The Beauty Obsession
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Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: a Multigenerational Comparison
Exploring the Relationship between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison by Priya Lena Sharda A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Social Justice Education Ontario Institute for Studies in Education University of Toronto © Copyright by Priya Lena Sharda, 2020 i Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison Priya Lena Sharda Doctor of Philosophy Graduate Department of Social Justice Education University of Toronto 2020 Abstract Colourism or skin colour stratification is a persistent dilemma for people in India. Socially and culturally constructed definitions of beauty based on skin tone, represent Western realities and continue to sustain beauty ideals that shape the beliefs and practices around fair skin for women. The study of skin tone and its relationship to self-esteem is essential in expanding upon the limited research examining the intersections between body image and the sociocultural experiences of South Asian Indian women. Against the backdrop of Western hegemony, the research discusses how a fair skin beauty ideal impacts different generations of women in New Delhi. More specifically, investigating the relationship between skin tone and self-esteem among women in South Asian families through a multigenerational comparison, provides a deeper understanding of how skin tone bias is perpetuated, while reinforcing and normalizing white heteropatriarchy. Skin tone bias is disseminated through the family, culture and media. The narratives highlight how skin tone bias manifests itself among adult women in different South Asian family units according to their life stage and membership in the family. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
A Facilitator's Guide for Ngo Screenings
GIRL RISING A FACILITATOR’s Guide FOR NGO SCREENINGS TaBLE OF CONTENT SECTION 1 GIRL RISING CAMPAIGN 3 SECTION 4 DISCUSSION QUESTIONS 14 • About the Girl Rising Film 4 SECTION 5 CALL TO ACTION 22 • Special NGO Edition 4 ANNEXURES 23 SECTION 2 FOR THE FACILITATOR 8 1. Background on Making of • Objective of the Guide 8 Girl Rising: The Story behind • For the Facilitator 9 the Stories 23 • Facilitation Tips 10 2. About Empowering Next • The Dos and Don’ts of Generations to Advance Girls’ Facilitating 10 Education (ENGAGE) 25 3. Partnership with Save the SECTION 3 PLANNING FOR THE Children 26 SCREENING 13 • How to use the Girl Rising NGO Special Edition 13 • Who is the audience? 13 SECTION 1 GIRL RISING CAMPAIGN The Girl Rising India Campaign aims to reach girls and boys, their families, communities, and other decision-makers to raise awareness about the power and benefit of girls’ education. Through powerful story-telling, the campaign aims to generate public dialogue on gender and education issues as well as spark community-led change as individuals who are motivated by these stories choose to address barriers to girls’ education in their own communities. The Campaign’s vision is to change the way the girl child is valued in the society, to increase access to equitable, quality education for girls, reduce gender disparity in education in India through the medium of storytelling and films, and thereby increase investment in girls education and investment programs. 3 ABOUT THE GIRL RISING With this in mind, the film helps focus the audience on three very important facets. -
1. Who Is the Prime Minister of India? A. Sharad Pawar B
1. Who is the Prime minister of India? a. Sharad Pawar b. Narendra Modi c. Lalu Prasad Yadav d. Rahul Gandhi Correct answer – b 2. Dr. Patangrao Kadam, who passed away, was associated with which political party? a. Indian National Congress b. Bharatiya Janata Party c. Nationalist Congress Party d. Communist Party of India (Marxist) Correct answer – a 3. Which cricket team has won the 45th edition of the Deodhar Trophy 2018? a. Karnataka b. Gujarat c. India B d. Tamil Nadu Correct answer – c 4. The Indian Space Research Organisation (ISRO) has tied up with which PSU company to develop low-cost lithium ion batteries for electric vehicles? a. Antrix Corporation b. Bharat Heavy Electricals Ltd (BHEL) c. Bharat Dynamics d. Bharat Electronics Ltd Correct answer – b 5. __________________ is the Miss World 2018 a. Manushi Chhillar b. Sushmita Sen c. Aishwarya Rai d. Lara Dutta Correct answer – a 6. Which Bollywood actress will be honoured with the Dadasaheb Phalke Award as Internationally Acclaimed Actress? a. Priyanka Chopra b. Aishwarya Rai Bachchan c. Deepika Padukone d. Sonam Kapoor Correct answer – a 7. Which union minister has recently launched a Swachh Survekshan (Gramin) -2017? a. Rajnath Singh b b. Narendra Modi c. M Venkaiah Naidu d. Narendra Singh Tomar Correct answer – d 8. Which city is hosting the first International exhibition and Conference on AYUSH and Wellness sector “AROGYA 2017”? a. Pune b. Jaipur c. New Delhi d. Lucknow Correct answer – c 9. Who will lead India in ICC Under-19 Cricket World Cup 2018? a. Riyan Parag b. Himanshu Rana c. -
Miss World Winners List in Hindi
Copyright By www.taiyarihelp.com Miss World Winners List in Hindi हम आप सभी प्रतियोगी छात्रⴂ को बिा दे की जो वि饍यार्थी ककसी भी एक ददिसीय परीक्षा की िैयारी Miss World कर रहे है !! उनको यह जानना बहुि ही ज셁री होिा है 啍यⴂकी अ啍सर परीक्षा मᴂ Winners List से प्र�न पूछे जािे है| आज हम (1951 से लेकर 2018) िक के सारे Miss World Winners के नाम हℂ को लेकर आए है जजसे आप सभी तनचे वििार से पढ़ सकिे है !!! अगर आपको यह नो絍स अ楍छे लगे िो हमᴂ कमᴂट करके ज셁र बिाए. List of Miss World Winners List :- • 1951 – कीकी हा कामसन (Kiki Håkansson) – वीडन (Sweden) • 1952 – लु ुई फ्लॉडडन (Louise Flodin) – वीडन (Sweden) • 1953 – डडनायस पेररया (Denise Perrier) – फ्ा車स ( France) • 1954 – एटिगान कोिाडा (Antigone Costanda) – ममस्र (Egypt) • 1955 – सुजाना दु ुव्जम (Susana Duijm) – वेनजे ुएला (Venezuela) • 1956 – पे絍िा सरमान (Petra Schürmann) – जममनी (Germany) • 1957 – मेररिा मल車डस (Marita Lindahl) – फिनलℂड (Finland) • 1958 – पेनेलोप ऐनी काुेुेलेन (Penelope Anne Coelen) – दक्षिण अफ्ीका (South Africa) • 1959 – कोराइन राि हैयर (Corine Rottschäfer) – नीदरलℂ蕍स (Netherlands) • 1960 – नोमाम कपा嵍ले (Norma Cappagli) – अजᴂिीना ( Argentina ) • 1961 – रोजी मेरी िᴂकले (Rosemarie Frankland) – इ車गलℂड (England) • 1962 – कैथरीन ला蕍मस (Catharina Lodders) – नीदरलℂ蕍स (Netherlands) • 1963 – कैुैरोल जोन कािोडम (Carole Joan Crawford) – जमैका (Jamaica) • 1964 – एनी ए मसडनी (Ann Sydney) – इ車गलℂड (England) • 1965 – लेली लℂ嵍ले (Lesley Langley) – इ車गलℂड (England) • 1966 – रीता िाररया (Reita Faria) – भारत (India) Design By www.taiyarihelp.com & www.taiyarihelp.com Copyright By www.taiyarihelp.com -
Representation of Sikh Character in Bollywood Movies:A Study on Selective Bollywood Movies
PJAEE, 17(6) (2020) REPRESENTATION OF SIKH CHARACTER IN BOLLYWOOD MOVIES:A STUDY ON SELECTIVE BOLLYWOOD MOVIES Navpreet Kaur Assistant Professor University Institute of Media Studies, Chandigarh University, Punjab, India [email protected] Navpreet Kaur, Representation Of Sikh Character In Bollywood Movies: A Study On Selective Bollywood Movies– Palarch’s Journal of Archaeology of Egypt/Egyptology 17(6) (2020), ISSN 1567-214X. Keywords: Bollywood, Sikh, Sikh Character, War, Drama, Crime, Biopic, Action, Diljit Dosanhj, Punjab Abstract Sikhs have been ordinarily spoken to in mainstream Hindi film either as courageous warriors or as classless rustics. In the patriot message in which the envisioned was an urban North Indian, Hindu male, Sikh characters were uprooted and made to give entertainment. Bollywood stars have donned the turban to turn Sikh cool, Sikhs view the representation of the community in Bollywood as demeaning and have attempted to revive the Punjabi film industry as an attempt at authentic self-representation. But with the passage of time the Bollywood makers experimented with the role and images of Sikh character. Sunny Deol's starrer movie Border and Gadar led a foundation of Sikh identity and real image of Sikh community and open the doors for others. This paper examines representation of Sikhs in new Bollywood films to inquire if the romanticization of Sikhs as representing rustic authenticity is a clever marketing tactic used by the Bollywood. Introduction Bollywood is the sobriquet for India's Hindi language film industry, situated in the city of Mumbai, Maharashtra. It is all the more officially alluded to as Hindi film. The expression "Bollywood" is frequently utilized by non-Indians as a synecdoche to allude to the entire of Indian film; be that as it may, Bollywood legitimate is just a piece of the bigger Indian film industry, which incorporates other creation communities delivering films in numerous other Indian dialects. -
Girl Rising India
GIRL RISING INDIA Building a Movement for Girls Through Powerful Storytelling Girl Rising uses the power of storytelling to inspire, shift attitudes and change behavior. In India, Girl Rising’s powerful media tools have made meaningful strides towards increasing the agency of girls and women, and inspiring community members to support the movement for gender equality. Girl Rising Film Comes To India After a close consultation with Prime Minister Narendra Modi and a partnership with the Ministry of Women and Child Development, the Girl Rising film was launched in India in August 2015 as Woh Padhegi, Woh Udegi (She Learns, She Rises) on Star television, which has a network of 450 million viewers across the country and a reach of 100+ countries. The film harnessed the talents of India’s biggest Bollywood stars including Priyanka Chopra, Freida Pinto, Parineeti Chopra, Kareena Kapoor Khan, Madhuri Dixit, Sushmita Sen, Amitabh Bachchan, Nandita Das, Farhan Akhtar, and Alia Bhatt, all of whom lent their voices to the film. Celebrities promoted the launch through their social media networks, and #IAMGirlRising trended No. 1 on Twitter India. Film Screenings To stir important conversations about girls’ education among corporations, communities, universities and neighborhoods, a screenings program was launched soon after the television broadcast of the film. Under this program, Woh Padhegi, Woh Udegi was re-purposed for NGO and corporate audiences. Each version consisted of 3 stories from Woh Padhegi, Woh Udegi and was complemented by a screenings toolkit that contained resources including discussion guides, Director’s Q&A, and promotional materials to help steer conversations around barriers to education. -
Motherhood, Women Issues and Masculinity: Deconstructing Global Beauty Pageants
International Journal of Research on Social and Natural Sciences Vol. III Issue 1 June 2018 ISSN (Online) 2455-5916 Journal Homepage: www.katwacollegejournal.com Motherhood, Women Issues and Masculinity: Deconstructing Global Beauty Pageants Yeamanur Khatun, English, Panchmura College, India Article Record: Received Mar. 30 2018, Revised paper received May 22 2018, Final Acceptance June 6 2018 Available Online June 7 2018 Abstract This paper aims at deconstructing the fashion beauty pageants' organisational claim to provide the contestant models and winners platforms to treading through global relations and achieve worldwide recognition, while actually fostering the myth of beauty with culturally-fabricated norms of femininity and masculinity holding up the concepts of 'Complete' or 'Perfect' woman or man to the fore. Here, we seek to talk about the political hegemony working from behind the colossal fashion world economy and how the pageants are being manipulated by the larger capitalist countries through their market capturing tactics. But what we intend most is to show that the pageant contestants sometimes act as passive resistants, countering the hegemonic discourse to dismantle the norms set by the Fashion Politics, starting from Manushi Chhillar's vote for remunerative motherhood to Reita Faria's choice of forming her own identities in their attempt to refuse the laid out set of ideologies. Keywords: Deconstruction, Fashion, Beauty pageants, motherhood, femininity, masculinity, Norms, Binaries 1. Introduction Much ink has been split upon the normative binarization of femininity and masculinity as culturally- fabricated constructions and their presentation in international beauty pageants is termed ideological and discursive. Beauty pageants treat gender as one more category along with other categories of 'caste', or 'nation' as reflected in the seemingly 'worthy' title ascription such as "Miss India" or in the very entrance forms they fill in ticking on the given boxes of gender, nationality ,religion or maritalstatus. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
THE BUCHAREST UNIVERSITY of ECONOMIC STUDIES The
THE BUCHAREST UNIVERSITY OF ECONOMIC STUDIES The Faculty of International Business and Economics The Department of Modern Languages and Business Communication of ASE Iuliu Hațieganu University of Medicine and Pharmacy Cluj- Napoca 7th International Conference: Synergies in Communication Bucharest, Romania, 22 - 23 November 2018 BEHIND THE SCREENS: A STUDY OF THE FILMS OF THREE INDIAN WOMEN DIRECTORS Minouti NAIK1 Abstract Indian films, even after 76 years of independence and 105 years of Indian Cinema, are a predominantly male domain. The percentage of women film makers, in the industry, is a mere 9.1%. Despite this, the films directed by women have compelled audiences to take notice, because of the wide spectrum of issues they have touched upon. Three women directors, whose movies have left an indelible mark on the audiences, include Tanuja Chandra, Meghna Gulzar and Gauri Shinde. This paper analyses the work of these three women directors, for the uniqueness of their themes and the characters they have sketched, and attempts to find out, what has led to their films being etched deeply, into the consciousness of their audience. This will be analysed against the backdrop of the realities of the society from which these films emerge, and as a reflection of the gender dynamics existing in Indian society. Keywords: Indian cinema, women, themes, characters, uniqueness 1. Introduction Men have sight, women insight. - Victor Hugo Victor Hugo‟s observation, penned down in his memoirs, might be an apt point to begin with, when one reflects upon films made by Indian women filmmakers. Despite films forming a very important facet of the Indian society and the fact that India completed 105 years of cinema, this year, the number of women making films in India is very small. -
278 | ASIA ONE | AUGUST-SEPTEMBER 2019 Q & a LARA DUTTA BHUPATHI Reigning the Universe with Her Wit, Grit & Charm
278 | ASIA ONE | AUGUST-SEPTEMBER 2019 Q & A LARA DUTTA BHUPATHI Reigning the Universe with her Wit, Grit & Charm A lethal mix of beauty and brains, Ms. Lara Dutta Bhupathi is one such famous personality whose popularity has no bounds. Besides conquering the universe as an international beauty queen, she has also tasted immense success as an actress especially renowned for super hit films like No Entry, Housefull and others. She has recently donned the garb of an entrepreneur with her skin care line ‘Arias’. Skin care and grooming have always been a significant part of her journey to name and fame and thus the prospect of starting her own line came quite naturally to her. Made for the modern woman, Arias is curated by her and currently includes 11 products. AsiaOne wishes her immense success in all her endeavours! BY RICHA SANG bollywood interview Q & A You are renowned all across the What has been your childhood grew up at different Air Force camps globe as Miss Universe 2000. It is ambition? Did you always wanted L but it gave me the opportunity to adapt indeed a matter of great pride for all to become a beauty queen? Do you to various different places, different of us. Please describe your emotions think your upbringing has a role in A people. I mean every couple of years post winning the crown and your your success? if I had to move schools; so you learn odyssey thereafter as Miss Universe. Sure, I think as a child, I had a very R to make friends much more easily. -
Diana Hayden, the 1997 Miss World Miss World Was Born in Was Born In
DIANA HAYDEN Model, Miss World, Actress Diana Hayden, the 1997 Miss World was born in 1973 in Hyderabad, Andhra Pradesh. She was the only Miss World to have won a hat-trick at the pageant - Miss Photogenic, Miss Beachwear and Miss World 1997. A tomboy as a teenager, Diana grew up to be a ravishing beauty. Diana's parents split up at her very young age, but her family including her mother and brother were still very close- knit. After completing her schooling at St Ann's High School, Secunderabad, she graduated from Osmania University in English through correspondence. Diana shifted to Mumbai to pursue her career goals. She then moved to Bangalore working for the event management company Encore and then again to Bombay. Diana had a brief stint in modelling and did a couple of fashion shows in Bangalore and Mumbai. Then she started work in the public relations division of BMG Crescendo, the music company where she helped handle the careers of artistes like Anaida and Mehnaz. ItIt was Anaida who forced her to send her pictures for the Miss India Contest and the rest is history. R.K. NARAYAN Writer One of the most famous Indian writers in English Language, R.K Narayan was born in 1906 in Madras. He was educated in Mysore and settled there for over half a century. Narayan created the enchanting fictional world of Malgudi through his several novels and short stories which captivated his readers throughout the world and more recently millions of Indian Television viewers, who saw TV adaptations of many Malgudi stories.