did the project(krrish) created taking into consideration the Indian diaspora abroad?? We need to recognize right away that Bombay-based Hindi cinema’s output in its entirety does not reach and/or succeed in markets abroad. It is a specific kind of cinema that has‚ since the mid-1990s‚ ‘brought the NRI decisively into the center of the picture as a more stable figure of Indian identity than anything that can be found indigenously’. The popularity of films such as DDLJ‚ kaho na pyaar hai‚K3G‚ etc have
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India is one of the most popular female singer Shreya Ghoshal and she is very famous in Bollywood cinema. She has amazing talent in singing too many times Filmfare Award for Best Female Playback Singer-win. American Idol singing competitions like he is one of the largest in India‚ Sa Re Ga Ma Pa was introduced to the competition. It was directed by Sanjay Leela Bansali‚ Devdas‚ her first playback singing for the film. Devdas Filmfare Best Female Playback Award and his first performance in his first
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After his wealthy family prohibits him from marrying the woman he is in love with‚ Devdas Mukherjee’s life spirals further and further out of control as he takes up alcohol and a life of vice to numb the pain. An epic love story set in the 1900s which reveals a portrait of love destroyed by class differences‚ family pressures‚ and character weaknesses. Devdas is the wealthy son of a high-caste landlord. His best friend growing up‚ whom he loved dearly‚ was Paro‚ the daughter of a low-caste family
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HAPPY NEW YEAR! Why is the role of women in Bollywood movies inferior to the Male role? Bollywood is the moniker for the Hindi film industry in India. The films released out of Bollywood are encircled around the male character. This paper is intended to research the reason behind the aforementioned trend. This paper will examine whether the Male Dominance‚ in the film making process a product of culture or a business decision. The movie Happy New Year would be used to examine the extent to which
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feminine roles in the constructions of the nation whether through its media projections or through literary texts.. The paper attempts to examine how these dominant discourses re-inscribe themselves in postcolonial ideologies of nationalism‚ especially India. It examines the effects of these discourses in creating stereotypes of feminine identities‚ which get further complicated in the context of migration and diasporic cultures. The nationalist discourse and the ideology of hegemonic masculinity are co-terminus
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was first told in the popular and influential 1917 Bengali novel by Saratchandra Chattopadhyay. The story has since become one of the touchstones of popular Indian cinema. This article is my attempt to compare the 3 Devdas films and the novel that inspired them and look at the elements that made this plot a popular theme in Indian Cinema – the association with Indian mythological tales; plot’s role in creating a self-destructive Indian protagonist; and the association the Indian audience places with
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appearances for India.[4] He was also the recipient of "Player of the Tournament" award of the 2003 Cricket World Cup held in South Africa. Tendulkar won the 2010 Sir Garfield Sobers Trophy for cricketer of the year at the ICC awards.[5] He has been recommended for the receipt of the Bharat Ratna award‚ in fact it has been speculated that the criteria for the award of the Bharat Ratna were changed to allow him receive the award.[6][7] He is also a member of Rajya Sabha of Parliament of India.[8] Tendulkar
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Themed Entertainment Design: Representing the World of Cinema with an emphasis on Indian Cinema. Deeya Laki Rajan Faculty of Architecture‚ Manipal University Karnataka‚ India. ABSTRACT So what do Themed Spaces and Motion Pictures have in common? And what is their relation to Architectural Design? The answer: An irrevocable need to tell a story. Built spaces are at once storytellers and part of the story being told. This dissertation is a study of how stories can be narrated both through
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youth along with the opening up of the Indian economy have collectively influenced the Indian cinema market. Hollywood is no longer a pushover for the Indian film trade. Despite the overwhelming popularity of Bollywood‚ English films are bigger than ever in the Indian
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(lyrics) Cinematography G. Balkrishna Editing by Chintamani Borkar Release date(s) 1957 Running time 143 minutes Country India Language Hindi Do Aankhen Barah Haath (Hindi: दो आँखें बारह हाथ‚ English: Two Eyes‚ Twelve Hands) is a 1957 Hindi film directed by the Indian film director V. Shantaram‚ who also starred in the film. It is considered one of the classics of Hindi cinema and is based on humanistic psychology. It won a Silver Bear at the 8th Berlin International Film Festival and it was the
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