Professional Film Making)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Maharashtra's Marathi Multiplex Story
ISSN (Online) - 2349-8846 Maharashtra's Marathi Multiplex Story Is the Gesture Simply Tokenistic? ANANYA PARIKH, NIKHIL NARKAR Vol. 50, Issue No. 16, 18 Apr, 2015 Nikhil Narkar ([email protected]) and Ananya Parikh ([email protected]) teach part time at the School of Liberal Arts at Symbiosis University, Pune and are pursuing their PhD in Cinema Studies from Jawaharlal Nehru University, New Delhi. The recent diktat of the Maharashtra state government about showcasing Marathi cinema at multiplexes during prime time has met with both criticism and support. This decision, although necessary, is no more than a tokenistic gesture to preserve regional culture and is governed by the rules of consumerism. On 7 April 2015, Vinod Tawde, Maharashtra’s minister for cultural affairs, announced that the government was in the process of enacting a law that would make it compulsory for all multiplexes across the state to reserve one screen for exhibiting a Marathi film during prime time hours in the evening (6-9 pm). This decision, he declared, was taken keeping in mind the step sisterly treatment meted out to the growing Marathi film industry by multiplex exhibitors. A day and several responses/reactions/tweets later, the government revised its decision. Tawde, also the head of the Marathi language department, issued a new statement saying that after consultations with both the Marathi film producers as well as the multiplex owners it was decided that Marathi films would be screened between 12 pm-9 pm at multiplexes. A four-member committee, with representations from all interested groups, would determine the actual timing for screening each film keeping in mind the content and the target audience. -
0X0a I Don't Know Gregor Weichbrodt FROHMANN
0x0a I Don’t Know Gregor Weichbrodt FROHMANN I Don’t Know Gregor Weichbrodt 0x0a Contents I Don’t Know .................................................................4 About This Book .......................................................353 Imprint ........................................................................354 I Don’t Know I’m not well-versed in Literature. Sensibility – what is that? What in God’s name is An Afterword? I haven’t the faintest idea. And concerning Book design, I am fully ignorant. What is ‘A Slipcase’ supposed to mean again, and what the heck is Boriswood? The Canons of page construction – I don’t know what that is. I haven’t got a clue. How am I supposed to make sense of Traditional Chinese bookbinding, and what the hell is an Initial? Containers are a mystery to me. And what about A Post box, and what on earth is The Hollow Nickel Case? An Ammunition box – dunno. Couldn’t tell you. I’m not well-versed in Postal systems. And I don’t know what Bulk mail is or what is supposed to be special about A Catcher pouch. I don’t know what people mean by ‘Bags’. What’s the deal with The Arhuaca mochila, and what is the mystery about A Bin bag? Am I supposed to be familiar with A Carpet bag? How should I know? Cradleboard? Come again? Never heard of it. I have no idea. A Changing bag – never heard of it. I’ve never heard of Carriages. A Dogcart – what does that mean? A Ralli car? Doesn’t ring a bell. I have absolutely no idea. And what the hell is Tandem, and what is the deal with the Mail coach? 4 I don’t know the first thing about Postal system of the United Kingdom. -
{Replace with the Title of Your Dissertation}
Vernacular Englishes: Language and Democratic Politics in Post-Liberalization India A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Akshya Saxena IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Shaden M. Tageldin June 2016 © Akshya Saxena 2016 Acknowledgements I am grateful to all my committee members for always, as the expression goes, keeping it real. Through my graduate years at the University of Minnesota, they encouraged me, provided transformative ways to develop my idea, cheered me on, asked me to slow down, posed incisive questions, and demanded clarity and nuance in my responses. At the end of the first full draft of this project, it is their questions that I see as the surest sign of their faith in this work; an honor and a gift. John Mowitt, Simona Sawhney, and Ajay Skaria have written countless reference letters for me, met me in person and on Skype at very short notices, responded to concerns from near and far, and remained flexible across incredible schedules and conflicting time zones. For all this and more, they will always have my gratitude. Shaden Tageldin has been the most extraordinary dissertation adviser. In ways big and small, she has shown a tireless attentiveness to this project and to my scholarly career. Her intellectual rigor, enthusiasm, patience, and generosity will forever be an inspiration for my work, as they have been its most enabling beginnings. This project has been made possible by the timely and generous support of a number of grants and fellowships. A Graduate School Fellowship, Graduate Research Partnership Program, and an Edward W. -
Project Report 01 REVISED
Project Report on The Second Edition of TM SEP 24-27, 2016 with the support of HYDERABAD Telangana, India Prepared by Sohan Roy S.K Founder Director -Indywood Film Carnival www.indywood.co.in PROJECT 15 EVENTS 4 DAYS 1 VENUE IA SOUTHOUTH ASIA'S AS India is a unique country, with people of diverse religions, languages, heritage & culture BBIGGESTIGGEST F I L M M A R K E T living together as one nation. Indian cinema, apart from being the chief source of INDYWOOD entertainment, place it's role as a great unifier of people too. Spreading the wings of F I L M M A R K E T Investors MEET liberation, our films went through a series of major transformations, encompassing varied hues of human emotions while blending them with vibrance and magic of the big screen. Though the largest film producing nation in the world, India lags behind the global standards in terms of quality of distribution and exhibition of films, ranking far behind in the list of the 2016 best movie making industries in the world. The lag is mainly due to the fragmentation of the industry on the basis of language and geographical barriers within the country. The 10 Billion EXCELLENCE USD 'Project Indywood' conceptualized by the globally acclaimed filmmaker Sohan Roy, AWARDS CONFERENCE & PANEL envisages sweeping and revolutionary changes in the production, screening and marketing AWARDS 2016 DISCUSSIONS strategies as well as business model of the Indian cinema. The successful completion of this five year project is expected to elevate India to the pinnacle of global film industry. -
Final Brouchre.Cdr
presents The 10th HABITAT FILM FESTIVAL 2015 May 8 - 17 2015 Ten years ago, we began the Habitat Film Festival, to turn the spotlight on the wealth of Pan Indian Cinema, which in addition to being largely overshadowed by Bollywood, had been relegated to an 'also showing 'status at Film Festivals, tripping over themselves to add the 'International' 'Asian' 'European' tag as a feather in their caps. In the last ten years the face of Indian cinema has seen the most dramatic turnaround. A brave new breed of young directors, fresh ideas, skilled professionals re-invented the face of Indian cinema adding their weight to the work of existing stalwarts who had stuck to their art. Today, the presence, appreciation, awards and accolades for Indian films in the international arena is increasingly becoming the norm rather than a novelty. Bollywood, though as popular (if not more than earlier !) is no longer the sole face of Indian cinema. Celebrating ten years of The Habitat Film Festival, we bring you gems from the last year that showcase the variety and passion of our contemporary film makers. In our tribute segment, we honour the inimitable and unmatchable tower of talent Kamaal Hasan with a retrospective of some of his hand picked films. Screenings will be followed by interactions with directors/producers giving cinema lovers an opportunity of a focused interaction and Q & A. FESTIVAL AT A GLANCE MAY 8 Friday 6:00pm Margarita With A Straw (Hindi/English/2015/100mins) Dir.Shonali Bose 9:00pm Teen Kahon (Three Obsessions) (Bengali/2014/124mins) -
Sohan Roy S.K Founder Director -Indywood Film Carnival 16 EVENTS 4 DAYS 1 VENUE
Project Report on The Third Edition of with the support of HYDERABAD Telangana, India Prepared by Sohan Roy S.K Founder Director -Indywood Film Carnival www.indywood.co.in 16 EVENTS 4 DAYS 1 VENUE SOUTH ASIA'S BIGGEST F I L M M A R K E T INDYWOOD F I L M M A R K E T Investors MEET 2017 NDYWOODl 2017 EXCELLENCE AWARDS CONFERENCE & PANEL TALENT HUNT AWARDS 2017 DISCUSSIONS PRODUCT& MEDIA PROJECT INTERACTIONS LAUNCHES RED CARPET EVENTS & WORKSHOPS & ANIMATION NETWORKING SEMINARS DAY FILMTOURISM PARTIES HYDERABAD Telangana, India 16 EVENTS 4 DAYS 1 VENUE SOUTHOUTH ASIA'S ASIA BBIGGESTIGGES T F I L M M A R K E T INDYWOOD F I L M M A R K E T Investors 2017 MEET EXCELLENCE AWARDS AWARDS 2017 CONFERENCE l NDYWOOD DISCUSSIONS& PANEL TALENT HUNT 2017 MEDIA INTERACTIONS PRODUCT& PROJECT LAUNCHES RED CARPET FILM EVENTS & TOURISM NETWORKING WORKSHOPS & PARTIES SEMINARS ANIMATION DAY HYDERABAD Telangana, India PROJECT 'Cinema' has always been known as a language which speaks volume about the culture, ideology and politics of a particular country whereby breaking all societal barriers to bridge the gap between East and West. They drive our work and bring us together to celebrate creativity and passion. With a population of over 1.2 billion and with over 2500 movies produced each year, it is regarded as the largest producer of films in the world in terms of theatrical releases and revenue, but due to its highly disintegrated regional demographic, the Indian film industry has been unable to become No:1 in the global film market. -
K.Ramachandra Babu , ISC -.:: GEOCITIES.Ws
K.Ramachandra Babu , ISC Cinematographer ADITYA Phone : +91-471-2472797 1, Akshara Veedhi, Mobile : 94470 79727 Pettah, E-mail: [email protected] Thiruvananthapuram - 695024. Website: www.ramachandrababu.com INDIA Date of Birth December 15, 1947 Place of Birth Maduranthakam, Chengalpattu District, Tamil Nadu, INDIA Name of Spouse K. Lathika Rani Names of Children Abhishek R.Babu, Abhilash R.Babu Filmography Worked as Director of Photography for the past 35 years in nearly 125 Feature Films in Six Languages ( Hindi, Telugu, Tamil, Malayalam, Arabic and English ). Also had done several Documentaries and Advertisement shorts. Many of the films were acclaimed Nationally and Internationally. Some of the Important Films : NIRMALYAM ( 1973 – National Award for Best Feature Film, Director : M.T.Vasudevan Nair ) SWAPNADANAM ( 1975 – Kerala State Best Film, Director : K.G.George ) BANDHANAM ( 1978 – Kerala State Best Film Dir : M.T.Vasudevan Nair ) AGRAHARATHIL KAZHUTHAI ( 1978 – Best Tamil Film – National Award, Director : John Abraham ) ITHA IVIDE VARE (Malayalam - 1977) – Dir: I.V.Sasi PATITA ( 1980 – Hindi, Director I.V.Sasi ) YAVANIKA ( Dir : K.G.George ) & MARMARAM ( Dir : Bharathan ), both Kerala State Best Film Award – 1982 PADAYOYTTAM – First Malayalam 70 mm Feature Film, 1982. ( Dir: Jijo ) PAGAL NILAVU - ( 1985 – Tamil, Director : Mani Rathnam ) ORU VADAKKAN VEERA GAADHA ( 1989 – Malayalam, Director : Hariharan ) AADHARAM ( 1992 – Malayalam , Director : George Kithu ) SALLAPAM (1996 – Malayalam , Director :Sunder Das ) GHAZAL (1993 – Malayalam, Director : Kamal ) KANMADHAM ( 1998 – Malayalam, Director : Lohitadas) BEYOND THE SOUL ( English – 2003 – Dir: Rajiv Anchal ) AL BOOM ( Arabic – 2005 – Dir: Khalid Al Zadjali ) Education B.Sc. (Chemistry ) Loyola College, Madras ( 1963 - 1966) D.C. ( M.P.P. -
DIRECTORS: Satyajit Ray Satyajit Ray Directed 36 Films, Including
DIRECTORS: Satyajit Ray Satyajit Ray directed 36 films, including feature films, documentaries and shorts.. Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies, and an honorary Academy Award in 1992. Satyajit Ray's films are both cinematic and literary at the same time; using a simple narrative, usually in a classical format, but greatly detailed and operating at many levels of interpretation. His first film, Pather Panchali (Song of the little road, 1955) established his reputation as a major film director, winning numerous awards including Best Human Document, Cannes, 1956 and Best Film, Vancouver, 1958. It is the first film of a trilogy - The Apu Trilogy - a three-part tale of a boy's life from birth through manhood. The other two films of this trilogy are Aparajito (The Unvanquished, 1956) and Apur Sansar (The World of Apu, 1959). His later films include Jalsaghar (The Music Room, 1958), Devi (The Goddess, 1960), Teen Kanya (Two Daughters, 1961),Charulata (The Lonely Wife, 1964), Nayak (The Hero, 1966), Asani Sanket (Distant Thunder, 1973), Shatranj Ke Khilari(The Chess Players, 1977), Ghare Baire (The Home and the World, 1984), Ganashatru (An Enemy Of The People, 1989) and Shakha Prashakha (Branches Of The Tree, 1991). Agantuk (The Stranger, 1991) was his last film. Mahesh Bhatt Mahesh Bhatt is a prominent Indian film director, producer and screenwriter. Bhatt's early directional career consisted of acclaimed movies, such as Arth, Saaransh, Janam, Naam, Sadak and Zakhm. He was later the writer of numerous commercial films in a range of genres, from dramas like Hum Hain Rahi Pyar Ke and comedies like Duplicate, though he was mostly recognised for thrillers like Inteha, Jism, Murder and Woh Lamhe. -
An Indian Cameraman SAGE Publications Los Angeles, London, New Delhi, Singapore, Washington DC DOI: 10.1177/097492761200483050
LeadershipFieldwork Insights from Jaina text Saman Suttam 81 BioScope In the Light of Experience: 4(1) 81–92 © 2013 Screen South Asia Trust An Indian Cameraman SAGE Publications Los Angeles, London, New Delhi, Singapore, Washington DC DOI: 10.1177/097492761200483050 http://bioscope.sagepub.com Anand Pandian Abstract Light invites an epic scale of imagination. Focusing on the thought and work of a contemporary Indian cameraman, this article explores experience of light in cinema. I examine practical struggles to engage light’s movement and potency, in relation to cinematographic problems of composition, effect, and aes- thetics. Relying most closely on ethnographic fieldwork with a studio set constructed for a 2010 Tamil feature film, the article devotes sustained attention to the interplay between luminescent philosophy and practice—to interrelated forms of thinking and working with light. Keywords Cinematography, light, visuality, experience, ethnography, Tamil cinema, studio, image Anand Pandian is Associate Professor in the Department of Anthropology, Johns Hopkins University, US. E-mail: [email protected] Downloaded from bio.sagepub.com at JOHNS HOPKINS UNIV on June 17, 2013 82 In the Light of Experience Night and day, moon and sun, the invisible and the visible—experience of light seems always to shuttle between these poles. Passage between them is sometimes gradual: step through the doors into a vast, black space, and as the aperture of your pupils slowly opens, the span between light and darkness grows in depth and texture. Then there are those movements so fast that they remain imperceptible. A shutter steadily beats, open and closed, and a world comes into flickering life. -
Project Report 01 REVISED.Cdr
Project Report on The Second Edition of TM SEP 24-27, 2016 with the support of HYDERABAD Telangana, India Prepared by Sohan Roy S.K Founder Director -Indywood Film Carnival www.indywood.co.in PROJECT 15 EVENTS 4 DAYS 1 VENUE A'S SOUTH ASI India is a unique country, with people of diverse religions, languages, heritage & culture GEST BIG AR KE T F I L M M living together as one nation. Indian cinema, apart from being the chief source of INDYWOODK ET entertainment, place it's role as a great unifier of people too. Spreading the wings of FI L M MAR Investors MEET liberation, our films went through a series of major transformations, encompassing varied hues of human emotions while blending them with vibrance and magic of the big screen. Though the largest film producing nation in the world, India lags behind the global standards in terms of quality of distribution and exhibition of films, ranking far behind in the list of the 2016 best movie making industries in the world. The lag is mainly due to the fragmentation of the industry on the basis of language and geographical barriers within the country. The 10 Billion EXCELLENCE USD 'Project Indywood' conceptualized by the globally acclaimed filmmaker Sohan Roy, AWARDS CONFERENCE & PANEL envisages sweeping and revolutionary changes in the production, screening and marketing AWARDS 2016 DISCUSSIONS strategies as well as business model of the Indian cinema. The successful completion of this five year project is expected to elevate India to the pinnacle of global film industry. The 10 Billion USD investment in India is channelled through a consortium of 2000 corporate firms and NRI investors in the form of 10,000 new 4K projection multiplex screens, 100,000 2K projection home cinemas, film studios, animation/ VFX studios and film schools NDYWOODl 2016 MEDIA PRODUCT& conforming to international standards.