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A Nnual R Epo Rt 2002
CMYK Annual ReportAnnual 2002 - 2003 Annual Report 2002-2003 Department of Women and Child Development Women Department of Ministry Development of HumanResource Government ofIndia Government Department of Women and Child Development Ministry of Human Resource Development Government of India CMYK CMYK To call woman the weaker sex is a libel; it is mans injustice to woman. If by strength is meant brute strength, then, indeed, is woman less brute than man. If by strength is meant moral power, then woman is immeasurably mans superior. Has she not greater intuition, is she not more self-sacrificing, has she not greater powers of endurance, has she not greater courage? Without her man could not be. If nonviolence is the law of our being, the future is with woman. Who can make a more effective appeal to the heart than woman? Mahatma Gandhi Designed and produced by: Fountainhead Solutions (Pvt.) Ltd email: [email protected] CMYK Annual Report 2002-03 Department of Women and Child Development Ministry of Human Resource Development Government of India Contents Chapter 1 Introduction 1 Chapter 2 An Overview 7 Chapter 3 Organization 17 Chapter 4 Policy and Planning 25 Chapter 5 The Girl Child in India 43 Chapter 6 Programmes for Women 73 Chapter 7 Programmes for Children 91 Chapter 8 Food and Nutrition Board 111 Chapter 9 Other Programmes 117 Chapter 10 Gender Budget Initiative 127 Chapter 11 Child Budget 143 Chapter 12 National Institute of Public Cooperation and Child Development 153 Chapter 13 Central Social Welfare Board 163 Chapter 14 National Commission for Women 173 Chapter 15 Rashtriya Mahila Kosh 183 Annexures 189 Introduction O Lord, why have you not given woman the right to conquer her destiny? Why does she have to wait head bowed By the roadside, waiting with tired patience Hoping for a miracle in the morrow Rabindranath Tagore Introduction The Department of Women and Child Development was set up in 1985 as a part of the Ministry of Human Resource Development to give the much-needed impetus to the holistic development of women and children. -
UTV Films Now in Telugu on Maa Tv
UTV films now in Telugu on Maa Tv Mumbai, October 27, 2010: In a first of its kind association by a movie production studio, UTV’s motion pictures division announced an exclusive partnership with the leading Telugu entertainment channel in Andhra Pradesh– Maa TV. Ten blockbuster movies from the UTV’s movie library will now be showcased for the channel viewers in Telugu. The Motion Pictures division of UTV has delivered some contemporary and cult films in the recent past which will now be showcased dubbed in Telugu on the satellite television channel. This deal, been the two entertainment houses, has been signed for a period of 5 years 10 movies on Maa TV Viewers can now enjoy Fashion which won Priyanka and Fashion Kangana both national awards, Kaminey – one of the biggest Kaminey blockbusters of 2009 along with two national award winning Delhi 6 films - A Wednesday and Delhi 6 on their favourite channel. The A Wednesday movie offerings ranges from serious cinema like Kurbaan to Chance Pe Dance some light hearted romantic films like Wake up Sid, Kismat Kismat Konnection Konnection and Chance Pe Dance. Along with these, the Wake up Sid channel with also showcase Dhan Dhana Dhan Goal and Dhan Dhana Dhan Goal Dhoondte Reh Jaage. Dhoondte Reh Jaage Announcing the agreement, Sharrath Marar, Director and CEO of MAA Television Network Limited, said, “MAA TV has always delivered best of the movies to the Telugu viewers. In continuation of this tradition, we entered into a new association with UTV to telecast some of the most popular Hindi movies in Telugu. -
Khalnayak Full Movie 720P Download
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Trials and Justice in Awaara: a Post-Colonial Movie on Post-Revolutionary Screens?
Law Text Culture Volume 18 The Rule of Law and the Cultural Imaginary in (Post-)colonial East Asia Article 4 2014 Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens? Alison W. Conner University of Hawaii at Manoa Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Conner, Alison W., Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens?, Law Text Culture, 18, 2014, 33-55. Available at:https://ro.uow.edu.au/ltc/vol18/iss1/4 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens? Abstract Perhaps surprisingly, one of the most popular Chinese movies of all time is actually an Indian film. Filmed in 1951 in newly independent India, Awaara (The Vagabond) was released in China after the official introduction of the opening and reform policies in 1979, when the country embarked on its current post- socialist, post-revolutionary course. Known as Liulangzhe in China, Awaara received a rapturous response from Chinese audiences and even now everyone over a certain age remembers watching the movie. Thanks to the Internet, many younger Chinese have also seen Awaara, sometimes dubbed in Chinese (I first saw it dubbed in Chinese myself), or if they haven’t seen it they can tell you why their parents and grandparents loved it so much. This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol18/iss1/4 Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens? Alison W Conner Introduction Perhaps surprisingly, one of the most popular Chinese movies of all time is actually an Indian film. -
My God, That's My Tune'
The composer recently made it on the New York hit parade with a song titled In every city. In an interview R. D. Burman talks about his craft. Left: R. D. Burman with Latin American composer Jose Flores. Below: The 'Pantera' team, among others R.D. Burman (centre), Jose Flores and (far right) Pete Gavankar. HENEVER an Indian achieves a Wmilestone abroad, he instantly gets more recognition in his own coun- try. Perhaps it's the colonial hangover that still makes us believe that they are always right over there. In this case however, the distinction is not going to make any difference as the person gaining it is already a household name here. Rahul Dev Burman, who has given music for 225 Hindi films, has made it to the New York hit parade with a song titled In every city. He is all set to launch the album—'Pantera'—in India. Two people have been responsible for getting him there—his father Sachin Dev Burman who was the only member of the family willing to let him enter films, and Pete Gavankar, a friend of thirty years who goaded him into seek- ing new pastures and has financed the album. Intrigued, we decided to find out just how the international album had come about and while we were at it, also gauge just how much R.D. had already packed into his life of 45 years. It turned out to be much more than we had thought as we had to have several sittings before we were through. But R.D. -
Signatory ID Name CIN Company Name 02700003 RAM TIKA
Signatory ID Name CIN Company Name 02700003 RAM TIKA U55101DL1998PTC094457 RVS HOTELS AND RESORTS 02700032 BANSAL SHYAM SUNDER U70102AP2005PTC047718 SHREEMUKH PROPERTIES PRIVATE 02700065 CHHIBA SAVITA U01100MH2004PTC150274 DEJA VU FARMS PRIVATE LIMITED 02700070 PARATE VIJAYKUMAR U45200MH1993PTC072352 PARATE DEVELOPERS P LTD 02700076 BHARATI GHOSH U85110WB2007PTC118976 ACCURATE MEDICARE & 02700087 JAIN MANISH RAJMAL U45202MH1950PTC008342 LEO ESTATES PRIVATE LIMITED 02700109 NATESAN RAMACHANDRAN U51505TN2002PTC049271 RESHMA ELECTRIC PRIVATE 02700110 JEGADEESAN MAHENDRAN U51505TN2002PTC049271 RESHMA ELECTRIC PRIVATE 02700126 GUPTA JAGDISH PRASAD U74210MP2003PTC015880 GOPAL SEVA PRIVATE LIMITED 02700155 KRISHNAKUMARAN NAIR U45201GJ1994PTC021976 SHARVIL HOUSING PVT LTD 02700157 DHIREN OZA VASANTLAL U45201GJ1994PTC021976 SHARVIL HOUSING PVT LTD 02700183 GUPTA KEDAR NATH U72200AP2004PTC044434 TRAVASH SOFTWARE SOLUTIONS 02700187 KUMARASWAMY KUNIGAL U93090KA2006PLC039899 EMERALD AIRLINES LIMITED 02700216 JAIN MANOJ U15400MP2007PTC020151 CHAMBAL VALLEY AGRO 02700222 BHAIYA SHARAD U45402TN1996PTC036292 NORTHERN TANCHEM PRIVATE 02700226 HENDIN URI ZIPORI U55101HP2008PTC030910 INNER WELLSPRING HOSPITALITY 02700266 KUMARI POLURU VIJAYA U60221PY2001PLC001594 REGENCY TRANSPORT CARRIERS 02700285 DEVADASON NALLATHAMPI U72200TN2006PTC059044 ZENTERE SOLUTIONS PRIVATE 02700322 GOPAL KAKA RAM U01400UP2007PTC033194 KESHRI AGRI GENETICS PRIVATE 02700342 ASHISH OBERAI U74120DL2008PTC184837 ASTHA LAND SCAPE PRIVATE 02700354 MADHUSUDHANA REDDY U70200KA2005PTC036400 -
Fascist Imaginaries and Clandestine Critiques: Young Hindi Film Viewers Respond to Violence, Xenophobia and Love in Cross- Border Romances
CORE Metadata, citation and similar papers at core.ac.uk Provided by LSE Research Online Shakuntala Banaji Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross- border romances Book section Original citation: Banaji, Shakuntala (2007) Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances. In: Bharat, Meenakshi and Kumar, Nirmal, (eds.) Filming the line of control: the Indo–Pak relationship through the cinematic lens. Routledge, Oxford, UK. ISBN 9780415460941 © 2007 Routledge This version available at: http://eprints.lse.ac.uk/27360/ Available in LSE Research Online: May 2011 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances Shakuntala Banaji1 Tarang: I’ve watched Hindi films all my life. -
Ek Paheli 1971 Mp3 Songs Free Download Ek Nai Paheli
ek paheli 1971 mp3 songs free download Ek Nai Paheli. Ek Nai Paheli is a Hindi album released on 10 Feb 2009. This album is composed by Laxmikant - Pyarelal. Ek Nai Paheli Album has 8 songs sung by Anuradha Paudwal, Lata Mangeshkar, K J Yesudas. Listen to all songs in high quality & download Ek Nai Paheli songs on Gaana.com. Related Tags - Ek Nai Paheli, Ek Nai Paheli Songs, Ek Nai Paheli Songs Download, Download Ek Nai Paheli Songs, Listen Ek Nai Paheli Songs, Ek Nai Paheli MP3 Songs, Anuradha Paudwal, Lata Mangeshkar, K J Yesudas Songs. Ek paheli 1971 mp3 songs free download. "Sunny Leones Ek Paheli Leela Makes Over Rs 15 Cr in Opening Weekend - NDTV Movies. The Indian box office is still reeling from Furious 7's blockbuster earnings of over Rs 80 . Jay Bhanushali: Really happy that people are enjoying 'Ek Paheli Leela' It's Sunny side up: Ek Paheli Leela touches Rs 10.5 crore in two days. More news for Ek Paheli Leela Full Movie Ek Paheli Leela - Wikipedia, the free encyclopedia. Ek Paheli Leela is a 2015 Bollywood musical-thriller film, written and directed by Bobby Khan and . The full audio album was released on 10 March 2015. Ek Paheli Leela Online 2015 Official Full Movie | NOORD . 1 day ago - Ek Paheli Leela Online 2015 Official Full Movie; Ek Paheli Leela; 2015 film; 4.8/10·IMDb; Ek Paheli Leela is a 2015 Bollywood musical-thriller . Ek Paheli Leela Full Movie Online Watch Bollywood Full . onlinemoviesgold.com/ek-paheli-leela-full-movie-online-watch- bollywo. -
Hindu-Muslim Relationship in Bollywood in Post 26/11: a Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3
Hindu-Muslim Relationship in Bollywood in post 26/11: A Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3 1. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran (Corresponding author) ([email protected]) 2. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran ([email protected]) 3. M. A. in Indian Studies, University of Tehran, Tehran, Iran ([email protected]) (Received: Jan. 2, 2019 Revised: Feb. 28, 2019 Accepted: Ma r. 28, 2019) Abstract This study investigates the representations of Hindu-Muslim relationship in Bollywood movies from 2008 to 2018. It is assumed that after 2008 Mumbai terrorist attacks, which are known as 26/11, conflicts between Hindus and Muslims have escalated. Since Indian people are extreme fans of movies, especially Bollywood movies, in this regard, it is expected that media could play a significant role in increasing or alleviating the conflicts by influencing people’s attitudes and opinions. This research seeks to examine the extent and modality of the representation of Hindu-Muslim relationships in Bollywood after the 2008 Mumbai attacks. The study was conducted through a content analysis of 11 Bollywood movies, which were selected from 70 Muslim-characters-based movies. Favorable, unfavorable, neutral and unclear were the four factors through which the movies’ contents were analyzed. The overall analysis of these factors indicate that 66.17% of the scenes were favorable, 14.70% were unfavorable, 2.94% were neutral, and 16.17% presented unclear images of Hindu-Muslim relationship in Bollywood movies. -
Akshay Kumar
Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr. -
World Cinema Amsterd Am 2
WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival. -
Enchantment of the Mind Preface
PREFACE 1 March 2004 marked the tenth anniversary of the death of Manmohan Desai. A fall from the terrace of his Khetwadi home brought the 57-year old filmmaker’s life to an end in the spring of 1994. The suspected suicide came as a shock both to those nearest to him and to the film world as a whole, as testified in countless articles and tributes in the Indian and international press in the month following his death. The articles that appeared spanned the gamut of reactions: praise for Desai as a man and as a filmmaker, heartfelt remembrances from those who had worked with him, indignation and disbelief over the circumstances of his death, and speculation over possible motives for suicide— depression over severe backaches being most frequently offered as an explanation. At that time, I could not help feeling a personal sadness over his death. I had, after all, spent the better part of four years studying Manmohan Desai’s work before completing an initial version of this book in 1987. It was, therefore, consoling to have immediate and direct evidence of Manmohan Desai’s work living on beyond his death, as happened one day in 1994 when I walked into an Indian carry-out restaurant in Paris and saw a colorful dance scene from Dharam-Veer playing on the conspicuously placed VCR. Those waiting in line stood transfixed before the screen, their faces radiating joy. Curious to know if Desai’s work had crossed the generations, I asked a young man in his twenties if he knew who had directed the film.