Thursday, March 12, 2020
Gujarati cinema history
Topic
: Gujarati cinema history
Name:
Gaha Nasim
Roll
no: 20
Year:
2018-2020.
Enrolment
no: 2069108420190014.
M.A:
Sem-4
Paper
no:
Submitted
to:Smt Gardi Department of English maharaja Krishnakumarsihji Bhavnagar
University.
·
About what is Gujarati cinema called ?
Gujarati cinema
industry is referred to as Dhollywood or Gollywood? The nickname of Gujarati cinema industry Bollywood, the
nickname of the cinema industry based in Dhollywood ,Mumbai(then called Bombay) . The name has
fallen off because of the abundance of dhol used
in Gujarati movies . Moreover, Gujarat and Bollywood are the
other nicknames used by the combination of both words, Gollywood . all have known, loved and admired the Gujarati
culture and its heritage. Ever since its inception in the 1930s, this one of
the largest vernacular and regional part of the cinema of India and has
successfully produced over 1,000 Gujarati movies. This industry has seen a
variety of different eras and now it stands as one of the most sought after
type of mode of entertainment in the state. Some of the movies in the current
era has even gathered international accolades for its creativity.
Gujarati
films are mostly woven by human or social emotions. These include family
relations, the desires of the human mind, and the contents of social
life. In the early years of Gujarati cinema, a large number of films based
on mythological subjects and legends were produced. Movies were also made
on popular Gujarat saints and "Sati" like Narsih mheta Mehta
Gangashati movies were made with a view to rural viewers with knowledge of such
topics. Early movie producers also produced on the topic of social reform. Based
on family life and lajnajivana movies such gunasundari and Kariyavar can be considered
significant. Historical, social, and religious topics were prominent in
the decades of 1 and 2. Many Gujarati movies like Kashi's Son Created from a Gujarati novel. In the
sixties, the subjects of saint and sati were again prominent. Hindi cinema
has had an impact on Gujarati cinema in the 8th and 9th and films have been
made on exciting topics. At the beginning of the sixties, the films were
mainly aimed at rural audiences and became a local story and genre. After
that, Gujarati cinema was resurrected and urban cultures were added to
it. In recent times, has been building more presents movies for
viewers.
Rainbow (1) is
the first Gujarati movie on the homosexual or LGBT community .
The scripts and stories of the Gujarati films include
relationship and family oriented subjects, as well as human aspirations and
Indian family culture. There were a large number of films based on mythological
narratives and folklore produced in the early years of Gujarati cinema.
During the silent film era, many individuals in the industry
Gujarati. The language-associated industry dates back to 1932, when the first
Gujarati talkie, Narsih mheta, was
released. Until the Independences of India in 1947, only twelve
Gujarati films were produced. There was a spurt in film production in the 1940s
focused on saint, sor dacoit stories
as well as mythology and folktales. In the 1950s–1960s, the trend
continued with the addition of films on literary works. In the 1970s,
the government of Gujarat announced a tax exemption and
subsidies which resulted in an increase in the number of films, but the quality
declined.
After flourishing
through the 1960s–1980s, the industry saw a decline through 2000 when the
number of new films dropped below twenty. The Gujarat state government
announced a tax exemption again in 2005 which lasted until 2017. The industry
has been partially revived in the 2010s due first to rural demand, and later to
an influx of new technology and urban subjects in films. The state government
announced a policy of incentives in 2016.
Silent Films in Gujarat:
Way before the films became a
crucial part of the media industry, dominating the screens were the silent
films. In Gujarati silent films, people were seen being closely related to the
culture and social life of the people there which made it immensely popular
among the masses. Between the duration of 1913 and 1931 there were around 20
top rated media companies producing such films in Gujarati and mostly
functioning from Bombay.
Early Talkies in Gujarat:
The first short Gujarati sound film
called Chavchav No Murabbo was brought in to screen for public viewing on 4th February 1931 in Bombay. It featured the very
first sound in any Indian film called mane Mankad Karde. It is commendable that
even before the release of a full length Gujarati sound film, 2 short sound
films were already released with the Hindi film industry. However the landmark
movie which made its appearance in the Gujarati cinema industry was Narsinh
Mehta in the year 1932 which was directed by Nanubhai Vakil. The movie
showcased the life of saint Narsinh Mehta.
After independence Movies in
Gujarat:
There was a huge surge of
production in Gujarati movies post the independence in the year 1947. In 1948
alone 26 Gujarati films were produced and released. The movies released in
between the years 1946 and 1952, 74 different movies in Gujarat were produced
and admired which were related to stories about dacoits, saints or sati. All
these movies were made for the masses and the rural audience who are very much
familiar with these subjects. Numerous movies which are made were relatable
with the life and problems observed by the people residing this region and
especially the folklores and myths.
Decline and Revival of Gujarati
Cinema:
In the
early 2000s less than 20 films have been produced and released however in 2005
a number of tax exemptions were announced by the government of Gujarat for
entertainment. 5 lakh rupees of subsidy was also announced by the government
for various Gujarati films. This was the revival point of Gujarati cinema in
general. These exemptions resulted in a sudden surge of Gujarati movie
production and release. Eventually with the onset of new technology and styles
in the cinematic universe the production value of the movies also became better
as its demand became higher and higher. In the golden globe awards of 2018
Gujarati film festival made its debut which was a landmark move in this field
which now continues to grow.
Conclusion
Today
Gujarati cinema in many different cultures,cloth, food, house, language and many different in cinema example
clothes today heroine wears western clothes. Nero and T-shirt and .and before
heroine wear village's clothes Shaniya choli and Shari and now heroine wear new
fashion cloth. Today in Gujarati movie .
Works Cited
contributors, Wikipedia. Gujarati
cinema. 09 february 2020. 09 march 2020
<https://en.wikipedia.org/wiki/Gujarati_cinema>.
Expert,
Gujarat. Gujrati cinema. 2020. 09 march 2020
<https://www.gujaratexpert.com/gujarati-cinema/>.
Monday, March 2, 2020
Sunday, March 1, 2020
All My Sons
All My Sons
In the end Joe Keller realities his guilt and thinks that not only Larry was his son but all who died because of him were his sons. He goes inside to get his things. A gunshot is heard. Joe Keller had committed suicide.
Relatedness:
In the drama their are some elements to think about the distance of personal and public matters. Keller thinks that it is not bad to supply leak cylinder to the Air force, he also thinks that when it's about the sake of family there is no crimes in it. On the other hand his son's Larry and Chris they think that nothing is important than the responsibility towards nation.
In the drama we saw a complex relatedness.
Flashback/ The Past:
The whole play is about past. Larry is not in present but he since gives a effects on Keller family and also Joe's suicide.
So, to summaries Miller described that past effects on the present and also gives a shape of futere .
Idealism v/s Practicality:
Chris in the drama is a idealist character another side Joe in the drama is a practical.
In the drama Miller also represent the unconditional love.
In the drama we see unconditional love between:
Black cat
Black cat : by Edgar Allan Poe.
The Black Cat" is a short story by Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. It is a study of the psychology of guilt, often paired in analysis with Poe's "The Tell-Tale Heart."[1] In both, a murderer carefully conceals his crime and believes himself unassailable, but eventually breaks down and reveals himself, impelled by a nagging reminder of his guilt.
CHARACTERS
Narrator: Prisoner scheduled for execution. His loathing of a cat he once loved leads to his commission of a capital crime.
Narrator's Wife: Woman of agreeable disposition who likes animals and obtains many pets for her husband.
First Black Cat: Cat named Pluto that loves the narrator but irritates him when it follows him everywhere.
Second Black Cat: Cat that resembles the first black cat and may be a reincarnation of the latter—or so the narrator may think.
Policemen: Officers who investigate the happenings at the home of the narrator.
Servant: Person working in the narrator's household.
POINT OF VIEW
• Who is telling the story?
The narrator tells the story in first-person point of view. He is obviously deranged even though he declares at the outset of the story that "mad am I not." He tells readers that excessive drinking helped to bring on his erratic, violent behavior. (It may be that the drinking worsened an existing mental condition.) The narrator tells his story as he sees it from his demented point of view.
• Why, in your opinion, did Poe not give a name to the narrator?
As in many of his other short stories, Poe does not name the narrator. A possible explanation for this is that Poe wanted the unnamed narrator to represent every human being, thereby enhancing the universality of the short story. In other words, the narrator represents anyone who has ever acted perversely or impulsively—and then had to pay for his deed.
Narrator: Prisoner scheduled for execution. His loathing of a cat he once loved leads to his commission of a capital crime.
Narrator's Wife: Woman of agreeable disposition who likes animals and obtains many pets for her husband.
First Black Cat: Cat named Pluto that loves the narrator but irritates him when it follows him everywhere.
Second Black Cat: Cat that resembles the first black cat and may be a reincarnation of the latter—or so the narrator may think.
Policemen: Officers who investigate the happenings at the home of the narrator.
Servant: Person working in the narrator's household.
POINT OF VIEW
• Who is telling the story?
The narrator tells the story in first-person point of view. He is obviously deranged even though he declares at the outset of the story that "mad am I not." He tells readers that excessive drinking helped to bring on his erratic, violent behavior. (It may be that the drinking worsened an existing mental condition.) The narrator tells his story as he sees it from his demented point of view.
• Why, in your opinion, did Poe not give a name to the narrator?
As in many of his other short stories, Poe does not name the narrator. A possible explanation for this is that Poe wanted the unnamed narrator to represent every human being, thereby enhancing the universality of the short story. In other words, the narrator represents anyone who has ever acted perversely or impulsively—and then had to pay for his deed.
Plot:
The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.
From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee.
The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.
At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.
Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.
On the last day of the investigation, the narrator accompanies the police into the cellar. They still find nothing. Then, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: "I had walled the monster up within the tomb!"
The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.
From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee.
The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.
At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.
Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.
On the last day of the investigation, the narrator accompanies the police into the cellar. They still find nothing. Then, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: "I had walled the monster up within the tomb!"
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