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Assets.Kpmg › Content › Dam › Kpmg › Pdf › 2012 › 05 › Report-2012.Pdf
Digitization of theatr Digital DawnSmar Tablets tphones Online applications The metamorphosis kingSmar Mobile payments or tphones Digital monetizationbegins Smartphones Digital cable FICCI-KPMG es Indian MeNicdia anhed E nconttertainmentent Tablets Social netw Mobile advertisingTablets HighIndus tdefinitionry Report 2012 E-books Tablets Smartphones Expansion of tier 2 and 3 cities 3D exhibition Digital cable Portals Home Video Pay TV Portals Online applications Social networkingDigitization of theatres Vernacular content Mobile advertising Mobile payments Console gaming Viral Digitization of theatres Tablets Mobile gaming marketing Growing sequels Digital cable Social networking Niche content Digital Rights Management Digital cable Regionalisation Advergaming DTH Mobile gamingSmartphones High definition Advergaming Mobile payments 3D exhibition Digital cable Smartphones Tablets Home Video Expansion of tier 2 and 3 cities Vernacular content Portals Mobile advertising Social networking Mobile advertising Social networking Tablets Digital cable Online applicationsDTH Tablets Growing sequels Micropayment Pay TV Niche content Portals Mobile payments Digital cable Console gaming Digital monetization DigitizationDTH Mobile gaming Smartphones E-books Smartphones Expansion of tier 2 and 3 cities Mobile advertising Mobile gaming Pay TV Digitization of theatres Mobile gamingDTHConsole gaming E-books Mobile advertising RegionalisationTablets Online applications Digital cable E-books Regionalisation Home Video Console gaming Pay TVOnline applications
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MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances Du Marché Mondial Du ﬁ Lm
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances du marché mondial du ﬁ lm FOCUS-COVER-FINAL.indd 1 13/04/11 19:30 focus 2011 World Film Market Trends Tendances du marché mondial du film focus_2011.indd 1 26/04/11 19:11 Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. focus_2011.indd 2 26/04/11 19:11 Editorial We now find ourselves in an era where all chan- À l’heure où toute la filière cinématographique nels of cinematography are undergoing a transfor- poursuit sa mutation, où la VoD se positionne mation: VoD has become a realistic medium, the comme un écran crédible, où le passage au tout switch to all-digital is simply a matter of time and numérique n’est plus qu’une question de calen- 3D is becoming more and more ubiquitous. As drier, où la 3D commence à se banaliser, il est such, it is more crucial than ever for us, as profes- plus que jamais nécessaire, pour les profession- sionals, to identify major industry tendencies. nels que nous sommes, d’appréhender les grands I hope that Focus, now in its 14th year, will indicateurs du secteur. serve as an indispensable tool for you in analyzing Je souhaite que Focus, qui fête son 14e anni- and anticipating the challenges of tomorrow. versaire, vous apporte les clefs indispensables pour analyser et anticiper les enjeux de demain.
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Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion.
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Discourses of Merit and Agrarian Morality in Telugu Popular Cinema
Communication, Culture & Critique ISSN 1753-9129 ORIGINAL ARTICLE Looking Back at the Land: Discourses of Agrarian Morality in Telugu Popular Cinema and Information Technology Labor Padma Chirumamilla School of Information, University of Michigan, Ann Arbor, MI 48109, USA This article takes Anand Pandian’s notion of “agrarian civility” as a lens through which we can begin to understand the discourses of morality, merit, and exclusivity that color both popular Telugu film and Telugu IT workers’ understanding of their technologically enabled work. Popular Telugu film binds visual qualities of the landscape and depictions of heroic technological proficiency to protagonists’ internal dispositions and moralities. I examine the portrayal of the landscape and of technology in two Telugu films: Dhee … kotti chudu,and Nuvvostanante Nenoddantana, in order to more clearly discern the nature of this agrarian civility and—more importantly for thinking about Telugu IT workers— to make explicit its attribution of morality to “merit” and to technological proficiency. Keywords: Information Technology, Morality, Telugu Cinema, Merit, Agrarian Civility. doi:10.1111/cccr.12144 InachasesceneinthepopularTelugufilmDhee … kotti chudu,anameless gangster—having just killed off his rival’s family—is fleeing to Bangalore from Hyderabad, driving along roads surrounded by rocky, barren outcrops, and shriveled patches of trees. The rival’s boss confronts him unexpectedly on the deserted road, quickly and seemingly instantaneously surrounding him with his own men and vehicles, before killing him in retaliation. The film then quickly moves on to its main character, a rather comedic scam artist, and its main spaces, in the city of Hyderabad.1 This particular stretch of barren landscape—scene to the violence that underlies a significant revenge plot woven into the film’s story—is not returned to.
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Frankenstein's Avatars: Posthuman Monstrosity in Enthiran/Robot
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935), Vol. 10, No. 2, 2018 [Indexed by Web of Science, Scopus & approved by UGC] DOI: https://dx.doi.org/10.21659/rupkatha.v10n2.23 Full Text: http://rupkatha.com/V10/n2/v10n223.pdf Frankenstein’s Avatars: Posthuman Monstrosity in Enthiran/Robot Abhishek V. Lakkad Doctoral Research Candidate, Centre for Studies in Science, Technology and Innovation Policy (CSSTIP), School of Social Sciences, Central University of Gujarat, Gujarat. ORCID ID: 0000-0002-0330-0661. Email: [email protected] Received January 31, 2018; Revised April 22, 2018; Accepted May 19, 2018; Published May 26, 2018. Abstract This paper engages with ‘Frankenstein’ as a narrative structure in Indian popular cinema, in the context of posthumanism. Scholarship pertaining to monsters/monstrosity in Indian films has generally been addressed within the horror genre. However, the present paper aspires to understand monstrosity/monsters as a repercussion of science and technology (S&T) through the cinematic depiction of Frankenstein-like characters, thus shifting the locus of examining monstrosity from the usual confines of horror to the domain of science fiction. The paper contends Enthiran/Robot (Shankar 2010 Tamil/Hindi) as an emblematic instance of posthuman monstrosity that employs a Frankenstein narrative. The paper hopes to bring out the significance of cinematic imagination concerning posthuman monstrosity, to engage with collective social fears and anxieties about various cutting-edge technologies as well as other socio-cultural concerns and desires at the interface of S&T, embodiment and the society/nation. Keywords: Posthumanism, Monstrosity, Frankenstein, Indian popular cinema, Science Fiction, Enthiran/Robot The Frankenstein narrative and Posthuman Monstrosity It has been argued that in contemporary techno-culture Science Fiction (hereafter SF) performs the role of “modern myth(s)” (Klein, 2010, p.137).
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Annual Report and Accounts 2008
Eros International Plc Annual Report and Accounts 2008 Corporate Office UK UAE Australia Eros International Plc Eros International Plc Eros International Ltd Eros Worldwide FZ LLC Eros Australia Pty. Limited 15-19 Athol Street Unit 23 529 Building No 8 4 Rosewood Way Isle of Man IM1 1LB Sovereign Park Dubai Media City Werrington Tel +44 (0) 8700 418 211 Coronation Road P.O. Box 502121 NSW 2747 Annual Report and Accounts 2008 Fax +44 (0) 8700 418 212 London NW10 7QP Tel +971 (0) 4390 2825 Tel +61 2 9623 3480 Tel +44 (0) 20 8963 8700 Fax +971 (0) 4390 8867 Fax +61 2 9623 3481 Fax +44 (0) 20 8963 0154 Fiji India USA Eros Pacific Limited Eros Multimedia Pvt. Ltd. Eros Entertainment Inc 27 Lodhia Street Satya Dev Building, 2nd Floor 550 County Avenue P.O. Box 1802 Off New Link Road Secaucus Nadi-Fiji Andheri (W) NJ - 07094 Tel +679 670 7722 Mumbai - 400 053 Tel +1 201 558 9001 Fax +679 670 7723 Tel: + 91 22 4053 8500 Fax +1 201 558 9002 Fax: + 91 22 4053 8540 Om Shanti Om (2007) – International box office No. 1, Eros International Plc is a global player in the rapidly honoured at the Berlin Film Festival expanding Indian media and entertainment arena which is growing at over 18% CAGR and slated to cross US$29 billion by 2012 (source: PwC). Being vertically integrated means that Eros not only produces and commissions film projects similar to how Hollywood studios operate but also distributes and exploits films across all formats globally including cinemas, home entertainment, television syndication and digital new media.
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281 © the Author(S) 2017 T. Kuldova, M.A. Varghese (Eds.), Urban
INDEX1 A appearance, 21, 23, 24, 43, 44, Aa Dekhen Zara, 102 46, 47, 50, 105, 106, 122, Aadhaar/UID, 112 228, 274–6 Action Replayy, 98, 102 Artificial Intelligence (AI), 105, 106 activism, 68, 140, 148, 157, 162, 214, Atal Mission for Rejuvenation and 216, 227–42 Urban Transformation Aditya 369, 98, 101 (AMRUT), 81, 89 aesthetic governance, 9, 39–41 Australia, 102, 104, 107, 111 aesthetic purity, 39 authenticity, 172, 174, 179, 180, aesthetics, 37–51, 170, 184 182, 201 aesthetics of globality, 47 autonomy, 82, 88, 104, 191 Ahmedabad, 87, 93n21 aviation, 54, 57–9, 69n3 aliens, 77, 87, 100, 130 Althusser, Louis, 5, 21, 273 Ambedkar (Dr. Bhimrao), 140–8, B 150–8, 160–2, 164n4, 164n6, Bangalore, 12, 57, 80, 88, 201, 165n13, 165n15 236, 247–63 AMRUT. See Atal Mission for Barazan Rejuvenation and Urban Basil, 124 Transformation (AMRUT) Bat-Yam, 172 androids, 103, 105, Batman, 34, 105 106, 108 Being Cyrus, 101 1 Note: Page numbers followed by ‘n’ denote end notes. © The Author(s) 2017 281 T. Kuldova, M.A. Varghese (eds.), Urban Utopias, Palgrave Studies in Urban Anthropology, DOI 10.1007/978-3-319-47623-0 282 INDEX benamis, 79 cinema Bharatiya Janata Party (BJP), 53, 60, Hindi, 97, 99, 102 99, 202n8, 203n24, 248, 250 Tamil, 97 biennale, 10, 169–75, 178–80, 182, cisgender, 234 183, 184n3, 185n11, 185n12 citizen, 4, 11, 27, 41, 49, 64, 92n6, Big Other, 23, 24 112, 122, 126, 129, 153, 172, biometric, 108 222, 223, 230, 232, 235, 249, biopolitical, 108, 112 255, 262, 270, 271, 274 biopolitical governmentality, 108 neoliberal Indian, 113, 114, 149, BJP.
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Central Board of Film Certification Pdf
Central Board Of Film Certification Pdf Sulkies and handworked Verge disabused his Nouakchott theologising rosins traditionally. Corollary Finn thieve or grimace some sinnets lucklessly, however brumal Emmit cements amiss or disembowelled. Cindery Jonathon plasmolyse, his barkentines aviating disinterred yestereve. Advent of bureaucracy: listen to claim credit of film in order to the Chairperson of film industry is set out to hatred towards marketing of. Kader Khan and Govinda in Dulhe Raja. CBFC in order to exhibit a film. Further, in order to compete with the global cinema, it is necessary that the rights of these artists are protected by ensuring that the certification process is eased out. The black and yellow Premier Padmini Taxis are iconic of Mumbai. UK included Avengers: Age of Ultron, Pan, Spectre, and Star Wars: The Force Awakens. To test or boat to test: How is India navigating the soul bind? Krrish, Enthiran, Eega and Ra. Why we also been appointed for film of certificates in a board of nearly fifteen hundred foot journey. India who come to specialised audience it is followed by the news channels in the manner, the advent of certificates in. Chairman, the adult of Film Censors is to consist of not fast than nine members. This provision of the minds of expression embodies the board of central government has been steadily declining traffic, doubtnut has played a film shall not? Everyone and of. It is asserted that the order was dictated by the Chairperson, immediately, upon viewing of the film. This picture was dominating the Indian scenario for adultery a challenge period.
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Form 20-F Eros International
SECURITIES AND EXCHANGE COMMISSION WASHINGTON, DC 20549 FORM 20-F ☐ REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR 12(g) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ☑ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2019 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ☐ SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Commission file number 001-36176 EROS INTERNATIONAL PLC (Exact name of Registrant as specified in its charter) Not Applicable (Translation of Registrant’s name into English) Isle of Man (Jurisdiction of incorporation or organization) 550 County Avenue Secaucus, New Jersey 07094 Tel: +1(201) 558 9001 (Address of principal executive offices) Oliver Webster IQ EQ (Isle of Man) Limited First Names House Victoria Road Douglas, IM2 4DF Isle of Man Tel: (44) 1624 630 630 Email: [email protected] (Name, Telephone, E-mail and/or Facsimile number and Address of Company Contact Person) Securities registered or to be registered pursuant to Section 12(b) of the Act. Trading Title of each class Symbol(s) Name of each exchange on which registered A ordinary share, par value GBP 0.30 per share EROS The New York Stock Exchange Securities registered or to be registered pursuant to Section 12(g) of the Act. None (Title of Class) Securities for which there is a reporting obligation pursuant to Section 15(d) of the Act None (Title of Class) Indicate the number of outstanding shares of each of the issuer’s classes of capital or common stock as of the close of the period covered by the annual report.
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Tamil Blu Ray Video Songs 1080P Hd 51
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A Comparative Study on Folk Songs and Western Songs in the Contemporary Tamil Cinema
International Journal of Computer Sciences and Engineering Open Access Review Paper Vol.-6, Issue-12, Dec 2018 E-ISSN: 2347-2693 A Comparative Study On Folk Songs and Western Songs in the Contemporary Tamil Cinema 1*M. Iyyanar, 2 C. Jebakumar 1Technician Electronic Media, Centre for Electronic Media, Pondicherry University, Pondicherry, India 2Dept. of Visual Communication, Dr. Ambedkar Govt. Arts College, Chennai, India Corresponding Author: [email protected] Available online at: www.ijcseonline.org Accepted: 27/Dec/2018, Published: 31/Dec/2018 Abstract: The aim of the research work is to compare the folk songs and western songs in the recent Tamil cinema. Also, this research examines memory and lyrical content of songs in recent Tamil films. In this experimental research, an experiment was carried out to find out the stress factors, memory level of words, and content relevance. A comparative study between the folk songs and western songs was conducted among the viewers of the film audience. The members divided into three groups. Those group members were shown different film songs for thirty minutes. The standardized NSAD stress questionnaire used to study the stress level among the members. The folk songs which are being used in this experimental study are, Naatupurapaatu, Kilakku Seemaiyele, and Enthiran. These film songs are categorized into traditional folk songs, (traditional instruments), modernized folk songs, (fusion of classical and modern instruments), and western songs (computerized instruments). These film’s songs show the differences in lyrics, instruments, fusion and modernized music. This experimental research clearly shows the differences in memory of the lyrics and musical beats.
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Eros International Media Limited
PROSPECTUS Dated September 23, 2010 Please read section 60B of the Companies Act, 1956 Book Built Issue Eros International Media Limited Our Company was incorporated under the Companies Act, 1956, as a private limited company under the name Rishima International Private Limited, on August 19, 1994. The corporate identity number of our Company is U92110MH1994PLC080502. For more information on changes in the name of our Company and our registered office, see ―History and Key Corporate Matters‖ on page 99. Registered Office: 201, Kailash Plaza, Plot No. A-12, opposite Laxmi Industrial Estate, off New Link Road, Andheri (West), Mumbai 400 053, Maharashtra, India. Tel: + (91 22) 6691 8500; Fax: + (91 22) 2673 2586; Corporate Office: Satya Dev Building, 2nd Floor, opposite Q Lab, off New Link Road, Andheri (West), Mumbai 400 053, Maharashtra, India. Tel: + (91 22) 4053 8500; Fax: + (91 22) 4053 8540; Company Secretary and Compliance Officer: Mr. Rajesh Bhatia; Email: [email protected]; Website: www.erosintl.com Promoters of our Company: Eros International plc (―Eros plc‖) and Eros Worldwide FZ LLC (―Eros Worldwide‖). PUBLIC ISSUE OF 20,000,000 EQUITY SHARES OF Rs. 10 EACH (THE ―EQUITY SHARES‖) OF EROS INTERNATIONAL MEDIA LIMITED (THE ―COMPANY‖) FOR CASH AT A PRICE OF Rs. 175 PER EQUITY SHARE (INCLUDING A SHARE PREMIUM OF Rs. 165 PER EQUITY SHARE), AGGREGATING Rs. 35,000.00 LAKHS (THE ―ISSUE‖). THE ISSUE WILL CONSTITUTE 21.9 % OF THE POST ISSUE PAID-UP EQUITY CAPITAL OF THE COMPANY. ISSUE PRICE: Rs. 175 PER EQUITY SHARE THE FACE VALUE OF THE EQUITY SHARE IS Rs.
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