Astrovision Magazine -- May 2020
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Seeing Like a Feminist: Representations of Societal Realities in Women-Centric Bollywood Films
Seeing like a Feminist: Representations of Societal Realities in Women-centric Bollywood Films Sutapa Chaudhuri, University of Calcutta, India The Asian Conference on Film & Documentary 2014 Official Conference Proceedings Abstract One of the most notable contemporary trends in Indian cinema, the genre of women oriented films seen through a feminist lens, has gained both critical acclaim and sensitive audience reception for its experimentations with form and cinematic representations of societal realities, especially women’s realities in its subject matter. The proposed paper is based on readings of such women centric, gender sensitive Bollywood films like Tarpan, Matrubhoomi or The Dirty Picture that foreground the harsh realities of life faced by women in the contemporary patriarchal Indian society, a society still plagued by evils like female foeticide/infanticide, gender imbalance, dowry deaths, child marriage, bride buying, rape, prostitution, casteism or communalism, issues that are glossed over, negated, distorted or denied representation to preserve the entertaining, escapist nature of the melodramatic, indeed addictive, panacea that the high-on-star-quotient mainstream Bollywood films, the so-called ‘masala’ movies, offer to the lay Indian masses. It would also focus on new age cinemas like Paheli or English Vinglish, that, though apparently following the mainstream conventions nevertheless deal with the different complex choices that life throws up before women, choices that force the women to break out from the stereotypical representation of women and embrace new complex choices in life. The active agency attributed to women in these films humanize the ‘fantastic’ filmi representations of women as either exemplarily good or baser than the basest—the eternal feminine, or the power hungry sex siren and present the psychosocial complexities that in reality inform the lives of real and/or reel women. -
Education 31 3.1
CONTENTS PRESENTATION 4 1. INSTITUTIONAL 7 1.1. BOARD OF TRUSTEES OF THE CASA DE LA INDIA FOUNDATION 7 1.2. COUNCIL OF HONOUR 8 1.3. FRIENDS AND BOARD OF FRIENDS OF CASA DE LA INDIA 8 1.4. INSTITUTIONAL EVENTS 9 1.5. INSTITUTIONAL COLLABORATIONS WITH OTHER ORGANISATIONS 13 1.6. AGREEMENTS 13 1.7. GRANTS 14 1.7.1. GRANTS AND INTERNSHIPS AT CASA DE LA INDIA 14 1.7.2. SCHOLARSHIPS FROM THE INDIAN COUNCIL FOR CULTURAL RELATIONS (ICCR) OF THE GOVERNMENT OF INDIA 15 1.8. VIRTUAL PLATFORM INDIANET.ES 15 2. CULTURE 17 2.1. EXHIBITIONS 17 2.1.1. EXHIBITIONS AT CASA DE LA INDIA 17 2.1.2. EXHIBITIONS AT THE IX BIENNIAL HERITAGE RESTORATION AND MANAGEMENT FAIR - AR&PA 2014 20 2.2. CINEMA 22 2.2.1. FILM CYCLES 22 2.2.2. OTHER SCREENINGS AT CASA DE LA INDIA 23 2.2.3. SCREENINGS IN OTHER CITIES 24 2.3. PERFORMING ARTS AND MUSIC 24 2.3.1. III INDIA IN CONCERT FESTIVAL 24 2.3.2. OTHER PERFORMANCES 25 2.3.3. COLLABORATION IN PROJECT "SPAIN-INDIA PLATFORM FOR THE PROMOTION AND DISSEMINATION OF CULTURAL INDUSTRIES 27 2.4. BOOK PRESENTATIONS 29 3. EDUCATION 31 3.1. COURSES 31 3.1.1. KALASANGAM. PERMANENT PERFORMING ARTS AND MUSIC SEMINAR 31 3.2. LECTURES, ROUND TABLES AND WORKSHOPS 33 3.2.1. LECTURES, ROUND TABLES AND WORKSHOPS IN CASA DE LA INDIA 33 3.2.2. LECTURES AND WORKSHOPS AT OTHER INSTITUTIONS 34 3.3. ESCUELA DE LA INDIA PROGRAMMES 37 3.3.1. -
Final Brouchre.Cdr
presents The 10th HABITAT FILM FESTIVAL 2015 May 8 - 17 2015 Ten years ago, we began the Habitat Film Festival, to turn the spotlight on the wealth of Pan Indian Cinema, which in addition to being largely overshadowed by Bollywood, had been relegated to an 'also showing 'status at Film Festivals, tripping over themselves to add the 'International' 'Asian' 'European' tag as a feather in their caps. In the last ten years the face of Indian cinema has seen the most dramatic turnaround. A brave new breed of young directors, fresh ideas, skilled professionals re-invented the face of Indian cinema adding their weight to the work of existing stalwarts who had stuck to their art. Today, the presence, appreciation, awards and accolades for Indian films in the international arena is increasingly becoming the norm rather than a novelty. Bollywood, though as popular (if not more than earlier !) is no longer the sole face of Indian cinema. Celebrating ten years of The Habitat Film Festival, we bring you gems from the last year that showcase the variety and passion of our contemporary film makers. In our tribute segment, we honour the inimitable and unmatchable tower of talent Kamaal Hasan with a retrospective of some of his hand picked films. Screenings will be followed by interactions with directors/producers giving cinema lovers an opportunity of a focused interaction and Q & A. FESTIVAL AT A GLANCE MAY 8 Friday 6:00pm Margarita With A Straw (Hindi/English/2015/100mins) Dir.Shonali Bose 9:00pm Teen Kahon (Three Obsessions) (Bengali/2014/124mins) -
Unveiling the Female Chauvinist Pigs in Indian Cinema
© Media Watch 7 (3) 370-380, 2016 ISSN 0976-0911 e-ISSN 2249-8818 DOI: 10.15655/mw/2016/v7i3/48551 Weepies Going Dirty and Machos Doing Masti: Unveiling the Female Chauvinist Pigs in Indian Cinema SIMRANPREET KAUR & VANDANA SHARMA Shri Mata Vaishno Devi University, India This paper aims to examine Raunch culture, a strand of post-feminism in the recent Bollywood movies, The Dirty Picture and Grand Masti. Both these movies critique the perception that the investment in raunch feminine sexuality empowers female characters, but if observed profoundly, they celebrate the commodification of women’s body. Frequently revolving around sex and consumption, it celebrates female agency through its discernment that women in such movies are provided the capacity to “have it all” (Genz, 98). Drawing upon Levy’s notion of “Female Chauvinistic Pigs” and McRobbie’s notion of “double entanglement”, the focus is that this apparent empowerment is hollow for celluloid females; their actions incite cultural anxieties about the ways women are to be represented and simply reinforce the patriarchal norms that envisage women as objects. Keywords: Raunch culture, post-feminism, sexuality, consumption, chauvinistic Since early twentieth century, female sexual objectification has become a subject of feminist debate. The sexual revolution of 1960s provided freedom of sexual expression to celluloid females by questioning the power relations that existed between both the sexes. It also freed individuals from the moral and legal confines. Criticizing this sexual emancipation, one of the feminist critics, Shulamith Firestone observes that due to this liberation “women have been persuaded to shed their armour under the guise of sexual revolution” (Firestone, 2003, p. -
Street Theatre As Democratic Politics in Ahmedabad
Edinburgh Research Explorer Street Theatre as Democratic Politics in Ahmedabad Citation for published version: Johnston, C & Bajrange, D 2014, 'Street Theatre as Democratic Politics in Ahmedabad', Antipode, vol. 46, no. 2, pp. 455-476. https://doi.org/10.1111/anti.12053 Digital Object Identifier (DOI): 10.1111/anti.12053 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Antipode Publisher Rights Statement: Published in Antipode by Wiley-Blackwell (2014) General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 This is the author’s final draft or ‘post-print’ version. The final version is due to be published in Antipode by Wiley-Blackwell (2014) DOI: 10.1111/anti.12053 Made available online through Edinburgh Research Explorer. Street Theatre as Democratic Politics in Ahmedabad Authors: Caleb Johnston* and Dakxin Bajrange Address for correspondence: Dr Caleb Johnston The University of Edinburgh, School of Geosciences Drummond Library, Surgeon’s Square, Drummond Street Edinburgh, EH8 9XP Email: [email protected] STREET THEATRE AS DEMOCRATIC POLITICS IN AHMEDABAD by Caleb Johnston and Dakxin Bajrange ABSTRACT This work examines the politicized use of street theatre by an adivasi (indigenous) community in the city of Ahmedabad, India. -
LEADING by EXAMPLE Indian Initiatives Aimed Towards Checking the Spread of the Novel Coronavirus Potpourri
WOVEN WITH CARE Rajasthani hand-woven carpets and modern aesthetics ANCIENT ENTERTAINMENT Indigenous games from yesteryears Volume 34 | Issue 02 | 2020 and a strong comeback RIDING TO GLORY Four female motorcyclists on the IMT Trilateral highway LEADING BY EXAMPLE Indian initiatives aimed towards checking the spread of the Novel Coronavirus POTPOURRI Potpourri Events of the season may , 2020 BUDD HA JAYANTI Also known as Vesak (in South and Southeast Asia), the festival commemorates the birth of Prince Siddhartha Gautama, who went on to become Lord Buddha, the founder of Buddhism. 7 In India, the festival marks the birth, enlightenment and the passing of Lord Buddha. As a part of the festivities, devotees wear white clothing and distribute a dish called Kheer (a sweet milk porridge made with rice) amongst friends and family. WHERE: East and Northeast India 29MAY-12 JUNE, 2020 23-24 may, 2020 EID-UL-FITR One of the most important festivals of the Islamic community, Eid-ul-Fitr marks the culmination of the holy month of Ramadan, that involves day-long fasting. The festival begins early with the distribution of an obligatory contribution by every member of the family for the greater good of society. Following the congregational Eid prayers, delicious meals are shared amongst friends and family. WHERE: Across India SAGA DAWA FESTIVAL Saga Dawa, or the fourth month of the Buddhist calender, is celebrated as one of the most auspicious and spiritual time of the year. It is believed that since Lord Buddha attained enlightenment during this month, every good deed and spiritual act is multiplied manifold during this time. -
Brought to Life by the Voice Explores the Distinctive Aesthetics and in South India
ASIAN STUDIES | ANTHROPOLOGY | ETHNOMUSICOLOGY WEIDMAN Playback Singing To produce the song sequences that are central to Indian popular cinema, sing- ers’ voices are first recorded in the studio and then played back on the set to and Cultural Politics be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their | own right. Brought to Life by the Voice explores the distinctive aesthetics and in South India affective power generated by this division of labor between onscreen body and VOICE THE BY LIFE TO BROUGHT offscreen voice in South Indian Tamil cinema. In Amanda Weidman’s historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolin- guistic identity, and neoliberal transformation in South India. BROUGHT TO LIFE “This book is a major contribution to South Asian Studies, sound and music studies, anthropology, and film and media studies, offering original research and BY THE new theoretical insights to each of these disciplines. There is no other scholarly work that approaches voice and technology in a way that is both as theoretically VOICE wide-ranging and as locally specific.” NEEPA MAJUMDAR, author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s–1950s “Brought to Life by the Voice provides a detailed and highly convincing explo- ration of the varying links between the singing voice and the body in the Tamil film industry since the mid-twentieth century. -
Eluru City Sanitation Plan
City Sanitation Plan Eluru Municipal Corporation LIST OF CONTENTS Sr. No. Title Page No. 1. INTRODUCTION 1-2 1.1 Objectives of city-wide sanitation plan 1 2. CITY SANITATION TASK FORCE (CSTF) 3-16 2.1 State urban/sanitation policies 10 2.2 Members of City Sanitation Task Force (CSTF) 12 3. CITY PROFILE 18-41 3.1 Location 18 3.2 Historical importance 18 3.3 Heritage 19 3.4 Special features of the city 19 3.5 Demography 20 3.6 Municipal time line 22 3.7 Topography of the city 23 3.7.1 Land use pattern 23 3.7.2 Soil characteristics 24 3.8 Economy 24 3.9 Environmental issues 26 3.9.1 Climate 26 3..9.2 Rain fall 26 3.10 Urban poor 26 3.11 AMRUT 27 3.11.1 AMRUT Works Sanctioned to Eluru for year 2015-16 29 4. WATER SUPPLY 42-51 4.1 History of water supply 48 4.2 Existing Water Supply System 49 4.3 List of water supply components with their capacity 51 4.4 Connection and charges 51 5. ACCESS TO TOILETS 52-59 5.1 ODF Certification by QCI 59 6. WASTE WATER MANAGEMENT 60-65 6.1 Coverage of drainage 60 6.2 Hierarchy of Drains 61 6.3 Proposed sewerage network and treatment 65 7. SOLID WASTE MANAGEMENT(SWM) 66-90 7.1 Major problems prevailing in SWM sector 66 7.2 Functional elements of Solid Waste Management 67 7.3 Existing Process of Solid Waste Management 69 7.3.1. -
Dehradun Resident Naveen Bhatt Fulfilled by the RO Also Compliment- Donning the Uniform of an Officer in Indian Ed the 70 Foreign GC and Said Army on Saturday
SIDISrtVUU@IB!&!!"&#S@B9IV69P99I !%! %! ' - @ !1$A $A A 4,0 56 766 4+! 01,67 0.&5 0.34 99.0,+ 9 92+*,*09 . ,9:,* 092+. * * 8.9 :,9. ;9.3 <=* 2,,+:-+> . +. 9 +? 9-* 992+.+,+0 *9 !" ! " #$%&!'('() *+< $ %'( $) -.,./. , P -0.&01%2& ++,-* Q s the farmers’ protest at Aalong the borders of Delhi ## has yet not found a break- through even on the seven- #! R M teenth day, farmers, mostly N! ! OM ! from Punjab and Haryana, ++,-* continued to protest on the !#$ %& borders of the national Capital erming the “events” along ! amid showers on Saturday. Tthe Line of Actual Control ! Addressing a Press confer- (LAC) very disturbing, ( )*! ence at Singhu Border, farmers External Affairs Minister S ! +!,-, on Saturday said if the Jaishankar on Saturday said , ,- Government wants to hold India was being tested in the ! talks, they are ready but the seven-month long standoffs ! ! . farmers will first discuss repeal with China in Eastern Ladakh. ,+ ! ! ! of three new farm laws. Making this observation Q0 “The farmers from here, he, however, expressed Rajasthan’s Shahjahanpur will confidence that the country cially in my childhood and in start their Delhi Chalo march will rise to the occasion and my teens,” the Minister said. on Sunday around 11 am. They meet the challenge. This asser- Jaishankar said a lot of , N O would be coming in thousands tion came two days after he had work had gone into developing ! 0 ! through Jaipur-Delhi highway,” said the relations between India the relationship on both sides. said Kanwalpreet Singh Pannu, ! " and China were at their worst “I do not believe that the events ! farmers’ leader. -
One Voice, Many Spaces: a Contemporary Female Self-Taught Musician’S Pathways Into Tamil Film Song Cover Culture in Chennai, South India
ONE VOICE, MANY SPACES: A CONTEMPORARY FEMALE SELF-TAUGHT MUSICIAN’S PATHWAYS INTO TAMIL FILM SONG COVER CULTURE IN CHENNAI, SOUTH INDIA By NINA MENEZES A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Nina Menezes To Vandana, whose life and quirky curiosity inspired this work. The voices —hers, theirs, and mine— are not my creation They are part of the paths hidden until now the paths we have been the paths we are the paths we will uncover They are all a part of her, them, and I Like every story, this one is based on a truth— hers, theirs, and mine. ACKNOWLEDGMENTS I am indebted to several individuals—across two continents— who were so generous with their time and support. Thanks to Vandana; without her story, music, dynamic personality, and passion to persevere I would not have uncovered the many cover spaces for Tamil film song in such a short time. I am grateful for her friendship, and the conversations we shared about music and life as we sipped on suda suda filter kapi and munched on idlis and vadas at the local Murugan Idli Kadai. Vandana’s sister, Vagu, and their extended network of self-taught musicians—Shantha, Alex, Prabhu, and Achu—shared their experiences as self-taught musicians within the cover scene. Their passion, adaptability, and self-discovery made fieldwork informative, rewarding, and above all a source of inspiration. I am thankful for their continued friendship. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 8, Issue-II, April 2017 ISSN: 0976-8165 Body as a Site of Interrogation: Malayalam Cinema and the Forbidden Dr. Sunitha Srinivas C Assistant Professor & HOD, PG Department of English & Centre For Research, Govt. College Mokeri, Kerala. Article History: Submitted-23/03/2017, Revised-23/04/2017, Accepted-24/04/2017, Published-30/04/2017. Abstract: There has always been a fascination with human sexuality, making it a primary category of analysis (a discourse). Malayalam cinema (or Kerala society) is no exception to this. Cinema is a site where the sexuality/sexual fantasies of a milieu as well as the changing socio-cultural matrix get embedded. It grants the spectators what they unconsciously desire— a space where their sexual urges and desires are on ‘reel’, enabling them to be a part of what is played out before them. Sexuality, like most other aspects of life, has become thoroughly caught up in and restructured by the expanse of power systems in the Kerala context. Violence, cabaret, bathing and bedroom scenes have been a part of Malayalam cinema. It offers one of the many platforms where questions of body, desire and sexual pleasure are debated (through the male/female/queer body). -
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