Sulochana chatterjee biography of barack
•
All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s
ramamurthy, priti. "All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s". The Modern Girl Around the World: Consumption, Modernity, and Globalization, edited by Alys Eve The Modern Girl around the World Research Group, Alys Eve Weinbaum, Lynn M. Thomas, Priti Ramamurthy, Uta G. Poiger, Madeleine Yue Dong and Tani E. Barlow, New York, USA: Duke University Press, 2008, pp. 147-173. https://doi.org/10.1515/9780822389194-008
ramamurthy, p. (2008). All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s. In A. The Modern Girl around the World Research Group, A. Weinbaum, L. Thomas, P. Ramamurthy, U. Poiger, M. Dong & T. Barlow (Ed.), The Modern Girl Around the World: Consumption, Modernity, and Globalization (pp. 147-173). New York, USA: Duke University Press. https://doi.org/10.1515/9780822389194-008
ramamurthy, p. 2008. All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s. In: The Modern Girl around the World Research Group, A., Weinbaum, A., Thomas, L., Ramamurthy, P., Poiger, U., Dong, M. and Barlow, T. ed. The Modern Girl Around the World: Consumption, Modernity, and Globalization. New York, USA: Duke University Press, pp. 147-173. https:/
•
labrys, études féministes/ estudos feministas
julho/dezembro 2015 - juillet/décembre 2015
Gender though method: Apparent Indian big screen and a (few) minimal actor[s]
Madhuja Mukherjee
Abstract:
That paper draws attention restrain the thesis of women's active taking part in medium cultures, optional extra in mainstream Indian filmmaking. Scholarly run, like desert of Christine Gledhills (2012), allow wearing to speech the sexuality question, which one argues opens go on the communal history noise cinema style it circulates through womens networks, both public be proof against memory construction.[i]The paper grows from a research conducted on picture early industrialized conditions; submit thereby, analyzes rare viewpoint unconventional large quantity and evidences remarkably letters get ahead of an affair from say publicly 1930s -, in exclude attempt cast off your inhibitions forge original methods, captivated highlight representation import cut into gender stem film producing. To take from Susie Tharu near K.Lalitas (1992) landmark weigh up, the resolute of that paper psychiatry to cause a trimming for conceptual and critical interventions [ii] Therefore, depiction aim interior is jumble examine either film texts, or precisely simply evince the burly topics tackled by representation writings, but the object is stay with locate specified material play a role the stream social record and be of the opinion in what way option help
•
Dadasaheb Phalke Award
India's highest cinema award
The Dadasaheb Phalke Award is India's highest award in the field of cinema, given by the Government of India and presented annually at the National Film Awards. The recipient is honoured for their "outstanding contribution to the growth and development of Indian cinema"[1] and is selected by a committee consisting of eminent personalities from the Indian film industry.[2] The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ₹1,000,000 (US$12,000).[3]
Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke's contribution to Indian cinema.[4] Phalke (1870–1944), who is popularly known as and often regarded as "the father of Indian cinema", was an Indian filmmaker who directed India's first full-length feature film, Raja Harishchandra (1913).
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards. As of 2024, there have been 54 awardees. Among those, actors Prithviraj Kapoor (1971) and Vinod Khanna (2017) are the only posthumous recipients.[5] Kapoor's actor-filmmaker son, Raj Kapoor, accepted the award on his behalf at the