DOCSLIB.ORG

Classic Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

✱ Reviews One for your collection BAAZI (1951) adan comes from a poor fam- Presenting a list of ily background. Unable to find Classic Starring: employment, he takes to gam- must have classics Dev Anand ... Madan bling in a big way. He makes a lot Geeta Bali ... Leena Mof money, and decides to open a gambling Kalpana Kartik ... Rajani den, where he makes even more money. He on dvd, for all die Collection Roopa Verman meets with sophisticated and cultured Dr. K.N. Singh ... Rajani’s Father Rajani, and both are attracted to each other. hard movie fans Johnny Walker But Rajani’s dad does not approve of Madan Krishan Dhawan ... Ramesh nor of his background, and would prefer that DVDs courtesy Shemaroo Home Video Rashid Khan Rajani marry Inspector Ramesh. Rejected, Habib Madan meets with vivacious and outgoing www.shemaroo.com Srinath Meena, and romances her. Then Inspector Rashid Ahmed Ramesh arrests Madan and imprisons him for Abu Baker the murder of Meena, who was killed with a Nirmal Kumar revolver with Madan’s fingerprints on it. The 112 Issue 5 ✱ January 2010 Bollywood Lifestyle Magazine shooter intended to kill Madan, but Meena hildhood sweethearts, Devdas (Dilip The movie ends with Shambhu returning to protected him & was killed instead. Rajani’s Kumar) and Parvati or Paro (Suchi- his village, only to see his land sold and a fac- father ordered the killing because he didn’t tra Sen) grow up in a small village tory being constructed over it. consider Madan suitable for his daughter. with a love-hate relationship which Rajani’s father threatens Madan that he will changesC to love when they mature. Devdas MADHUMATI kill his sister if he says anything. Madan keeps comes from a very rich and wealthy family. His quiet & is sentenced to be hanged at 6 am. dad does not approve of his marriage or even Starring: Inspector Ramesh finds some evidence that any friendship with Paro, and sends him away Dilip Kumar - it wasn’t Madan who killed Meena. Rajani’s to Calcutta. Disheartened Devdas gives up Vijayanthimala - father is imprisoned & Madan is freed. on his love, and Paro gets married to a much Johnny Walker - older man, who has a grown-up son and Pran - DEVDAS daughter. Devdas realises he is unable to give Jayant - up his love for Paro and returns to the village, Starring: only to find that she is married. He returns adhumati tells the story of two Dilip Kumar as Devdas to Calcutta and falls into bad company and young lovers denied by death but Suchitra Sen as Parvati (Paro) alcohol. He is introduced to a dancer, Chan- not by fate. Devendra, a middle- Vyjayanthimala as Chandramukhi dramukhi (Vyjayantimala), who adores him the Zamindar (land owner) wants to acquire aged man, takes shelter during Motilal as Chunni Babu and falls hopelessly in love with him. Devdas Ma storm in an old house where he sees the his land on the pretext that Shambhu had Pran in not aware of Chandramukhi’s affection and taken some loan from him. Shambhu has ghost of a woman. This prompts him to relate Nasir Hussain as Dharamdas love for him, as most of his time is spent in an to pay back the landlord and hence moves the story of Anand and Madhumati to his Murad as Devdas’ father alcoholic stupor, and lust for Paro. to the city to look for some other source of traveling companions and sets up the narra- Iftekhar as Brijudas money. tive’s framing device. Anand is a painter who DO BIGHA ZAMEEN The most famous scene from the movie is falls in love with Madhumati, but bad blood when Shambhu pushes himself to the limit separates the family Anand works for and Starring: pulling a rickshaw. The rider on the rickshaw Madhumati’s family. Sent away by his deceitful Balraj Sahni ... Shambu Maheto offers Shambhu more money to pull faster Nirupa Roy ... Parvati (Paro) Maheto because he is chasing (probably) his girlfriend Ratan Kumar ... Kanhaiya Maheto who is in a horse pulled carriage. Shambhu Murad ... Thakur Harnam Singh can not resist the temptation, and he keeps Jagdeep ... Thakur Harnam Singh smiling in anticipation of getting more money. Meena Kumari ... Thakurain However, his wealthy customer is not worried Raj Laxmi ... Nayabji (as Rajlakshmi) the least about the lower class’ plight. In this Nana Palsikar race, rickshaw loses a wheel and Shambhu is Noor Jahan ... (as Noorjahan) injured. Nasir Husain ... Rickshaw puller (as Nazir However, through all these hardships Hussain) Shambhu does not lose his righteousness, Rekha (ii) ... (as Rekha) which is the moral of the movie. Shambhu’s son steals money to help his father, only to he story revolves around a farmer, be reproached by his father later. Shambhu’s Shambhu (Balraj Sahni), who has morality is the only thing that remains his own been hit badly by a famine in Bengal. till the end. T The real reason of his sorrow is that Bollywood Lifestyle Magazine Issue 5 ✱ January 2010 113 ✱ Reviews boss, Anand returns to discover that Madhu- Shri 420 mati has disappeared. Anand and her father search for her only to discover she has been Starring: kidnapped by Anand’s boss. In the confronta- Raj Kapoor, tion that follows, Anand is beat within an inch Nargis, of his life. After recovering, he again wanders Nadira Nemo, the countryside where he first met Madhuma- Lalita Pawar ti. Here he meets another young woman, who resembles Madhumati in every way. Confused aj Kumar Saxena (Raj Kapoor) and withdrawn, he begins to believe that the comes to Bombay armed with Hon- two are one and the same and hatches a plan esty. Integrity and his Degree along to catch his boss in a trap. What follows blurs with a whole of dreams and aspira- the lines between reality and the supernatural Rtions of making it in this city of opportunities. as Madhumati comes back from the grave to Raj was to find out that his values and beliefs accuse her killer and rescue her beloved. had no worth in a city like Bombay where the social system allowed profiteers, black- the high flying society, where no price is too family; encourages all religious groups to live marketers, and other species of “420’s” to much to pay for success - a life of high stake MUGHAL-e-azaM in harmony together; and even undertakes a make fortunes. In the course of drifting from gambling and drinking - a life which drifts him barefoot journey to the temple of Ambe Maa one job to another Raj meets the beautiful further and further from his values, beliefs and Starring: and installs a gold umbrella over Ambe Maa. Vidya (Nargis). Though very poor herself, this Vidya. Prithviraj Kapoor - Badshah Jalaluddin Mo- He married a Hindu Rajput Yodhabai, and school teacher shared Raj’s philosophy on hammed Akbar (as Prithviraj) together they sire a son who they name Sal- life and they start to share their dreams. Raj SUJATA Dilip Kumar - Shehzada Nooruddin Moham- eem. Born in a very tolerant and acceptable soon learns that their dreams are impossible mad Saleem atmosphere, Saleem also witnesses war and to achieve honestly - and so, economic need Cast: Madhubala - Anarkali perhaps this does have an affect on his mind. and bitter experiences drive this simple and Lalita Pawar, Durga Khote - Empress Jodha Bai He then falls in love with a lowly courtesan, honest man to dishonesty and evil. Shree 420 Asit Sen, Nigar Sultana - Bahar Anarkali. When his parents want him to get tells the story of Raj’s perilous journey into Sunil Dutt, Ajit - Durjan Singh married to a woman of their choice, he refus- Nutan Behl, M. Kumar - Sculptor Sangtaraash (as Kumar) es and wants to marry Anarkali. This angers Tarun Bose Murad - Raja Mann Singh the tolerant Akbar, who could never visualize Jilloo Maa - Anarkali’s Mother (as Jillo Bai) his son marrying a mere dancing girl. He has beautiful story created around the Vijayalaxmi Anarkali imprisoned, but Saleem arranges her social issue of untouchability. Nutan, S. Nazir escape and incites a open revolt against Ak- an untouchable orphan, is raised by Sheela Delaya - Suraiya, Anarkali’s Sister bar. Enraged, Akbar declares Saleem a traitor a couple of a higher caste, who also Ahave their own daughter, Shashikala, of the Surendra (as Surinder) and sends his armies to crush him. Saleem Johnny Walker is defeated and brought in chains to be sen- same age. Lalita Pawar, a family friend with Jalal Agha - Young Prince Saleem tenced by his father, but Anarkali managed conservative views condemns this whenever to elude his armies. Akbar wants to trade she gets a chance to do so. Years pass and adshah Akbar was the supreme ruler Saleem’s life with that of Anarkali, but Saleem Lalita now wants her grandson Sunil Dutt to of Hindustan and ruled this coun- will not let anyone know where Anarkali is, marry Shashikala, but he has fallen in love try fairly and justly. He wanted the and is therefore sentenced to die. with Nutan, who reciprocates the same. Is B Hindus and Muslims to live as a big love able to rise above caste? 114 Issue 5 ✱ January 2010 Bollywood Lifestyle Magazine Shemaroo Entertainment has put in lot of you Shemaroo, for giving life to yesteryears, efforts to revive this old classic. They have not only on my behalf, but also on behalf of all colour corrected the images, improved the those who loved me through this serial’. picture quality and audio by restoring it for Adds Hiren Gada, Director - Shemaroo more clarity.
Recommended publications
  • Tribute to Kishore Kumar

    Tribute to Kishore Kumar

    Articles by Prince Rama Varma Tribute to Kishore Kumar As a child, I used to listen to a lot of Hindi film songs. As a middle aged man, I still do. The difference however, is that when I was a child I had no idea which song was sung by Mukesh, which song by Rafi, by Kishore and so on unlike these days when I can listen to a Kishore song I have never heard before and roughly pinpoint the year when he may have sung it as well as the actor who may have appeared on screen. On 13th October 1987, I heard that Kishore Kumar had passed away. In the evening there was a tribute to him on TV which was when I discovered that 85% of my favourite songs were sung by him. Like thousands of casual music lovers in our country, I used to be under the delusion that Kishore sang mostly funny songs, while Rafi sang romantic numbers, Mukesh,sad songs…and Manna Dey, classical songs. During the past twenty years, I have journeyed a lot, both in music as well as in life. And many of my childhood heroes have diminished in stature over the years. But a few…..a precious few….have grown……. steadily….and continue to grow, each time I am exposed to their brilliance. M.D.Ramanathan, Martina Navratilova, Bruce Lee, Swami Vivekananda, Kunchan Nambiar, to name a few…..and Kishore Kumar. I have had the privilege of studying classical music for more than two and a half decades from some truly phenomenal Gurus and I go around giving lecture demonstrations about how important it is for a singer to know an instrument and vice versa.
  • Nationalmerit-2020.Pdf

    Nationalmerit-2020.Pdf

    Rehabilitation Council of India ‐ National Board of Examination in Rehabilitation (NBER) National Merit list of candidates in Alphabatic Order for admission to Diploma Level Course for the Academic Session 2020‐21 06‐Nov‐20 S.No Name Father Name Application No. Course Institute Institute Name Category % in Class Remark Code Code 12th 1 A REENA PATRA A BHIMASEN PATRA 200928134554 0549 AP034 Priyadarsini Service Organization, OBC 56.16 2 AABHA MAYANK PANDEY RAMESH KUMAR PANDEY 200922534999 0547 UP067 Yuva Viklang Evam Dristibadhitarth Kalyan Sewa General 75.4 Sansthan, 3 AABID KHAN HAKAM DEEN 200930321648 0547 HR015 MR DAV College of Education, OBC 74.6 4 AADIL KHAN INTZAR KHAN 200929292350 0527 UP038 CBSM, Rae Bareli Speech & Hearing Institute, General 57.8 5 AADITYA TRIPATHI SOM PRAKASH TRIPATHI 200921120721 0549 UP130 Suveera Institute for Rehabilitation and General 71 Disabilities 6 AAINA BANO SUMIN MOHAMMAD 200926010618 0550 RJ002 L.K. C. Shri Jagdamba Andh Vidyalaya Samiti OBC 93 ** 7 AAKANKSHA DEVI LAKHAN LAL 200927081668 0550 UP044 Rehabilitation Society of the Visually Impaired, OBC 75 8 AAKANKSHA MEENA RANBEER SINGH 200928250444 0547 UP119 Swaraj College of Education ST 74.6 9 AAKANKSHA SINGH NARENDRA BAHADUR SING 201020313742 0547 UP159 Prema Institute for Special Education, General 73.2 10 AAKANSHA GAUTAM TARACHAND GAUTAM 200925253674 0549 RJ058 Ganga Vision Teacher Training Institute General 93.2 ** 11 AAKANSHA SHARMA MAHENDRA KUMAR SHARM 200919333672 0549 CH002 Government Rehabilitation Institute for General 63.60% Intellectual
  • The Literary Herald

    The Literary Herald

    ISSN : 2454-3365 THE LITERARY HERALD AN INTERNATIONAL REFEREED ENGLISH E-JOURNAL A Quarterly Indexed Open-access Online JOURNAL Vol.1, No.1 (June 2015) Editor-in-Chief: Dr. Siddhartha Sharma Managing Editor: Dr. Sadhana Sharma www.TLHjournal.com [email protected] hhhhhhhhhhhhhhhhhhkkkkkkkkkkkkkkkkk;khngggh www.TLHjournal.com The Literary Herald ISSN: 2454-3365 An International Refereed English e-Journal The Representation of Agony during Partition as shown in M S Sathyu’s film “Garm Hawa” Ms Rekha Paresh Parmar Associate Professor Department of English Veer Narmad South Gujarat University, Surat Abstract “Garm Hawa” (Scorching Winds/Hot Winds) is a 1973 Hindi Urdu drama film directed by M S Sathyu with veteran actor Balraj Sahni as the lead. It was written by Kaifi Azmi and Shama Zaidi, based on an unpublished short story by a famous Urdu writer Ismat Chughtai. This controversial film has won several national awards in 1974 including a National Integration award. This political narrative deals with the plight of a North Indian Muslim businessman Salim Mirza and his family in 1947 in Agra. He is a patriot and a Muslim shoemaker, struggles to survive in this pathetic and critical condition of communal riots. He is in a dilemma either to live in India or to emigrate to Pakistan like his other family members. The Mirza family suffers for not doing anything wrong in this post-partition environment. They could neither manage their business nor got the job. The social and marital relations are affected. Salim Mirza’s elder son Baqar moves to Pakistan with his family. His daughter Amina is frustrated having two affairs with her cousins and committed suicide.
  • A Case of Street Vendor Evictions in Bengaluru

    A Case of Street Vendor Evictions in Bengaluru

    The Role of Informality in Shaping Public Space in India: A Case of Street Vendor Evictions in Bengaluru (Mohandas, Meghna) ([email protected]) 1 Abstract: The unequal treatment of citizens based on identity, class and income is a phenomenon that can be observed in most countries of the world, including democracies. In the particular case of street vending, which is a socially and economically relevant informal activity that is prevalent in both rural and urban areas of India, the issue of evictions from public spaces by authorities is a regular phenomenon. In recent years, multiple civil society organizations have formed coalitions and developed a voice to protect street vendors from exploitation by various groups that hold positions of power (Lintelo, 2010). Their efforts have resulted in policies and acts that aim to regulate the act of street vending in India. However, the legal systems introduced by the government to resolve issues of street vendors have many loopholes. Some of these drawbacks have been utilized by people in positions of power to evict street vendors from their locations of work. An example of this is the evictions of street vendors from outside the Lakshmi Devi Park, Bengaluru, that was orchestrated by the local resident’s association, along with the police force. This article aims to raise questions on the illegal status of street vending in India, and its relevance in a neo-liberal context of growing inequality. Keywords: Street Vending, Informality, Public Space, Urban 2 “The cities everyone wants to live in should be clean and safe, possess efficient public services, be supported by a dynamic economy, provide cultural stimulation, and also do their best to heal society's divisions of race, class, and ethnicity.
  • Bollywood in Australia: Transnationalism and Cultural Production

    Bollywood in Australia: Transnationalism and Cultural Production

    University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 1-1-2010 Bollywood in Australia: Transnationalism and Cultural Production Andrew Hassam University of Wollongong, [email protected] Makand Maranjape Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Hassam, Andrew and Maranjape, Makand, Bollywood in Australia: Transnationalism and Cultural Production 2010. https://ro.uow.edu.au/artspapers/258 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Introduction Bollywood in Australia Andrew Hassam and Makand Paranjape The global context of Bollywood in Australia Makarand Paranjape The transcultural character and reach of Bollywood cinema has been gradually more visible and obvious over the last two decades. What is less understood and explored is its escalating integration with audiences, markets and entertainment industries beyond the Indian subcontinent. This book explores the relationship of Bollywood to Australia. We believe that this increasingly important relationship is an outcome of the convergence between two remarkably dynamic entities—globalising Bollywood, on the one hand and Asianising Australia, on the other. If there is a third element in this relationship, which is equally important, it is the mediating power of the vibrant diasporic community of South Asians in Australia. Hence, at its most basic, this book explores the conjunctures and ruptures between these three forces: Bollywood, Australia and their interface, the diaspora. 1 Bollywood in Australia It would be useful to see, at the outset, how Bollywood here refers not only to the Bombay film industry, but is symbolic of the Indian and even the South Asian film industry.
  • Spectacle Spaces: Production of Caste in Recent Tamil Films

    Spectacle Spaces: Production of Caste in Recent Tamil Films

    South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012.
  • R[`C Cv[ZX >`UZ¶D W`Tfd ` H`^V

    R[`C Cv[ZX >`UZ¶D W`Tfd ` H`^V

    ( E8 F F F ,./0,1 234 #)#)* .#,/0 +#,- < 8425?O#$192##618 46$8$+2#$218?7.2123*7$#2 6+@218$16+2694 234$3)9(17 5476354)5612# 6+ +6194$+6$)+ 9461$@6+4 72#$1#7)84$1$6 6##6##$16826847*2 9766*2+$96<$163 24+6)1 4>2+656.$?6> 66 39 )+* " ,,- & G6 # 2 6 ! %% 2# # 5 46 R! #$ O P R 12 234$ ment issue during the Covid 12 234$ sacrifice anyone to meet his Pradesh gets seven Ministers, era and gave enough fodder to 12 234$ the pandemic. Apart from political and governance objec- including Annupriya Patel of n dropping four top level the foreign media to inflict health, Dr Vardhan also held n a major Cabinet overhaul, tives. Aapna Dal (S), an NDA ally IUnion Ministers — Ravi heavy damage on the Modi e was always at the front- two Ministries — science and Iseen as a mid-term appraisal Despite the slogans of and Gujarat has five represen- Shankar Prasad, Prakash Government . Hline shielding the Modi led technology and earth sciences. of his Ministers and resetting “sabka sath sabka vikash,” the tations in the council of Javadekar, Harsh Vardhan, " The others axed a couple of Government’s Covid-19 man- The resignation is seen by Government’s profile post- Cabinet reshuffle has been Ministers. Karnataka is up by Ramesh Pokhriyal “Nishank” ! # hours before the oath-taking agement and Covid-19 vacci- the Government’s critics as an Covid-19 for the next three- based on caste consideration at four Ministers which includes and eight other Ministers — ceremony of new inductions, nation policy, but it did not admission that the pandemic year term, the Prime Minister every level.
  • Bollywood Bourgeois Author(S): Rachel Dwyer Source: India International Centre Quarterly, Vol

    Bollywood Bourgeois Author(S): Rachel Dwyer Source: India International Centre Quarterly, Vol

    Bollywood Bourgeois Author(s): Rachel Dwyer Source: India International Centre Quarterly, Vol. 33, No. 3/4, India 60 (WINTER 2006-SPRING 2007), pp. 222-231 Published by: India International Centre Stable URL: http://www.jstor.org/stable/23006084 . Accessed: 07/11/2013 09:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. India International Centre is collaborating with JSTOR to digitize, preserve and extend access to India International Centre Quarterly. http://www.jstor.org This content downloaded from 146.96.128.36 on Thu, 7 Nov 2013 09:20:14 AM All use subject to JSTOR Terms and Conditions INDIA 60 Bollywood Bourgeois cliche of Indian cinema being the domain of the escapist fantasies of the Indian masses can now be safely put to rest. While this may have been true for The the 1980s, when the study of Indian cinema began to grow, the present cinema audiences, who are willing to pay Rs. 200 and upwards for a cinema ticket, are from various sections of the Indian middle classes and elites. These classes now dominate the public sphere in India and film is one of the major media which they are producing and consuming.
  • Reg. No Name in Full Residential Address Gender Contact No. Email Id Remarks 9421864344 022 25401313 / 9869262391 Bhaveshwarikar

    Reg. No Name in Full Residential Address Gender Contact No. Email Id Remarks 9421864344 022 25401313 / 9869262391 Bhaveshwarikar

    Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 10001 SALPHALE VITTHAL AT POST UMARI (MOTHI) TAL.DIST- Male DEFAULTER SHANKARRAO AKOLA NAME REMOVED 444302 AKOLA MAHARASHTRA 10002 JAGGI RAMANJIT KAUR J.S.JAGGI, GOVIND NAGAR, Male DEFAULTER JASWANT SINGH RAJAPETH, NAME REMOVED AMRAVATI MAHARASHTRA 10003 BAVISKAR DILIP VITHALRAO PLOT NO.2-B, SHIVNAGAR, Male DEFAULTER NR.SHARDA CHOWK, BVS STOP, NAME REMOVED SANGAM TALKIES, NAGPUR MAHARASHTRA 10004 SOMANI VINODKUMAR MAIN ROAD, MANWATH Male 9421864344 RENEWAL UP TO 2018 GOPIKISHAN 431505 PARBHANI Maharashtra 10005 KARMALKAR BHAVESHVARI 11, BHARAT SADAN, 2 ND FLOOR, Female 022 25401313 / bhaveshwarikarmalka@gma NOT RENEW RAVINDRA S.V.ROAD, NAUPADA, THANE 9869262391 il.com (WEST) 400602 THANE Maharashtra 10006 NIRMALKAR DEVENDRA AT- MAREGAON, PO / TA- Male 9423652964 RENEWAL UP TO 2018 VIRUPAKSH MAREGAON, 445303 YAVATMAL Maharashtra 10007 PATIL PREMCHANDRA PATIPURA, WARD NO.18, Male DEFAULTER BHALCHANDRA NAME REMOVED 445001 YAVATMAL MAHARASHTRA 10008 KHAN ALIMKHAN SUJATKHAN AT-PO- LADKHED TA- DARWHA Male 9763175228 NOT RENEW 445208 YAVATMAL Maharashtra 10009 DHANGAWHAL PLINTH HOUSE, 4/A, DHARTI Male 9422288171 RENEWAL UP TO 05/06/2018 SUBHASHKUMAR KHANDU COLONY, NR.G.T.P.STOP, DEOPUR AGRA RD. 424005 DHULE Maharashtra 10010 PATIL SURENDRANATH A/P - PALE KHO. TAL - KALWAN Male 02592 248013 / NOT RENEW DHARMARAJ 9423481207 NASIK Maharashtra 10011 DHANGE PARVEZ ABBAS GREEN ACE RESIDENCY, FLT NO Male 9890207717 RENEWAL UP TO 05/06/2018 402, PLOT NO 73/3, 74/3 SEC- 27, SEAWOODS,
  • Here in the United Online Premieres Too

    Here in the United Online Premieres Too

    Image : Self- portrait by Chila Kumari Singh Burman Welcome back to the festival, which this Dive deep into our Extra-Ordinary Lives strand with amazing dramas and year has evolved into a hybrid festival. documentaries from across South Asia. Including the must-see Ahimsa: Gandhi, You can watch it in cinemas in London, The Power of The Powerless, a documentary on the incredible global impact of Birmingham, and Manchester, or on Gandhi’s non-violence ideas; Abhijaan, an inspiring biopic exploring the life of your own sofa at home, via our digital the late and great Bengali actor Soumitra Chatterjee; Black comedy Ashes On a site www.LoveLIFFatHome.com, that Road Trip; and Tiger Award winner at Rotterdam Pebbles. Look out for selected is accessible anywhere in the United online premieres too. Kingdom. Our talks and certain events We also introduce a new strand dedicated to ecology-related films, calledSave CARY RAJINDER SAWHNEY are also accessible worldwide. The Planet, with some stirring features about lives affected by deforestation and rising sea levels, and how people are meeting the challenge. A big personal thanks to all our audiences who stayed with the festival last We are expecting a host of special guests as usual and do check out our brilliant year and helped make it one of the few success stories in the film industry. This online In Conversations with Indian talent in June - where we will be joined year’s festival is dedicated to you with love. by Bollywood Director Karan Johar, and rapidly rising talented actors Shruti Highlights of this year’s festival include our inspiring Opening Night Gala Haasan and Janhvi Kapoor, as well as featuring some very informative online WOMB about one woman gender activist who incredibly walks the entire Q&As on all our films.
  • CINEMA Some All-Time Greats Cinema by Definition Telescopes Time

    CINEMA Some All-Time Greats Cinema by Definition Telescopes Time

    VISIT US AT STALL 19-20, NATIONAL BOOK FAIR, LUCKNOW VENUE: MOTIMAHAL VATIKA DATE: 11 TO 20 AUGUST 2017 Volume 9, Issue 3, July-September 2017 RNI NO. DELENG/2008/26953 Price: ` 2 HISTORY LITERATURE ART CULTURE HERITAGE BIOGRAPHY TRAVEL WILDLIFE RELIGION SELF-HELP FICTION TRANSLATION CINEMA PHOTOGRAPHY CINEMA Some All-Time Greats Cinema by definition telescopes time. A film is said to be a classic if it is seen and appreciated by two or three generations of viewers over a period of 50 to 60 years. It would take longer for a literary work to attain the same stature because the history of publishing is much longer. In India, certain films in Hindi Celebrating and other regional languages have been seen by people long enough to acquire a Cinema! classic status. From the subject of film dialogue and he first director worthy of serious attention in Hindi cinema was Mehboob Khan. He began life as an extra in the silent era early Hindi cinema to a book on SRK, and gradually worked his way up as an actor, assistant director and finally director with Imperial Film Company and Sagar the Badshah of Bollywood, Niyogi Movietone. He made his mark when he formed his own production company. Aurat, his first major film, is about a farmer’s Books has played an important role in Twidow swamped with debts and her heroic struggle to retain her dignity and look after her children in an overwhelmingly male society. promoting cinema. This black and white production starring Khan’s wife, Sardar Akhtar, with music by Anil Biswas, had a greater impact than its worthy remake, Mother India.
  • Unit-2 Silent Era to Talkies, Cinema in Later Decades

    Unit-2 Silent Era to Talkies, Cinema in Later Decades

    Bachelor of Arts (Honors) in Journalism& Mass Communication (BJMC) BJMC-6 HISTORY OF THE MEDIA Block - 4 VISUAL MEDIA UNIT-1 EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA UNIT-2 SILENT ERA TO TALKIES, CINEMA IN LATER DECADES UNIT-3 COMING OF TELEVISION AND STATE’S DEVELOPMENT AGENDA UNIT-4 ARRIVAL OF TRANSNATIONAL TELEVISION; FORMATION OF PRASAR BHARATI The Course follows the UGC prescribed syllabus for BA(Honors) Journalism under Choice Based Credit System (CBCS). Course Writer Course Editor Dr. Narsingh Majhi Dr. Sudarshan Yadav Assistant Professor Assistant Professor Journalism and Mass Communication Dept. of Mass Communication, Sri Sri University, Cuttack Central University of Jharkhand Material Production Dr. Manas Ranjan Pujari Registrar Odisha State Open University, Sambalpur (CC) OSOU, JUNE 2020. VISUAL MEDIA is made available under a Creative Commons Attribution-ShareAlike 4.0 http://creativecommons.org/licences/by-sa/4.0 Printedby: UNIT-1EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA Unit Structure 1.1. Learning Objective 1.2. Introduction 1.3. Evolution of Photography 1.4. History of Lithography 1.5. Evolution of Cinema 1.6. Check Your Progress 1.1.LEARNING OBJECTIVE After completing this unit, learners should be able to understand: the technological development of photography; the history and development of printing; and the development of the motion picture industry and technology. 1.2.INTRODUCTION Learners as you are aware that we are going to discuss the technological development of photography, lithography and motion picture. In the present times, the human society is very hard to think if the invention of photography hasn‘t been materialized. It is hard to imagine the world without photography.