Relevant bibliographies by topics / Indian Movies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Indian Movies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Indian Movies"

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Athique, Adrian. "WATCHING INDIAN MOVIES IN AUSTRALIA." South Asian Popular Culture 3, no. 2 (October 2005): 117–33. http://dx.doi.org/10.1080/14746680500234546.

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Sannapu, Suresh, Akshat Singh Parihar, Gaurav Kandwal, and Karan Kakkar. "Importance of Web Based Tools for Promotion of Movies." International Journal of Online Marketing 4, no. 2 (April 2014): 62–73. http://dx.doi.org/10.4018/ijom.2014040105.

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This paper gives a description of the empirical study investigating the impact of promotions using Web based tools by Indian Movie production houses. Evolution of movie promotion starting with use of traditional methods for the first movie to the near dependence on social media to promote the latest movies produced in India has been chronologically presented. Critical role of web based tools and their synchronization with other media tools in contemporary movie promotion has also been elaborated. As Indian film industry is witnessing impeccable advancements in areas like technology and marketing digitalization, this research shows the use of online tools for attracting consumers. The key research objective is to find out the ability of the production houses to attain maximum customer attraction through various online tools like Facebook, Twitter, Blogs and YouTube. Data has been collected both from primary and secondary sources. Regression analysis has been used to depict the relationship between likes, comments and shares with the number of campaigns. Given the huge contribution of movies to Indian economy, ever increasing competition in this industry and increasing popularity of Web based tools; this study aims to benefit multiple stakeholders including movie producers, individual investors and all other entities related to movie making business such as music companies, distributors, exhibitors and single screen owners.
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Gupta, Samrat, Saurabh Kumar, and Pradeep Kumar. "EVALUATING THE PREDICTIVE POWER OF AN ENSEMBLE MODEL FOR ECONOMIC SUCCESS OF INDIAN MOVIES." Journal of Prediction Markets 10, no. 1 (September 20, 2016): 30–52. http://dx.doi.org/10.5750/jpm.v10i1.1182.

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The Indian motion picture industry has experienced phenomenal growth during the last few decades and plays an important role in emerging economy of India. This paper integrates three analytical models in order to address the intriguing problem of revenue prediction of movies in Indian film industry. The paper attempts to investigate the determinants leading to the success of indigenous movies in Indian context. Ensemble model has been constructed by integrating the three analytical models (Neural Network, Classification and Regression Tree and Robust Regression) using linear optimization approach. Further, a four-way comparative analysis of these three models along with Ensemble model has been carried out. The predictive power of the models has been evaluated using four performance metrics namely root mean squared error (RMSE), mean absolute error (MAE), mean absolute percentage error (MAPE) and large prediction error (LPE). Analyzing novel and original data of 120 Indian movies released during the period August’06-October’15, this paper inspects the nitty-gritties of Indian film industry and seeks to explain the nuances. The study revealed that factors like hype generated on web by a movie, screens on which the movie is released, rating garnered by movie and its genre are the most influential variables in deciding the box-office performance of a movie. Further we observed, that the neural network model closely competes with ensemble model in terms of predictive accuracy. The ensemble model considerably reduces the predictive errors and yields better results on two of the performance metrics.
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Si, Aung. "A diachronic investigation of Hindi–English code-switching, using Bollywood film scripts." International Journal of Bilingualism 15, no. 4 (January 7, 2011): 388–407. http://dx.doi.org/10.1177/1367006910379300.

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Code-switching (CS) between an Indian language and (Indian) English is, and has long been, a normal feature of everyday speech in urban Indian society. Although much has been written about the status and role of English, and about the sociological variables associated with English usage in India, there have been, to date, no studies explicitly investigating changes in CS patterns over time. Bollywood movies are a rich source of information on the speech patterns of urban Indians throughout most of India’s post-independence history. CS patterns in Bollywood movies (from the 1980s, 1990s and 2000s) were therefore investigated in this study, by means of lexical transcripts of the dialogues between characters of equivalent age and socioeconomic status. A survey of seven movie dialogues revealed that CS can be accomplished through a range of syntactic and morphological strategies. Quantitative analyses showed a massive increase in the overall use of English over this period, a trend particularly evident among young speakers. Moreover, the complexity of CS increased over the period under consideration, with ‘alternations’ at clause boundaries increasing in frequency at the expense of single-word ‘insertions’.
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S. VASANTHI, S. VASANTHI. "Covert Advertising in Indian Movies : a Theoretical Review." Indian Journal of Applied Research 3, no. 11 (October 1, 2011): 284–85. http://dx.doi.org/10.15373/2249555x/nov2013/93.

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Bhaumik, Mahuya. "Changing Role of Indian Woman: A Glimpse into Two Bollywood Movies English – Vinglish and Queen." CLEaR 3, no. 1 (March 1, 2016): 52–60. http://dx.doi.org/10.1515/clear-2016-0006.

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Abstract Bollywood, being one of the biggest film industries of India, is an interesting area of research to understand the socio-cultural perspectives of today’s India. My paper will focus on the changing role of Indian woman. It will argue if the change is merely superficial or the Indian woman has been successful to negotiate with and challenge the patriarchal social structure. These multiple issues will be discussed with special reference to two of the latest Bollywood movies, namely, English-Vinglish and Queen. The focus on these two movies is because both concentrate on emancipation of woman. Sashi, the central character of English-Vinglish, despite facing all kinds of humiliation in her own family and finally learning English (her inability to speak in English being one of the primary reasons for her being ridiculed in her family) comes back to her family at the end. Queen showcases a different kind of emancipation where Rani, the leading lady of the movie, being dumped by her fiancé, decides to go for her honeymoon trip all by herself and recognises herself anew. These two movies are examples of the changing role of woman who does not need a male to rescue her from danger or to console her in her tears. She is a self-sufficient woman who does not forget her roots. Both the movies generate thought-provoking questions about the status of woman in present India and can be employed as lenses to see through the multiple layers of the gendered Indian society.
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Narain, Atticus. "Indian Movies, Narratives of Dissent and Objectification." Journal of Creative Communications 2, no. 1-2 (August 2007): 57–77. http://dx.doi.org/10.1177/097325860700200204.

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Rehman, Sharaf N. "Om Puri: The man who presented the real faces of the subcontinent of India." Asian Cinema 31, no. 2 (October 1, 2020): 269–78. http://dx.doi.org/10.1386/ac_00028_7.

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The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.
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Lee, Yi Yeh, Meng Jhe Hsieh, and Kuo Kuang Fan. "Study on Development of Indian Film Industry." Applied Mechanics and Materials 311 (February 2013): 544–49. http://dx.doi.org/10.4028/www.scientific.net/amm.311.544.

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Since movies were introduced into India, they have become one of the key industries in the country. Besides the wide support in the local market, Bollywood films have started to stand out on the world stage. There are 3.6 billion international audiences of Indian films. Different from Hollywood movies which we are familiar with, Indian films reveal strong national culture. This study probes into the success factors of Indian films by literature review on the development of Indian films, special film culture and policy of the Indian government, and generalizes the following success factors of Indian film industry: high population, ticket price & low cost, local cultural environment, governmental policy, and combination of tradition and innovation. This study analyzes the factors above and compares the related factors with American films.
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Ahmad, Afaq. "VERSATILITY THY NAME IS AAMIR KHAN: THEMATIC STUDY OF THREE SELECTED FILMS." International Journal of Research -GRANTHAALAYAH 7, no. 4 (April 30, 2019): 213–24. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.893.

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Hindi cinema has acquired a universal identity in Indian society as it is one of the most popular forms of entertainment, education and information in India. As purveyor of entertainment, Bollywood has provided a platform to many actors to flourish their talents as an actor. As far as Aamir Khan is concerned, acting is the life, blood, and soul of Aamir Khan. The way he portrays various characters in his movies, make him a perfect actor of versatile genre. Less studies have been conducted on Aamir Khan and his movies, and on the versatile portrayal of Aamir Khan contained in his movies. The purpose of this paper is to understand the versatile characteristics played by Aamir Khan in his movies. The present paper makes an attempt to critically analyse the three movies of different genres of Aamir Khan. These movies were purposively selected as Lagaan – a patriotic, productional and nostalgic movie, Rang De Basanti – a revolutionary, nationalistic and rebellious movie, and Taare Zameen Par – an inspirational, experimental and directorial movie, on account of their distinguishing stories. As the selected films etched a niche in the hearts and minds of cinemagoers and movie viewers due to their innovative stories and splendid cinematography, the thematic analysis was undertaken. It has been found from the study that message-oriented aspects depicted in these movies. Further, the informative, inspirational, patriotic, reformative, and revolutionary characteristics predominantly glimpsed in his movies. The versatile characteristics of Aamir Khan was also meticulously scrutinized. It has been found after having a critical analysis that Aamir Khan has versatile characteristics as depicted in these three selected movies under study.
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Dissertations / Theses on the topic "Indian Movies"

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D'souza, Ryan A. "Representations of Indian Christians in Bollywood Movies." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7772.

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This dissertation uses discursive formation as the methodological approach to examine representations of Indian Christians in eleven Bollywood movies released during the 2004-2014 decade. The decade witnessed the exit and eventual re-entry of the Hindu Right, and the citizenry during that period experienced centrist, liberal, and secular governance. Since the present of Indian Christianity is inextricable from a colonial past, and Bollywood emerges in response to colonialism, a postcolonial intervention in methodology and theory is undertaken. A postcolonial perspective illuminates the discourses that enable the formation of the postcolonial nation, i.e., the ways a nation imagines its culture, people, traditions, boundaries, and Others. There is a suggested relationship between the representations of Indian Christians in Bollywood movies and the decade of secular governance because the analysis is approached from the position that culture and media produce and re-produce each other. The representations of Christians in Bollywood movies are a product of contemporary and historical cultural, legal, political, and social discourses. This dissertation demonstrates that representations of Christians as hypersexual women and emasculated men within an emergent Hindu modernity discursively constructs India as a Hindu nation, and Christians as the westernized Other. The theoretical contributions pertain to belonging in the nation through homonationalism and hypersexualization; the relationship between democratic representations and media; the postcolonial ambivalent identity of the Bollywood industry because of way it represents Indian Christians in response to colonialism; and the Indian Christian community’s postcolonial identity as a way to make sense of their contemporary and historical identity.
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Girier, Jean-Philippe. "De la déconstruction du mythe de la femme soumise à la construction de la femme agent dans la littérature et le cinéma indiens contemporains." Thesis, Antilles, 2019. http://www.theses.fr/2019ANTI0382.

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La littérature et le cinéma Indiens contemporains s’inscrivent dans une dynamique qui va de pair avec les profondes mutations socio-économiques qui touchent l’Inde depuis la fin des années mille neuf cent quatre vingt. En effet, de nombreux romans et films se caractérisent par une liberté d’expression qui aborde de nombreux sujets autrefois considérés comme tabous. Le vent du renouveau qui balaie l’Inde est également marqué par l’augmentation du nombre d’auteures et de réalisatrices qui placent la femme au coeur de leurs récits et de leurs intrigues. Ainsi, l’objectif de cette étude est de montrer d’une part, comment l’image de la femme Indienne passive et soumise a été construite pendant le long processus de colonisation, d’autre part, comment la littérature et le cinéma contemporains tentent de réhabiliter la place de la femme dans l’histoire afin de construire une représentation nouvelle et dynamique qui symbolise la femme Indienne des années deux mille. Les romans respectifs d’Anita Nair et de Githa Hariharan, Compartiment pour dames et Les Mille visages de la nuit, tout comme les films Fire, Water de Deepa Mehta ainsi que Le Mariage des moussons de Mira Nair s’inscrivent dans un mouvement de résistance où l’agentivité des héroïnes témoigne de la volonté et de la difficulté de s’affranchir de trois siècles de mise à la marge. Dans une première partie, nous proposons de parcourir l'histoire, celle qui a attribué à l'homme des capacités supérieures à celles de la femme, lui conférant par extension une autorité, un pouvoir de domination. Cette approche historique et sociologique permet de comprendre comment ont été construits les liens qui unissent l'humain et le divin en Inde. Notre regard se posera également sur les bouleversements conséquents engendrés par la colonisation britannique. Cette période de l'histoire de l’Inde sera analysée afin de mettre en évidence les modes opératoires par lesquels l’empire britannique est parvenu à imposer un mode de vie fidèle à sa vision du monde tout en excluant les femmes des sphères décisionnelles afin de les « consigner » dans l'espace domestique. La seconde partie de la thèse analyse l'espace familial, devenu le lieu par excellence de reproduction des postulats androcentriques. Cet espace privé sera observé de près et nous nous engagerons dans une démarche qui combine psychanalyse et sociologie afin de démontrer l’importance de la construction du féminin dans le processus de déconstruction identitaire. Nous porterons une attention particulière au rôle jouer par la mère dans le processus de reproduction. La position ambivalente qu’elle occupe conduit souvent à une fragmentation entre l’être physique, l’être social et l’être psychique. La psyché devient alors un espace habité par le doute et la peur tout en étant l'ultime refuge de réconfort. Ce décentrement entre le corps et l'esprit nous emmènera dans le domaine de la psychosomatique, là où le rêve est le lieu privilégié de la reconstruction psychique. Nous observerons également les stratégies utilisées par les romancières et les cinéastes afin d’entamer le processus de reconstruction identitaire de leurs héroïnes. La troisième partie s'intéresse au cinéma et à la littérature à travers leur complémentarité. Dans un premier temps, nous retracerons l’histoire du cinéma de la marge et nous soulignerons son caractère engagé qui le différencie de certains cinémas populaires tels que bollywood. Par la suite, nous effectuons un rapprochement entre le roman et son adaptation au cinéma afin de mettre en évidence la complémentarité des oeuvres ainsi que la notion de solidarité qui représente un point essentiel dans ce travail collaboratif. En effet, les cinéastes de la diaspora que sont Deepa Mehta et Mira Nair, ont développé une approche militante et solidaire que l’on retrouve aussi bien dans l’écriture du script que dans le choix des acteurs et des actrices
Contemporary Indian literature and cinema are part of a dynamic that goes hand in hand with the profound socio-economic changes that have affected India since the end of the nineteen eighties. Indeed, many novels and films are characterized by a freedom of expression that touches on many subjects that were once considered taboo. The wind of renewal sweeping India is also marked by the increase in the number of writers and directors who place women at the heart of their stories and intrigues. Thus, the objective of this study is to show, on the one hand, how the image of the passive and submissive Indian woman was constructed during the long process of colonization, on the other hand, how contemporary literature and cinema attempt to rehabilitate the place of women in history in order to build a new and dynamic representation which symbolizes the Indian woman of the 2000s. The respective novels of Anita Nair and Githa Hariharan, Ladies' Compartment and The Thousand Faces of the Night, as well as the films Fire, Water by Deepa Mehta as well as The Marriage of the monsoons by Mira Nair are part of a resistance movement. where the agency of the heroines testifies to the will and the difficulty of freeing oneself from three centuries of marginalization.In the first part, we propose to walk through the history, that which attributed to the man capacities superior to those of the woman, conferring upon him by extension an authority, a power of domination. This historical and sociological approach allows us to understand how the links which unite the human and the divine in India were built. Our gaze will also focus on the consequent upheavals engendered by British colonization. This period of Indian history will be analyzed in order to highlight the modus operandi by which the British Empire succeeded in imposing a lifestyle faithful to its vision of the world while excluding women from decision-making spheres in order to "consign" them in the domestic space.The second part of the thesis analyzes the family space, which has become the place par excellence for the reproduction of androcentric postulates. This private space will be closely observed and we will engage in an approach that combines psychoanalysis and sociology in order to demonstrate the importance of the construction of the feminine in the process of identity deconstruction. We will pay particular attention to the role played by the mother in the reproductive process. The ambivalent position it occupies often leads to a fragmentation between the physical being, the social being and the psychic being. The psyche then becomes a space inhabited by doubt and fear while being the ultimate refuge of comfort. This shift between body and mind will take us to the field of psychosomatics, where dreams are the privileged place for psychic reconstruction. We will also observe the strategies used by novelists and filmmakers to begin the process of rebuilding the identity of their heroines.The third part focuses on cinema and literature through their complementarity. First, we will retrace the history of cinema from the sidelines and highlight its committed character that sets it apart from some popular cinemas such as Bollywood. Subsequently, we make a connection between the novel and its adaptation to the cinema in order to highlight the complementarity of the works as well as the notion of solidarity which represents an essential point in this collaborative work. Indeed, diaspora filmmakers Deepa Mehta and Mira Nair have developed an activist and united approach that can be found both in the writing of the script and in the choice of actors and actresses. This activism will be illustrated by examples that highlight the many instances of agency staged in order to build a dynamic image of women in India
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Merchant, Zain Farook. "A study on the depiction of drug usage, alcohol consumption and cigarette smoking in movies and its perceived effect on a young audience. A comparative study of American and Indian cinema and their respective Audiences." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4826.

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This study analyzes the depiction of drug usage, cigarette smoking and alcohol consumption in movies in terms of character stereotyping and typecasting. Because movies are focused on making money they are being used as marketing tools by alcohol and cigarette conglomerates (Grube, 2004). The study also explores youth perception of such content and tries to determine the behavioral implications or influence of such content on young children. The goal of this research is to analyze the social cognitive influence of movies on the youth and the effects of censorship in movies today. The research compares this effect in the two largest movie markets - the American market (Hollywood) and the Indian market (Bollywood) and the effect of these depictions on the youth to see whether this issue warrants a global understanding and awareness. The aim of this study is to understand the nature of the movie markets and the depiction of such content in movies. It analyses the issue solely from the perspective of a youth audience to better understand how the youth today perceive movies and to see if depiction of cigarette smoking, alcohol consumption and drug usage has a positive or negative effect on the youth audience. A part of the analysis of the study is to also better understand censorship techniques employed for both movie markets to see if they are effective or need to be improved upon. Finally the study asks the question of social responsibility and whether movies and movie stars have a responsibility to maintain higher censorship standards or they are merely depiction art through the medium and should not be held accountable for their depictions on screen.
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Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.

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Black, Liza. "Picturing Indians : American Indians in movies, 1941-1960 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10418.

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PEREIRA, Allan Kardec Da Silva. "Imagens que pensam o outro: o índio no cinema de John Ford." Universidade Federal de Campina Grande, 2015. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/483.

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O presente estudo aborda a imagem do índio no cinema de John Ford. Para além de uma mera descrição dos filmes, empreendemos uma modalidade de análise que também se detém aos aspectos de produção do filme, sua circulação e consumo, além do seu poder de provocar pensamentos sobre os indígenas e a história americana. Dessa forma, cientes de que a imagem é atravessada por inúmeras temporalidades, que se digladiam em seu interior, destacamos o que Georges Didi-Huberman vai chamar de imagens sintomáticas, que nos permitiram pensar a sobrevivência de formas da tradição western, inventada no século XIX. O uso que fazemos de diversas figuras, entretanto, procura fugir de sua típica instrumentalização como “ilustração” do discurso escrito. As imagens em nosso estudo, por outro lado, aparecem enquanto propositoras de pensamento ao texto. Inicialmente, empreendemos uma análise de como o western é inventado enquanto tradição no século XIX nos Estados Unidos. Em seguida, discutiremos como esse arquivo de imagens sobrevive no cinema de John Ford, desde o filme O Cavalo de Ferro, em 1924, até Crepúsculo de uma Raça, em 1964. Quanto à temporalidade foi preciso apropriar-se do modelo anacrônico de análise das imagens defendido por Georges Didi-Huberman. Do mesmo modo, com Etienne Samain, buscamos discutir como essas imagens pensam e nos convocam a pensar os índios, esse Outro de que falamos.
This study addresses the image of the Indian in the John Ford cinema. Beyond a mere description of the films, we undertook a mode of analysis that also owns the film production aspects, circulation and consumption, in addition to their ability to provoke thoughts on Indigenous and American history. Thus, aware that the image is crossed by numerous temporalities that battle it out inside, we highlight what Georges Didi-Huberman will call symptomatic images which allow us to think the survival of the western tradition forms, invented in the nineteenth century . Our use of several figures, however, seeks to escape his typical instrumentation as "illustration" of the written speech. The images in our study, on the other hand, appear as propositoras of thought to the text. Initially, we undertook an analysis of how the western tradition is invented while in the nineteenth century in the United States. Then discuss how this image file survives in the John Ford film, from the movie The Iron Horse in 1924 to Cheyenne Autumn in 1964. As for the temporality had to take ownership of the anachronistic model of analysis of images defended by Georges Didi -Huberman. Similarly, with Etienne Samain, we discuss how these images think and summon us to think the Indians, this Other that we speak.
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Shewade, Ruchi Ravi. "Transgender in India: A Semiotic and Reception Analysis of Bollywood Movies." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703360/.

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The transgender community in India, commonly known as hijras, consists of people who were born as males but address themselves as females. They have been considered as the third gender in India for millennia and have had specific religious and sociocultural values and roles, but are forced to live in shadows in this day and age. Isolation of this community is also reflected in the way transgender characters are represented in Indian entertainment media. The study analyses two transgender themed films semiotically and the audience reception of those representations by 20 members of the transgender community. Semiotics is a helpful tool to understand the ways signs communicate ideas to viewers. This study applies syntagmatic and paradigmatic analyses to understand how images are used to represent and relay information to the audience. Reception theory along with double colonization has been incorporated in this study to analyse the ways in which the transgender community interprets the representations in entertainment media.
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Curtis, Emily A. "Movies under the stars : a history and inventory of drive-in theaters in the Indianapolis area." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041913.

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The drive-in theater was a phenomenon unique and prosperous in 1950s America. At the height of their popularity, there were over 4,000 drive-in theaters located across the United States. Their great success came because they were suitable to the mindset of the time-they provided a place for a family to be together without dress code, babysitter, or parking problems, and without having to leave their beloved cars. Construction of 23 drive-in theaters occurred in the Indianapolis area between 1940 and 1974. These varied in size and location, but all contained the essential ingredients-a large concession stand, children's playground, and any other gimmick that would gather their audiences before sunset.By the mid-1960s, the drive-in theater industry began a steady decline which has continued to present. The drive-in theater always faced obstacles, including weather, insects, seasons, and poor technical quality of both picture and sound. Adding to this was the change in the American mindset, increased opposition from community moralists, and especially, the rise in property values.This creative project documents the general history of drive-in theaters across the United States, takes a closer look at the drive-in theaters in the Indianapolis area, and records them in an inventory.
Department of Architecture
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Bhatti, Haroon Haider. "Pakistan's accommodative moves vis-a-vis India, a case study of the dynamics of accommodation in the developing world." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64130.pdf.

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Chilibeck, Gillian. "Moving mountains through women's movements : the"feminization" of development discourse and practice in the Indian Himalayas." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82696.

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This thesis examines the varied and contradictory ideas about rural women and their needs that are produced and circulate within development discourses and projects. It pays particular attention to the multiple actors involved in the production of such ideas and the relations of power that determine which ideas gain authority. Based on ethnographic fieldwork in the Kullu District of Himachal Pradesh, India, it looks at women's participation in three different development projects: a women's savings and credit group, a broad-based development NGO, and the women's village organizations (mahila mandals ). These case studies demonstrate how development organizations engage with local gender meanings, often working to reinforce or even exploit inequalities, rather than challenge them. As women are targeted by such projects, they creatively receive, shape, and negotiate the ideas and representations that they encounter about themselves. These encounters limit, and sometimes foster, women's potential for new political identities and agency.
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Books on the topic "Indian Movies"

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Darian, Adina. The Indian world and its movies. Bucharest: [publisher not identified], 2009.

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Understanding Indian movies: Culture, cognition, and cinematic imagination. Austin: University of Texas Press, 2008.

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Making the white man's Indian: Native Americans and Hollywood movies. Westport, Conn: Praeger, 2005.

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Industry, Confederation of Indian. India & WTO: Moving together. New Delhi: Confederation of Indian Industry, 2005.

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Narwekar, Sanjit. Crafting movies: Exploring Hindi mainstream cinema. Mumbai: Mindscape, 2000.

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India transport report: Moving India to 2032. New Delhi: Routledge, 2014.

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Henck, Maryann. White-Indian relations: Moving into the 21st century. Berlin: Galda Verlag, 2011.

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The moving image: A study of Indian cinema. Bombay: Orient Longman, 1988.

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Movies, masculinity, and modernity: An ethnography of men's filmgoing in India. Westport, Conn: Greenwood Press, 2000.

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Thomas, Jane Resh. Courage at Indian Deep. New York: Clarion Books, 1993.

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Book chapters on the topic "Indian Movies"

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Balabantaray, Subhra Rajat, and Jayaram Singh Samal. "Indian Movies’ Impact on World Culture and Society." In The Palgrave Encyclopedia of Interest Groups, Lobbying and Public Affairs, 1–8. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-13895-0_185-1.

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Roy, Sudeshna. "What’s in a Name?: Examining Representation of Indian Ethnicities in Bollywood Movies in the New Millennium." In Communicating Differences, 87–103. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137499264_6.

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Deshmane, Samata B. "Discrimination in the University in India." In Career Moves, 35–46. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-485-7_4.

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Gopalan, Lalitha. "Road Movie." In Cinemas Dark and Slow in Digital India, 261–96. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54096-8_6.

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Shah, Manjari, Dharti Takwani, Pooja Sharma, and Rajalakshmi Sriram. "Pitaji, Papa and Paa: Reflections of Fathering in Hindi Movies." In Fathering in India, 169–85. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1715-6_11.

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Bhowmik, Pratusha. "The “queer nation” – moving beyond boundaries?" In Nationalism in India, 160–76. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003181408-11.

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Roy, Anjali Gera. "Moving on." In Memories and Postmemories of the Partition of India, 179–97. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in South Asian history; volume 20: Routledge, 2019. http://dx.doi.org/10.4324/9780429507458-9.

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Mahtaney, Piya. "Economic Reform: Moving Beyond Liberalization." In India, China and Globalization, 30–50. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230591547_5.

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Vemulakonda, Sai Srinivas. "Depiction of Naxalism in Telugu Cinema." In Handbook of Research on Social and Cultural Dynamics in Indian Cinema, 222–33. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3511-0.ch019.

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Naxalism has become a menace, assumed gigantic proportions, and become difficult to contain. Naxalism has donned different roles depending on the geopolitical, social, and economic conditions. India is in a peculiar disposition to address Naxalism, which is rampant, largely fueled externally and internally by way of violence, extortion, sympathisers, and advocacies in the form of urban Naxals. This chapter will discuss how Naxalism is widespread in India and the way it is depicted in Indian movies in general and Telugu movies in particular. It is an attempt to bring to the fore what is compelling for people to resort to Naxalism, delving upon the framework of Bazinian realist, psychoanalytic, and ideological film theories.
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"Beauty Ideals and Tamil Movies: Comparing Views of Malaysian Indian and Indian Youths." In Cosmetic, Aesthetic, Prophetic: Beyond the Boundaries of Beauty, 85–94. BRILL, 2016. http://dx.doi.org/10.1163/9781848885455_008.

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Conference papers on the topic "Indian Movies"

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Vollmann, Ralf, and Soon Tek Wooi. "The Indian Hakkas of Vienna." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-2.

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Hakka emigration has created many smaller communities worldwide; where some groups continued their migratory journey. One such example is the Hakkas, who first migrated to Calcutta and then moved on to Vienna and Toronto, clustering in a close-knit social network. In various sessions, Viennese Hakkas of all age groups were interviewed for their lifestories and linguistic practices. (a) The linguistic competence of the migrants includes Hakka, English and Indian (Hindi, Ben¬gali) but often rather little German; Hakka is important at the workplace (Chinese restaurants) and is transmitted in families; Indian helps establish professional relationships with Indian migrants. (b) The social network is rather closed to Hakka friends from Calcutta or from other places. All Hakkas closely cooperate and usually have only few outside contacts. They consider Calcutta as their old homeland to which they return for Chinese New Year. (c) The younger generation consists of weak speakers of Hakka who are fully integrated into Austrian culture, but also maintain contacts to Toronto and love to visit friends and family in India. To conclude, the Indian Hakkas of Vienna are an interesting example of a two-step migration which first converted some Chinese into Indians, and then planted this Indian subgroup into Europe.
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S.P., Anusha. "Keynote Speech: Technologies for Smart Transportation." In International Web Conference in Civil Engineering for a Sustainable Planet. AIJR Publisher, 2021. http://dx.doi.org/10.21467/proceedings.112.keynote3.

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The application of ITS is in an infant stage in India. The traffic stream in the western countries are lane based in nature with the major traffic composition including cars and a fewer percentage of trucks, which makes the data collection from the detectors less challenging. However, the Indian traffic being composed of different varieties of vehicles such as two-wheelers, three-wheelers, cars, buses and trucks moving without any lane disciplines makes the data collection a challenging task. Identification of suitable sensors for data collection under Indian traffic conditions by itself is a challenge. Numerous researches are currently being carried out to analyse the effectiveness of sensors for data collection under Indian traffic conditions such as Bluetooth sensors, Wi-Fi sensors, RFID sensors etc.
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Hanagudu, Harish. "Biogas Fired Industrial Gas Turbines: A Technological and Potential Assessment." In ASME 1993 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1993. http://dx.doi.org/10.1115/93-gt-224.

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This paper reviews the advantages, technical considerations and application of biogas fired Industrial Gas Turbines, and suggests strategies for improving the regeneration of electricity in cane sugar distilleries. Biogas is produced by the anaerobic treatment of waste by the Indian Distillery and allied alcohol based industries. Treatment of waste has been made mandatory and all distilleries in India are setting up such units. With the generation of biogas, the Indian Distillery has found a novel way of converting waste into energy. Traditionally, the biogas obtained was fired in boilers to generate steam. Steam could be used for process or to drive a back-pressure steam turbine. A few small units also considered installing dual fuel reciprocating engines. Recently, a trend setting project of firing biogas directly in a gas turbine to produce electricity and subsequently utilize the hot exhaust gases in a waste heat recovery boiler is being proposed. There are distinct advantages in selecting the gas turbine route over other competing prime movers.
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Biswas, Karnika, Ananda Sankar Kundu, and Indrani Kar. "Real-time energy-optimal moving target tracking by holonomic vehicle." In 2016 IEEE Annual India Conference (INDICON). IEEE, 2016. http://dx.doi.org/10.1109/indicon.2016.7839143.

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Sinha, Nitesh, and Raj Kishore. "Deepwater Pipeline Challenges." In ASME 2015 India International Oil and Gas Pipeline Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/iogpc2015-7932.

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With the ever-increasing demand of energy in the country, the Indian exploration and production is now compelled to move into deepwater frontiers. The country’s energy reserve is getting exhausted with drying shallow water assets and the mainland is already overwhelmed with the pressure of sustaining the world’s second largest population. Therefore, “the upstream oil and gas fraternity of the country” has to now enter “less explored” Indian deepwater block which has already started with the launch of the NELP block by the government. Although, the world has moved into deepwater long back, the Indian industry is still developing the ways and means to tackle the challenges involved in deep water. This paper presents the insights into design and installation of deepwater pipelines along with case study of Middle East to India Deepwater Pipeline (MEIDP) of M/s SAGE, which shall be laid at a maximum water depth of 3450 m. This paper broadly elucidates the challenges in designing the deepwater pipelines such as requirement of thick-walled line pipes to sustain collapse due to external over-pressure and tensile stresses generated due to installation forces, pipeline route selection and optimization, geo-hazard assessment & mitigation, design against fault line crossings/ seismic design, free span, repair systems, seabed intervention etc. It also covers the additional manufacturing & testing requirements including tighter tolerances for line pipes suitable for deepwater installations. It also highlights the deepwater installation capabilities of Pipe lay Barges for the laying of pipeline in the deepwater to ultra-deep waters along with new evolving testing and commissioning philosophies. This paper intends to bring awareness among the “oil and gas fraternity” regarding challenges involved in deep water pipelines with respect to design, installation etc.
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Chanda, Vijay Bhaskar, Madhumita Chakravarti, and Kathika Roy. "Range mapping of moving target by implementing matched filter in FPGA." In 2011 Annual IEEE India Conference (INDICON). IEEE, 2011. http://dx.doi.org/10.1109/indcon.2011.6139486.

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Mokashi, Chinmay, Suraj K. Nayak, Ashirbad Pradhan, Sunil K. Rout, Kunal Pal, Biswajeet Champaty, and Arfat Anis. "Effect of sound in a horror movie clip on the physiology of the ANS and the conduction pathway of the heart." In 2016 IEEE Annual India Conference (INDICON). IEEE, 2016. http://dx.doi.org/10.1109/indicon.2016.7839020.

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Menaka, S., and Archana Adarsh Rao. "Production of electricity using the wind turbine mounted on a moving vehicle." In 2011 Annual IEEE India Conference (INDICON 2011). IEEE, 2011. http://dx.doi.org/10.1109/indcon.2011.6139576.

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Dhar, S., D. Kandar, P. Karmakar, A. Poddar, R. Bera, and M. Chackraborty. "Simulation of cognitive short-range radar and imaging of the moving target for safety application in ITS." In 2011 Annual IEEE India Conference (INDICON). IEEE, 2011. http://dx.doi.org/10.1109/indcon.2011.6139458.

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Shandilya, Meenal, Ruchira Naskar, and Rahul Dixit. "Detection of geometric transformations in copy-move forgery of digital images." In 2015 Annual IEEE India Conference (INDICON). IEEE, 2015. http://dx.doi.org/10.1109/indicon.2015.7443141.

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Reports on the topic "Indian Movies"

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Deepak, Baindur. Urban transport in India: Moving Towards Equity and Sustainability. Indian Institute for Human Settlements, 2015. http://dx.doi.org/10.24943/9789387315082.

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Ghani, Ejaz, Arti Grover Goswami, and William Kerr. Is India's Manufacturing Sector Moving Away From Cities? Cambridge, MA: National Bureau of Economic Research, April 2012. http://dx.doi.org/10.3386/w17992.

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Barnhardt, Sharon, Erica Field, and Rohini Pande. Moving to Opportunity or Isolation? Network Effects of a Randomized Housing Lottery in Urban India. Cambridge, MA: National Bureau of Economic Research, July 2015. http://dx.doi.org/10.3386/w21419.

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Research Institute (IFPRI), International Food Policy. Is there a market for multi-peril crop insurance in developing countries moving beyond subsidies? Evidence from India. Washington, DC: International Food Policy Research Institute, 2019. http://dx.doi.org/10.2499/p15738coll2.133198.

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21 Year-old electrocuted while moving grain auger in Indiana. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control, National Institute for Occupational Safety and Health, April 1986. http://dx.doi.org/10.26616/nioshface8622.

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Patterns and implications of male migration for HIV prevention strategies in Karnataka, India. Population Council, 2008. http://dx.doi.org/10.31899/hiv16.1004.

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Karnataka is one of the high HIV prevalence states in India. Results from the National Family Health Survey indicate that 0.69 percent of adults aged 15–49 were infected with HIV in 2005–06. According to sentinel surveillance system data, HIV prevalence among pregnant women receiving antenatal care (ANC) in Karnataka was 1.3 percent. Further, 18 of the state's 27 districts have recorded HIV prevalence of more than 1 percent among pregnant women receiving ANC in sentinel sites. Strong male migration patterns are evident in some of the state’s high HIV prevalence districts. According to the 2001 census, Karnataka ranks fourth in terms of total in-migration, with 2.2 million men on the move from 1991 to 2001. These northern districts are particularly vulnerable to HIV infection. To inform HIV prevention efforts, the Population Council studied patterns and motivations related to migration of male laborers and their links with HIV risk. As part of this study, the Council conducted a systematic analysis of 2001 census data on migration and district-level sentinel surveillance data on HIV prevalence. The purpose of the research was to document patterns of male migration and determine whether there was a relationship between migration and HIV prevalence.
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