian Professional’s Medical Education Meeting on Sunday, May 11 racharya / Shri Ramanu- at ICC jacharya Jayanti May 10 Saturday Shri Buddha Jayanti / Purnima / Satyanarayan Katha Mohini Ekadashi Wednesday May 14 at 6 pm followed by mahaprasad May 14 Wednesday Shri Buddha Jayanti / Sundarkand Paath Purnima / Satyanarayan Saturday May 17 at 10 am followed by mahaprasad Katha May 24 Saturday Ghulam Ali Concert (Shaam-e-Gazzal with the king of Gazzal) on Friday, Apara Ekadashi May 30 at ICC Monthly Activities ITA Seva Samiti walks with American Cancer Society in the Relay for Life Smt. Kshama Raghuveer of Marlton at Cherokee High School (707) 332-3400 Saturday May 31 from 2pm-Midnight May 2, Friday Vishnu Sahasranama Special Prayers Parayanam ITA has a program whereby you can have prayers performed on your behalf every May 14, Wednesday year on a special day in your life by pledging $301. -
A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise En Scene Analysis of Selected Movies
Annals of R.S.C.B., ISSN:1583-6258, Vol. 25, Issue 6, 2021, Pages. 9599 - 9606 Received 25 April 2021; Accepted 08 May 2021. A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise en scene Analysis of Selected Movies 1 2 Mena M, Varun Prabha T 1Post Graduate Student, MA JMC,Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India 2Assistant Professor, Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India Abstract Visually representing a story is an art. Mastering that art and capturing human minds into the soul of the characters of the film and mirroring the very own society was part of Mani Ratnam’s life for the past three decades. This research paper points towards some of the techniques employed and experiments conducted in visual storytellingin his various projects by using Miseen scene elements and cinematography in beautiful ways. In Roja what he Sasnthosh Sivan and Mani Ratnam experimented was painting the reflectors green, to look the grass greener than it actually is. In Thapalathy, Mani ratnam projected a yellowish light, like an aura into the protagonist which symbolizes his history and background. In Bombay, he throughout kept a blue tone in order to gives an element of mystery in the film. In Raavanan, he played with shades and light and that too in two different ways at the beginning and at the end of the films. In Alaipayuthe he presented the story more through the movements of camera and through micro expressions and symbolizations.Theglobalization and evolution of Indian Cinematography can be traced out through the works of Mani Ratnam. -
Smita Patil: Fiercely Feminine
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Smita Patil: Fiercely Feminine Lakshmi Ramanathan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2227 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SMITA PATIL: FIERCELY FEMININE BY LAKSHMI RAMANATHAN A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 i © 2017 LAKSHMI RAMANATHAN All Rights Reserved ii SMITA PATIL: FIERCELY FEMININE by Lakshmi Ramanathan This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Masters of Arts. _________________ ____________________________ Date Giancarlo Lombardi Thesis Advisor __________________ _____________________________ Date Elizabeth Macaulay-Lewis Acting Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT SMITA PATIL: FIERCELY FEMININE by Lakshmi Ramanathan Advisor: Giancarlo Lombardi Smita Patil is an Indian actress who worked in films for a twelve year period between 1974 and 1986, during which time she established herself as one of the powerhouses of the Parallel Cinema movement in the country. She was discovered by none other than Shyam Benegal, a pioneering film-maker himself. She started with a supporting role in Nishant, and never looked back, growing into her own from one remarkable performance to the next. -
Coalition Between Politics & Entertainment in Hindi Films: A
Journal of Education & Social Policy Vol. 1 No. 1; June 2014 Coalition between Politics & Entertainment in Hindi Films: A Discourse Analysis Dr. C. M. Vinaya Kumar Assistant Professor & Head Department of Journalism and Mass Communication Krishna University Machilipatnam-521 001 91-9985085530 Romesh Chaturvedi Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, 91-9721964685 India Shruti Mehrotra Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, India 91-9451177264 Abstract The study attempts to explore dynamics of political discourse as reflected in Hindi films. Political messages in most Hindi films are concealed within entertainment. Films use thrilling & entertaining plots mixed with political content in order to convey their messages to the public. Films not only reflect reality but also construct the political ideology. The public is generally unaware of the extent to which they are being influenced, managed and conditioned by the political discourses in Hindi films. This study attempts to conduct the discourse analysis on the Hindi film “Chakravyuh” to find how politics and entertainment are merged together to influence public opinion. The film is based on the dark, largely-unexposed world of the Naxalites fighting for their land and dignity. Discourse analysis of the film will help in exploring how an entertaining film can carry a meaningful message. For over 40 years in India, since the emergence of the Naxalite rebellion, cinema has drawn inspiration from the rupture caused by this iconic movement in Indian political history. Hindi films seem to have woken up to Naxalism, or Maoism, as it is more commonly known today. -
Magazine1-4 Final.Qxd (Page 3)
SUNDAY, OCTOBER 20, 2019 (PAGE 4) MOVIE-REVIEW BOLLYWOOD-BUZZ Nothing substantial to offer "Grateful to be an alchemist for LAAL KAPTAAN is the story of revenge spanning a cou- Navdeep Singh's direction is highly disappointing. He ple of decades. The year is 1789, 25 years after Battle of had very weak material in his hand and moreover, he further Buxar. Hunter (Saif Ali Khan) is a Naga Sadhu who’s looking spoils the show with his execution. The film is extremely dry present day working women" for a man called Rehmat Khan (Manav Vij). Through Noor and slow and very few scenes arrest your attention. There’s Bibi (Sonakshi Sinha), Hunter finds out that Rehmat is a also an attempt to add humour with the character of the Aishwarya Rai Bachchan, who completes grey part) to me half-way through the movie. And I governor of a kingdom somewhere in North India. At this tracker and by showing Pindaris, allied with the Maratha was so cool about it. Anything different has always time, the evil Rehmat takes away all the treasure of his king- army, as buffoons. But it just doesn’t impress. Even the 25 years in show business, says she is excited me," she said. dom and kills his servants. Along with his army, his confi- revenge bit looks silly as Hunter crosses paths with Rehmat grateful for the "unfading love" of fans The actor said it felt prophetic to voice Jolie's char- dant Aadham Khan (Aamir Bashir), his wife (Simone Singh), Khan twice and yet doesn’t kill him. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
E-Register: July, 2020
E-Register: July, 2020 S. No. Diary No. RoC No. Date Title of Work Category Applicant 1 5578/2020-CO/L L-92490/2020 01-07-2020 Shat-Pratishat Bhartiya Literary/ Geeta Atrish Dramatic 2 5580/2020-CO/L L-92491/2020 01-07-2020 Cost effective Experimental Literary/ SRI BALAJI VIDYAPEETH Setup in providing Aeration Dramatic for Zebrafish Research Studies 3 5581/2020-CO/L L-92492/2020 01-07-2020 Universal theory for the Literary/ Jitendra Sethi viruses containment Dramatic 4 5582/2020-CO/L L-92493/2020 01-07-2020 Containment tomorrow for Literary/ Jitendra Sethi Covid19 Dramatic 5 6018/2020-CO/L L-92494/2020 01-07-2020 The Right Hand to Eat Literary/ Safiya Mustafa Jariwala Dramatic 6 6019/2020-CO/L L-92495/2020 01-07-2020 D TUNNEL - THE CONCEPT Literary/ ABHISHEK RABINDER NATH OF DISINFECTANT TUNNEL Dramatic 7 6071/2020-CO/L L-92496/2020 01-07-2020 KHALI HATH Literary/ Niraj Sharma Dramatic 8 5860/2020-CO/L L-92497/2020 01-07-2020 Preservation Efficiency and Literary/ Shabda Dongaonkar interactive Connectivity Dramatic (PEAIC) 9 4530/2020-CO/A A-134197/2020 01-07-2020 PURODIL Artistic Aimil Pharmaceuticals India Ltd. 10 20554/2019-CO/L L-92498/2020 01-07-2020 icarekid watch your child Literary/ Datta Meghe Institute of Medical grow Dramatic Sciences ,Positive Parenting iCareKid Academy LLP 11 18947/2019-CO/L L-92499/2020 01-07-2020 Abhipsa- Agyat ki ek anuthi Literary/ Anurag Omprasad Sharma bhent Dramatic 12 18937/2019-CO/L L-92500/2020 01-07-2020 Vagh Literary/ Hina Desai Dramatic 13 18917/2019-CO/L L-92501/2020 01-07-2020 Write Feelings Literary/ Suresh Pattali Krishnan Dramatic 14 16114/2019-CO/L L-92502/2020 01-07-2020 STATISTICAL Literary/ Dr.