ST-Chinese Cinemas Contemporary Arts 337 Section
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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 -
Depiction of Real Life Misery Through the Lens of Hindi Film “ Dastak( (1970)”: an Analysis Neema Negi DSVV Uttrakahnd [email protected]
Everant.in/index.php/sshj Survey Report Social Science and Humanities Journal Depiction of Real life misery through the lens of Hindi Film “ Dastak( (1970)”: An Analysis Neema Negi DSVV Uttrakahnd [email protected] ABSTRACT ABSTRACT: Cinema is considered as the tool of social transformation, changing Corresponding Author: agent and the reflection of society. The different eras of Hindi Cinema Neema Negi illustrate the different concern of a common man and their struggle. The various themes represent the image of India with a different approach. Social issues in the earlier eras were the dominant one theme on poverty , unemployment, problem of urban spaces, exploitation of peasants ,corruption, nation and nationalism were the main subject and each storytellers represent those emotions and problems in an ideal way .The present paper analyse the social issues and struggle of a common man and moreover how the director execute the human drama the agony faced by an ordinary people who live in the metropolis and their aspirations of life with the use of metaphors.. Keywords: social issues, metaphors, urban space I- Thematic trends of Hindi Cinema Hindi Cinema deals with diverse themes from last magnificent 100 years . Variety of socially relevant issues cultural issues are addressed by combining them with a fantasies, tradition and myths. Hindi film can be used to know the history of society and culture of India . Indian Cinema has been reflecting social, political and economic dynamics of the national community in it’s narrative since the beginning of the 20th century. The themes such as globalization nation and nationalism, caste, class, gender, terrorism and social issues themes but also suggest cinematic interpretation to solve the problems. -
Actress Suchitra Krishnamoorthi's Biographical Play to Debut in New
Actress Suchitra Krishnamoorthi’s biographical play to debut in New Delhi By : INVC Team Published On : 4 Oct, 2017 12:00 AM IST INVC NEWS Mumbai , India’s largest theatre production company AGP World will stage the multifaceted film actor, writer, singer, painter & candle-maker, Suchitra Krishnamoorthi’s biographical play ‘Drama Queen’ for the first time to audiences in New Delhi. Starring Suchitra Krishnamoorthi, and directed by Inaayat Ali Sami this gripping performance will be showcased at the old world theatre festival at The Stein Auditorium, India Habitat Center, New Delhi on 6th October 2017. Her new theatrical innings titled ‘Drama Queen’ presented by AGP World draws inspiration from her biography and will expose her in a never seen before avatar for the first time after a hiatus of more than a decade. Irrepressibly Saucy Drama Queen is an honest play that will make you laugh, cry and look at the modern Indian woman in a whole new light with all her vulnerabilities and strengths. Speaking about her debut on stage, Director Inaayat Ali Sami says, “Suchitra is a flawless actor and it has taken us nearly a year to be fully prepared for this theatrical public showcase. We are confident we can do full justice to the theatrical interpretation of her novel and bring to the fore Suchitra in totality, not as the world knows her but as what she really is.” Ashvin Gidwani, Producer & MD, AGP World elaborates, “It gives me great pleasure to present to the world a facet of an icon who has always preferred to be reserved about her personal affairs. -
Lata S Singh
Lata S Singh https://www.facebook.com/latassingh © All Rights Reserved Information Acting age 22 - 30 years Nationality Indian Year of birth 1993 (27 years) Languages Hindi: native-language Height (cm) 166 German: basic Weight (in kg) 52 English: fluent Eye color black French: basic Hair color Black Dialects English: always Hair length Very long Brooklyn-English: only when Stature female required Place of residence Mumbai Minnesota-English: only when Cities I could work in Berlin, Paris, Cardiff, required Hamburg American: always Accents Indian: always American: always Instruments Harmonica: medium Sport Bycicle racing, Climb, Cricket, Fitness, Floor Exercise, Free Climbing, Frisbee, Hiking, Martial Arts, Mountain hiking, Yoga Dance Indian dance: professional Musical theatre: professional Freestyle dance: professional Folk dance: professional Expressionist dance: professional Bollywood dance: professional Improvisation dance: professional Experimental dance: professional Argentine tango: basic Contact Improvisation: professional Classic Indian dance: basic Profession Actor, Speaker, Young actor Singing Song: basic folk song: basic Vita Lata S Singh by www.castupload.com — As of: 2021-05-16 Page 1 of 4 Pitch Alto Other licenses Motorbike test certificate Professional background Actor* Originally from Delhi, India where I found my foundation in street theatre during college. Currently lives in Mumbai. Will travel. Since 2015, I've been made to jump existential hoops by incredible mentors and theatre directors from France, Poland, UK, Portugal, -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
“Low” Caste Women in India
Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction. -
Portrayal of Women in the Popular Indian Cinema Wizerunek Kobiet W
Portrayal of Women in the Popular Indian Cinema Wizerunek kobiet w popularnym kinie indyjskim Sharaf Rehman THE UNIVERSITY OF TEXAS – RIO GRANDE VALLEY, USA Keywords Indian cinema, women, stereotyping Słowa klucze kino indyjskie, kobiety, stereotypy Abstract Popular Indian cinema is primarily rooted in formulaic narrative structure relying heavily on stereotypes. However, in addition to having been the only true “mass medium” in India, the movies have provided more than escapist fantasy and entertainment fare. Indian popular cinema has actively engaged in social and political criticism, promoted certain political ideologies, and reinforced In- dian cultural and social values. This paper offers a brief introduction to the social role of the Indian cinema in its culture and proceeds to analyze the phenomenon of stereotyping of women in six particular roles. These roles being: the mother, the wife, the daughter, the daughter-in-law, the widow, and “the other woman”. From the 1940s when India was fighting for her independence, to the present decade where she is emerging as a major future economy, Indian cinema has Artykuły i rozprawy shifted in its representation and stereotyping of women. This paper traces these shifts through a textual analysis of seven of the most popular Indian movies of the past seven decades. Abstrakt Popularne kino indyjskie jest przede wszystkim wpisane w schematyczną strukturę narracyjną. Mimo, że jest to tak naprawdę jedyne „medium masowe” w Indiach, tamtejsze kino to coś więcej niż rozrywka i eskapistyczne fantazje. Kino indyjskie angażuje się w krytykę społeczną i polityczną, promuje pewne Portrayal of Women in the Popular Indian Cinema 157 ideologie a także umacnia indyjskie kulturowe i społeczne wartości. -
An Outline, Indian Film Theory Auteur Theory: the Term 'Auteu
Film Theory: key concepts- evolution, major features, theorists- an outline, Indian film theory Auteur Theory: politique des The term ‘auteur’ is the French term for author and became a part of the film studies auteurs Cahiers du cinema register in the 1950’s after the debate on the “polemic about authors” or the , when the French film critics associated with the film magazine adopted the term to recognize the director of the film as its author. It is he who is responsible for the aesthetic quality of the film. The critics came to be known as the Cahiers critics and included critics like François Truffaut and Jean-Luc Godard, who argued that since the director controlled all the aspects of film making and editing, it is only he who can employ them effectively to produce the desired aesthetic effect. The final artistic result is not the script writer’s but the director’s visualization has already been discussed in the section on film as art. This theory gave rise to the technique of recognition of peculiarities in the cinematographic techniques of a particular author, which eventually became his signature style- visible in his movies even if they differed in genre and themes. The concept of the auteur initially gave the critics the liberty to attribute the aesthetic quality of a film to the director, a proponent of this theory Andrew Harris went as far as to create a ranking system of the directors. However, the voices of dissent against this theory soon began in the 1960’s and 1970’s when the waves of structuralism, Marxism and psychoanalysis began influencing the film discourse. -
THE DIASPORA a Symposium On
THE DIASPORA a symposium on Indian-Americans and the motherland symposium participants THE PROBLEM A short statement of the issues involved LABOUR AND LONGING Vinay Lal, Associate Professor of History, University of California, Los Angeles DUSRA HINDUSTAN Vijay Prashad, International Studies Program, Trinity College, Hartford, Connecticut FIRM OPINIONS, INFIRM FACTS Devesh Kapur, Associate Professor of Government, Harvard University, Cambridge, Massachusetts LUNCH WITH A BIGOT Amitava Kumar, Professor of English, Penn State University, Pennsylvania WHOSE IDENTITY IS IT ANYWAY? Shekhar Deshpande, Associate Professor and Director Communications Program, Arcadia University; Media Editor, ‘Little India Magazine’, Glenside, PA PROFILE OF A DIASPORIC COMMUNITY Sonalde Desai, Associate Professor, Department of Sociology, University of Maryland, MD and Rahul Kanakia, student, Stanford University, California ARTS AND THE DIASPORA Vidya Dahejia, holds the Barbara Stoler Miller Chair of Indian Art at Columbia University, New York, and is Director of Columbia’s Southern Asian Institute, NY CONSTRICTING HYBRIDITY Rajika Puri, is an exponent of Bharatnatyam and Odissi; Contributing Editor, ‘NewsIndia Times’, New York THROUGH THE LOOKING GLASS Sangeeta Ray, Associate Professor of English, University of Maryland, MD WASHINGTON’S NEW STRATEGIC PARTNERSHIP Robert M. Hathaway, Director, South Asia Program, Woodrow Wilson International Center for Scholars, Washington DC LIVING THE AMERICAN DREAM Marina Budhos, author, Maplewood, New Jersey LIGHTS, CAMERA, ACTION Mira Kamdar, Senior Fellow, World Policy Institute at New School University, New York BOOKS Reviewed by Aloka Parasher-Sen, Ratnakar Tripathy and Rajat Khosla COMMENT Received from Susan Visvanathan, JNU, Delhi IN MEMORIAM Komal Kothari BACKPAGE COVER Designed by Akila Seshasayee The problem DESPITE a long history of exchange and migration, it is only recently that Indians abroad have started attracting attention.