1,720,969 research outputs found
A Cross-Cultural Study of Weddings through Media and Ritual: Analyzing Indian and North American Weddings
Full text linkThe wedding is one of the only rituals or events that many cultures of the world consistently have in common. Weddings are found in almost every society. A wedding can feed consumer appetites and the industry that supports it. Costs for the average United States wedding can range from 35,530 or more (“Cost of Weddings” 2006). The costs of Indian wedding ceremonies vary from 2 million (Das 2005). Despite this large range the Indian wedding industry averages only 50 billion each year (“Cost of Weddings” 2006, Das 2005). Remarriages constitute 30% of the American wedding industry (Ingram 1999) while in India, remarriage is relatively uncommon. Given the amount of money spent on this cultural ritual, it is reasonable to assert that it carries a great deal of personal, cultural, and social significance. I’m going to contrast and compare Indian and American weddings through an examination of film. This study is similar to Best’s (2000) study of American proms, another related cultural tradition. Specifically I will examine portrayals of wedding ceremonies as presented by both Hollywood and Bollywood films
Asserting nationalism in a cosmopolitan world: globalized Indian cultures in Yash Raj Films
No full textYash Raj Films is one of India’s most successful film production studios with a massive global market. The influence of a powerful Indian diaspora provides film directors from the Bollywood stable of Yash Chopra (Yash Raj Films) with a wealth of international settings. These settings in turn provide a site for an assertive Indian nationalism based upon the adoption of cosmopolitan lifestyles. This paper examines three recent films, Khabi Kushi Khabhie Gham, Khabie Alvida Naa Kehna, and Salaam Namaste!, to see how London, New York, and Melbourne are reconfigured as cities in which Indian e ́migre ́s make their mark – they are successful in their careers (mostly) and comfortable in their new surroundings. Such films are suggestive of a new ‘global cinema’ in which the geographical confines of national cinema are being stretched. Drawing on a tripartite thematic framework, we explore the visual geographies, the heightened consumption patterns, and the sense of global cosmopolitanism presented in these films. And while the underlying sentiment is that one always sees ‘home’ (i.e., India) as an idealized paradise, the new cosmopolitanism adopted by Indian e ́migre ́s in these films serves to highlight the ease with which Indian nationals can find success in global environments.Peter C. Pugsley & Sukhmani Khoran
Rab ne bana di jodi /
No full textShy, introverted, and kind-hearted Surinder "Suri" Sahni is an office worker for Punjab Power. He quietly falls in love with the daughter of his former professor, beautiful and vivacious Tania "Taani" Gupta, whom he first sees during the preparations for her wedding. Upon their first meeting however, Taani jokingly berates and blames him for setting an impossible set of standards (reiterated by her father) that she was never able to meet as a child. A short while later, Taani's father suffers a heart attack when the entire wedding party learns that her fiance and his family were killed in a traffic accident. Fearing that Taani will be alone in the world, the professor asks Suri to marry her. Suri concedes; Taani tearfully agrees only to please her father. Surinder is married to Taani but there is a huge age gap between them. There is no real romance in the marriage. Then, a dance reality show called "Rab Ne Bana Di Jodi" airs and Taani wants to participate but can't because her husband is not 'hip and happening', she has a fear of losing and she also fears that her friends will laugh at her. Surinder overhears this problem and decides to go in for a makeover. He watches some movies and learns to dance in order to woo his young wife. Throughout the show Taani keeps falling in love to with this 'new and improved' Surinder without once realizing that he's her husband. Throughout the show Taani keeps falling in love with this 'new and improved' Surinder without once realizing that he's her husband. They want to run away together. However at the last minute Taani realizes that her husband is simple and good and has always supported her. So she wants to live with him and confesses this to him. Imagine her surprise when she is told that her husband and the person she had met in the show are one and the same. She is happy and in love again.Ca. 164 min.1. The film2. Special featuresCopyright notice on container: Yash Raj Films.Lyrics, Jaideep Sahni; music & background score, Salim Sulaiman ; choreography, Shamak Davar & Vaibhavi Merchant ; editor, Ritesh Soni.Shahrukh Khan, Anushka Sharma, Vinay Pathak, M.K. Raina, Manmeet Singh.Discs 1-2 are together in one container.Originally released theatrically in 2008.Shy, introverted, and kind-hearted Surinder "Suri" Sahni is an office worker for Punjab Power. He quietly falls in love with the daughter of his former professor, beautiful and vivacious Tania "Taani" Gupta, whom he first sees during the preparations for her wedding. Upon their first meeting however, Taani jokingly berates and blames him for setting an impossible set of standards (reiterated by her father) that she was never able to meet as a child. A short while later, Taani's father suffers a heart attack when the entire wedding party learns that her fiance and his family were killed in a traffic accident. Fearing that Taani will be alone in the world, the professor asks Suri to marry her. Suri concedes; Taani tearfully agrees only to please her father. Surinder is married to Taani but there is a huge age gap between them. There is no real romance in the marriage. Then, a dance reality show called "Rab Ne Bana Di Jodi" airs and Taani wants to participate but can't because her husband is not 'hip and happening', she has a fear of losing and she also fears that her friends will laugh at her. Surinder overhears this problem and decides to go in for a makeover. He watches some movies and learns to dance in order to woo his young wife. Throughout the show Taani keeps falling in love to with this 'new and improved' Surinder without once realizing that he's her husband. Throughout the show Taani keeps falling in love with this 'new and improved' Surinder without once realizing that he's her husband. They want to run away together. However at the last minute Taani realizes that her husband is simple and good and has always supported her. So she wants to live with him and confesses this to him. Imagine her surprise when she is told that her husband and the person she had met in the show are one and the same. She is happy and in love again.Summary from IMDb. com.Disc 1. The film -- disc 2. Special features
Bunty aur Babli /
No full textTwo ambitious dreamers, Rakesh and Vimmi, set out from different small towns to find fame. Instead, they find each other and form the duo, Bunty and Babli.Originally released as a motion picture in 2005.Special features on disc 2: The making of "Bunty aur Babli" ; out-takes ; "B'n B" music video with Amitabh Bachchan ; television promos ; original theatrical trailer.Disc 1. Feature film -- disc 2. special features.Director of photography, Abhik Mukhopadhyay ; Lyrics, Gulzar ; Music, Shankar Ehsaan Loy.Abhishek Bachchan, Amitabh Bachchan, Rani Mukherji, cameo appearance by Aishwarya Rai.Two ambitious dreamers, Rakesh and Vimmi, set out from different small towns to find fame. Instead, they find each other and form the duo, Bunty and Babli.DVD, all regions, widescreen presentation; Dolby Digital 5.1, NTSC
Mangal Pandey-- the rising /
No full textThis film is based on the life of Mangal Pande, d. 1857, an Indian nationalist who led the Sepoy Mutiny, 1857-1858. This mutiny is also known as India's First War of Independence as these freedom fighters installed a Mughal ruler as emperor of Hindustan. Mangal Pandey is a sepoy in the army controlled by the East India Company. It was only a rumor that the cartridges of a new rifle were greased with the fat taken from dead cows and pigs. That set off a protest which came to rest after the Hindustani soldiers received assurances from their senior most officer as well as from Captain William Gordon. To show trust, Mangal became the first soldier to bite through the greased casing and pour the gunpowder in his barrels. It was soon learned, however, that the rumor was indeed a fact. An enraged Mangal confronts the system and is assured that the cartridges will be replaced. Then comes the shock, for the Company shows no intention of replacing the cartridges and Mangal incites a rebellion to lead 300,000 Hindustani soldiers - a rebellion which is all set to take place on May 31st. Anger sweeps the country as Muslims and Hindus unite since both are offended on religious grounds, by the use of cow and pig flesh. They also reject the manner in which they have been treated, object to being called "kaala khutas" (black dogs) by the Caucasian soldiers, and generally see the need to rid India of the East India Company alltogether.Ca. 150 min.Copyright notice on disc: Kaleidoscope Entertainment Pvt. Ltd.1. Feature film2. Special featuresMusic, A.R. Rahman; lyrics, Javed Akhtar; cinematographer, Himman Dhamija.Aamir Khan, Rani Mukherjee, Amisha Patel, Kiran Kher, Coral Beed, Toby Stephens, Om Puri.Discs 1-2 are together in one container.Originally released theatrically in 2005.This film is based on the life of Mangal Pande, d. 1857, an Indian nationalist who led the Sepoy Mutiny, 1857-1858. This mutiny is also known as India's First War of Independence as these freedom fighters installed a Mughal ruler as emperor of Hindustan. Mangal Pandey is a sepoy in the army controlled by the East India Company. It was only a rumor that the cartridges of a new rifle were greased with the fat taken from dead cows and pigs. That set off a protest which came to rest after the Hindustani soldiers received assurances from their senior most officer as well as from Captain William Gordon. To show trust, Mangal became the first soldier to bite through the greased casing and pour the gunpowder in his barrels. It was soon learned, however, that the rumor was indeed a fact. An enraged Mangal confronts the system and is assured that the cartridges will be replaced. Then comes the shock, for the Company shows no intention of replacing the cartridges and Mangal incites a rebellion to lead 300,000 Hindustani soldiers - a rebellion which is all set to take place on May 31st. Anger sweeps the country as Muslims and Hindus unite since both are offended on religious grounds, by the use of cow and pig flesh. They also reject the manner in which they have been treated, object to being called "kaala khutas" (black dogs) by the Caucasian soldiers, and generally see the need to rid India of the East India Company alltogether.Summary taken from IMDB.com.Not viewed.Sources used: videodisc container; cataloging record from OvOp field office
Kabhi khushi kabhie gham-- /
No full textA young man goes against the wishes of his beloved father to marry the girl he loves. When he leaves home, his younger brother vows to reunite the family and bring back the happiness they once shared.Originally produced as a motion picture in 2001.Title and publication information from disc surface and container.Director of cinematography, Kiran Deohans ; music, Jatin Lalit, Sandesh Shandilya & Aadesh Shrivastav ; production designer/art, Sharmishta Roy ; director of choreography, Farah Khan.Amitabh Bachchan, Jaya Bachchan, Shah Rukh Khan, Kajol, Hrithik Roshan, Kareena Kapoor, Jaya Bhaduri.A young man goes against the wishes of his beloved father to marry the girl he loves. When he leaves home, his younger brother vows to reunite the family and bring back the happiness they once shared.DVD, region 1, widescreen presentation; 5.1 Dolby digital sound.Filmfare Award winner (2002): Best Actress (Kajol), Best Supporting Actress (Jaya Bhaduri), Best Art Direction, Best Dialogue, Best Scene of the Year
Choreographing fantastic spectacles: song and dance sequences in Bollywood cinema
No full textIn this article, I will exemplify the role of song and dance sequences in Bollywood. I will analyse films of a prominent Bollywood production house, ‘Yash Raj Films,’ primarily because Bollywood produces more than 250 films every year, therefore making the body of work too big to analyse. Yash Raj Films, is India’s biggest, and one of the oldest production house. Study of YRF films provides an opportunity to examine the films from 1970s until present, to examine the trends, and changes over the years. In the first section of the article, the focus will be on, how YRF films have represented song and dance sequences in its films? In the second section of the article, I will analyse the representation of song and dance sequences in YRF Films, in accordance with Rick Altman’s musical sub-genre analysis i.e. Fairy Tale musical, Show musical, and Folk musical, but my attempt to do so is in no way to categorise Bollywood song and dance sequences in accordance with the musical sub-genre. I will use the musical sub-genre approach of Altman’s to discuss the elements that inspires the Bollywood song and dance sequence construction in terms of spectacle, show, fantastic, and folk
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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