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South Asia Multidisciplinary Academic Journal , Free-Standing Articles Madurai Formula Films: Caste Pride and Politics in Tamil Cinema 2
Edinburgh Research Explorer Madurai Formula Films Citation for published version: Damodaran, K & Gorringe, H 2017, 'Madurai Formula Films', South Asia Multidisciplinary Academic Journal (SAMAJ), pp. 1-30. <https://samaj.revues.org/4359> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: South Asia Multidisciplinary Academic Journal (SAMAJ) General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 South Asia Multidisciplinary Academic Journal Free-Standing Articles Madurai Formula Films: Caste Pride and Politics in Tamil Cinema Karthikeyan Damodaran and Hugo Gorringe Publisher Association pour la recherche sur l'Asie du Sud (ARAS) Electronic version URL: http://samaj.revues.org/4359 ISSN: 1960-6060 Electronic reference Karthikeyan Damodaran and Hugo Gorringe, « Madurai Formula Films: Caste Pride and Politics in Tamil Cinema », South Asia Multidisciplinary Academic Journal [Online], Free-Standing Articles, Online since 22 June 2017, connection on 22 June 2017. URL : http://samaj.revues.org/4359 This text was automatically generated on 22 June 2017. -
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. -
Revised Syllabus
1 REVISED SYLLABUS for MASTER OF ARTS (M.A. HISTORY) FACULTY OF SOCIAL SCIENCES M.A. Part II (Semester III and IV) (CBCS based Syllabus implemented from June 2018 onwards) 2 Syllabus for M.A. Social Science (CBCS) Semester III and IV) (introduced form June 2018) Rules regarding selection of Elective papers for Semester III and IV In addition to the two Core/ Compulsory papers the students will have to choose two papers from the Elective Groups- A,B,C,D, and E The two elective papers should be from different Elective Groups. M.A. Part II (History) SEMESTER III Course Type of Course M.A. Part II (History) SEMESTER III No Name of Course 301 Core / Compulsory Traditions of History Writing 302 Core/ Compulsory Twentieth Century World (1900 to 1950 ) SEMESTER III ELECTIVE GROUP A (Choose only one paper from the group) 303 Elective Ancient South Asian Civilizations 304 Elective Ancient European Civilizations 305 Elective Ancient West Asian Civilizations 306 Elective Ancient Civilizations in American Continent SEMESTER III ELECTIVE GROUP B (Choose only one paper from the group) 307 Elective Nationalist China (1900 – 1950) 308 Elective History of Modern Japan (1868 to 1945) 309 Elective Twentieth Century West Asia 310 Elective History of Russia ( 1900- 1950) SEMESTER III ELECTIVE GROUP C (Choose only one paper from the group) 311 Elective Interdisciplinary Research Methods 312 Elective The Practice of Oral History 313 Elective Concepts and Methods of Local History 314 Elective History in Digital Age SEMESTER III ELECTIVE GROUP D (Choose only one paper from the group) 315 Elective History of Cinema 316 Elective Marathi Literature and History in Colonial India 317 Elective Understanding India through Cinema 318 Elective Forts of Maharashtra SEMESTER III ELECTIVE GROUP E (Choose only one paper from the group) 319 Elective Maritime History of India 320 Elective Economic History of 19th Century India 321 Elective Environmental History of India 322 Elective History of Science and Technology in India 3 M.A. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America. -
1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017). -
The Reel Latina/O Soldier in American War Cinema
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-26-2012 12:00 AM The Reel Latina/o Soldier in American War Cinema Felipe Q. Quintanilla The University of Western Ontario Supervisor Dr. Rafael Montano The University of Western Ontario Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Felipe Q. Quintanilla 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Quintanilla, Felipe Q., "The Reel Latina/o Soldier in American War Cinema" (2012). Electronic Thesis and Dissertation Repository. 928. https://ir.lib.uwo.ca/etd/928 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE REEL LATINA/O SOLDIER IN AMERICAN WAR CINEMA (Thesis format: Monograph) by Felipe Quetzalcoatl Quintanilla Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the requirements for the degree of PhD in Hispanic Studies The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Felipe Quetzalcoatl Quintanilla 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958. -
Amy-Jill Levine
13 December 2018 Amy-Jill Levine University Professor of New Testament and Jewish Studies Mary Jane Werthan Professor of Jewish Studies Professor of New Testament Studies Divinity School and College of Arts and Science Vanderbilt University 411 21st Ave. S. Nashville, TN 37240 615-343-3967 (office) 615-343-9957 (fax) [email protected] ** Affiliated Professor Woolf Institute: Centre for the Study of Jewish-Christian Relations 12-14 Grange Road Cambridge CB3 9DU [email protected] Education: Smith College, Northampton, MA, B.A. (Magna cum Laude; High Honors in English and Religion), 1978. Duke University, Durham, NC, M.A. (Religion), 1981. Master's Thesis: "Universalism and Exclusivity: The Matthean Program of Salvation." Director: D. Moody Smith. Duke University, Durham, NC, Ph.D. (Religion), 1984. Dissertation: "The Matthean Program of Salvation History: A Contextual Analysis of the Exclusivity Logia." Director: D. Moody Smith. NEH Summer Institute, participant. Judaism and the Liberal Arts. Brown University, 1988; review conference, 1989. Honors, Fellowships, Grants: University of Richmond, Richmond, VA, Doctor of Divinity (hon.), 2003. Episcopal Theological Seminary of the Southwest, Austin, TX, Doctor of Humane Letters (hon.), 2008. University of South Carolina-Upstate, Spartanburg, SC, Doctor of Religious Education (hon.), 2009. Drury University, Springfield, MO, Doctor of Humane Letters (hon.), 2010. Christian Theological Seminary, Indianapolis, IN, Doctor of Humane Letters (hon.), 2011. Franklin College, Franklin, IN, Doctor of Divinity (hon.), 2015. --- NEH Assessment Committee: Religion and Asian Studies, 2018 --- Board of Electors to the Lady Margaret’s Professorship of Divinity, Cambridge University (2017-18). --- Levine 2 Invitation, plenary, 7th Annual Parliament of the Word’s Religions (Toronto, 2018), Women’s Assembly (declined with regret). -
A Study on Portrayal of Gender in National Awarded Malayalam Films Amaljith N
IJARSCT ISSN (Online) 2581-9429 International Journal of Advanced Research in Science, Communication and Technology (IJARSCT) Volume 4, Issue 2, April 2021 Impact Factor: 4.819 A Study on Portrayal of Gender in National Awarded Malayalam Films Amaljith N. K1 and Rani T Jose2 M. Phil. Research Scholar, Department of Communication1 Manonmaniam Sundaranar University, Tirunelveli, Tamil Nadu, India Under Graduate Student, Bachelor of Arts in Psychology, English, Journalism2 St. Claret College, Bangalore University, Bangalore, Karnataka, India Abstract: There are many movies represented women’s issues and concerns in the films. But most movies women were portrayed for sheer beauty and attraction. Women in cinema start with an object of love and end in marriage. And it’s a fact is that roles for women and women characters are far below as proportionality. Women film makers and actresses criticise that the media represent the interests of the elite class or superior gender and women has nothing in it. The glory and success of women and their contribution toward society and their fighting toward the evils and stereotypes never get proper respect and appreciation. And gender representation in cinema is one of the main concern in the present scenario. It’s a fact that the majority of women characters tends to reinforce harmful gender stereotypes. The Malayalam film industry is one of the most influential film industries in India. Each year plentiful movies are beholding the silver screen. Movies with varied genres and out of the box thoughts are the main highlights of the Malayalam film industry. There are many pieces of research made on the portrayal of women or gender in popular films. -
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.