Rajya Sabha Debates

Total Page:16

File Type:pdf, Size:1020Kb

Rajya Sabha Debates RAJYA SABHA Monday, the 31st December, 2018/10th Pausha, 1940 (Saka) The House met at eleven of the clock, MR. CHAIRMAN in the Chair. OBITUARY REFERENCE MR. CHAIRMAN: Hon. Members, I refer with profound sorrow to the passing away of Shri Mrinal Sen, a former Member of this House, on the 30th December, 2018, at the age of 95 years. Born in May, 1923 at Kolkata, West Bengal, Shri Sen was educated at the Scottish Church College, Kolkata. A filmmaker, Shri Sen initially started writing on the aesthetics of cinema, its philosophy, its socio-political relevance and on the possibility of building a new cinema. He made feature films in Bengali, Hindi, Odia and Telugu. He also has several documentaries to his credit. He heralded the 'New Cinema Movement' of 1970 with his film 'Bhuvan Shome', which won the National Film Award for the best feature film in 1969. Some of his notable movies were 'Chorus', 'Mrigayaa', 'Akaler Sandhane', 'Akash Kusum', 'Khandhar' and 'Kharij'. His cinema was known for its artistic and sensitive depiction of social reality and its vivid portrayal of the large scale political unrest in the country at that time. Shri Sen served as the Chairman of the Film and Television Institute of India, Pune, the Indian People's Human Right Commission and the International Federation of Film Societies, London/Berne. Shri Sen was the recipient of several awards, both in India and abroad. He won the 'Swarna Kamal', the National Film Award for best feature film, four times and the 'Rajat Kamal' for the best film in various categories many times. He was also honoured with the 'Padma Bhushan' in 1981 and the 'Dada Saheb Phalke Award' in 2005. Shri Mrinal Sen was a Nominated Member of this House from August, 1997 to August, 2003. In the passing away of Shri Mrinal Sen, the country has lost a legendary filmmaker, a proponent of parallel cinema and a distinguished parliamentarian. 2 Papers laid on [RAJYA SABHA] the Table We deeply mourn the passing away of Shri Mrinal Sen. I request Members to rise in their places and observe silence as a mark of respect to the memory of the departed. (Hon. Members then stood in silence for one minute) MR. DEPUTY CHAIRMAN: Secretary-General will convey to the members of the bereaved family our sense of profound sorrow and deep sympathy. माननीय सदसयⴂ, मℂ आपको एक आवशयक सूचना देना चाहता हूं। ऑनरेबल चेयरमैन के िनजी पिर वार मᴂ एक अत्यत िनकटस㔥 के, कल िदना ंक 30.12.2018 को िदवंगत हो जाने के कारण, उनहᴂ ततकाल अपने नेिटव प्쥇स जाना पड़ा है। माननीय चेयरमैन साहब ने जाने से पूव㔵 सदन के कई माननीय वरि‍ष㔠 नेताओं को फोन 饍ारा इसकी सूचना भी दे दी है। PAPERS LAID ON THE TABLE I. Reports and accounts (2017-18) of various Companies, Associations, Institutes, Centres, Foundation, Institution, Academies, Board, council and related papers II. MoU between the Government of India and BIBCOL THE MINISTER OF SCIENCE AND TECHNOlOGY; THE MINISTER OF Earth SCIENCES; AND THE MINISTER OF ENvIRONMENT, FOREST AND Climate CHANGE (DR. HARSH vARDHAN): Sir, I lay on the Table:– I. (A) A copy each (in English and Hindi) of the following papers, under sub-section (1) (b) of Section 394 of the Companies Act, 2013:– (a) Twenty-ninth Annual Report and Accounts of the Bharat Immunologicals and Biologicals Corporation limited (BIBCOl), Bulandshahr, Uttar Pradesh, for the year 2017-18, together with the Auditor's Report on the Accounts and the comments of the Comptroller and Auditor General of India thereon. (b) Statement by Government accepting the above Report. [Placed in library. See No. l.T. 10001/16/18] (B) A copy each (in English and Hindi) of the following papers:– (i) (a) Annual Report and Accounts of the Maharashtra Association for the Cultivation of Science (MACS), Agharkar Research Institute, Pune, Maharashtra, for the year 2017-18, together with the Auditor’s Report on the Accounts..
Recommended publications
  • SPARROW Newsletter
    SNL Number 38 May 2019 SPARROW newsletter SOUND & PICTURE ARCHIVES FOR RESEARCH ON WOMEN A Random Harvest: A book of Diary sketches/ Drawings/Collages/ Watercolours of Women Painters It is a random collection from the works women painters who supported the Art Raffle organised by SPARROW in 2010. The works were inspired by or were reflections of two poems SPARROW gave them which in our view, exemplified joy and sorrow and in a sense highlighted women’s life and experiences that SPARROW, as a women’s archives, has been documenting over the years. Contribution Price: Rs. 350/- This e-book is available in BookGanga.com. Photographs............................................. 19267 Ads................................................................ 7449 Books in 12 languages............................ 5728 Newspaper Articles in 8 languages... 31018 Journal Articles in 8 languages..............5090 Brochures in 9 languages........................2062 CURRENT Print Visuals................................................. 4552 Posters........................................................... 1772 SPARROW Calendars...................................................... 129 Cartoons..............................................................3629 Maya Kamath’s cartoons...........................8000 HOLDINGS Oral History.................................................. 659 Video Films................................................. 1262 Audio CDs and Cassettes...................... 929 Private Papers........................................
    [Show full text]
  • Imagineindia
    V edición del festival de cine indio en España IMAGINEINDIA Más de 40 películas del 16 al 23 Mayo 2006 en las salas de cine Palafox, Círculo de Bellas Artes y Filmoteca Española Una semana para celebrar la diversidad socio-cultural. Más de 40 películas entre competición, retrospectivas y documentales + foros de debate. Personalidades del mundo artístico español y de lo más granado de la industria cinematográfica india, Bollywood. Imagineindia, un festival alternativo que aborda una variada gama de temas asiáticos a través de la mirada de destacados directores y jóvenes talentos. Desde el 16 hasta el 23 de mayo se proyectarán más de 40 películas – cortometrajes y documentales incluidos– en las salas de los cines Palafox, Círculo de Bellas Artes y Filmoteca Española. Entre los títulos que se proyectarán destacan: The Rising Ballad of Mangal Pandey de Ketan Mehta, Iqbal de Najes Kukunoor, Page 3 de Madhur Bhandarkar, Amu de Shonali Bose, Viva Liberty de Distad Husain, Amal de Richie Metha, Elephant boy de René Monadas y Gol Maal de H Mukherjee. Asimismo, se proyectarán 11 producciones de la reconocida directora Mira Nair, entre ellas: Monsoon Wedding, Kama sutra: a tale of love, Salaam Bombay, Mississippi Masala, Vanity fair, The laughing club of India, My own country, India cabaret, So far from India y The Pérez family. Además, se llevará a cabo una retrospectiva de Mrinal Sen que incluye: Akash Kusum, Bhuvan Shome, Calcuta 71, Ek Din Pratidin, Akaler Shandhaney, Kharij Kandahar. Paralelamente, se celebrarán foros de debate y homenajes a los actores Sharmila Tagore y Aamir Khan. La Casa de la India entregará el Chakra de Oro –una escultura chapada en oro, obra del artista Velu Viswanadhan– al ganador del mejor largometraje.
    [Show full text]
  • A Portrayal of People Essays on Visual Anthropology
    A PORTRAYAL OF PEOPLE Digitized by the Internet Archive in 2018 with funding from Public.Resource.Org https://archive.org/details/portrayalofpeoplOOunse A PORTRAYAL OF PEOPLE Essays on Visual Anthropology in India Co-published by ANTHROPOLOGICAL SURVEY OF INDIA INDIAN NATIONAL TRUST FOR ART AND CULTURAL HERITAGE INTACH 71, Lodhi Estate New Delhi-110 003 ANTHROPOLOGICAL SURVEY OF INDIA West Block 2, Wing 6, First Floor R.K. Puram New Delhi 110 066. ©ASI, INTACH, 1987. © For individual contributions with authors. Printed at Indraprastha Press (CBT) 4 Bahadur Shah Zafar Marg, New Delhi 110002. CONTENTS Foreword v Introduction ix An Examination of the 1 Need and Potential for Visual Anthropology in India Rakhi Roy and Jayasinhji Jhala Anthropological Survey of 20 India and Visual Anthropology K.S. Singh History of Visual Anthropology 49 in India K.N. Sahay Perceptions of the Self and Other 75 in Visual Anthropology Rakhi Roy and Jayasinhji Jhala My Experiences as a Cameraman 99 in the Anthropological Survey Susanta K. Chattopadhyay The Vital Interface 114 Ashish Rajadhyaksha The Realistic Fictional Film: 127 How far from Visual Anthropology? Chidananda Das Gupta Phaniyamma and the Triumph 139 of Asceticism T.G. Vaidyanathan Images of Islam and Muslims 147 on Doordarshan Iqbal Masud Man in My Films 161 Mrinal Sen/Someshwar Bhowmick The Individual and Society 169 Adoor Gopalakrishnan/Madhavan Kutty Notes on Contributors 174 FOREWORD It has often been said that India lives in many centuries at the same time. The complex network of diversity that stretches across time and space has made India a paradise for anthropologists.
    [Show full text]
  • 9. Internationales Berlin Forum 22.2.-3.3. Des Jungen Films 1979
    29. internationale filmfestspiele berlin 9. internationales berlin forum 22.2.-3.3. des jungen films 1979 INTERVIEW überwindet der Film die Grenzen von Zeit und Raum, um zu einer universellen Wahrheit zu gelangen. Am Ende des Films wird der junge Held aus seiner gewohnten Um• Land Indien 1971 gebung herausgeholt und von einem unsichtbaren Zuschauer einem Produktion Mrinal Sen Verhör unterworfen; auf provokative Fragen gibt er unsichere Ant• worten. Und schließlich kommt der Moment des Urteils — über die Welt und ihre Werte. Regie Mrinal Sen Mrinal Sen Buch Mrinal Sen, nach einer Erzählung von Ashish Burman Biofilmographie Kamera K.K. Mahajan Mrinal Sen wurde 1923 geboren. „Ich kam auf Umwegen zum Film. Musik Vijay Raghava Rao Ich habe Physik studiert, interessierte mich für akustische Phäno• mene, und um diese eingehender zu untersuchen, arbeitete ich nach Schnitt Gangadhar Naskar Beendigung meines Studiums in einem Filmstudio. Als ich dann in der Nationalbibliothek in Kalkutta meine Arbeit fortsetzte, begann Darsteller ich auch Filmliteratur zu lesen — Schriften Sergej Eisensteins, die Ranjit Mullick Ranjit Mullick Arbeit seines Schülers Wladimir Nilsen, die Aufsätze Wsewolod Sekhar Chatterjee Sekhar Chatterjee Pudowkins. Die Mutter Karuna Banerjee Dann habe ich andere Sachen versucht, habe Korrektur gelesen und Mithu (die Schwester) Mamata Banerjee Artikel geschrieben und war kurze Zeit bei einer Theaterkooperati• Bulbul ve, dem 'Indian People's Theatre Movement'. (die Freundin) Bulbul Mukerjee Ich begann für eine Zeitung der Kommunistischen Partei, deren Mit• arbeiter ich war, Filmrezensionen zu schreiben." Die im Film verwendete Telephonnummer ist Mrinal Sens 1952 veröffentlichte Sen ein Buch über Charlie Chaplin. Um sich eigene Telephonnummer finanziell über Wasser zu halten, wurde er Vertreter einer Arznei• mittelfirma, ein Beruf, „für den ich vollkommen ungeeignet war".
    [Show full text]
  • Oct-Dec-Vidura-12.Pdf
    A JOURNAL OF THE PRESS INSTITUTE OF INDIA ISSN 0042-5303 October-DecemberJULY - SEPTEMBER 2012 2011 VOLUMEVolume 3 4 IssueISSUE 4 Rs 3 50 RS. 50 In a world buoyed by TRP ratings and trivia, QUALITY JOURNALISM IS THE CASUALT Y 'We don't need no thought control' n High time TAM/TRP era ended n The perils of nostalgia n You cannot shackle information now n Child rights/ child sexual abuse/ LGBT youth n Why I admire Justice Katju n In pursuance of a journalist protection law Responsible journalism in the age of the Internet UN Women: Promises to keep Your last line of defence n Alternative communication strategies help n The varied hues of community radio Indian TV news must develop a sense of The complex dynamics of rural Measuring n Golden Pen of Freedom awardee speaks n Soumitra Chatterjee’s oeuvre/ Marathi films scepticism communication readability n Many dimensions to health, nutrition n Tributes to B.K. Karanjia, G. Kasturi, Mrinal Gore Assam: Where justice has eluded journalists Bringing humour to features Book reviews October-December 2012 VIDURA 1 FROM THE EDITOR Be open, be truthful: that’s the resounding echo witch off the TV. Enough of it.” Haven’t we heard that line echo in almost every Indian home that owns a television set and has school-going children? “SIt’s usually the mother or father disciplining a child. But today, it’s a different story. I often hear children tell their parents to stop watching the news channels (we are not talking about the BBC and CNN here).
    [Show full text]
  • Routledge Handbook of Indian Cinemas the Indian New Wave
    This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium.
    [Show full text]
  • Ekdin Pratidin); the Case Is Closed (Kharij); Suddenly, One Day (Ekdin Achanak) 9788170460954 Seagull, 1999 1999
    Mrinal Sen The Absence Trilogy: And Quite Rolls the Dawn (Ekdin Pratidin); The Case is Closed (Kharij); Suddenly, One Day (Ekdin Achanak) 9788170460954 Seagull, 1999 1999 The Absence Trilogy: And Quite Rolls the Dawn (Ekdin Pratidin); The Case is Closed (Kharij); Suddenly, One Day (Ekdin Achanak) Over the Years Cinewave, Issues 2-4 Views on Cinema Always Being Born Chasing the Truth Sen experienced his own âœten years of a masterâ in the decade from And Quiet Rolls the Day in 1979 to Suddenly One Day (Ekdin Achanak) in 1989. (The repetition of âœEk Dinâ in their respective Bengali titles, meaning âœone day,â augtments this sense of bookended symmetry.) In The Case Is Closed, a servant boyâ™s choice to move from his assigned sleeping space under the stairs into the kitchen for one night of warmth proves fatal, precipitating a moral crisis for his oblivious masters. Perhaps imposing order retroactively, Sen pronounced that three of his ambiguous, calculatedly inconclusive family dramasâ”And Quiet Rolls the Day, The Ruins, and Suddenly One Dayâ”comprise âœthe absence trilogy.â â˜Ek Din Pratidinâ™ (And Quiet Rolls the Dawn) (1979) undeniably establishes Senâ™s feminist credentials. The movie is a haunting tale of deep-rooted patriarchy ingrained in the Indian value system and questions the ethical standings of the viewers. â˜Ek Din Pratidinâ™ violently shakes traditional morality and compels people to think beyond the confines of their respective comfort zones. Some of his later ventures include such masterpieces as â˜Ek Din Achanakâ™ (Suddenly, One Day) (1989), â˜Mahaprithiviâ™ (World Within, World Without) (1991) and â˜Antareenâ™ (The Confined) (1993).
    [Show full text]
  • 05 Work Plan and Methodology
    Work Plan and Methodology Chapter I: Introduction to Indian English Drama Chapter II: Portrayal of Political Power in Girish Karnad Chapter III: Portrayal of Political Power in Vijay Tendulkar Chapter IV: Portrayal of the Political Power in Habeeb Tanveer Chapter V: Portrayal of the Political Power in Utpal Dutt Chapter VI: Conclusion The first chapter- Introduction will take a survey of Indian drama written in Sanskrit, folk languages and regional languages. It will also take into account the slow growth in Indian English drama in pre-independence and post-independence times. The second chapter- Portrayal of Political Power in Girish Karnad’s plays will analyze the portrayal of political power as a force in the play affects functioning of all the systems. The third chapter- Portrayal of Political Power in the Plays of Vijay Tendulkar will record the visible and invisible influence of political power in the each every matter and also how it is self-destructive. The fourth chapter- Portrayal of the Political Power in the plays of Habeeb Tanveer will portray the invisible but rigid structure of the political power and what means political power uses to achieve its ends. The fifth chapter- Portrayal of Political Power in the Plays of Utpal Dutt works in the destructive way in society. The last chapter Conclusion will take into stock the conclusions drawn from the portrayal and analysis of this significant social institution in Indian English drama and will aim at prove their relevance to the present times. The research methodology employed herein will be exploratory, interpretative and analytical in nature.
    [Show full text]
  • Download (Binaural and Ambisonics B-Format Files)
    Cover Page The handle http://hdl.handle.net/1887/47914 holds various files of this Leiden University dissertation Author: Chattopadhyay, B. Title: Audible absence: searching for the site in sound production Issue Date: 2017-03-09 Part II: Articles The following 6 articles are published in this dissertation in their original form (i.e. as they were published, accepted or submitted in peer-reviewed journals). I have chosen to insert short postscripts or comments on the first page of each article and besides added some comments here and there inside the articles on the basis of new insights gained throughout my research process, serving as clarification or to critically comment on them and connect them to each other as well as to the topics discussed in the Introduction and Conclusion. These blue and green-colored postscripts establish the context in which the articles can be considered part of the main body of research for this dissertation. 45 46 Article 1: Chattopadhyay, Budhaditya (2017). “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films.” Music, Sound, and the Moving Image Autumn issue (Accepted). This article deals with the first historical phase of sound production in India, as explained in the Introduction, namely: analogue recording, synchronized sound, and monaural mixing (1931– 1950s). Satyajit Ray emerged during this period and made full use of these techniques; hence, his work with sound is used as a benchmark here when studying this specific period of sound production. The article examines the use of ambient sound in the early years of film sound production, highlighting two differing attitudes, the first markedly vococentric and music-oriented, the second applying a more direct sound aesthetics to create a mode of realism.
    [Show full text]
  • Kalkutta, Mein Eldorado
    CALCUTTA, MY ELDORADO 1974 Chorus, Forum 1975 Kalkutta, mein Eldorado 1976 Mrigayaa, Forum 1979 1977 Oka Oorie Katha, Forum 1979 Land Indien 1990 1978 Parashuram Produktion Mrinal Sen Productions 1979 Ekdin Pratidin City Life Foundation 1980 Akaler Sandhane mit Unterstützung von Nationale Commissie 1982 Kharij Voorlichting en Bewustwording 1983 Kandhar Ontw ikkeling s s amen werking 1986 Genesis (NCO) 1989 Ekdin Achanak 1990 CALCUTTA, MY ELDORADO Regie Mrinal Sen Kamera Shashi Anand Ton Rabin Sen Gupta Ranjan Pandey Schnitt Mrinmoy Chakraborty Musik Ananda Shank ar Länge 22 Minuten Inhalt "Jedesmal, wenn ich nach Kalkutta zurückkehre, denke ich, daß es so nicht weiter gehen kann. Und doch geht es weiter. Von Jahr zu Jahr wird der Anblick schmerzlicher, der Schmutz schmutziger, die Armut militanter, die Verzweiflung verzweifelter. Jedesmal, wenn ich nach Kalkutta zurückkehre, habe ich den Eindruck einer einschüchternden, höllischen Stadt. Unerlösbar, wahrscheinlich zum Untergang verurteilt" Dieses Zitat von James Cameron bildet den Epilog zu Mrinal Sens Kalkutta-Episode. "Es ist kein Dokumentarfilm. Ich versuche nicht, Lösungen zu finden. Es geht mir nicht darum, wie alt Kalkutta ist, oder wer es gegründet hat. Es ist ein Porträt im Sinne von 'Ich und meine Stadt'", sagt Sen nach Abschluß der Drehar­ beiten. Was er in seinem kaleidoskopischen Beitrag aufspürt, ist die Widersprüchlichkeit der Stadt, die Koexistenz der wider­ sprüchlichsten Emotionen. Unvorhersagbarkeit, Gefühllosigkeit, Heftigkeit der Gefühle, Grausamkeit, Zartheit. Eine Intensität, die vielleicht hilft, den unausweichlich scheinenden Untergang zu verhindern. Biofilmographie Mrinal Sen, geboren 1923 in Ost-Bengalen (heute Bangladesch). Nach einer Ausbildung zum Physiker begann er 1956 seine Laufbahn als Filmregisseur mit Root Bhore.
    [Show full text]
  • Été Indien 10E Édition 100 Ans De Cinéma Indien
    Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde.
    [Show full text]
  • Daily Current Affairs Capsule 31St December 2018
    Daily Current Affairs Capsule 31st December 2018 1. Sheikh Hasina's party wins Bangladesh election Awami League, led by Prime Minister Sheikh Hasina wins the Parliamentary elections. Hasina's ruling party Awami League won 287 of the 298 seats for which results have been declared for the 300-strong parliament. While the main opposition alliance dominated by the Bangladesh Nationalist Party (BNP) secured just six seats. The main opposition led by the Bangladesh Nationalist Party rejected the election and called for a fresh vote in the country of 165 million people. Points to Remember The Bangladesh Awami League, often simply called the Awami League or BAL, is one of the two major political parties of Bangladesh. It is the country's current governing party, after winning a majority in the 2014 election. 2. PM Inaugurates International Rice Research Institute’s South Asia Regional Centre Prime Minister Narendra Modi inaugurated the International Rice Research Institute South Asia Regional Centre (IRRI SARC) in Varanasi. It is the sixth campus of IRRI SARC. The institute will complement the government’s effort to double farmer’s income by 2022. The International Rice Research Institute (IRRI) is a dynamic and rapidly evolving organization which focuses on solving complex global problems through vibrant, rice-based agri-food systems. Points to Remember It will serve as a hub for rice research and training in South Asia and SAARC region. The IRRI SARC will aid in improving crop production, seed quality and the nutritional value of rice. It is headquartered in Los Baños, Laguna in the Philippines. 3.
    [Show full text]