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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Theatre, Movies & Cinema
A New Direction For Indian Cinema?
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<blockquote data-quote="spnadmin" data-source="post: 186435" data-attributes="member: 35"><p><strong>A New Direction for Indian Cinema ?</strong></p><p></p><p>by Tom Brook</p><p></p><p><a href="http://www.bbc.com/culture/story/20130523-indian-cinema-getting-real" target="_blank">http://www.bbc.com/culture/story/20130523-indian-cinema-getting-real</a></p><p></p><p>As Cannes celebrates a centenary of Indian cinema, many Indian filmmakers believe a move away from the traditional Bollywood style is needed, as Tom Brook discovers. </p><p></p><p>A fusion of classical Indian music and composer Talvin Singh’s drum and bass filled a big party organised by film officials from Mumbai at the Cannes Film Festival a few days ago. The celebrations were especially buoyant because this month marked 100 years of Indian cinema.</p><p></p><p>Unsurprisingly there’s been a lot of marvelling over the wonders of Indian film. The man many regard as India’s top star, the venerated actor Amitabh Bachchan, believes Indian cinema has made great strides forward.“We’ve progressed tremendously in these last hundred years,” he says. “To be accepted not just within India but overseas as well is a fantastic feeling.”</p><p></p><p>Indian cinema has genuine reasons to be proud: with an output of more than 1000 features per year it’s the world’s most prolific film industry. It has its own megastars and landmark directors. It's created memorable song and dance extravaganzas and brought forth a wave of new innovative directors. But now, as all the partying over 100 years of cinema begins to wind down, there are sober challenges to be faced if Indian cinema is truly to flourish in the future. Many in the industry think what really needs to happen is for Bollywood to get real and lessen its emphasis on fantasy.</p><p></p><p>Keeping it real</p><p></p><p>Akshat Verma, who’s based in Los Angeles and Mumbai, took the step of bringing authenticity to his country’s cinema when he wrote the screenplay for a more ‘real’ Indian film called Delhi Belly, which became a major hit two years ago. It’s an irreverent crime caper – replete with lavatory humour – and Verma wrote it because he wanted to see more relatable characters on screen. In some ways his screenplay was a reaction against the artificiality of Bollywood.</p><p></p><p>Verma says: “My biggest problem growing up watching a lot of Indian films was I saw characters in situations I did not relate to.” So with Delhi Belly he put together a story which really resonated for him personally. “My desire was to try and write characters which were some of the people I’d known, friends I’d had who spoke a certain way, who had a rudeness or irreverence to the way they approached the world, a certain dark humour. I believe we tend to be polite in a lot of ways in the stories we tell,” he says.</p><p></p><p>Proponents of change don’t just want more relatable real characters in Indian movies. They also want cinema to take on contentious topical issues - and they would like to see intimacy presented more freely on screen. The new movie Bombay Talkies, an anthology of four short films designed to mark 100 years of Indian cinema, features a gay kiss – something that would have been unthinkable a few years ago. But even with change afoot, Bollywood remains quite conservative – it wasn’t so long ago that kissing between a man and woman was banned from the screen.</p><p></p><p>Respected film and theatre director Feroz Abbas Khan says: “The mainstream cinema does a very fine job of sharing its fantasies, but there’s a cinema that needs to share its concerns of what’s happening in the society. There seems to be some very important issues that the country actually is grappling with, and those issues are not being discussed, or that conversation is not taking place in the film.”</p><p></p><p>It’s true that many pressing issues in India – from religious intolerance to sexual violence against women – are routinely overlooked by mainstream Hindi cinema.</p></blockquote><p></p>
[QUOTE="spnadmin, post: 186435, member: 35"] [B]A New Direction for Indian Cinema ?[/B] by Tom Brook [url]http://www.bbc.com/culture/story/20130523-indian-cinema-getting-real[/url] As Cannes celebrates a centenary of Indian cinema, many Indian filmmakers believe a move away from the traditional Bollywood style is needed, as Tom Brook discovers. A fusion of classical Indian music and composer Talvin Singh’s drum and bass filled a big party organised by film officials from Mumbai at the Cannes Film Festival a few days ago. The celebrations were especially buoyant because this month marked 100 years of Indian cinema. Unsurprisingly there’s been a lot of marvelling over the wonders of Indian film. The man many regard as India’s top star, the venerated actor Amitabh Bachchan, believes Indian cinema has made great strides forward.“We’ve progressed tremendously in these last hundred years,” he says. “To be accepted not just within India but overseas as well is a fantastic feeling.” Indian cinema has genuine reasons to be proud: with an output of more than 1000 features per year it’s the world’s most prolific film industry. It has its own megastars and landmark directors. It's created memorable song and dance extravaganzas and brought forth a wave of new innovative directors. But now, as all the partying over 100 years of cinema begins to wind down, there are sober challenges to be faced if Indian cinema is truly to flourish in the future. Many in the industry think what really needs to happen is for Bollywood to get real and lessen its emphasis on fantasy. Keeping it real Akshat Verma, who’s based in Los Angeles and Mumbai, took the step of bringing authenticity to his country’s cinema when he wrote the screenplay for a more ‘real’ Indian film called Delhi Belly, which became a major hit two years ago. It’s an irreverent crime caper – replete with lavatory humour – and Verma wrote it because he wanted to see more relatable characters on screen. In some ways his screenplay was a reaction against the artificiality of Bollywood. Verma says: “My biggest problem growing up watching a lot of Indian films was I saw characters in situations I did not relate to.” So with Delhi Belly he put together a story which really resonated for him personally. “My desire was to try and write characters which were some of the people I’d known, friends I’d had who spoke a certain way, who had a rudeness or irreverence to the way they approached the world, a certain dark humour. I believe we tend to be polite in a lot of ways in the stories we tell,” he says. Proponents of change don’t just want more relatable real characters in Indian movies. They also want cinema to take on contentious topical issues - and they would like to see intimacy presented more freely on screen. The new movie Bombay Talkies, an anthology of four short films designed to mark 100 years of Indian cinema, features a gay kiss – something that would have been unthinkable a few years ago. But even with change afoot, Bollywood remains quite conservative – it wasn’t so long ago that kissing between a man and woman was banned from the screen. Respected film and theatre director Feroz Abbas Khan says: “The mainstream cinema does a very fine job of sharing its fantasies, but there’s a cinema that needs to share its concerns of what’s happening in the society. There seems to be some very important issues that the country actually is grappling with, and those issues are not being discussed, or that conversation is not taking place in the film.” It’s true that many pressing issues in India – from religious intolerance to sexual violence against women – are routinely overlooked by mainstream Hindi cinema. [/QUOTE]
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