Unit 2: Motion Picture in the Eastern World Topic
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Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space in Cinematic Discourse
Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space In Cinematic Discourse Dr. Ammar Ibrahim Mohammed Al-Yasri Television Arts specialization Ministry of Education / General Directorate of Holy Karbala Education [email protected] Article History: Received: 11 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: There is no doubt that artistic races are the fertile factor in philosophy in all of its perceptions, so cinematic discourse witnessed from its early beginnings a relationship to philosophical thought in all of its proposals, and post-colonial philosophy used cinematic discourse as a weapon that undermined (colonial) discourse, for example cinema (Novo) ) And black cinema, Therefore, the title of the research came from the above introduction under the title (undermining the colonial space in cinematic discourse) and from it the researcher put the problem of his research tagged (What are the methods for undermining the colonial space in cinematic discourse?) And also the first chapter included the research goal and its importance and limitations, while the second chapter witnessed the theoretical framework It included two topics, the first was under the title (post-colonialism .. the conflict of the center and the margin) and the second was under the title (post-colonialism between cinematic types and aspects of the visual form) and the chapter concludes with a set of indicators, while the third chapter included research procedures, methodology, society, sample and analysis of samples, While the fourth chapter included the results and conclusions, and from the results obtained, the research sample witnessed the use of undermining the (colonial) act, which was embodied in the face of violence with violence and violence with culture, to end the research with the sources. -
EXIGENCY of INDIAN CINEMA in NIGERIA Kaveri Devi MISHRA
Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema. -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Screen1900 Schulze Diss Phal
Appendix 1 Extracts from Phalke's Articles 377 Excerpts of "Bharatiya Chitrapat" ('Indian chitrapat 1') by Dhundiraj Govind Phalke (1917A & B/ 1918A & B). An article in four parts pub- lished in Navyug ('New Era'), a modernist cultural magazine from Bombay, Nov. and Dec. 1917, Feb. and Sept. 1918 In the following Phalke's original Marathi text is made available in its most authentic form. I initiated a new translation of selected paragraphs of Phalke's "Bharatiya chitrapat" from Marathi into English. In order to re- duce the interpretative bias in the English translation of 1970 (Phalke 1970A, B, C, D) to the minimum and be as close as possible to Phalke's subjective point of view, I asked assistance in the translation from persons well-acquainted with that period of time, so as to get the historical flavour of the meaning of the words, point out ambiguities and allusions which are plenty and important in the original. Mohini Varde, Marathi theatre scholar formerly of the University of Mum- bai translated most of these portions of Phalke's text; Vijaya Muley (New Delhi and Montreal), filmmaker, film scholar and an activist in the truest sense of the word in the film societies' movement since nearly half a cen- tury, assisted me in clearing up last inconsistencies of meaning. Curiously, it was mainly women2 - and in most cases all the wisdom of their age - contributing to my own sensitisation to Phalke's 'world of cin- ema'. His granddaughter Madhavi Mitra rather casually in our informal talk at Pune in 1995 told me something that became the key to my understand- ing of Phalke's philosophy of cinema. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
2. a Superhit Goddess
Ganesh, lord of auspicious beginnings and father of goddess Santoshi Ma. A Superhit Goddess Jai Santoshi Maa and Caste Hierarchy in Indian Films Part One Philip Lutgendorf “Audiences were showering coins, perennials of its vast output, yet they quarter of national cinematic output) flower petals and rice at the screen constitute one of the least-studied enjoys the largest audience in appreciation of the film. They aspects of this comparatively under- throughout the Indian subcontinent entered the cinema barefoot and set studied cinema. Indeed, I will venture and beyond. Sholay (“Flames”) and up a small temple outside…. In that for scholars and critics, Deewar (“The Wall”), were both Bandra, where mythological films mythologicals have generally been heavily-promoted “multi-starrers” aren’t shown, it ran for fifty weeks. It “hard to see.” Yet DeMille’s words belonging to the then-dominant genre was a miracle”. —Anita Guha, also belie the fact that most sometimes referred to as the masala (actress who played goddess mythologicals—like most commercial (“spicy”) film: a multi-course cinematic Santoshi Ma; cited in Kabir films of any genre—flop at the box banquet incorporating suspenseful office. The comparatively few that drama, romance, comedy, violent 2001:115). have enjoyed remarkable and action sequences, and song and Genre, Film & Phenomenon sustained acclaim hence merit study dance. Both were expensive and Cecil B. DeMille’s famously both as religious expressions and as slickly made by the standards of the cynical adage, “God is box office,” successful examples of popular art and industry, and both featured Amitabh may be applied to Indian popular entertainment. -
The Iafor Journal of Media, Communication & Film
the iafor journal of media, communication & film Volume 3 – Issue 1 – Spring 2016 Editor: James Rowlins ISSN: 2187-0667 The IAFOR Journal of Media, Communication & Film Volume 3 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum IAFOR Journal of Media, Communication & Film Editor: James Rowlins, Singapore University of Technology and Design, Singapore Associate Editor: Celia Lam, University of Notre Dame Australia, Australia Assistant Editor: Anna Krivoruchko, Singapore University of Technology and Design, Singapore Advisory Editor: Jecheol Park, National University of Singapore, Singapore Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 IAFOR Journal of Media, Communication & Film Volume 3 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-0667 Online: JOMCF.iafor.org Cover photograph: Harajuku, James Rowlins IAFOR Journal of Media, Communication & Film Volume 3 – Issue 1 – Spring 2016 Edited by James Rowlins Table of Contents Notes on Contributors 1 Introduction 3 Editor, James Rowlins Interview with Martin Wood: A Filmmaker’s Journey into Research 5 Questions by James Rowlins Theorizing Subjectivity and Community Through Film 15 Jakub Morawski Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers 22 Zoran Lee Pecic On Using Machinima as “Found” in Animation Production 36 Jifeng Huang A Story in the Making: Storytelling in the Digital Marketing of 53 Independent Films Nico Meissner Film Festivals and Cinematic Events Bridging the Gap between the Individual 63 and the Community: Cinema and Social Function in Conflict Resolution Elisa Costa Villaverde Semiotic Approach to Media Language 77 Michael Ejstrup and Bjarne le Fevre Jakobsen Revitalising Indigenous Resistance and Dissent through Online Media 90 Elizabeth Burrows IAFOR Journal of Media, Communicaion & Film Volume 3 – Issue 1 – Spring 2016 Notes on Contributors Dr. -
Raja Harishchandra Is a Most Thrilling Story from Indian Mythology. Harishchandra Was a Great King of India, Who Flourished Several Centuries Before the Christian Era
Notes The Times of India gave pre-screening publicity as follows: 'Raja Harishchandra is a most thrilling story from Indian mythology. Harishchandra was a great king of India, who flourished several centuries before the Christian era. He (sic) and his wife's names were household words in every Indian home for their truthfulness and chastity respectively. Their son Rohidas was a marvellous type of noble manhood. What Job was in Christian (sic) Bible, so Harischandra was in the Indian mythology. The patience of this king was tried so much that he was reduced to utter poverty and he had to pass his days in jungles in the company of cruel beasts. The same fate overcame his faithful wife and the dutiful son. But truth tri- umphed at last and they came out successfully through the ordeal. Several Indian scenes as depicted in this film are sim- ply marvellous. It is really a pleasure to see this piece of Indian workmanship'. The Bombay Chronicle, while reviewing Raja Harishchandra in its issue of Monday, 5th May 1913 said, 'An interesting de- parture is made this week by the management of Coronation Cinematographer. The first great Indian dramatic film on the lines of the great epics of the western world ... it is curious that the first experiment in this direction was so long in com- ing (sic) ... all the stories of Indian mythology era will long make their appearance ... followed by representations of modern dramas and comedies, another field which opens up vast possibilities ... it is to Mr Phalke that Bombay owes this .. -
A Delightful Panchatantra Polonium, Named After Blowing for Nicole and I
HINDUSTAN TIMES, NEW DELHI 04 hindustantimes FRIDAY, APRIL 21, 2017 ht kaleidoscope thisdaythatera S W I M M I N G LEGEND CURIES ISOLATE YOUR SHOT RADIUM Might make a comeback if I get the itch, says Phelps Michael Phelps hasn’t gotten the urge to return to swimming. Not yet anyway. THE WINNINGEST ATHLETE IN The winningest athlete in Olympic history is OLYMPIC HISTORY IS CLEARLY clearly enjoying marriage, fatherhood and a ENJOYING MARRIAGE, FATHERHOOD newfound willingness to speak out on conten- tious issues such as doping. AND A NEWFOUND WILLINGNESS TO n Marie Curie But, in a tantalising concession that he hasn’t SPEAK OUT ON CONTENTIOUS totally closed the door on another comeback, n On April 20, 1902, Marie and Phelps said that it might be tough to stay away ISSUES SUCH AS DOPING. Pierre Curie isolated from the pool - especially if he attends the world BUT PHELPS SAID HE HASN’T radioactive radium from the championships in Budapest, Hungary, in July. mineral pitchblende in their “The true test will be, if I do end up going over TOTALLY CLOSED THE DOOR ON laboratory in Paris. In 1898, to the worlds this summer, do I have that itch the Curies discovered the ANOTHER COMEBACK again?” Phelps said Tuesday during a telephone existence of radium and interview. more. This is a really cool opportunity for me to polonium in pitchblende. They shared the 1903 Nobel He was already strongly considering his first do some things I was not able to do when I was Prize in physics with French comeback when he attended the 2013 champion- swimming.” scientist A Henri Becquerel ships in Barcelona, and there was no doubt he’d That includes lending his still-considerable for work on radioactivity. -
Unit 2 Radio, Television and Cinema
UNIT 2 RADIO, TELEVISION AND CINEMA 2.0 Objectives 2.1 Introduction 2.2 Origin and Development of Radio in India 2.2.1 The Indian Broadcasting Company 2.2.2 All India Radio 2.2.3 First Three Plans 2.2.4 Chanda Committee 2.25 Code for Broadcasteis 2.2.6 Verghese Committee 2.2.7 The Present Status 1 2.2.8 Audiena Research I 2.2.9 Radio's Effectiveness 23 Origin and Deveiopment of Television in India Ii I 2.3.1 TV Comes to India 2.3.2 SITE 2.3.3 Commercial Servia I 2.3.4 National Broadcest Trust I 23.5 Development in the Eighties 2.3.6 Joshi Committee ! 2.3.7 Video Boom 2.3.8 Cable TV 2.3.9 Effectiveness of Doordarshan 2.4 Origin and Development of Films in India 2.4.1 The Beginning 2.4.2 Film mesto India 2.4.3 The Silent Era 2.4.4 The Talkie 2.4.5 Government Oiganizations 2.4.6 Need for Good Films 2.5 Let Us Sum Up 2.6 Glossary 2.7 Further Reading 2.8 Check Your Pmgms : Model Answers 2.0' OBJECTIVES After going through this unit, you should be able to : trace the development of radio, TV and film over the yeam ae a media of maw cbmrnunication; describe the reach and effectiveness of mdio, TV and film as media of mass communication; compare the development of radio, TV and film in India. 2.1 INTRODUCTION In unit 1 we traced the origin and development of the Indian press. -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
Yakshagana Plays Based on Mahabharata
Yakshagana Plays Based on Mahabharata No Prasanga Name Author 1. Akshayambara Vilasa Thalengala Shambhatta 2. Anusalva Garva Bhanga matthu Niladhwajana Kalaga Ajjana Gaddhe Shankaranarayana 3. Abhaya Pradhana Dr D Sadashiva Bhatta 4. Abhimanyu Kalaga matthu Saindhava Vadhe 5. Abhimanyu Kalaga Parameshwara 6. Abhimanyu Kalaga Venkatesha V Pai 7. Ashwaththama Kiriya Balipa Narayana Bhagavatha 8. Ashwamedha Jwale Hosthota Manjunatha Bhagavatha 9. Ashwamedha Parva Kudreppadi Ishwara 10. Ashwamedha Parva Shivarama Hegade Bale Gaddhe 11. Adhiparva Sam. M. V. Hegade 12. Indrakeelaka Vishnu Ramaputra 13. Indhrakeelaka Devidasa 14. Uttharada Paurusha Puttanna, Mangalore 15. Uddhalaka Sheni Gopalakrishna Bhat [or Vishma Dampatya] 16. Ubhaya kula Billoja Bottakere Purushottama Poonja 17. Ekalavya Pandeshwara Kadappa 18. Ekalavya Hosthota Manjunatha Bhatta 19. Eni Bandhana Panduranga Ananta Shenoy 20. Airavata Parthisubba 21. Kanakangi Kalyana Nityananda Avadhoota 22. Karna Kshama Yachana Babu Kudthadka [Or Drona Senadhipatya] 23. Karna Pattabhisheka Seethanadi Ganapayya Shetty 24. Karna Parva Gerasoppe Shanth(ppa)yya 25. Karna Parva Venkatachala Bhatta,Keremane 26. Karna Ratnavathi M G Baravani 27. Karnarjunara Kalaga Venkata 28. Kitnaraja Parsango Badakabailu Parameshwarayya 29. Keechaka Vadham Naraharikeshava Bhatta, Chipageri 30. Kunti Swayamvara Seetanadhi Ganapayya Shetty 31. Kurukshetra Adura Balakila Vishnayya 32. Krishna Garudi Kota Srinivasa Nayaka 33. Krishnarjunara Kalaga Halemakkirama 34. Krishnarjunara Kalaga Mulki Ramakrishna 35. Krishnarjunara Kalaga Peruvadi Sankayya Bhagavata 36. Krishnarjunara Kalaga Balipa Narayana Bhagavata 37. Khandava Vana Dahana Ajjana Gadde Ganapayya Bhagavata 38. Gandugali Bhimasena Seetandi Ganapayya Shetty 39. Gadhaparva Subbanna Shastri, Chakrakodi 40. Gadhaparva Balipa Narayana Bhagavatha 41. Gandhari Anantaram Bangadi 42. Geetopadesha Malpe Ramadasa Samaga 43. Guru Drona Korgi Suryanarayana Upadhyaya 44. Ghatotkacha Janma M G Baravani 45.