Re: Bengali B Grade Film Download
Bernd Manison
There are 260 million speakers of Hindi, making it the fifth most spoken language in the world. Outside of India, it is spoken by a substantial population in Bangladesh, the U.K., the U.S., and thirteen other nations. Hindi is one of the two official languages of India. Hindi script is similar to that of Bengali and Punjabi. It shares many linguistic features with other Indic languages that have Sanskrit as their common ancestor. It has an old and rich literature that dates back to late Medieval period. Hindi is also the main language of the Bollywood film industry, which produces an astounding number of movies on a variety of topics every year. The Bollywood movie industry has greatly contributed to popularising Hindi around the world.
Throughout their studies, they will learn the language in the context of Bengali-speaking countries and learn about the issues and influences which have shaped the country. Students will study texts and film and have the opportunity to carry out independent research on an area of their choice.
The Namesake is a 2006 English-language drama film directed by Mira Nair and written by Sooni Taraporevala based on the novel The Namesake by Jhumpa Lahiri. It stars Kal Penn, Tabu, Irrfan Khan and Sahira Nair. The film was produced by Indian, American and Japanese studios.[4] The film was released in the United States on 9 March 2007, following screenings at film festivals in Toronto and New York City. The Namesake received positive reviews from American critics.[5]
The Namesake depicts the struggles of Ashoke and Ashima Ganguli, first-generation immigrants from the state of West Bengal to the United States, and their American-born children Gogol and Sonia. The film takes place primarily in Kolkata, New York City, and suburbs of New York City.
As well as depicting Gogol/Nikhil's experiences, the film describes the courtship and marriage of Ashima and Ashoke, and the effect on the family from Ashoke's early death from a massive heart attack. Through experiencing his father's funeral rites on the banks of the Ganges, Gogol begins to appreciate Indian culture. Ashima's decision to move on with her life, selling the suburban family home and returning to Calcutta for part of each year, unifies and ends the story.
The film received favorable reviews from critics. As of 23 February 2009, the review aggregator Rotten Tomatoes reported that 86% of critics gave the film positive reviews, based on 126 reviews.[5] Metacritic reported the film had an average score of 82 out of 100, based on 33 reviews, indicating "universal acclaim".[10]
In addition, a single GenEd course may be offered by more than one department. GenEd courses offered by more than one department will have the same course number and the same course title. A student may not take the same course from multiple departments and earn credit toward graduation. However, if a student wishes to replace their grade in a GenEd course, they may replace the grade with any course bearing the same course number and the same course title regardless of department.
The Asian Languages and Cultures major requires a total of 60 credits. Complete the following with a minimum 2.0 cumulative grade point average in courses applied to major requirements. At least 30 credits must be earned at the 300- and/or 400-level. A minimum of 30 credits must be taken in residence through the University of Washington.
This course centers the figure of woman -- multiply understood as embodied, discursive, performed, strategic, subversive or subverted -- in a revisionist examination of documentary history and theory. How might our understanding of the documentary, its particular epistemology, and its central concepts be recalibrated through a shift of focus onto gender and sexual difference, variably behind or in front of the camera, on or in front of the screen? Multiple generations of feminist, queer, and post-humanist perspectives are brought to bear on the practices and discourses of documentary film & video. Filmmakers whose work we will consider include Chantal Akerman, Agnes Varda, Trinh T. Minh-ha, Jil Godmilow, Carolee Schneemann, Su Friedrich, Akosua Adoma Owusu, Shirley Clarke, Chick Strand, Hito Steyerl.
This course surveys the cinema of Ireland from the silent period to the present day. In addition to looking at feature films, we will examine home movies, documentary, and television programming. Film and media intersect with this history of modern Ireland in complex ways, as the readings will detail. In the period spanning the beginning of the twentieth century (when film was introduced) to the present day, the Irish people lived through colonial domination, revolution, partition, civil war, mass emigration, theocracy, paramilitary sectarian violence, martial law (The Emergency Provisions Act), an unprecedented peace agreement and, finally, a contradictory sort of liberal secularism. In different ways, all of the course's screenings speak to some aspect of this history. The goal of lectures and discussions is to amplify the implications of these depictions, through a focus on formal and aesthetic practices and an awareness of the historical and geopolitical context of the present. Assignments: short midterm essay, longer final paper.
This class will focus on experimentation in film and video around the world in the 1960s (broadly construed to include a few things from late 1950s and a few things from the early 70s). We will consider the relation between the experimentation in the 1960s and that of earlier avant-garde experimentation. We will also consider about the relation between experimentation in film and video in relation to experimentation in art and television at that time. More importantly, however, we think about the way film and video figure into the general tumult of this period, and with that in mind, we will consider what moved filmmakers and videographers to adopt experimental procedures (at the level of production and screening), what they hoped the effects of those procedures might be, and what happened when the films and videos were screened. Our focus will be international, including filmmakers such as Agnès Varda, Chantal Akerman, Chris Marker, Vera Chytilová, Michelangelo Antonioni, Francesco Rosi, Jonas Mekas, Andy Warhol, Jack Smith, Joyce Wieland, Harun Farocki, Jean Marie-Straub and Danièle Huillet, Nam Jun Paik, Shirley Clarke, William Greaves, Haile Gerima, Tomás Gutiérrez Alea, Santiago Álvarez, Jorge Sanjinés, Fernando Solanas, Octavio Getino, Alejandro Jodorowsky, Masao Adachi, Shuji Terayama, among many possible others.
This course constitutes a broad survey of American cinema from its origins in the late nineteenth century to 1960. While the course will predominantly focus on dominant, narrative fiction film, we will also consider other modes of American cinema, including experimental film, newsreels, and animation. We will attend to the films of the period, focusing on the ways in which style and narrative change according to various influences, social conditions, technological innovations, etc. That is, we will similarly attend to the contexts in which these films were made, focusing on the development of cinematic language and genre, the growth of the industry as a machine of production and promotion, forms of censorship, questions of identity and social formation, domestic and international events, and more. The objective is to provide a general understanding of one of the preeminent popular art forms of the 20th century, understanding the reciprocal relationship between art and culture, and a summary of the conditions of mass media and modernity.
This course demystifies the professional and intellectual possibilities of film criticism in the contemporary media landscape through a historical foundation. Students will write reviews and critical essays as well as produce analyses of existing work, all of which should aid those interested in pursuing further opportunities in criticism and/or developing a deeper understanding of the craft. Through a combination of readings, discussions, and screenings, we will explore the expansive possibilities of criticism with relation to global film culture, the role of the Internet, distinctions between academic and popular criticism, and the impact of the practice on the film and television industries themselves. We will cover the influence of major figures in the profession with course readings and discussions based around work by major figures including Ebert, Haskell, Farber, Kael, Sarris, Sontag, and many others. Major critics will visit the course to provide additional context. Emerging forms of critical practices, including podcasts and video essays, will also figure prominently, as will discussions surrounding the value of entertainment reporting and other related forms of journalism. In addition to engaging in classroom discussions, students will be expected to write weekly reviews, pitch essay ideas, file on deadline during certain courses, and complete a final essay.
This class is designed to help the students analyze a film script. Premise, character population, plot and genre, dialogue, foreground, background, and story will all be examined. Using feature films, we will highlight these script elements rather than the integrated experience of the script, performance, directing, and editing elements of the film. Assignments will include three script analyses. Seats very limited.
With the advent of new technologies, film producers and distributors and managers of film and video collections are faced with a myriad of legal and ethical issues concerning the use of their works or the works found in various collections. The answers to legal questions are not always apparent and can be complex, particularly where different types of media are encompassed in one production. When the law remains unclear, a risk assessment, often fraught with ethical considerations, is required to determine whether a production can be reproduced, distributed, or exhibited without infringing the rights of others. What are the various legal rights that may encumber moving image material? What are the complex layers of rights and who holds them? Does one have to clear before attempting to preserve or restore a work? How do these rights affect downstream exhibition and distribution of a preserved work? And finally, what steps can be taken in managing moving image collections so that decisions affecting copyrights can be taken consistently? This course will help students make intelligent decisions and develop appropriate policies for their institution.
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