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Reg. No Name in Full Residential Address Gender Contact No
Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 20001 MUDKONDWAR SHRUTIKA HOSPITAL, TAHSIL Male 9420020369 [email protected] RENEWAL UP TO 26/04/2018 PRASHANT NAMDEORAO OFFICE ROAD, AT/P/TAL- GEORAI, 431127 BEED Maharashtra 20002 RADHIKA BABURAJ FLAT NO.10-E, ABAD MAINE Female 9886745848 / [email protected] RENEWAL UP TO 26/04/2018 PLAZA OPP.CMFRI, MARINE 8281300696 DRIVE, KOCHI, KERALA 682018 Kerela 20003 KULKARNI VAISHALI HARISH CHANDRA RESEARCH Female 0532 2274022 / [email protected] RENEWAL UP TO 26/04/2018 MADHUKAR INSTITUTE, CHHATNAG ROAD, 8874709114 JHUSI, ALLAHABAD 211019 ALLAHABAD Uttar Pradesh 20004 BICHU VAISHALI 6, KOLABA HOUSE, BPT OFFICENT Female 022 22182011 / NOT RENEW SHRIRANG QUARTERS, DUMYANE RD., 9819791683 COLABA 400005 MUMBAI Maharashtra 20005 DOSHI DOLLY MAHENDRA 7-A, PUTLIBAI BHAVAN, ZAVER Female 9892399719 [email protected] RENEWAL UP TO 26/04/2018 ROAD, MULUND (W) 400080 MUMBAI Maharashtra 20006 PRABHU SAYALI GAJANAN F1,CHINTAMANI PLAZA, KUDAL Female 02362 223223 / [email protected] RENEWAL UP TO 26/04/2018 OPP POLICE STATION,MAIN ROAD 9422434365 KUDAL 416520 SINDHUDURG Maharashtra 20007 RUKADIKAR WAHEEDA 385/B, ALISHAN BUILDING, Female 9890346988 DR.NAUSHAD.INAMDAR@GMA RENEWAL UP TO 26/04/2018 BABASAHEB MHAISAL VES, PANCHIL NAGAR, IL.COM MEHDHE PLOT- 13, MIRAJ 416410 SANGLI Maharashtra 20008 GHORPADE TEJAL A-7 / A-8, SHIVSHAKTI APT., Male 02312650525 / NOT RENEW CHANDRAHAS GIANT HOUSE, SARLAKSHAN 9226377667 PARK KOLHAPUR Maharashtra 20009 JAIN MAMTA -
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. -
India Abroad Person of the Year 2010 Awards Honor Community’S Stars
PERIODICAL INDEX Letters to the Editor......................................A2 People..............................................................A4 Immigration.................................................A32 Business.......................................................A30 Community...................................................A36 Magazine......................................................M1 Sports............................................................A35 Friday, July 8, 2011 Vol. XLI No. 41 www.rediff.com (Nasdaq: REDF) NEW YORK EDITION $1 Pages: 44+24=68 International Weekly Newspaper Chicago/Dallas Los Angeles NY/NJ/CT New York Toronto The Best of Us INDIA ABROAD PERSON OF THE YEAR 2010 AWARDS HONOR COMMUNITY’S STARS PARESH GANDHI To subscribe 1-877-INDIA-ABROAD (1-877-463-4222) www.indiaabroad.com/subscribe ADVERTISEMENT The International Weekly Newspaper founded in 1970. A India Abroad July 8, 2011 Member, Audit Bureau of Circulation 241 LETTERS INDIA ABROAD (ISSN 0046 8932) is published every Friday by India Abroad Publications, Inc. 42 Broadway, 18th floor, New York, NY 10004. Annual subscription in United States: $32. Canada $26. India $32 INTERNATIONAL: it because this fast is being undertaken bill is passed. The whole credit will go to By Regular Mail: South America, the Caribbean, Europe, Africa, Australia & Middle How can India by a ‘religious’ person, though the him and to the members of parliament. East: $90. By Airmail: South America, the Caribbean, Europe, Africa, Australia & Middle East: surpass China? objective of this hunger strike is similar Indian history will not be complete with- $210 Periodical postage paid, New York, NY and at additional mailing offices. to that of activist Anna Hazare? out Singh’s name figuring prominently in Postmaster: Send address changes to: With the recent economic growth in The fast by Baba Ramdev is no differ- it. INDIA ABROAD, 42 Broadway 18th floor, New York, NY 10004 Copyright (c) 2006, India Abroad Publications, Inc. -
PUBLIC NOTICE It Is Hereby Circulated for Information to All Concerned That Hon'ble the Chief Justice, on the Recommendation of Hon'ble
07.11.2019 SUPPLEMENTARY LIST SUPPLEMENTARY LIST FOR TODAY IN CONTINUATION OF THE ADVANCE LIST ALREADY CIRCULATED. THE WEBSITE OF DELHI HIGH COURT IS www.delhihighcourt.nic.in INDEX PRONOUNCEMENT OF JUDGMENTS -----------------> 01 TO 01 REGULAR MATTERS ----------------------------> 01 TO 135 FINAL MATTERS (ORIGINAL SIDE) --------------> 01 TO 12 ADVANCE LIST -------------------------------> 01 TO 94 APPELLATE SIDE (SUPPLEMENTARY LIST)---------> 95 TO 112 APPELLATE SIDE (SUPPLEMENTARY LIST-MID)-----> 113 TO 115 ORIGINAL SIDE (SUPPLEMENTARY I)-------------> 116 TO 123 COMPANY ------------------------------------> 124 TO 124 SECOND SUPPLEMENTARY -----------------------> 125 TO 130 MEDIATION CAUSE LIST -----------------------> 01 TO 02 PRE-LOK ADALAT------------------------------> 01 TO 02 THIRD SUPPLEMENTARY -----------------------> - TO NOTES 1. Mentioning of urgent matters will be before Hon'ble DB-I at 10:30 a.m.. PUBLIC NOTICE It is hereby circulated for information to all concerned that Hon'ble the Chief Justice, on the recommendation of Hon'ble Information Technology Committee, has been pleased to award the digitization work on outsource basis to an outside agency for scanning/digitization at both Filing Counters of Delhi High Court for Litigants/Advocates@ Rs. 0.49 per page plus 18% GST equivalent to a rate of Rs. 0.58 per page(rounded off) (including taxes) with effect from 30.10.2019. DELETIONS 1. BAIL APPL. 2307/2018, 2316/2018, 2436/2018 & 2621/2018 listed before Hon'ble Mr. Justice Sanjeev Sachdeva from item Nos.48 to 51 respectively are deleted as the same are listed before Hon'ble Mr. Justice Suresh Kumar Kait. 2. CRL.M.C. 5002/2019 listed before Hon'ble Mr. Justice Chander Shekhar at item No.6 is deleted as the same is fixed for 27.11.2019. -
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. -
Representation of Sikh Character in Bollywood Movies:A Study on Selective Bollywood Movies
PJAEE, 17(6) (2020) REPRESENTATION OF SIKH CHARACTER IN BOLLYWOOD MOVIES:A STUDY ON SELECTIVE BOLLYWOOD MOVIES Navpreet Kaur Assistant Professor University Institute of Media Studies, Chandigarh University, Punjab, India [email protected] Navpreet Kaur, Representation Of Sikh Character In Bollywood Movies: A Study On Selective Bollywood Movies– Palarch’s Journal of Archaeology of Egypt/Egyptology 17(6) (2020), ISSN 1567-214X. Keywords: Bollywood, Sikh, Sikh Character, War, Drama, Crime, Biopic, Action, Diljit Dosanhj, Punjab Abstract Sikhs have been ordinarily spoken to in mainstream Hindi film either as courageous warriors or as classless rustics. In the patriot message in which the envisioned was an urban North Indian, Hindu male, Sikh characters were uprooted and made to give entertainment. Bollywood stars have donned the turban to turn Sikh cool, Sikhs view the representation of the community in Bollywood as demeaning and have attempted to revive the Punjabi film industry as an attempt at authentic self-representation. But with the passage of time the Bollywood makers experimented with the role and images of Sikh character. Sunny Deol's starrer movie Border and Gadar led a foundation of Sikh identity and real image of Sikh community and open the doors for others. This paper examines representation of Sikhs in new Bollywood films to inquire if the romanticization of Sikhs as representing rustic authenticity is a clever marketing tactic used by the Bollywood. Introduction Bollywood is the sobriquet for India's Hindi language film industry, situated in the city of Mumbai, Maharashtra. It is all the more officially alluded to as Hindi film. The expression "Bollywood" is frequently utilized by non-Indians as a synecdoche to allude to the entire of Indian film; be that as it may, Bollywood legitimate is just a piece of the bigger Indian film industry, which incorporates other creation communities delivering films in numerous other Indian dialects. -
SKK08052008CRLR2822007.Pdf
* IN THE HIGH COURT OF DELHI AT NEW DELHI + CRL. REVISION PETITION NO.114/2007 Reserved on : 04-04-2008 % Date of decision : 08-05-2008 MAQBOOL FIDA HUSAIN …..PETITIONER Through: Mr. Akhil Sibal, Ms. Bina Madhavan & Mr. Pradeep Chhindra, Advs. -VERSUS- RAJ KUMAR PANDEY …..RESPONDENT Through: None. CRL. REVISION PETITION NO.280/2007 MAQBOOL FIDA HUSAIN …..PETITIONER Through: Mr. Akhil Sibal, Ms. Bina Madhavan & Mr. Pradeep Chhindra, Advs. -VERSUS- DWAIPAYAN V. VARKHEDKAR …..RESPONDENT Through: Mr. B.B. Varakhedkar, GPA holder for the respondent. CRL. REVISION PETITION NO. 282/2007 MAQBOOL FIDA HUSAIN …..PETITIONER Through: Mr. Akhil Sibal, Ms. Bina Madhavan & Mr. Pradeep Chhindra, Advs. -VERSUS- AJAY SINGH NARUKA …..RESPONDENT Through: Ms. Poornima Sethi, Adv. for the Respondent. Mr. Gopal Subramanium, ASG, Amicus Curie with Mr.Devansh A. Mohta, Law Officer. Mr. Jaideep Malik, APP for the State. CORAM: HON'BLE MR. JUSTICE SANJAY KISHAN KAUL 1.Whether the Reporters of local papers Crl. Rev. P. Nos.282/07; 114/2007 & 280/2007 Page 1 of 74 may be allowed to see the judgment? Yes 2.To be referred to Reporter or not? Yes 3.Whether the Judgment should be Yes reported in the Digest? SANJAY KISHAN KAUL, J. 1. Pablo Picasso, a renowned artist said, “Art is never chaste. It ought to be forbidden to ignorant innocents, never allowed into contact with those not sufficiently prepared. Yes, art is dangerous. Where it is chaste, it is not art.” 2. Art, to every artist, is a vehicle for personal expression. An aesthetic work of art has the vigour to connect to an individual sensory, emotionally, mentally and spiritually. -
M/S. SKYANSH FILMS PRODUCTION 25073
M/s. SKYANSH FILMS PRODUCTION M/s. SURYA STUTI ENTERTAINMENT 25073 - 01/03/2016 25081 - 01/03/2016 406, 407, 408, Sanmahu Complex, 4th Floor, Opp. Poona Club, House No.227, Village Bhargwan, Shahjahanpur, Bund Garden Road, Pune, 242 001 U.P. 411 001 Maharashtra SURYA KANT VERMA SURESH KESHAVRAO YADAV 9892983731 9822619772 M/s. B V M FILMS M/s. YADUVANSHI FILMS PRODUCTION HOUSE 25074 - 01/03/2016 25082 - 01/03/2016 L 503, Anand Vihar CHS, Opp. Windermere, Oshiwara, Andheri 5/131, Jankipuram, Sector-H, Lucknow, (W), Mumbai, 226 021 U.P. 400 053 Maharashtra RAMESH KUMAR YADAV MANOJ BINDAL, SANTOSH BINDAL, OM PRAKASH BINDAL 9839384024 9811045118 M/s. SHIVAADYA FILM PRODUCTION PVT. LTD. M/s. MAHAKALI ENTERTAINMENT WORLD 25075 - 01/03/2016 25083 - 01/03/2016 L 14/516, Bldg. No.1, 5th Floor, Kamdhenu Apna Ghar Unit Naya Salempur-1, Salempur, Tehsil: Lakhimpur, Dist: Kheri, No.14, Lokhandwala Complex, Andheri (W), Mumbai, 262 701 U.P. 400 053 Maharashtra AJAY RASTOGI SANGITA ANAND, SABITA MUNKA 9598979590 7710891401 M/s. ADINATH ENTERTAINMENT & FILM PRODUCTION M/s. FAIZAN-A-RAZA FILM PRODUCTION 25076 - 01/03/2016 25084 - 01/03/2016 L 9/A, Saryu Vihar, Basant Vihar, Kamla Nagar, Agra, 35, Hivet Road, Aminabad, Tehsil & Dist: Lucknow, 282 002 U.P. 226 018 U.P. VIMAL KUMAR JAIN ABDUL AZIZ SIDDIQUE 8445611111 9451503544, 9335218406 M/s. SHIV OM PRODUCTION M/s. SHREE SAI FILMS ENTERTAINMENT HOUSE 25077 - 01/03/2016 25085 - 01/03/2016 Kalpataru Aura, Building No.Onyx 3G,Flat No.111, L.B.S. Marg, Plot No.21/A, Netaji Nagar, Old Pardi Naka, Near Prathmesh Opp. -
Page 01 Dec 31.Indd
ISO 9001:2008 CERTIFIED NEWSPAPER Opec output hits six-month low on Libya Business | 17 Wednesday 31 December 2014 • 9 Rabial I 1436 • Volume 19 Number 6296 www.thepeninsulaqatar.com [email protected] | [email protected] Editorial: 4455 7741 | Advertising: 4455 7837 / 4455 7780 Stop closure of Deputy Emir awards camel race winners OPINION Gulf and the petrol stations, oil crisis s it the Ibegin- ning of says civic body the end or end of the begin- ning? Ten facilities already shut down Whatever inter- DOHA: The Central Municipal offered various services in just a preta- Council (CMC) yesterday raised small place — services like car- tions and Dr Khalid Al Jaber the issue of shortage of petrol wash and tyre change. analyses stations and urged the civic Then, there were people who experts might offer on the ministry to stop shutting down come to the petrol station to buy steep decline in oil prices, these stations, especially in refreshments and transparent there is no doubt that the densely populated areas. cooking gas cylinders. current crisis is causing The CMC said there was a need Al Hajri suggested that the alarm about the future of to conduct studies to assess the government come out with some this most important stra- requirement of petrol stations in solutions like moving the above tegic commodity and its different localities and take meas- services. “A petrol station should impact on the Gulf States in ures to increase their number. be reserved only for refuelling The Deputy Emir H H Sheikh Abdullah bin Hamad Al Thani awarding the winner of the Founder Sheikh particular. -
Shankar Jaikishan – Emperors of Music by Ashwini Kumar Rath
Shankar Jaikishan – Emperors of Music By Ashwini Kumar Rath Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated album Raga in Jazz Style, and background music for documentary Everest expedition among many others. If we look at the popular impact by any personalities in the field of music during the post-independence period in India, the obvious choice is Shankar Jaikishan. Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. While Shankar's musical jhankar propels divine dwellers to zoom in unison with ecstasy, romantic effervescence of Jaikishan music brings divine feelings on to earth. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non- drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social. -
Responses to 100 Best Acts Post-2009-10-11 (For Reference)
Bobbytalkscinema.Com Responses/ Comments on “100 Best Performances of Hindi Cinema” in the year 2009-10-11. submitted on 13 October 2009 bollywooddeewana bollywooddeewana.blogspot.com/ I can't help but feel you left out some important people, how about Manoj Kumar in Upkar or Shaheed (i haven't seen that) but he always made strong nationalistic movies rather than Sunny in Deol in Damini Meenakshi Sheshadri's performance in that film was great too, such a pity she didn't even earn a filmfare nomination for her performance, its said to be the reason on why she quit acting Also you left out Shammi Kappor (Junglee, Teesri MANZIL ETC), shammi oozed total energy and is one of my favourite actors from 60's bollywood Rati Agnihotri in Ek duuje ke Liye Mala Sinha in Aankhen Suchitra Sen in Aandhi Sanjeev Kumar in Aandhi Ashok Kumar in Mahal Mumtaz in Khilona Reena Roy in Nagin/aasha Sharmila in Aradhana Rajendra Kuamr in Kanoon Time wouldn't permit me to list all the other memorable ones, which is why i can never make a list like this bobbysing submitted on 13 October 2009 Hi, As I mentioned in my post, you are right that I may have missed out many important acts. And yes, I admit that out of the many names mentioned, some of them surely deserve a place among the best. So I have made some changes in the list as per your valuable suggestion. Manoj Kumar in Shaheed (Now Inlcuded in the Main 100) Meenakshi Sheshadri in Damini (Now Included in the Main 100) Shammi Kapoor in Teesri Manzil (Now Included in the Main 100) Sanjeev Kumar in Aandhi (Now Included in Worth Mentioning Performances) Sharmila Togore in Aradhana (Now Included in Worth Mentioning Performances) Sunny Deol in Damini (Shifted to More Worth Mentioning Performances) Mehmood in Pyar Kiye Ja (Shifted to More Worth Mentioning Performances) Nagarjun in Shiva (Shifted to More Worth Mentioning Performances) I hope you will approve the changes made as per your suggestions. -
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship.