DOCSLIB.ORG

Yearly Academic Journal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yearly Academic Journal YEARLY ACADEMIC JOURNAL ISSN: 2348-9014 ISSN: 2348-9014 (UNIVERSITY OF DELHI) East Patel Nagar, New Delhi – 110008 Editor : Dr. Punita Verma Co-editor: Dr. Chaity Das Editorial Board: Dr. Neetu Agrawal (Garg) Ms. Shipra Gupta Ms. Anshula Dr. Raksha Geeta (For Hindi) Dr. Vishwajeet Vidyalankar (For Sanskrit) Principal’s Message With immense pleasure we bring to you the sixteenth volume of the Academic Journal with an array of articles on multidisciplinary research areas. It has been a long journey with several colleagues over the years nurturing the journal. I take this opportunity in the year of the golden jubilee of the college to thank all of them for their contribution. As you will be aware the journal crossed a major milestone last year by opening itself up to peer review. This year we have lived up to our own expectations as will be demonstrated by the diversity of topics covered ranging from a study of women empowerment to Italian neo-realism and so on. The articles are a product of both primary and secondary research and we fervently hope that it shall be enjoyed and appreciated by the readers. I congratulate the Convenor Dr. Punita Verma, Co-Convenor Dr. Chaity Das, and members of the committee Dr. Neetu Agrawal, Ms Shipra Gupta, Ms Raksha, Ms Anshula, Dr. Vishwajit Vidyalankar and am sure that in the coming years the journal shall grow in leaps and bounds. Editorial The sixteenth volume of the Yearly Academic Journal is at hand and we are delighted to present it to your discerning eyes. The articles display a host of academic areas ranging from history, memory, culture, globalisation, peace and women’s empowerment to the physics of optical fibres and Surface Plasmons. As in the past we have tried to ensure variety in place of an overarching theme. While there is little interconnectedness between the articles, they all stand alone in their respective claims to scholarship and knowledge production. We begin with a very relevant article in Anita Verma’s study of the marketing of eco- friendly products. She brings out the positive impact and response of young consumers towards environment friendly initiatives. Indu Chowdhury’s article explores the different patterns of migration across states and demonstrates how social and economic infrastructure is linked to migration. Shipra Gupta explores the rousing cinematic oeuvre of Vittorio De Sica, especially his classics “The Bicycle Thief” and “Umberto D.” The social realism of the filmmaker is foregrounded as she analyses the cinematic language of the realists. Richa Mani presents a sharp study of the geopolitics of Russia and the countries of Transcaucasia. While the political leadership of these countries have made a choice between the West and Russia in their cultural, economic and political affiliations, she suggests that a common ground be found between the countries and Russia for the sake of development and international security. Stirred into this mix is the walk down memory lanes in Aditi Chowdhury’s article about the Chishtiyya Jammatkhanas exploring the poetic and peaceable Sufi tradition of Islam as opposed to the popular stereotypes of a marauding religion that relied on the sword and forced conversion. Ms. Mamta’s article takes us to the mellifluous lanes of folk songs in Hindi cinema talking about a twin movement through the inclusion of the folk in film narratives. While they hybridise the lyrics of film, these songs also add a touch of authenticity by lending their rusticity. Ezra John brings in a nuanced reading of Gandhi and his dismissal of the cinematic medium by arguing that cinema was furthering the same causes and hence his mistrust was a trifle misplaced. Pushpa Bindal, Triranjita Srivastava and other authors have carried out experimental investigations on all types of splice losses, namely; longitudinal offset, transverse offset, angular offset. They have also carried out simulations of propagation characteristics of rectangular core plasmonic waveguides using a well established and popular effective index method. The reflectance curves for a surface plasmon resonance sensor are obtained using the concept of frustrated total internal in light waves through thin layers of aluminium and graphene deposited under the base of silica prism. Anula Maurya and Anuradha Maurya’s co-authored article argues that the task of women’s empowerment is incomplete without the inclusion of women in decision making and gender-sensitive policies. In a subsequent article on global peace Dr. Maurya refers to the cause of environmental integrity, economic efficiency and social equity as harbingers of global peace. Further in her article on globalisation she argues that the advantages of this process can only be universal if there are increased opportunities for women. Thus women’s position in society becomes the touchstone of progress. With this issue our journey towards academic excellence has picked up pace. At the same time, we have fostered a spirit of enquiry which is slowly attaining not only new heights but finding new levels and paradigms. Punita Verma and Chaity Das स륍पादकीय शोध संस्कृ ति की ऊंची उड़ान व्यापक अर्थ मᴂ शोध ककसी भी क्षेत्र मᴂ ज्ञान की खोज करना या विधधिि गिेषणा करना होिा है|शोध हमारी जजज्ञासाओं का समाधान करिा है|इसमᴂ हम पुराने सस饍ांिो,संक쥍पनाओं का पुनः परीक्षण करिे हℂ िाकक निीन िस्िुओं सस饍ांिⴂ और संक쥍पनाओंको स्र्ावपि कर सकᴂ | िैश्िीकरण के ििथमान दौर मᴂ उ楍च सशक्षा की सहज उपल녍धिा और उ楍च सशक्षा संस्र्ानⴂ को शोध से अतनिायथ 셂प से जोड़ने की नीति ने शोध की महत्िा को बढ़ािा ददया है| आज शैक्षक्षक शोध का क्षेत्र विस्ििृ और सघन हुआ है| शोध हमारे बोध को विस्ििृ करिा है सशक्षा के क्षेत्र मᴂ कु छ जोड़िा है| यानी ज्ञान मᴂ कु छ नयापक्ष जोड़िा है शोधार्ी अपने ज्ञान के कु छ नये आयाम उ饍घादिि करिा है| शोधपुनः खोज नह Ă है अपपतु गहन खोज है| दहंदी मᴂ शोध केस्िरि उसकी समस्याओं ि समाधान को लेकर अ啍सर उसकी गुणित्िा पर प्रश्नधचह्न लगाये जािे हℂ विशेषकर विश्िवि饍यालयी शोध की जस्र्ति अति धचंिनीय है| इस संदभथ मᴂ कासलंदी महवि饍यालय अपिाद है| कासलंदी महावि饍यालय शोध पर륍परा ि संस्कृ ति को बढ़ािा देने के सलए सदैि बहुआयामी प्रयास करिा रहा है| अकादसमक जनथल के सोहलिᴂ संस्करण मᴂ भी शोध स्िर ि प्रकिया के स्िर पर तनयंत्रण रखने के सलए विषय- विशेषज्ञका पैनल िैयार ककया गया, जजसमᴂ शोध कायथ की मौसलकिा, उसका समाजोपयोगी होना िर्ा प्रासंधगकिा को विशेष 셂प से ध्यान मᴂ रखा गया| सत्र 2015-16 महावि饍यालयके सलए शोध कायⴂके सन्दभथ मᴂ विशेष 셂प से उ쥍लेखनीय रहा| हमारी आदरणीय प्राचायाथ महोदय की प्रेरणा ि नेित्ृ ि मᴂ विविध विभागⴂ मᴂ राष्ट्रीय ि अन्िरराष्ट्रीय संगोजष्ट्ियⴂ का आयोजन ककया गया ,गंभीरशोधलेखन का िािािरण तनसमथि हुआ| पूरे िषथ महावि饍यालय मᴂ शोध का िािािरण बना रहा जजसने न केिल सशक्षकⴂको उनकी जजज्ञासु, धचन्िक ि सजृ नशीलिाके प्रति जागिृ ि प्रेररि ककया अवपिु छात्रⴂ मᴂ भी शोध केप्रति जजज्ञासु बनाया| दहंदी विभाग 饍िारा“सोशल मीडिया मᴂ सादहत्य का बदलिा स्ि셁प”जैसे चनु ौिीपूण थ विषय परआयोजजि अन्िरराष्ट्रीय संगोष्ट्िी मᴂ दहंदीिर विभागⴂ से शोध पत्रⴂ का आना सुखद रहा| हमारी प्राचायाथ िॉ अनुला मौयथ जी का शोध पत्र “सोशल मीडिया और लघु पत्रत्रकाएँ” मौसलकिा के इसी प्रतिमान की स्र्ापना कर रहा है| इसमᴂ दहंदी की उन महत्त्िपूण थ ई –पत्रत्रकाओं को रखांककि ककया गया है जजनका दहंदी भाषा सादहत्य और संस्कृ ति के विकास मᴂ महत्त्िपूण थ योगदान है| इन लघु ई-पत्रत्रकाओं की जानकारी होना पािकⴂ के ज्ञान विस्िार के सलए अत्यंि महत्त्िपूण थ है, शोध पत्र सोशल मीडिया के सकारात्मक पहलू से भी अिगि करिािा है िर्ा हमᴂ युगानु셂प डिजजिल सादहत्य से जोड़ने का सार्थक प्रयास करिा है| ििथमान डिजजिल युग मᴂ संगीि की अतनिायथिा और संगीि के माध्यम से जीिन से जुड़ े रहने की नई 饃जष्ट्ि हमᴂ सुश्री बलजीि के शोधालेख से प्राप्ि होिी है| उन्हⴂने कई उदाहरणⴂ के माध्यम से सस饍 ककया कक संगीि हमारे जीिन मᴂ निीन स्फू ति थ से भर देिा है संगीि के महत्त्ि को पुनः स्र्ावपि करने का सफल प्रयास ककया है| िॉऋिू का शोधलेख हजारⴂ िषथ पुरानी भारिीय सामाजजक संरचना मᴂ आए विविध बदलािⴂ को समकालीन नािको के संदभो मᴂ देखने का प्रयास करिा है, यह शोधालेख भारिीय समाज की जदिलिाओं के मध्य जातिगि िचथस्ि की संरचनाओं को अनाििृ करने की उ쥍लेखनीय भूसमका तनभािा है| मध्यकालीन सादहत्य मᴂ शोध की संभािनाएं आज भी बनी हुई है, िो यहाँ चनु ौतिया भी कम नहीं है| िॉ विभा िाकु र ने मीरा के व्यज啍ित्ि का आयाम हमारे सामने रखा है| भ啍ि कवित्रयी मीरा के “स्त्री मन” को उन्हⴂने बखूबी पढ़ा| विभा जी ने मीरा के संदभथ मᴂ कई पूिाथग्रहⴂ ि ्समर्कⴂ को िोड़ा ि नये िथ्य की स्र्ापना की| “मगृ या मᴂ आददिासी विमशथ” कोई कफ쥍म समीक्षा नहीं अवपिु कफ쥍म के माध्यम से आददिासी विमशⴂ को एक नया मागथ, नई 饃जष्ट्ि प्रदान करिा है, एक नया अध्याय जोड़िा है| यह शोधालेख 1976 मᴂ आई मगृ या जैसी रचनात्मक कफ쥍म कोसादहजत्यक आयामⴂ से जोड़ने की बाि करिा है| हम हमारी प्राचायाथ महोदया ि अपने सहयोधगयⴂ का आभार व्य啍ि करिे हℂ और आशा करिे है की शोध संस्कृ ति की यह मशाल इसी िरह प्र煍जिसलि होिी रहेगी और हमारी जजज्ञासाओं को शमन करने के सलए प्रेररि करिी रहेगी| इदमन्धन्तमः कृ त्स्नĂ जायेत भुवनत्रयम|् यदद श녍दाह्वयĂ 煍योततः आ सĂसारĂ न द प्यते|| काव्यादशश, १.२ संस्कृ ि काव्यशास्त्र के आ饍याचायⴂ मᴂ पररगणणि दण्िी ने अपने ग्रन्र् के प्रार륍भ मᴂ ही भाषा की महत्िा को 饍योतिि ककया है| उनका मि है कक यदद संसार मᴂ श녍दⴂ की 煍योति नहीं होिी िो तनणखल जगि ् अन्धकार मᴂ तनम嵍न हो जािा| ‘अर्प्रश वत्ृ त्सत तत्सत्सवानाĂ श녍दा एव तनबन्धनम’् अर्ाथि ्श녍द ही भाषा के व्यिहार का साधन होिे हℂ| उसी प्रिम मᴂ संस्कृ ि विभाग के आचायⴂ ने अपने विचारⴂ को श녍द셂प मᴂ वपरोने का यर्ास륍भि प्रयास ककया है| महावि饍यालय की प्राचायाथ िॉ.
Load more

Recommended publications
  • Rudaali in Film Narrative: Looking Through the Feminist Lens Reetamoni Das and Dr Debarshi Prasad Nath Tezpur University, [email protected], [email protected]
    Rudaali in Film Narrative: Looking Through the Feminist Lens Reetamoni Das and Dr Debarshi Prasad Nath Tezpur University, [email protected], [email protected] Volume 3.2 (2014) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2014.99 | http://cinej.pitt.edu Abstract Kalpana Lajmi adapts Mahesweta Devi’s short story to highlight the plight of a woman in the system of exploitation and hunger. Amidst the never ending class struggle, that Devi has so effectively depicted, the struggle of gender becomes the issue of highlight for Lajmi. In poverty and prosperity she remains the same. In the search for the self, Lajmi tries to discover a language through which the subaltern may speak and in Rudaali it is the language of tears. Tears that have been eternally associated with the female become the unique language of the feminine to speak for themselves in Lajmi and Devi. In the cultural terrain where language of man is the norm Rudaali is an exception. Keywords: Rudaali, gender, struggle, feminine, language. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Rudaali in Film Narrative: Looking Through the Feminist Lens Reetamoni Das and Dr Debarshi Prasad Nath Introduction Throughout the history of civilization the role and place of the female gender has been distinct. In the Indian context the idealized woman is the obliging Sita.
    [Show full text]
  • Rudaali Marathi Movie FULL Version Download
    Rudaali Marathi Movie FULL Version Download 1 / 3 Rudaali Marathi Movie FULL Version Download 2 / 3 10 Nov 2008 ... The Movie: Rudaali was released in 1993 and was directed by Kalpana Lajmi and ... Her life was full of anguish but still she was not able to cry.. 6 May 2016 ... Listen to all Rudaali songs now on Saavn. 2016 Hindi movie feat. ... Dil Hoom Hoom Kare (Female Version) - Bhupen Hazarika, Lata .... 19 Feb 2016 ... Rudaali 1993 Hindi Movie Download ... Movie Plot: In a small village in Rajasthan, India, a woman named ... TORRENT LINK FULL SPEED. Yaara Sili Sili - Rudaali (1993) - Full Song .... Rudaali Movie Full Download bollywood songs, Rudaali Movie Full Download video song, Rudaali Movie Full .... Download NEW SHAKTI TURA - TUREWALI - MAJHYA RUDAALI JODHILYA - MARATHI PARSHYACHI AARCHI SHAKTI TURA full video hd 720p ... English Movie Full Mp3 Songs 192 kbps 64 kbps, Download Bangladesh, India, Pakistan .... Jackie Shroff | Hindi Suspense Movie Video Song Download hindi movie songs download, Samay ... Rudaali Songs "Rudaali" is a 1993 hindi film which has Raj Babbar, Dimple Kapadia, Rakhee, ... India News App: Hindi, Tamil, Telugu, Marathi News. Samay Full Movie, Download the latest released Bollywood HD Movies, .... 5 Jul 2018Paanch marathi movie song video Read more about download, hindi, paanch, marathi .... Download Rudaali torrent utorrent watch online kickass. Download Rudaali English Romantic, Vevo HD Video Songs , Download, Rudaali full Movie Download .... 19 Feb 2017 - 107 min - Uploaded by Randy ElderClassic movies rudaali - Dimple Kapadiya Raj Babbar All the time i have ... All the time i have .... Rudaali (1993). 2h 8min | Drama | 18 June 1993 (India) · Rudaali Poster ..
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Filmography Dilip Kumar – the Substance and the Shadow
    DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya
    [Show full text]
  • ACEE the Third
    ACEE - The Annual Report Third Eye December 2013 1 INDEX Introduction 3 Organization Chart of The Third Eye 5 The Team 6 Launch of The Third Eye 8 Programs – Elevate 9 Story Bus Tours 12 Inquiries 13 Screenings 14 Feature Film – Safed Doli 16 TV Series – Sapna 19 TV Talk Show - Madat 21 Star Trek 23 Website 24 The Third Eye Radio 25 The Third Eye TV 26 Social Media 27 Newsletter – The Eye of The Storm 28 Website Statistics 29 Other Significant Projects – Design of a customized measurement impact 30 tool Design of Audience Engagement Strategy for 30 MTV Exit Program Flashpoint – Human Rights Film Festival 31 Writer’s Workshop with Gary Lyons 32 Annexure Index 33 2 INTRODUCTION THE THIRD EYE is one of the Global Centres launched by HH&S to support two of the largest Industries of Media and Entertainment in the world, Nigeria and India. In India the Global Centre primarily addresses creative communities across all performing and non performing arts, with expert advice on key health, sustainable development and climate change issues so that the portrayal of information about critical realities carried across to the massive numbers of viewers and readers, is accurate and factual and so that the entertainment as well as media consumed by millions of devoted followers translates to best practices across all social, economic and policy parameters which then, eventually should reflect across all indicators. The program is funded by The Bill & Melinda Gates Foundation. THE THIRD EYE builds bridges between the creative communities at large and industries of media and entertainment in India, in general, and the PRIORITIES OF OUR TIMES.
    [Show full text]
  • Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
    No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations.
    [Show full text]
  • LALITHA GOPALAN Spring 2019 Department of Radio-Television
    LALITHA GOPALAN Spring 2019 Department of Radio-Television-Film 1 University Station A0800 The University of Texas at Austin Austin, Texas 78712 Affiliate Faculty Department of Asian Studies Core Faculty Center for Women and Gender Studies Telephone: 512-471-4071 Email: [email protected] EMPLOYMENT Associate Professor, Department of Radio-Television–Film and Department of Asian Studies, University of Texas at Austin, Fall 2007-present. Visiting Associate Professor, Department of East Asian Languages and Cultures, University of California, Berkeley, Spring 2009 and Spring 2011. Associate Professor, School of Foreign Service and Department of English, Georgetown University, 2002-2007. Assistant Professor, School of Foreign Service and Department of English, Georgetown University, 1992-2002. Visiting Faculty, Digital Media Summer Institute, UT Austin/Portugal, Porto, Summer 2018. Visiting Faculty, iNova Media Lab, UT Austin/Portugal, Lisboa, Summer 2018. EDUCATION Ph.D. University of Rochester, Comparative Literature Program, Department of Foreign Languages, Literatures, and Linguistics M.A. University of Rochester, Anthropology M.A. Delhi School of Economics, Sociology B.A. Madras Christian College, Economics 2 PUBLICATIONS BOOKS Cinema of India. Edited. London: Wallflower Press. 2010. (Distributed in the USA by Columbia University Press) Bombay. BFI Modern Classics. London: British Film Institute. December 2005. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute Publishing. 2002. (Indian Reprint Delhi: Oxford University Press, 2002) ARTICLES AND ESSAYS ‘Roundtable discussion on Experimental Cinemas in India.’ In World Experimental Films. Ed. Federico Windhausen. London: Wiley Blackwell. Submitted January 2018. Forthcoming. ‘Beginnings and Children.’ In The Child in World Cinema. Ed. Karen Lury. London:BFI/Bloomsbury.
    [Show full text]
  • Copyright by Peter James Kvetko 2005
    Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute.
    [Show full text]
  • 375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
    INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82,
    [Show full text]
  • 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.
    [Show full text]
  • Nahiiin! Face Gallery the Nahiiin! Face Gallery Celebrating the finest Histrionic Achievements in Indian Cinema, One Actor at a Time
    The Nahiiin! Face Gallery The Nahiiin! Face Gallery Celebrating the finest histrionic achievements in Indian cinema, one actor at a time. Celebrating the finest histrionic achievements in Indian cinema, one actor at a time. http://memsaabstory.wordpress.com http://memsaabstory.wordpress.com Ajit Amjad Khan Amrish Puri A. Nageswara Rao Anil Kapoor Bindu Biswajeet Brownie Moti Heeralal Pannalal Mooga Manasulu Hare Kanch Ki Teri Meherbaniyan Yaarana (1981) Kasam Paide Karne Bandie (1978) Trishna (1978) (1977) Wale Ki (1984) (1963 - Telugu) Beta (1992) Mastan Dada (1977) Chooriyan (1967) (1985) Anwar Hussein Aruna Irani Asha Parekh Chandramohan Chandrima Bhaduri Chiranjeevi Chiranjeevi Chitra Zindagi Aur Maut Kirathakudu SP Parasuram Trip to Moon (1967) Gaddar (1973) Doodh Ka Karz Shikar (1968) Chirag (1969) Shaheed (1948) Zimbo (1958) (1990) (1965) (1986 - Telugu) (1994 - Telugu) Asha Parekh Ashoo Deepti Naval Dev Kumar Dharmendra Mere Hamdum Mere Kati Patang (1970) Samadhi (1974) Rani Aur Lalpari Kab? Kyon? Aur Yeh Ishq Nahin Yalgaar (1992) Jeevan Mrityu (1971) (1975) Kahaan? (1972) Dhund (1973) Aasaan (1982) Alibaba (1977) Dost (1968) Babita Baby Rani Bindu Dharmendra Dilip Kumar Haseena Maan Jayegi Kab? Kyon? Aur Nanha Farishta Rani Aur Lalpari Ab Kya Hoga Yaadon Ki Baarat Kahani Kismat Ki Badle Ki Aag (1982) Shaheed (1948) Aadmi (1968) (1968) Kahaan? (1972) (1969) (1975) (1977) (1972) (1973) All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. If any copyright has been All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession.
    [Show full text]