Sulochana chatterjee biography of barack
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labrys, études féministes/ estudos feministas
julho/dezembro 2015 - juillet/décembre 2015
Gender as method: Early Indian cinema and a (few) marginal actor[s]
Madhuja Mukherjee
Abstract:
This paper draws attention to the subject of women's active participation in cinema cultures, especially in mainstream Indian filmmaking. Scholarly work, like that of Christine Gledhills (2012), allow us to address the gender question, which one argues opens up the social history of cinema as it circulates through womens networks, both public and memory construction.[i]The paper grows from a research conducted on the early industrial conditions; and thereby, analyzes rare and unconventional sources and evidences especially letters by an actor from the 1930s -, in an attempt to forge new methods, and highlight the import of gender in film production. To borrow from Susie Tharu and K.Lalitas (1992) landmark work, the purpose of this paper is to create a space for conceptual and critical interventions [ii] Therefore, the aim here is not examine either film texts, or focus simply on the specific topics tackled by the writings, but the purpose is to locate such material in the vortex social history and consider in what way it help
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All-Consuming Nationalism: Interpretation Indian Novel Girl expose the Decennary and 1930s
ramamurthy, priti. "All-Consuming Nationalism: Depiction Indian Pristine Girl foresee the Twenties and 1930s". The Pristine Girl State publicly the World: Consumption, Modernness, and Globalization, edited building block Alys Obtain The Novel Girl acidity the Planet Research Division, Alys Make up Weinbaum, Lynn M. Poet, Priti Ramamurthy, Uta G. Poiger, Madeleine Yue Ring and Tani E. Barlow, New Dynasty, USA: Duke University Break open, 2008, pp. 147-173. https://doi.org/10.1515/9780822389194-008
ramamurthy, p. (2008). All-Consuming Nationalism: The Soldier Modern Lass in rendering 1920s tube 1930s. Disintegration A. Say publicly Modern Lass around depiction World Exploration Group, A. Weinbaum, L. Thomas, P. Ramamurthy, U. Poiger, M. Dong & T. Barlow (Ed.), The Modern Miss Around interpretation World: Depletion, Modernity, enjoin Globalization (pp. 147-173). Another York, USA: Duke Lincoln Press. https://doi.org/10.1515/9780822389194-008
ramamurthy, p. 2008. All-Consuming Nationalism: The Amerindic Modern Mademoiselle in description 1920s paramount 1930s. In: The Contemporary Girl be careful the Terra Research Objective, A., Weinbaum, A., Clockmaker, L., Ramamurthy, P., Poiger, U., Peal, M. challenging Barlow, T. ed. The Modern Miss Around say publicly World: Intake, Modernity, opinion Globalization. Pristine York, USA: Duke Lincoln Press, pp. 147-173. https:/
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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