Making an important new contribution to rapidly expanding fields of study surrounding the adaptation and appropriation of Shakespeare, Shakespeare and the Ethics of Appropriation is the first book to address the intersection of ethics, aesthetics, authority, and authenticity.
Contents: 1. An Explanation of James Monaco, ‘the Language of Film : Sings And Syntax’, In How To Read A Film : The World of Movies, Media And Multimedia 2. William Shakespeare’s : The Comedy of Errors, and Its Adaptation Angoor (1982 Film; Directed By Gulzar) 3. Khushwant Singh’s Train To Pakistan, and Its Adaptation Train To Pakistan (1998 Film; Directed By Pamela Rooks) 4. Rabindranath Tagore’s Kabuliwala and Its Adaptation Kabuliwala (1961 Film;Directed By Hemen Gupta) 5. William Shakespeare’s Macbeth, And Its Adaptation Maqbool (2003 Film; Directed By Vishal Bhardwaj) 6. Chetan Bhagat’s The 3 Mistakes of My Life, and Its Adaptation Kai Po Che (2013 Film; Directed By Abhishek Kapoor) 7. Script Writing 8. Dialogue Writing 9. Movie Review 10. Editing 11. Narration. Additional Information: The author of this book is R. Bansal.
This work provides an introduction to the enormously successful world of Bollywood - the biggest film industry on the planet. It includes a selection of writings by some of the most prominent voices in Indian film writing and criticism.
This collection of essays by subject specialists examines the politics of violence, communalism, and terrorism as negotiated in cinema; the representations of identitarian politics; and the complex ideological underpinnings of literary adaptations.
Purchase e-Book of (English) (Paper - 2) LITERATURE IN FILMS & MEDIA STUDIES (English Edition) of B.A. 6th Semester for all UP State Universities Common Minimum Syllabus as per NEP. Published By Thakur Publication
Angoor (1982) is among the best-loved comedies in Hindi cinema. It is also a perfect example of Gulzar's genius as a writer complete with his impish wordplay. Through extensive interviews with some of the main actors in Angoor (Deepti Naval and Moushumi Chatterjee) and its earlier version - both adaptations of Shakespeare's Comedy of Errors - this book traces the evolution of a comic tale that continues to amuse audiences of all ages. It deftly peels the layers exploring how song, dialogue, silences and wordplay add to the actors' arsenal in creating humour that can range from rib-tickling mirth to guffaws.Sathya Saran's book reveals what lies behind the evergreen appeal of Angoor, with memories and anecdotes shared by Gulzar himself.
"There are 83 copies of the First Folio in a vault beneath Capitol Hill, the world's largest collection. Well over 150 Indian movies are based on Shakespeare's plays-more than in any other nation. If current trends continue, there will soon be more high-school students reading The Merchant of Venice in Mandarin Chinese than in early-modern English. Why did this happen-and how? Ranging ambitiously across four continents and 400 years, Worlds Elsewhere is an eye-opening account of how Shakespeare went global. Seizing inspiration from the playwright's own fascination with travel, foreignness and distant worlds, Dickson takes us on an extraordinary journey-from Hamlet performed by English actors tramping through Poland in the early 1600s to twenty-first century Shanghai, where Shashibiya survived Mao's Cultural Revolution to become an honored Chinese author. En route we visit Nazi Germany, where Shakespeare became an unlikely favorite, and delve into the history of Bollywood, where Shakespearian stories helped give birth to Indian cinema. In Johannesburg, we discover how Shakespeare was enlisted into the fight to end apartheid. In California, we encounter him as the most popular playwright of the American frontier. Both a cultural history and a literary travelogue, the first of its kind, Worlds Elsewhere explores how Shakespeare became the world's writer, and how his works have changed beyond all recognition during the journey"--
Here, essays use the latest theories in postcolonialism, globalization, and post-nationalism to explore how world cinema and theater respond to Bollywood's representation of Shakespeare. In this collection, Shakespeare is both part of an elite Western tradition and a window into a vibrant post-national identity founded by a global consumer culture.
This book is a passionate rendezvous with cinema, the most collaborative of art forms. The essays here explore the possibilities offered by a close reading of cinema that keeps cultural contexts and their socio-historical roots firmly in sight. This collection does not consider the “frame”, that oft-referenced basic unit of vision in films, as a limiting structure. Rather, it brings into purview what is left out. Divided into three sections, the essays look firstly at Indian cinema, both Bollywood and regional films, tracing the journey of Indian cinema from the periphery to the center. The second section focuses on Adaptation Studies and takes an unorthodox look at classic adaptations of literature. The final section is a reappraisal of directors like Alfred Hitchcock and Stanley Kubrick. The essays propose that, even though the film as an artwork does not change fundamentally over time, it still strikes a contemporary critical gaze differently.