A Socio-Cultural Analysis of the Movie Lagaan Project Submitted to The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’. -
Fascist Imaginaries and Clandestine Critiques: Young Hindi Film Viewers Respond to Violence, Xenophobia and Love in Cross- Border Romances
CORE Metadata, citation and similar papers at core.ac.uk Provided by LSE Research Online Shakuntala Banaji Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross- border romances Book section Original citation: Banaji, Shakuntala (2007) Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances. In: Bharat, Meenakshi and Kumar, Nirmal, (eds.) Filming the line of control: the Indo–Pak relationship through the cinematic lens. Routledge, Oxford, UK. ISBN 9780415460941 © 2007 Routledge This version available at: http://eprints.lse.ac.uk/27360/ Available in LSE Research Online: May 2011 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances Shakuntala Banaji1 Tarang: I’ve watched Hindi films all my life. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
Bio Dillywood 21Pd
164 WEST 25TH ST. SUITE 4F, NEW YORK, NY 10001 USA [email protected] • TEL +1.646.202.9478 • FAX +1.815.550.2861 Dillywood, Inc. is a motion picture production company based in New York that develops and produces film and media projects with a distinctly international focus. Founded in 2004 by producers Anadil Hossain and Driss Benyaklef, the company has been built on their hybrid cultural backgrounds and breadth of experience in film, media, advertising, web content, and large-scale corporate event production. Since then, the company has worked on a gamut of productions in over 25 countries on five continents, establishing long-standing networks in places such as India, U.K., Jordan, Morocco, Kenya, and Hong Kong. The company also has a wide range of experience and know-how working across the US and North America. Dillywood has worked with directors such as Mira Nair (The Namesake, The Reluctant Fundamentalist), Doug Liman (Fair Game), and Wes Anderson (The Darjeeling Limited). Most recently, Dillywood worked on the international segment of Jobs, the biopic of Steve Jobs, starring Ashton Kutcher, and directed by Joshua Stern. The company serves as a creative and logistical bridge between filmmakers and settings, crews, and governments where the films are shot. Dillywood pioneered how large-scale Indian films are shot in the US by producing the US segment of Kal Ho Naa Ho, the first major Indian film to shoot almost entirely in the US. Subsequently, Dillywood worked on the productions of acclaimed directors Karan Johar (Kabhie Alvida Naa Kehna), Rakeysh Mehra (Delhi 6), and with the director of Oscar-nominated Lagaan, Ashutosh Gowariker (Swades, What’s Your Raashee). -
Department of English and Cultural Studies Panjab University, Chandigarh Dialog: a Bi-Annual Interdisciplinary Journal
Department of English and Cultural Studies Panjab University, Chandigarh dialog: a bi-annual interdisciplinary journal No. 30 (2017) ISSN 0975-4881 Editor Deepti Gupta Editorial Board Pushpinder Syal RanaNayar ManjuJaidka Lovelina Singh Ani! Raina Pratibha Nagpal Rumina Sethi Akshaya Kumar SurbhiGoel MeenuGupta Sudhir Mehta Advisory Board M. L. Raina, Panjab University Harish Narang, Jawahar La! Nehru University Rajesh Sharma, Panjab University Editorial Assistants Komi! Tyagi, MCM DAVC, Chandigarh Renuka Dhyani, PGGC, Panchkula Harpreet Kaur Baweja, PGGC, Panchkula All inquiries pertaining to dialog should be addressed to: Email: [email protected] Website: http://dialog.puchd.ac.in Subscription Fee: Institutions: INR 500 ($25) yearly or INR 1,200 ($60) for three years Individuals: INR 400 ($15) yearly or INR 1,000 ($50) for three years .... NUMBER30 2017 CONTENTS - ARTICLES ·· SREELAKSHMI SURENDRAN, Ancient in the Popular: A 1 Study of Parallel Narrative Manoeuvres in Somadeva Bhatta's Kathasaritsagara and Vikas Swamp's Q&A ASHMA SHAMAIL, (Re )Dressing the Cultural Wounds: 16 Memory, Healing, and Survival in Prais_esong fbr the lU'dow PRAVEEN SHARDA, Interplay of Perspectives in Ted 32 Hughes' Hawk Roosting and Daruwalla's Hawk: A · Stylis_tic Analysis MADHU SHARMA ~EE,SHORI, Space ~d Identity: . 47. Mapping the N~tion in Khaled Hosseini's And the Mountains Echoed · . AMANDEEP..KAUR, Absence of~he Progressives and 59 - the Strange ·case of Arun Kolat~ar YASHVEER, Bollywoodization of Space: A Study of , 78 Two Films on .the 'Red Corridor' MAiii YOGESH, Decoding the Postmodem Narrative . 99 through Shashi Thatoor's Riot . · LAKSHMISREE BANERJEE, World Women Poets: Sisters 110 ofthe Soil JASLEEN SAHOTA, The Dialectics of Image and Text: 125 Anthropological Photo Essay SUMANDEEP KAUR, Rethinking the Community with 142 Jean-Luc Nancy BOOK REVIEW Sengupta Hindol, Ibe Modern Monk: lWJa t Vivekananda 163 MeaJJs To U.s Today. -
My Favourite Singers
MY FAVOURITE SINGERS 12 01 01 SAMJHAWAN 17 CHALE CHALO 33 BARSO RE 48 JEENA 63 AY HAIRATHE 79 DIL KYA KARE (SAD) 94 SAAJAN JI GHAR AAYE 108 CHHAP TILAK 123 TUM MILE (ROCK) 138 D SE DANCE ARTIST: ARIJIT SINGH, SHREYA GHOSHAL • ALBUM/FILM: HUMPTY SHARMA KI DULHANIA ARTIST: A. R. RAHMAN, SRINIVAS • ALBUM/FILM: LAGAAN ARTIST: SHREYA GHOSHAL, UDAY MAZUMDAR • ALBUM/FILM: GURU ARTIST: SONU NIGAM, SOWMYA RAOH • ALBUM/FILM: DUM ARTIST: ALKA YAGNIK, HARIHARAN • ALBUM/FILM: GURU ARTIST: KUMAR SANU, ALKA YAGNIK • ALBUM/FILM: DIL KYA KARE ARTIST: KAVITA KRISHNAMURTHY, ALKA YAGNIK, KUMAR SANU ARTIST: KAILASH KHER • ALBUM/FILM: KAILASA JHOOMO RE ARTIST: SHAFQAT AMANAT ALI • ALBUM/FILM: TUM MILE ARTIST: VISHAL DADLANI, SHALMALI KHOLGADE, ANUSHKA MANCHANDA 02 ENNA SONA 18 ROOBAROO 34 KHUSHAMDEED 49 WOH PEHLI BAAR 64 AGAR MAIN KAHOON 80 DEEWANA DIL DEEWANA ALBUM/FILM: KUCH KUCH HOTA HAI 109 CHAANDAN MEIN 124 TERE NAINA ALBUM/FILM: HUMPTY SHARMA KI DULHANIA ARTIST: ARIJIT SINGH • ALBUM/FILM: OK JAANU ARTIST: A. R. RAHMAN, NARESH IYER • ALBUM/FILM: RANG DE BASANTI ARTIST: SHREYA GHOSHAL • ALBUM/FILM: GO GOA GONE ARTIST: SHAAN • ALBUM/FILM: PYAAR MEIN KABHI KABHI ARTIST: ALKA YAGNIK, UDIT NARAYAN • ALBUM/FILM: LAKSHYA ARTIST: UDIT NARAYAN, AMIT KUMAR • ALBUM/FILM: KABHI HAAN KABHI NA 95 MAIN ALBELI ARTIST: KAILASH KHER • ALBUM/FILM: KAILASA CHAANDAN MEIN ARTIST: SHAFQAT AMANAT ALI • ALBUM/FILM: MY NAME IS KHAN 139 VELE 03 GERUA 19 TERE BINA 35 BAHARA 50 TUNE MUJHE PEHCHAANA NAHIN 65 KUCH TO HUA HAI 81 KUCH KUCH HOTA HAI ARTIST: KAVITA KRISHNAMURTHY, SUKHWINDER SINGH • ALBUM/FILM: ZUBEIDAA 110 AA TAYAR HOJA 125 AKHIYAN ARTIST: VISHAL DADLANI, SHEKHAR RAVJIANI • ALBUM/FILM: STUDENT OF THE YEAR ARTIST: ARIJIT SINGH, ANTARA MITRA • ALBUM/FILM: DILWALE ARTIST: A. -
The Human Spirit in Lagaan: Once Upon a Time in India
Reason and Respect Volume 4 Article 4 Issue 1 Spring 2008 4-1-2008 The umH an Spirit in Lagaan: Once Upon a Time in India Britt rC ossman Roger Williams University Follow this and additional works at: http://docs.rwu.edu/rr Recommended Citation Crossman, Britt (2008) "The umH an Spirit in Lagaan: Once Upon a Time in India," Reason and Respect: Vol. 4: Iss. 1, Article 4. Available at: http://docs.rwu.edu/rr/vol4/iss1/4 Copyright ©4-1-2008 by the authors Reason and Respect is produced by The Berkeley Electronic Press (bepress). For more information, please contact [email protected]. Crossman: The Human Spirit in Lagaan: Once Upon a Time in India The Human Spirit in Lagaan: Once Upon a Time in India Britt Crossman, Communication ‘08 In Comparative Rhetoric: An Historical and Cross-Cultural Introduction , George A. Kennedy claims that all cultures engage in some form of persuasive discourse meant to transmit cultural knowledge and, thus, conserve social values and maintain social order, and that, often, these forms include myths, song, and religion, which are passed down through the generations to reproduce a unifying cultural sense of self. In as much as film can be considered a modern-day corollary to these forms of rhetoric, one could conclude that certain movies—advertently or inadvertently—perpetuate cultural identities and solidify national interests as well. One recent film in particular, though, presents an addendum to Kennedy’s theory: the Bollywood hit film Lagaan: Once Upon a Time in India . Through the juxtaposition of Indian and British cultures during the British colonization of India, the filmmakers suggest that one can transcend cultural construction. -
Enchanting Tales of Jodha-Akbar
REVIEW The Enchantress of Florence: A Novel. Rushdie, Salman. 2008. London: Jonathan Cape. ISBN 978 0224 06163 6 Jodhaa Akbar. Ashutosh Gowarikar Productions. 2008. Mumbai: India. UTV Motion Pictures. Enchanting tales of Jodha-Akbar Rituparna Roy and seductresses of all kinds, but the relation to Akbar, in the same way as he most interesting of them all is the imagi- thinks of his in relation to God. And in a Jodhaa Akbar is a lavish period drama on nary Jodha – a being created by Akbar’s way, they echo each other’s thoughts: celluloid; The Enchantress of Florence is an all-powerful fancy, khayal. Making her “The question of her independent existence, ‘East meets West’ novel, highlighting not character imaginary serves two purposes of whether she had one, insisted on being so much a clash of civilisations as their in the novel. In The Enchantress of Florence, asked, over and over, whether she willed it commonality. At the heart of both is Jalal Rushdie celebrates, among other things, a or not. If God turned his face away from his ud-din Muhammad Akbar (1542-1605), the time when “the real and the unreal were creation, Man, would Man simply cease to greatest Mughal Emperor of India, who, [not] segregated forever and doomed to be? That was the large-scale version of the though illiterate, was gifted with a unique live apart under different monarchs and question, but it was the selfish, small-scale syncretic vision which he tried concretis- separate legal systems” – and the best versions that bothered her. Was her will free ing in his own lifetime, by creating a new attestation of that fact in the novel is the of the man who had willed her into being? religion of man (Din-i-Ilahi or the ‘Divine character of Jodha Bai, Akbar’s fantasy Did she exist only because of his suspension Faith’) that sought to bring people of all come alive. -
Desertion of Rural Theme from Hindi Cinema: a Study
International Journal of Humanities & Social Science Studies (IJHSSS) A Peer-Reviewed Bi-monthly Bi-lingual Research Journal ISSN: 2349-6959 (Online), ISSN: 2349-6711 (Print) Volume-III, Issue-V, March 2017, Page No. 335-339 Published by Scholar Publications, Karimganj, Assam, India, 788711 Website: http://www.ijhsss.com Desertion of Rural theme from Hindi Cinema: A Study Neema Negi Research Scholar, Department of Journalism and Communication, Dev Sanskriti Vishwavidyalaya, Hardwar, U.K., India Abstract Hindi Cinema caters different themes from last 100 glorious years and in earlier phase it reflects the nation’s conflict, difficulties and struggle of a common man in a true manner. In past era one of the major themes rural has been an integral part of Bollywood storytelling. However over the year’s Hindi cinema has changed in terms of film making, content, representation of issues and technological changes. But during the transition of modern Cinema some of the popular themes have vanished. Cinema become bold and creative today and brings different genres with ample of independent filmmakers. The present paper deals with the study of films which depicted the village theme and also explore the causes of disappearance of village theme. Keywords: village theme, Hindi Cinema, farmers, social issues, vanished I- Disappearance of village theme: Indian Cinema acknowledged for the largest producer of films which caters the widest themes and genres from past 100 magnificent years. In every era Hindi cinema represents the social relevant issues in a very different narrative style. In the past six decades Hindi cinema has played a significant role in nation-building, constructing a national awareness, portraying an ideal family system, attacking terrorism, criticizing class prejudice and propagating various phenomena such as globalization, westernization, urbanization and modernization in India. -
3 Issue-6 June- 2016 Pages - 73 Indian Farmer a Monthly Magazine
ISSN 2394-1227 Volume: 3 Issue-6 June- 2016 Pages - 73 Indian Farmer A Monthly Magazine Volume: 3, Issue-6 June -2016 Sr. Full length Articles Page Editorial Board No. Nutraceuticals in Companion and Laboratory Animal Nutrition 386-392 1 T.Suganya, S.Senthilkumar, K.Deepa, G. Thirumalaisamy, K.Sasikala and J. Nikhil Kumar Tej Editor In Chief Modern Tools for Semen Evaluation of Farm Animals 2 393-397 Umesh Kumar and A. P. Gawande Dr. V.B. Dongre, Ph.D. 3 Applications of Next Generation Sequencing In Molecular Research 398-401 Manesh Kumar P, Uthrakumar A, Tamizhkumaran J, Varun A Editor 4 Consequences of Goitre in Farm Animals 402-405 Poobitha S, Ramajayan P, Tamizhkumaran J and Raghy Radhakrishnan Dr. A.R. Ahlawat, Ph.D. 5 Quality Assessment of Silage 406-410 Members K. Deepa, S. SenthilKumar, Thirumalaisamy. G, Thulasiraman. P, T. Suganya, K. Kalpana and M. R. Purushothaman Dr. Alka Singh, Ph.D. 6 Specialized Sire and Dam Lines: its Need and Advantages 411-415 Dr. K. L. Mathew, Ph.D. D.S.Gonge, Mayur R. Thul, RaginiKumari, Anjali Kumari and BeenaSinha Dr. Mrs. Santosh, Ph.D. 7 Antimicrobial Resistance: The Veterinary Use of Antimicrobials and Its 416-420 Dr. S. S. Patil, Ph.D. Implications For Human Health P. SenthilKumar, B.Balasundaram and G.Rajarajan Subject Editors 8 Housing Management Of Dairy Cow In Tropical Climate 421-425 Ranjana Sinha, Shiwani Tiwari, Indu Devi, Anjali kumari and Ashish Ranjan Agriculture 9 Subclinical ketosis in dairy cows: Causes and its management 426-430 Dr. R. S. Tomar, Ph.D Prasanta Boro, Binoy Chandra Naha, Ambadas Madkar,Chandra Prakash, Jyoti Patel and Jharna Chandrakar Veterinary Science 10 Mastitis Management of Dairy Animals at organized Dairy Farms 431-435 Dr. -
Post Colonialism and Political Resistance in Lagaan: Once Upon a Time in India
Turkish Journal of Computer and Mathematics Education Vol.12 No.7 (2021), 53-56 Research Article Post Colonialism And Political Resistance In Lagaan: Once Upon A Time In India 1 Arjun P Kumar, 2 Gopikrishnan S, 3 Arun S 1. P.G. Student, 2. P.G Student 3. Assistant Professor Department of English, Amrita Vishwa Vidyapeetham, Amrita puri Campus, India Article History: Received: 10 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: Using the movie Lagaan as a case in point, the paper examines the post-colonial and political resistance in the 19th century. Lagaan is a Bollywood movie released in 2001 and is directed by Ashutosh Gowariker. The fictional story is set in a village in India and it explores the struggles faced by the citizens to earn their rights. Taking in account of the movie, the paper analyses the socio-political scenario of the country. Keywords: Post Colonialism, Political resistance, Lagaan Analysis: “Iss aetihasik jeet ke baad bhi itihas main Bhuvan ka naam kahi kho gaya” (Even after the historical win, Bhuvan lost his identity in the history of struggle) - Lagaan Indian film industry which is a collective formation of cinemas from various languages has evolved as a major form of entertainment. But as time passed, it has become a source of voice for the voiceless. The Indian directors chose the medium to speak about the socio-political background of the country. Though majority of the mass enjoyed a commercial treatment, there has always been a want for experiments. In the current scenario, movie critics play a major role in analysing the soul of the movie.