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India: Birds & Culture on the Maharajas' Express
INDIA: BIRDS & CULTURE ON THE MAHARAJAS’ EXPRESS FEBRUARY 2-18, 2022 KANHA NATIONAL PARK PRE-TRIP JANUARY 28 – FEBRUARY 3, 2022 KAZIRANGA NATIONAL PARK EXTENSION FEBRUARY 18-23, 2022 ©2021 Taj Mahal © Shutterstock Birds & Culture on the Maharajas’ Express, Page 2 There is something indefinable about India which makes westerners who have been there yearn to return. Perhaps it is the vastness of the country and its timeless quality. Perhaps it is the strange mixture of a multiplicity of peoples and cultures which strikes a hidden chord in us, for whom this land seems so alien and yet so fascinating. Or perhaps it is the way that humans and nature are so closely linked, co-existing in a way that seems highly improbable. There are some places in a lifetime that simply must be visited, and India is one of them. Through the years we have developed an expertise on India train journeys. It all started in 2001 when VENT inaugurated its fabulous Palace on Wheels tour. Subsequent train trips in different parts of the country were equally successful. In 2019, VENT debuted a fabulous new India train tour aboard the beautiful Maharajas’ Express. Based on the great success of this trip we will operate this special departure again in 2022! Across a broad swath of west-central India, we will travel in comfort while visiting the great princely cities of Rajasthan state: Udaipur, Jodhpur, and Jaipur; a host of wonderful national parks and preserves; and cultural wonders. Traveling in such style, in a way rarely experienced by modern-day travelers, will take us back in time and into the heart of Rajput country. -
GI Journal No. 75 1 November 26, 2015
GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No. -
Om Shanti Om
Om Shanti Om REŻYSERIA FARAH KHAN W KINACH OD 30 MAJA 2008 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (22) 536 92 00 fax: (22) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl Reżyseria Farah Khan Producent Gauri Khan Scenariusz Farah Khan Mushtaq Sheikh Mayur Puri Muzyka Vishal Dadlani Shekhar Ravjiani Pyarelal Ramprasad Sharma Choreografia Farah Khan Występują Shah Rukh Khan Arjun Rampal Deepika Padukone Shreyas Talpade Kirron Kher Produkcja Eros International Red Chillies Entertainment Indie rok produkcji: 2007 czas trwania: 162 minut kolor – Dolby SR – 1.85:1 2 Om Shanti Om to drugi film w karierze reżyserskiej Farah Khan. Pierwszy – Jestem przy tobie, zdobył serca wielu widzów dzięki roli Shah Rukh Khana, jako majora Rama poszukującego swojego brata i broniącego córki generała w przebraniu studenta. Najnowszy film Farah Khan to zrealizowany z ogromnym rozmachem film ku czci króla Bollywoodu – Shah Rukh Khana. Om Shanti Om jest filmem o marzeniach, miłości i zemście. Akcja filmu rozpoczyna się w roku 1977. Om Prakash Makhija (Shah Rukh Khan) jest statystą, zakochanym bez pamięci w gwieździe indyjskiego kina Shanti (Deepika Padukone). Om jest jej najwierniejszym fanem, gotowym w razie potrzeby oddać za nią życie. Gdy na planie ich wspólnego filmu wybucha pożar, Om ratuje Shanti i zostaje jej przyjacielem. Marzy o wspólnej przyszłości, jednak życie Shanti nie jest tak piękne, jak mogłoby się wydawać. Om przez przypadek poznaje tajemnicę Shanti. Wkrótce potem oboje giną… Druga część filmu rozpoczyna się w roku 2007. Om Kapoor (Shah Rukh Khan) jest wielkim gwiazdorem. Żyje beztrosko, wydaje się, że ma cały świat u swoich stóp. -
Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
Textile Designs - 1
Textile Designs - 1 1. Crewel Work, Kashmir Textile Designs - 1 2. Embroidered Dorukha Shawl, Kashmir Textile Designs - 1 3. Kinnaur Shawl, Himachal Pradesh Textile Designs - 1 4. Embroidered Chamba Rumal, Himachal Pradesh Textile Designs - 1 5. Bagh Phulkari, Punjab Textile Designs - 1 6. Banarasi Zari Saree, Uttar Pradesh Textile Designs - 1 7. Chikan Embroidery, Kurta, Uttar Pradesh Textile Designs - 1 8. Block Printing, Rajasthan Textile Designs - 1 9. Bandhani Printing, Rajasthan Textile Designs - 1 10. Applique Work, Gujarat Textile Designs - 1 11. Mirror Embroidery, Gujarat Textile Designs - 1 12. Paithani Silk Saree, Maharashtra Textile Designs - 1 Hkkjr us gLrf'kYi dh Js"B ijaijk dks èkjksgj osQ :i esa izkIr fd;k gSA lqUnjrk ls India has inherited a great tradition of handicrafts which has its iw.kZ o lkekftd mi;ksx dh oLrqvksa dh jpuk gsrq ekuo dh ewy vko';drk esa bl beginnings in Man's basic need for creating objects of beauty and social utility. Even simple household articles such as pots, mats and furniture ijaijk dk izkjaHk fufgr gSA ;gka rd fd] crZu] pVkbZ;ka vkSj est] oqQlhZ tSlh lkèkkj.k have been decorated with stylised motifs inspired by nature. ?kjsyw oLrqvksa dks Hkh izo`Qfr izsfjr 'kSyhxr vfHkizk;ksa ls vyao`Qr fd;k tkrk gSA Apart from other handicrafts, India is also famous for the excellence it vU; gLrf'kYiksa osQ vfrfjDr Hkkjr] oL=kksa dh le`f¼ lEcaèkh Js"Brk osQ fy, Hkh has achieved in the rich variety of textiles. Excavations show that, as far izfl¼ gSA [kqnkbZ ls irk pyrk gS fd dkiQh igys] r`rh; 'krkCnh bZlk iwoZ esa lwrh back as in the third millennium B.C, cotton fibre was woven into cloth and rUrq dks oL=k :i esa cquk tkrk Fkk rFkk Nis gq, oL=kksa osQ uewus Hkh izkIr gq, gSaA samples of printed fabrics have also been found. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Sigaram Thodu’
UTV announces its next Tamil film ‘SIGARAM THODU’ Chennai, 2nd January 2013: UTV Motion Pictures today announced its next home production in Tamil ‘Sigaram Thodu’ which will be written and directed by Gaurav of ‘Thoonga Nagaram’ fame and will star Vikram Prabhu in the lead. After ‘Settai’ (remake of Hindi super hit film Delhi Belly) starring Arya, Santhanam, Premgi, Hansika, Anjali and Nasser and directed by R. Kannan this will be UTV’s next Tamil release this year. The pre-production work for ‘Sigaram Thodu’ has commenced from today and the film’s shooting is expected to begin from April 2013. The other cast and crew is under finalization and will be announced shortly. “As a Studio it has been our constant endeavour to bring across the right mix of content for our consumers like we have done with our Hindi slate. South is a key market for us and we will be announcing an equally eclectic slate this side as well,” said G. Dhananjayan, Chief – South Business, Studios, DisneyUTV In 2013, ‘Settai’ will be UTV’s first release in Tamil which will release in February and ‘Sigaram Thodu’ will hit theatres in December. STUDIOS – DisneyUTV Bringing together the best of both worlds, The Walt Disney Studios and UTV Motion Pictures have formed one of the leading film studios in India. The Studio’s activities span across creative development, production, marketing, distribution, licensing, merchandising and syndication of films in India and worldwide. UTV Motion Pictures as a dominant player in the Indian film industry has been in the forefront of bringing Indian films to a global audience and the last decade in Indian cinema has seen UTV delivering some of the most iconic films including Swades, Rang De Basanti, Jodhaa Akbar, A Wednesday, Dev D, Khosla Ka Ghosla, The Namesake, Life in a Metro, Oye Lucky! Lucky Oye!, Fashion, Kaminey, No One Killed Jessica, Raajneeti, Udaan, Peepli Live, Delhi Belly and more recently Ek Main Aur Ekk Tu, Paan Singh Tomar, Rowdy Rathore, Barfi! and Heroine. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½ -
INDIAN HINDI FILM INDUSTRY USING SOCIAL MEDIA PLATFORM for PROMOTIONS and MARKETING: a STUDY with SPECIAL REFERENCE to FACEBOOK and TWITTER Dr
International Journal of Technical Research and Applications e-ISSN: 2320-8163, www.ijtra.com Special Issue 10 (Nov-Dec 2014), PP. 128-131 INDIAN HINDI FILM INDUSTRY USING SOCIAL MEDIA PLATFORM FOR PROMOTIONS AND MARKETING: A STUDY WITH SPECIAL REFERENCE TO FACEBOOK AND TWITTER Dr. Mausumi Bhattacharyya1, Debastuti Dasgupta2 1Associate Professor and In- Charge, Centre for Journalism and Mass Communication, 2Research Scholar, Centre for Journalism and Mass Communication 1,2Visva Bharati, Santiniketan, West Bengal, India [email protected], [email protected] Abstract: Film promotion has been now considered as embracing marketing as its integral component like the important as actual making of the film. Although the history of actual film making process. Promotion is important part of the film marketing can be traced back from the days of the any release as it involves high financial risk. Without proper inception of the film itself, it has reshaped its periphery time marketing of a film, a film with fantastic plots, characters, and often. It has gone through the age of posters, wall papers, sets fail to attract audience. print ads etc. New Media is the latest addition to this arena. Film has also started utilising the potential of new media Marketing in a nutshell, is selling and advertising. With the completely in terms of marketing and promotions. Indian passage of time it has reshaped its periphery to include Hindi film industry is too not far behind. It has also used new satisfying customer needs, promoting products efficiently media as well as social media forum to make people aware of and creating value laden exchange with customers. -
Bandhani (Tie and Die) – a Rajasthani Technique for Dyeing Textiles
SRJIS/BIMONTHLY/DR. RANJANA GUPTA (5083-5086) BANDHANI (TIE AND DIE) – A RAJASTHANI TECHNIQUE FOR DYEING TEXTILES Ranjana Gupta, Ph. D. Associate Professor- Home Science, K. R. Girls P.G. College Mathura Scholarly Research Journal's is licensed Based on a work at www.srjis.com The art of Bandhani is highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points , thus producing a variety of patterns like Leheriya, Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. 1.1 History Different forms of tie and dye have been practiced in India. Indian Bandhani, a traditional form of tie and dye, began about 5000 years ago. Also known as Bandhani and Bandhej, it is the oldest tie and dye tradition that is still practiced. Dyes were discovered by primitive man/woman in the form of extracts of various plants, flowers, leaves, bark, etc., which were applied to cloth and other fabrics. Even though color was applied they didn't consider this dyeing. It was simply a form of embellishment. What was considered dyeing was the art of using color to form a permanent bond with fiber in a prepared dye bath. Ancient artists discovered that some dyes dissolved and gave their color readily to water, forming a solution which was easily absorbed by the fabric. Herbs and plants like turmeric and indigo were crushed to a fine powder and dissolved in water so that cotton material could be dyed into deep colours. These colours have been used in India since ancient times and are considered to be the origin of the art of dyeing. -
Madras Tamil Full Movie Download 720P
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Download Jab Harry Met Sejal
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