Download Film Dansh Download
Ene Vinson
Dansh is a 2005 Hindi Drama film directed by Kanika Verma and produced by Anish Ranjan. The film features Kay Kay Menon, Sonali Kulkarni and Aditya Srivastava in titular roles.[1][2] The film is based on the armed struggle of the Mizoram National Front with Indian Army along with blood, torture and rape sequences. The film is a remake of the movie "Death and the Maiden".[3]
The actual story begins in 1986, when the MNF signs a truce agreement with the Indian government. The rebels are torn between their heads and their hearts. How can we make peace with the soldiers who raped our women, pillaged our land, some of them are asking. The leader Mathew (Kay Kay) is the voice of reason: we have to forget the past for the future, the people want peace, he urges, and prevails. Even as Mizoram celebrates, a chance meeting finds Mathew inviting a Mumbai-based Mizo doctor (Aditya Srivastava) over to his house. After a drinking bout pondering on war and peace, the doctor is in no state to drive home and Mathew asks him to stay over. Upstairs, Maria (Sonali Kulkarni), Mathew's wife and fellow rebel, has recognised the man downstairs as the doctor in the Indian Army camp who raped her repeatedly when she had been caught and interrogated. She wants revenge. But she never saw the army camp doctor. She was blindfolded all the time. So how is she sure this man is the same, a horror-struck Mathew demands of his wife when he finds she has bound the doctor to a chair and started torturing him. I remember his voice, I remember his smell, Maria says. I am innocent, your wife has gone mad because of the army torture, the doctor pleads. What follows is a night of self-discovery for Mathew, Maria and the doctor. And perhaps, a message for terrorists who believe the 'cause' justifies the means; as well as people who feel the gun is the only solution for dealing with aggrieved, angry people.
Music and dance are inexorably linked. This interdisciplinary class co-taught by professors of dance and of music explores the historical intersections of both art forms. Students will learn how composers and choreographers dialogue with each other in works ranging from Lully and Petipa to Philip Glass and Mark Morris.
Guns. Horses. Saloons. Whiskey. Are cowboy movies really worth studying? Can movies starring John Wayne and Clint Eastwood be sublime works of art? In short, yes. Westerns are among the most visual of all film genres, and some of the finest directors of classic American cinema specialized in them.
Theater, Dance, and Film are essential forms of human expression that celebrate creative collaboration and critical engagement with our world. The Department provides a dynamic introduction to performance, production, history and literature. Through the study of the practice and history of theater and dance, students develop aesthetic appreciation for art and culture, learn flexible problem-solving methods, acquire diverse communication skills and employ creative collaborative processes. These academic and artistic tools and experiences will lead students to contribute their unique talent and training to the betterment of society and the arts.
Through the study of the practice and history of theater, dance and film students:
Develop aesthetic appreciation for art and culture
Learn flexible problem solving methods
Acquire diverse communication skills
Employ creative collaborative processes
There are many differences and schools of thought that go into choreographing a piece for the stage versus a piece for film. You could have the same choreography for both, but the final products will look quite different. This is because of the different techniques used when making a film. When choreographing for video, you are less likely to think about how the dance looks in a wide angle for the entirety of the piece. Unlike on a proscenium stage, the audience will not be seeing all the dancers on the screen at once. There will be close-ups, different angles, and different perspectives captured. This allows for more freedom when choreographing because not everything will be seen.
Filming also gives an opportunity to create distortion of the choreography within the piece. For example, reversing a phrase within the dance, slowing down the speed, and changing the light or saturation. There are so many ways you can edit film to create an almost entirely new dance. That being said, editing is another essential element of dance for film that does not come into play when dancing for the stage. A big part of the process and time goes into editing; exploring different editing techniques and effects that can be used to change or enhance the tone of the piece.
I fell into dance photography quite by accident. I was a member of a meetup group of photographers in Boston, and one of the people I met at their events invited some of us to shoot in his studio with Viktory, a traveling ballet model. I was shooting landscapes almost exclusively at that time, and I had hardly ever shot with a model before. Luckily for me, Viktory is very experienced and was able to work with our varying skill levels. Little did I know at the time that I would still be shooting with her six years later!
When I am not shooting in the studio, I enjoy visiting waterfalls, lighthouses, and various other areas around the New England coast. There are many places I would like to shoot around the world, including the West Coast of the United States, the Seven Sisters in Australia, the islands of Scotland, and the Jurassic Coast in England. The nice thing about this area of the United States is that you can see all kinds of landscapes within a reasonably short distance, so I hope my experience here will stand me in good stead if I have the opportunity to visit these places. You can see some of my landscapes on my website, simongoodacre.com.
I learned to shoot on film with a 35mm Vivitar camera as a student. I must confess that after I transitioned to some digital photography classes I moved away from film for several years because I just thought of it as a less convenient option for capturing images. I rediscovered the medium about five years ago when I acquired an old Hasselblad 500CM. I enjoyed the purity of using a camera that captures beautiful images with no electronic aids, and slowly I began to realize that I really appreciated the organic quality of film that is so easy to observe yet so difficult to describe. After a while, I even came to enjoy the process of developing in my kitchen sink, although my girlfriend may have some misgivings about that!
Having experimented with several different films and processing chemicals, I have mostly settled on Ilford FP4 Plus and ILFOTEC DD-X. I do most of my post-processing on the computer, and I find that combination yields negatives that scan well and offer a wide latitude in editing while maintaining that critical organic characteristic.
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