ISBN 978-81-925489-2-0 - ramniranjan jhunjhunwala college

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ICSSR SPONSORED NATIONAL SEMINAR ON “100 YEARS OF INDIAN CINEMA – ISSUES AND CHALLENGES IN RETROSPECTION (SOCIO-PHILOSOPHICAL PERSPECTIVE)” ORGANIZED BY DEPARTMENT OF SOCIOLOGY AND PHILOSOPHY, RAMNIRANJAN JHUNJHUNWALA COLLEGE, 5 TH AND 6 TH JULY, 2013. Proceedings of the Seminar Edited by: Dr. Shashi Mishra Dr. Amita Valmiki Dr. Uma Shankar (HOD, Sociology, R.J.College) (HOD, Philosophy, R.J.College) (HOD, Philosophy, SIES College) Sub - Ed ited by: Prof. Arundhati Chitre Prof. Rina Puradkar Prof. Pankti Chitalia (Dept.of Sociology, R.J.College) (Dept.of Philosophy, R.J.College) (Visiting Faculty, C.W.C Law College) Prof. Akshat Shetty (Dept.of Philosophy, R.J.College) Dr. Baishakhi Dutta (Dept.of Geography, R.J.College) Published by Department of Sociology and Philosophy Ramniranjan Jhunjhunw ala College In Collaboration w ith ICSSR ISBN-13 No.978-81-925489-2-0 1
All rights reserved. No parts of this publication may be reproduced in any form or by any means, without the written permission of the publishers. Authors of the articles are responsible for the contents and the references in their articles. Published by: Department of Sociology and Philosophy Ramniranjan Jhunjhunwala College, Ghatkopar – West, Mumbai – 400 086. July 2013 ISBN-13 No.978-81-925489-2-0 Courtesy: Department of Computer Science, R. J. College Mr. Shailesh Pawar Mr. Suraj Dabhade Cover Design and Layout: Mr. Deviprasad Shetty Mr. Shailesh Pawar Mr. Suraj Dabhade Printing: Ishaan Graphics (Ghatkopar, Mumbai) - 9833872467 2
Page 4 and 5: Contents Preface 4 Introduction t
Page 6 and 7: Introduction to the theme of the Se
Page 8 and 9: Message from the Principal Greeting
Page 10 and 11: Fore word When Dadasaheb Phalke, th
Page 12 and 13: ‘THE APU LEGACY’ - UNFOLDING SA
Page 14 and 15: emotional pain due to her son’s a
Page 16 and 17: holding a musical instrument and wi
Page 18 and 19: Plot: Set in 17th century Dehu, Mah
Page 20 and 21: was at its peak frenzy in the state
Page 22 and 23: "Sant Dnyaneshwara"- a landmark in
Page 24 and 25: This film starts with socio-philoso
Page 26 and 27: throughout the film “Saint Dnyane
Page 28 and 29: 1913-1931 More than indigenous prod
Page 30 and 31: Conclusion Regardless, cinema came
Page 32 and 33: its stunts and action, but the real
Page 34 and 35: avenges her husband’s killing by
Page 36 and 37: The Protagonist: As mentioned above
Page 38 and 39: Its Relevance: It has been 76 years
Page 40 and 41: दलित-मुक्तत च
Page 42 and 43: अश्िेतों को ब
Page 44 and 45: philosophic insights of its own (Ca
Page 46 and 47: landscapes and figures and human fo
Page 48 and 49: Scottish poet James Beattie is beli
Page 50 and 51: loud expressions bring Bibhatsa, Ha
Page 52 and 53:
imagined gives new meanings to ever
Page 54 and 55:
Naya Daur(1957), Ram Mukherjee’s
Page 56 and 57:
ethinization of citizenship (genera
Page 58 and 59:
In Bombay the erotic desire of the
Page 60 and 61:
Kaha Tha (1960), Amar Jeet Shukla
Page 62 and 63:
A film like Pinjar brings out the c
Page 64 and 65:
contemporary reality to construct a
Page 66 and 67:
presented as natural eventualities
Page 68 and 69:
Bengalis from former East Pakistan
Page 70 and 71:
Preckel, Claudia. “ Millions of D
Page 72 and 73:
- 1934, of these Kaala Nag even cau
Page 74 and 75:
the evil of child marriages. The Te
Page 76 and 77:
Queer Vision: Portrayal of The Quee
Page 78 and 79:
has a wrong impression that long ti
Page 80 and 81:
due to her inability to communicate
Page 82 and 83:
Valmiki, Amita (2011). ‘Homosexua
Page 84 and 85:
off his own so-called efficiency an
Page 86 and 87:
The film raises some very crucial q
Page 88 and 89:
All the films take the audience out
Page 90 and 91:
as a community. The cricket team is
Page 92 and 93:
References: Evans Christopher H. an
Page 94 and 95:
Time bound and rigid format -The ed
Page 96 and 97:
Marathi Cinema-Contribution, Credit
Page 98 and 99:
6. The sixth influence was that of
Page 100 and 101:
7. Acceptance for innovative themes
Page 102 and 103:
of the industry in which people wan
Page 104 and 105:
8. Number of Marathi channels:- Mar
Page 106 and 107:
on the Marathi stars. This threat i
Page 108 and 109:
films have explored bold subjects w
Page 110 and 111:
c. Contribution to employment gener
Page 112 and 113:
venture funds: Cinema Capital Ventu
Page 114 and 115:
Money Insurance Workmen Insurance A
Page 116 and 117:
Cinema and sports Yatin Rane, Sport
Page 118 and 119:
somewhat like the national song as
Page 120 and 121:
Two films Dharkan in 1972 and Kudra
Page 122 and 123:
Sanjana's last past life is (in Chi
Page 124 and 125:
Report of Thirty-Five New Cases'. v
Page 126 and 127:
Sometimes a film illustrates a phil
Page 128 and 129:
REEL & REAL TOURISM Shashi A Mishra
Page 130 and 131:
every human for new experiences, an
Page 132 and 133:
POSITION OF WOMEN IN INDIAN CINEMA
Page 134 and 135:
women is to give sexual pleasure to
Page 136 and 137:
een uni-dimensional characters, who
Page 138 and 139:
typecast that was being perpetuated
Page 140 and 141:
Anil Kapoor, who shelters her after
Page 142 and 143:
It is difficult to come to a unifor
Page 144 and 145:
One of the best examples of this wa
Page 146 and 147:
woman. Women, rather than being dep
Page 148 and 149:
with violence is problematic becaus
Page 150 and 151:
The notion of the nation in this fi
Page 152 and 153:
The new century ushered in signific
Page 154 and 155:
Gulzar, G. Nihalani, & S. Chatterje
Page 156 and 157:
Secondary survey was done from the
Page 158 and 159:
ut Shamshad Begum continued to be a
Page 160 and 161:
andheri) with the sample responded
Page 162 and 163:
Choice of music prefer by the sampl
Page 164 and 165:
Table No.05 Awareness in youth Resp
Page 166 and 167:
Thinking of youth for Begum been a
Page 168 and 169:
lfeedback@thehindu.co.in) ManoharIy
Page 170 and 171:
Fashion (2008) This film was pivota
Page 172 and 173:
the women folk and above all the fi
Page 174 and 175:
political values of people of this
Page 176 and 177:
which is a good place to be. But do
Page 178 and 179:
incomplete but I think Hindi cinema
Page 180 and 181:
The existential themes in South Ind
Page 182 and 183:
een given false promises by politic
Page 184 and 185:
own savior”. Change is indeed won
Page 186 and 187:
paihlyaavaihlyaa ‘raYT/pataI sauv
Page 188 and 189:
techniques have appeared in Marathi
Page 190 and 191:
discipline desire and Indian social
Page 192 and 193:
advancements, nostalgia as a blanke
Page 194 and 195:
. क एक . ' क ' (१९५
Page 196 and 197:
'(२००३) क - क . क क
Page 198 and 199:
' '(१९७०) क , क ' ' ' '
Page 200 and 201:
jagah na hao. yah BaartIya samaaja
Page 202 and 203:
Baavanaa¸ saba kuC gaayaba hO.vast
Page 204 and 205:
only the professional film maker, t
Page 206 and 207:
Marathi Cinema received critical ac
Page 208 and 209:
DR. JABBAR PATEL VARSHA USGAONKA R
Page 210 and 211:
SOLUTIONS:- A) Budget of Marathi fi
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ISBN 978-81-925489-2-0 - ramniranjan jhunjhunwala college

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