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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. -
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. -
LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No. -
Cinema As a Tool for Health and Risk Communication : Issues and Challenges
Global Media Journal-Indian Edition; Volume 12, Issue 2; December 2020.ISSN:2249-5835 Cinema As A Tool For Health And Risk Communication : Issues and Challenges Abhijit Bora Professor MCJ Dept. Tezpur University, Abstract Film or cinema has always been a powerful medium that can be adapted to various situations of the human societies anywhere in the world whenever necessary. It also possesses a huge potential in making a point felt meaningfully by the human beings if properly disseminated. Presently, with the outbreak of the COVID19 pandemic situation, thinkers and activists from the field of communication and media need to seriously brainstorm about the most effective means of communicating messages of health and risk communication. Specially the medium of cinema as it has not been utilized to the optimum for achieving the desired goal. Cinema that includes feature films and documentaries have been used on experimental basis by a very few film makers for this purpose. However, films on different kinds of diseases and health risks have been usually produced more for commercial gains not necessarily orienting them from the perspective of our discussion. It is high time a serious, coordinated effort needs to be pushed forward for taking advantage of the medium for facilitating health and risk communication in a far convenient and effective manner than it has been till date. There is more than enough scope for presenting issues in these two fields as a fully-prepared package for the public which would go deep down their mindset and convert them to empowered active citizens. This shall help them in adopting the suggestions and hints and thereby improving their standard of living. -
1St Filmfare Awards 1953
FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963..................................................................................................... -
List of “Dadasaheb Phalke Award” Winners from the Year 1969 to 2016
List of “Dadasaheb Phalke Award” Winners from the year 1969 to 2016 “Dadasaheb Phalke Award” is a ‘Lifetime Achievement Award’ given annually from the year 1969, by the ‘Directorate of Film Festivals’, set up by the ‘Ministry of Information and Broadcasting’ of the Government of India, in the ‘Annual National Films Awards Ceremony’, to Indian Cinema Artists for their outstanding contributions to the growth and development of Indian Cinema. The award was instituted to commemorate Mr. Dadasaheb Phalke (1870-1944), the pioneer and ‘The Father of Indian Cinema’ , who produced and directed the first full length Indian Feature Film, ‘Raja Harischandra’ in the year 1913. The award consists of a shawl, cash award of Rs 10 Lakhs(US $ 16000/-) and a Swarna Kamal/Golden Lotus Medal. The following is a list of “Dadasaheb Phalke Award”-winners from the year 1969 till date: S.No./Year-S.No.of National Film Awards/NFA/Name /Language/Remarks 1./1969-17th National Films Awards(NFA) /Ms.Devika Rani (1908-1994)/Hindi/ Ms. Devika Rani is known as the first lady of Indian Cinema, who founded the first ‘Indian Public Limited Films Company’, by the name, “The Bombay Talkies” in the year 1934. Deviak Rani acted in her first movie ‘Karma’ produced and acted by Mr.Himanshu, in the year 1933, and in the film, she acted along with Himanshu in a kissing scene, running on the screen for 4 minutes, which is still a record in Indian Cinema History. 2./1970-18th NFA/Birendranth Sircar (1901-1980)/Bengali/ Mr.Sircar is the founder of International Filmcraft and New Theatres, Films companies, who built Cinema theatres in Kolkata. -
Trinity Media Review
July - December, 2015 Trinity Media Review Advisors Role of Negative Dr. R.K. Tandon Campaigning in Chairman, TIPS, Dwarka Legislative Assembly Ms. Reema Tandon Elections in Delhi 2015 Vice Chairperson, TIPS, Dwarka Ms. Arpan Rai 1 Dr. L.D. Mago Director General, TIPS, Dwarka Role of Community Radio in Women Empowerment Editor-in-Chief Ms. Ayushi Dimri 10 Dr. J.P. Singh Press Regulation during Editorial Board 19th Century in India Shri A.D. Lamba Ms. Ridhi Kakkar 16 Deputy Registrar, G.G.S.IP.U, Dwarka Dr. Ravi K. Dhar Director, JIMS, Vasant Kunj Dr. Ambrish Saxena Not Larger than Life Hero Professor & Dean, VIPS, Pitampura in Indian Cinema: Amol Palekar Dr. Geeta Bakshi Ms. Manmeet Kaur 25 Sr. Producer, Model Town Ms. Shruti Chopra Assistant Professor, TIPS, Dwarka Ms. Poonam Sharma Role of Media in Development Assistant Professor, TIPS, Dwarka of India Ms. Manmeet Kaur Dr. J.P. Singh 30 Assistant Professor Ms. Nisha Rani Assistant Professor Vol.1, No. 2 (2) Trinity Media Review Trinity Media Review (TMR) is a bi-annual online journal brought up by Department of Journalism and Mass Communication of Trinity Institute of Professional Studies. It covers the articles, case studies, reviews, research papers and other contributions that are made by academicians and media professionals on the vaious media issues. Disclaimer: The views and opinions presented in the articles, case studies, research work and other contributions published in Trinity Media Review (TMR) are solely attributable to the authors of respective contributions. If these are contradictory to any particular person or entity, TMR shall not be liable for the present opinions, inadequacy of the information, any mistakes or inaccuracies. -
SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices UNIT – V Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA Lumiere brothers The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments. -
SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments. -
Lights, Camera, Laughs
Lights, Camera, Laughs Hindu Business Line, Blink, August 1, 2020 Imagine an adult masquerading as an overgrown child in shorts; imagine the same man dressed in drag trying to fob off the lecherous advances of the film’s villain; and then imagine him singing both the male and female parts of a duet. All this was done by Kishore Kumar – the versatile genius of the Hindi film industry. The film was the 1962 laugh-a-minute classic Half Ticket, which to this date remains one of the funniest films made in Bollywood. Like its song-and-dance routines, comedy has always been an integral part of Hindi cinema. Conforming to the rasa theory of Natya Shastra, the Hindi film-makers made sure that hasya rasa, like shringar and veer rasa, was always incorporated in their work. Comedy was largely incidental to the main plot of the film; comic interludes, again like the songs, were mostly included as breaks and to provide “comic relief” to the audience. The comedy sequences would usually be there in the first half of the film before the second half with its intense melodrama led to its climax. For the most part, the roles went to actors who specialised in these roles. From Gope to Johnny Walker, the performers were as well known as the leading actors. As soon as one saw their names in the credits one knew that there would be some comic entertainment. Of course, each of these great comedians had an exceptional sense of timing which is absolutely essential for comedy. But they also had their distinctive styles, mannerisms and persona which were cultivated in film after film. -
Lights, Camera, Laughs Once Upon a Time, the Slapstick Humour of the Comedian Was As Integral to a Hindi film As the Swagger of the Hero
cover saturday, august 1, 2020 BL 6 Ĩ Lights, camera, laughs Once upon a time, the slapstick humour of the comedian was as integral to a Hindi film as the swagger of the hero Lead the way Mehmood (left), seen here with Sunil Dutt in Padosan, could carry a film on his own magine an adult masquerading as an Comedy also brought with it song se or adventures. There are, unfortunately, only a overgrown child in shorts; imagine the quences: Johnny Walker wooing a dimple handful of such instances in the Hindi lm Isame man dressed in drag, trying to fob cheeked woman under an oce desk in Mr. industry. o the lecherous advances of the lm’s and Mrs. 55 (1955) with Jaane kahan mera jigar Fewer still are satires, especially political villain; and then imagine him singing both gaya ji; a cherootsmoking Gope wearing a satires. The origins of comedy in ancient the male and female parts of a duet. Burmese longyi and swinging his rotund Greece were in the political satire of Aristo All this was done by Kishore Kumar — the frame in the still popular Mere piya gaye Ran- phanes. However, in Hindi cinema, apart from versatile genius of the Hindi lm industry. The goon from Patanga (1949); and Mehmood and the cult Jaane Bhi Do Yaaro (1983) and Motilal’s lm was the 1962 laughaminute classic Half Shubha Khote in several lms from the early classic Mr. Sampath (1952), one can’t really Ticket, which, to this date, remains one of the 1960s. -
5B76cb5ada10c-1319518-Sample.Pdf
Notion Press Old No. 38, New No. 6 McNichols Road, Chetpet Chennai - 600 031 First Published by Notion Press 2018 Copyright © Rammesh 2018 All Rights Reserved. ISBN 978-1-64324-954-4 This book has been published with all efforts taken to make the material error-free after the consent of the author. However, the author and the publisher do not assume and hereby disclaim any liability to any party for any loss, damage, or disruption caused by errors or omissions, whether such errors or omissions result from negligence, accident, or any other cause. No part of this book may be used, reproduced in any manner whatsoever without written permission from the author, except in the case of brief quotations embodied in critical articles and reviews. All photos in this book are screenshots from the DVDs/VCDs of respective films. CONTENTS Acknowledgments . .vii Author’s Note . ix PART 1 1. The Human Cinema: Hrishikesh Mukherjee and His Films � � � � � � � � � � � � � � � � � 3 2. The World of Hrishida � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 15 Humans and Interdependence � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16 The Poor Are Rich at Heart While the Rich Are Poor at Heart � � � � � � � � � � � � � � 18 Playing Against Type � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 19 Truly Wacky Eccentrics � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 22 Female-Centric Films � � � � � � � � � � � �