EvaLuaTi0n:

Attainment:

A - i work hard..and it pays off
Effort

2 - Could put in more
Punctuality

1 - EMA
Submission and quality of homework

2 - we dont get much homework in terms of writting... its all about highlighting and making sure u understand.. so yeh...
Ability to work independently

1 - love working by myself! get more done...and all the credit goes to me....
Quality of writing

2 - okayish could be better
Organisation of Media folder

1 - im a neat freak.. i'll show you my folder Sir
Oral contributions in class

1 - Say what i feel in terms of whats being discussed
Quality of coursework

Standard of Module 5 blog (Year 13s only)

1 - i feel that i have done alot!!! and its abit mean when ive been told that only only 5 people in the class have produced good work.. becuase i have to!!!
Standard of Module 6 blog (Year 13s only)

1 - I always put up 1 story a week even then Mr Bush didnt ask for it..i still did it!

b. Make a list of three targets/areas for improvement to be achieved before study leave.

1 - Make both teachers notice work i have done!!!keep buggin them =)

2 - may be read more articles - twice a week

3 - not to scream when watching a scary film

“‘Page 3' should be seen by all because of the important issues it raises and its ruthless insights into the world of socialites" [1] Is Bollywood developing from Escapism to Realism?

In the 1970’s there was an influx of Asians migrating to the UK ‘Asians now make up just over 3.5% of the total population’[2] bringing along with them their culture, tradition and religion. All of which, are presented through Bollywood films, that have managed to cross over and now its not just Indian families watching them they are being shown in big cinemas across the UK. A problem is that younger generations sometimes find the stories a bit predictable and are getting bored of the similar tales as a result Bollywood conventions are now changing. However, a large Indian diaspora in English speaking countries, and increased western influence at home, have nudged Bollywood films closer to Hollywood models.

Filmmakers like Madhur Bhandarkar who directed ‘Page 3’, are trying to tackle this by changing storylines to reflect real life issues. The title refers to the page three in tabloids where society news,pictures of parties and socialites are printed. ‘Page 3’ is ‘honest and deals with real issues"[3] therefore showing Bollywood developing. ‘Page 3’ takes a candid look into the everyday lives of shallow two-faced celebrities and those who adorn the third page of newspaper also known as the ‘Page 3 culture’. The film enters through the facade of their ‘hunky-dory’ lives and explores the hypocrisy, superficiality and shallowness that lie underneath showing the gritty side of the celebrity culture. The repetitive iconographic image is the camera, which not only emphasise the ‘page 3 culture’ but also the idea of capturing real life events. The director Madhur Bhandarkar therefore shows the world of showbiz whilst capturing many aspects of human life. It is evident that Bollywood conventions are now changing; a realistic interpretation is becoming more common and inspirational amongst other films such as 'Black' (2005), 'Rang de Basanti’ (2006) and ‘Fanaa’ (2006).
Maltby argues that genres “are subject to the constant process of change adaptation”[4] and Bollywood’s primary objective was to provide four hours of escapism. It can be argued that cultural imperialism contributed to Bollywood’s newly formed genre, this idea that western ideologies are now being transmitted and presented in the form of Bollywood films. Indian audiences expect full value for their money, with a good entertainment generally referred to as ‘paisa vasool’, ("money's worth"). Songs and dances, love triangles, comedy and dare-devil thrills - all that are mixed up in a three-hour-long extravaganza. “Westerners would tend to classify Bollywood as a musical”[5] Such movies are called masala movies, which are named after the Hindi word for a spice mixture, masala. However these conventions are not common in recent films such as ‘Page 3’ together with ‘Black’ (Sanjay Leela Bhansali, 2005) both ignore this Bollywood convention. Effectively, this allows its audience to realise that life is not as straightforward as Bollywood films originally suggested. Therefore providing the western audience, with a Bollywood film that does not evolve around the typical theme of love.

‘Page 3, along with other films such as ‘Black,’ explores sensitive issues such as those with illnesses, diseases or disabilities. ‘Black’ follows the life of a blind girl initially, this issue would have been ignored and she would have been labelled as ‘evil’[6] or ‘possessed by the devil’ by the majority in India. By addressing these issues ‘Page 3’ attempts to make these concerns common knowledge whilst educating its audience “People love to love it or love to hate it, but cannot ignore it”[7]‘Page 3’ was described as a ‘phenomenon’ by the ‘Times of India therefore expressing the positive response to the ‘cinema vertite’.

According to Marxist, who take a structuralist approach, disputes the audience are made to believe in capitalist propaganda and ideologies. Therefore his solution was to “shun narrative structure by eliminating the individual protagonist”[8] and tell stories which are focused and moved by a group. Traditionally, Bollywood film narratives where directed through one main protagonist, which forced its audience to identify with one character which is shown through a Bollywood classic ‘Mother India’. However, ‘Page 3’ shows the perspective of eight different characters through the technique of cuts and point of view shots. Page 3 is told through a montage and parallel action, on the world of showbiz and it captures many aspects of human life. “‘Page 3' has no main plot but looks through many stories of many characters"[9] allowing the audience to relate to different characters illustrates the progression of a more realistic element. Blulmer and Katz invented the ‘uses and gratification’ theory which suggests that the audiences are made up of individuals who actively chose what to consume. By doing this it allows the audience to be more ‘active’ as they are given a number of characters to identify with.

Propp argues, “narrative roles are essentials to every story”[10] in ‘Page 3’ Madhivi, being a naïve character can be considered as ‘good’ whilst the media and celebrities are ‘bad’ and corrupted. However once Madhivi realises this she tries to beat the unjust system, failing to do so in the end she is back to where she started, conforming to the culture. The director successfully presents this, by the long shot, which show this atmosphere of celebration that appeared in the opening and ending of the film. Here Bollywood presents characters that undergo a transition between Propps narrative roles consequently turning from innocent and good to bad and potential conformist to the system. Perhaps Bollywood is trying to promote a new message to its audience in India that the media is manipulating the truth. Typically in Bollywood films the ‘goody’ always wins however in ‘Page 3’ the one good person. Madhivi ends up conforming to their ideologies. This idea that those with money and status win, is ingrained into its Asian audience through primary socialisation.

The circular narrative allows the audience to be open to a more realistic suggestion that not all “Bollywood stories have a happy ending”[11]. The girls (Madhivi, Pearl and Gayatri) are also very different from each other bringing in a nice mixture of humour and emotional bonding. To explore these characters in greater depths, Bhandarkar was not afraid of delving into the darker matters. One of many females in ‘Page 3’ is Madhivi, a naive journalist who we follow continuously; we are forced to see the 'Page 3 culture' through her perspective. This contradicts Laura Mulveys theory of 'male gaze' as the audience are positioned as a female as she does not fulfil the quality of ‘to be look at ness’. Points of view shots and the eye – level camera techniques allow women from all cultural backgrounds can somehow relate to her. Through this we as the audience learn about stresses women experience in a patriarchal and capitalist society. The social realism in 'Page 3' allows the audience to neglect dominant ideologies, discovering the corruption of the elite. Madhivi struggles to do her job, as a journalist, as she is prevented from printing a story on a man who performs Paedophilic acts and due to his power, authority and wealth she is unable to inform the public of the truth.

Mulveys theory of the “active male” and “passive female”[12] is commonly typical in Bollywood films and to some extent present in ‘Page 3’ often through social constructions. Due to the rise in feminism and women’s rights, a western influence, women have become more determined to rebel against stereotypical gender roles. A prime example of this social change in attitude is shown in ‘Page 3’ through the females who are working and receive pay, which is clearly shown through the character Pearl. The independence of these girls is shown through the setting, the fact that they live in an apartment extend their rights as women, regardless of culture and tradition. The airhostess Pearl fulfils all the characteristics of an independent woman; however in the end she marries a man simply for money and status. Therefore implying the traditional gender roles of men being breadwinners and women being passive and financially dependent on the males.

Unfortunately, sexism is still present and is clearly shown in ‘Page 3’ suggesting that “women are exploited, no doubt about it”[13], implying that women cannot beat the male dominated system. Unfortunately, ‘Page 3’ portrays the male characters to be powerful in contrast to women who are struggling to achieve similar status to the men. The main character Madhivi is not passive like other women in the film; in fact she questions authority although her questioning authority as a result made her jobless. This shows that society punishing those who attempt to challenge the elite and so “nothing is resolved until the preferred social order is in place”[14] in the film Madhivi is punished by losing her job, this is ironic as it is her job to gather gossip on these celebities. Therefore this suggests patriarchy is still current in society and reaffirms the concept of a glass ceiling whereby women cannot achieve higher than a certain extent.
Gayatri is another female character that aspires to become an actress in Bollywood. However her manager wants to know less about her name and achievements but questions irrelevantly “will she give?”[15] Therefore it is implied that women have to participate in sexual favours in return for a future regarding their career. Whilst she was being interviewed in the managers office we as the audience are made to, uncomfortably, watch him take advantage of his power, which was emphasised through the tense music and isolation. Consequently as the narrative progresses we find out that Gayatri had overcome this obstacle by sleeping with the director in exchange for a part in his movie. All the females in ‘Page 3’ have no option but to conform to these ideologies transmitted by the dominant males and accept the fact that society is still patriarchal.

Another female character in ‘Page 3’ who we engage with is the entertainer at one of the celebrity parties. She, on the other hand, reflects Mulveys theory, as she is the “object of the male gaze”[16]. As a performer, she dressed provocatively which encourages the attention therefore attracting the male audiences. Her red outfit deliberately fetishize her feminine figure, in benefit of the audience who, at this stage, are presumably males, watching her and fulfilling their voyeuristic pleasures. A repetitive iconographic that is constantly shown is the camera, encouraging the ‘Male gaze’, voyeurism and fetishism. The female audience also see this entertainer as a attractive young women who they apsire to. From this it is obvious that the director has not completely taken out the conventions of a successful Bollywood films. Therefore this suggests that even the western audience find the songs entertaining and appealing.

In the ‘Raj’ period, women were largely restricted to staying within family homes, and their lives were strictly followed by religion and by the patriarchal order in the family system, which is also shown in Page 3. She would be responsible for decency and health of all persons living n her service”[17]. Never exposed to the culture or values of the west, the women would be then seen as pure in terms of untainted traditional values and culture. It was both the duty of the woman herself, and of men, to protect this purity – the woman through the preservation of her chastity, and the Hindu man by continuing to keep the Hindu woman contained within the safety of the home and the patriarchal order. After watching ‘Page 3’ these traditional ideologies are no longer around films. Bollywood films would not explicitly show kissing however recent films like ‘Page 3’ along with ‘Black’ and ‘Bunty aur Bubli’ show scenes of affection. Film kisses are no longer banned. Plots now tend to feature westernized urbanites dating and dancing in discos rather than arranged marriages.

Mother India (1957, directed by Mehboob Khan) showed its main female protagonist to be powerful and independent which is uncommon for a film that was made in that period. Films were focussed on issues within family and society, and for many years it has been recognised as an important genre. Like ‘Page 3’ the genre has a twentieth century setting often concerned with issues that are contemporary such as society and media. Although there seems to be a connection women and nation, which, suggests that women were respected and viewed as being a powerful figure in India. However in ‘Page 3’ the mother figure seems to be lacking, as women are more concerned with money fame and beauty. The womens power is tested through her ability to stay pure, this would mean unaffected by the western culture. Women are not supposed to be sexually active and were encouraged to stay at home in a domesticated space where clear gender roles were forced upon them. “The woman’s holiest space lay within the family, in devoted service to the household and the family deity.”[18] It was assumed that all women would maintain her nature, which was to remain sexually pure although, society depended on women to fulfil their role as a mother, especially to her sons. This is shown in ‘Page 3’ through the wife who works in an orphanage with children; therefore she is still in control by the patriarchy as she is locked, even in the work place, into a domesticated sphere.
Representations of women in Indian films have been affected by modernisation and social changes. Many women actresses in Bollywood films have become modern, they are more outgoing and independent, flirtatious and ‘cheeky’ demanded to be treated as equals. Although there is still essentially ‘feminine’ ways of behaving in terms of fashion, their looks and appearences and a desire to be modern.

It has been argued that Bollywood has always been under the influence of Hollywood films, After World War One the expansion of Hollywood, “85% of films shown in India were American”[19]. But the introduction to sound made immediate differences, the Indian public quite naturally preferred to see films made in their own language. Therefore due to language restrictions in the past this prevented Indians to watch Hollywood films. Directors would “borrow” ideas from Hollywood films and produce it in Bollywood. Therefore as the majority in India are not fluent in English Bollywood effectively mirrors the movement of Hollywood.

The traditional view of males has been subverted, now being an object of the gaze. Therefore it is taken in consideration that audience are not all presumably males. This is shown through the long shot of a group of males advertising men’s underwear. It is widely noted that since the 1980s there has been an increasing display and “equalization of the male body in mainstream cinema”[20]. This is uncommon in the Indian culture as issues regarding male and female were often ones to sensitive to discuss. However the effects of western society have made these issues more aware and open in discussion.

There are three gay male characters and the fact that they are all totally different from each other shows the effort gone into staying away from “senseless stereotyping”[21] Page 3 shows the societies response towards homosexuality. When Madhivi and her best friend was waiting for the train a group of homophobic males reacted agressively towards him, which was shown through the close-up of his face bruised and beaten. As shown in Page 3 the Indian society has not yet accepted those who are homosexual. It has been only recently that western governement have made it legal for males to get married. Therefore if this is the case society will soon find this acceptable. The fact that the director explicitly presented three openly-gay characters forces the audience to feel sympathetic towards them and for them to realise that they are normal people.

Similarly, in another recent film ‘Fanaa’ (Kunal Kohli, 2006) constructs the contemporary conflict involving Kashmir, Pakistan and India. This film also lacks closure, which is emphasized by its circular narrative. The representation of supernatural is no longer a convention in Bollywood. These have been replaced by the rise in contemporary issues that films such as ‘Page 3’ and ‘Fanaa’ portray. Since the 9/11 the fear of terrorism has grown worldwide. Perhaps this is due to secularisation; it is argued that society now looks toward those idols presented by the media, as substitutive for traditional faith. Alternatively, by allowing the media to act as a replacement consequently means ‘dumbing down’[22] its audience and making them docile obedient and unquestioning authority just like the character Madhivi. Whilst assuming the audience will aspire to these celebrities as ‘idols’ and ‘role model’s’. The director of ‘Page 3’ Madhur “Bhandarkar does not trust the viewers to be intelligent enough”[23] so he explicitly shows the corruption and insensitive elite. This encourages the independency theory as it suggests that audiences are passive and become dependent on the media.

In ‘Page 3’ a social hierarchy is present as it represents not only the caste system but also the division between social classes. The separation between the media and public mirrors the rich and poor. These celebrities are shown to have a culture based around glamour and celebration, as the main iconographic is a camera. After the terrorist attack in ‘Page 3’ witnessed by Madhivi had shocked her as these celebrities, knowing innocent people had died carried on with the party. As Althusser disputes that institutions such as media is used as an ‘ideological state apparatus’ to funnel the beliefs of the ruling class. This applies to his theory as the audiences are made to except the relationship with other classes. According to Marxist theory, the proletariat will aspire to the ruling class and except their deprived position.

Hindi films are long complex and varied; they provide glamour, fantasy and opportunity for audiences. Although a more recent trend shows that films are now also educating the audiences. Instead of films catering for the needs of its audience Bollywood seems to be educating its audience. ’Page 3’ was shown to be a success in India as a majority felt that these were issues that needed to be raised.

[1] Shahid Khan
[2] www.bl.uk/collections/business/asiandemographics.html
[3] Asiana Magazine - Autumn 2004/Page 32
[4] Maltby, R (1995) Hollywood cinema/Page24
[5] http://en.wikipedia.org/wiki/Bollywood
[6] Amir Khan, Lagaan (2001)
[7] http://news.bbc.co.uk/2/hi/south_asia/3929687.stm
[8]
[9] http://www.planetbollywood.com/Film/Page3/
[10]Altman, Rick. Film/Genre/Page 217.
[11] ttp://geography.about.com/od/culturalgeography/a/bollywood/htm.
[12] Mulveys, Laura (1975) Visual pleasures and Narrative Cinema
[13] http://www.indiaglitz.com/channels/hindi/article/13205.html)
[14]http://lass.calumet.purdue.du/cca/gmj/SubmittedDocuments/archivedpapers/Fall2002/Ar
[15] Page 3 (2005) Madhur Bhandarkar,
[16] Smelik, Anneke (2001) ‘and the mirror cracked feminist cinema/ Page 7
[17] The British Empire From photographs of India/ Page 12
[18] Hindu Wife, Hindu Nation, Tanika Sarkar 2001
[19] Reginal Massey – All India
[20] Moore 1987, Evans & Gamman 1995, Mort 1996, Edwards 1997
[21] http://www.planetbollywood.com/Film/Page3/
[22]
[23] http://www.planetbollywood.com/Film/Page3/

Bibliography

Books:
· Alter, Stephen. Fantasies of a Bollywood Love-Thief: Inside the World of Indian Moviemaking.
· David Gauntlet ,2002, Media Gender Representation and Identity.
· Ganti, Tejaswini. Bollywood, Routledge, New York and London, 2004.
· Joshi, Lalit Mohan. Bollywood: Popular Indian Cinema. 3)
· Kabir, Nasreen Munni. Bollywood, Channel 4 Books, 2001.
· Madhava Prasad’s -: ideology of the Hindi film: a historical construction
· Mehta, Suketu. Maximum City, Knopf, 2004.
· Mishra, Vijay. Bollywood Cinema: Temples of Desire.
· Raheja, Dinesh and Kothari, Jitendra. Indian Cinema: The Bollywood Saga.
· Rajadhyaksha, Ashish and Willemen, Paul. Encyclopedia of Indian Cinema, Oxford University Press, revised and expanded, 1999.

Websites:
· http://www.webindia123.com/movie/national/rangde/index.htm
· http://www.planetbollywood.com/Film/Page3/
· http://www.indiaglitz.com/channels/hindi/article/13205.html)
· ttp://geography.about.com/od/culturalgeography/a/bollywood/htm.
· http://www.panix.com/~squigle/ves/mulvey-vpnc.html
· http://www.bollywoodworld.com/
· http://en.wikipedia.org/wiki/Bollywood
· http://www.b4utv.com/index.shtml
· http://timesofindia.indiatimes.com/articlelist/536583627.cms
· http://news.bbc.co.uk/2/hi/south_asia/3929687.stm
· http://www.mtvindia.com/mtv/movies/reviews/05/page3/index.php
· http://www.bollywood.com/archives/2005/02/madhur_bhandark.html
· http://babasko.blogspot.com/2006/11/page-3-but-then-why-should-they-be-any.html
· http://www.apunkachoice.com/scoop/bollywood/20050201-1.html
· http://news.scotsman.com/topics.cfm?tid=725&page=3

Newspapers/Magazines Articles:
· Asiana- Autumn addition 2004



Filmography:

· Page 3 - Madhur Bhandarkar 2005
· Lagaan – Amir Khan 2001
· Black – Sanjay Leela Bhansali 2005
· Fanaa – Kunal Kohli 2006
· Devdas – Sanjay Leela Bhansali 2002
· Rang De Basanti - Rakyesh Mehra 2006
· Mohabbatein - Aditya Chopra 2000

Essay plan

Tittle - " 'Page 3' should be seen by all because of the important issues it raises and its ruthless insights into the world of socialites"

Introduction - Introduce with the basic, When Bollywood started? The assumption that it is a form of 'escapism'. Even from texts like Mother Indian discussed contemporary issues along with the traditional Hindu Myths. Now Bollywood films have changed films like PAGE 3 along with Rang De Basanti, Black and Fanaa all talk about issues that are in the collective conscious. Instead of 'escapism' it has actually developed to 'actuality' and 'realism'. Has a Diachronic and Diegesis narrative

Paragraph 1

Introduce 'Page 3' as my main text. Talk about the genre. is it common amongst Bollywood conventions? conform or rebels? Alot to talk about in society e.g. terrorism, politics and media. hybridity?

Paragraph 2

Target audience? western audiences having a impact of the films made.

Whats this suggesting about indian audiences if they dont like page 3 in comparison to western audiences? Link to institution, how this had an imact? prefer to escape? lack knowlegde of important issues or are they evolving as a country and wanting to see more realistic films.

Then again how accurate is Page 3 in reflecting society?

Paragraph 3

First piont of Bollywood (inparticular inreference to page 3) has evolved now talking about important issues in the media rather than the typical 'boy meets girl' narrative. Challenges conventions. The fact that the media is also shown to be corrupt showing the bad sides of Indian (and western) institutions.

E.g currption of the higher ranks . The main protagonist tries to do her job and print stories of celebrities but because of those in power and with money as unable to print the truth to the public.

Paragraph 4

Similarly in Rang De Basanti, also talks about corruption (Elite) of those in higher positions. Introduce the film and its genre. (Links to Page 3)Sue, a young London-based filmmaker chances upon the diaries of her grandfather, who served in the British police force in India during the freedom struggle. She comes to India to shoot a film on the Indian revolutionaries mentioned in the diaries. men are the ones in power as a steroptype these films conform to patriachy.

Paragragh 5

Bollywood is effectively changing. Targetting a wider audience with its hybridity. Therefore society must be changing, or is Bollywood simply just catering for the Western audiences? Issues like the Gay and lesbian factors which are shown in Page 3 are issues that Asian frown upon (queer theory). It is widely noted that since the 1980s there has been an increasing display and sexualisation of the male body in mainstream cinema and television and in advertising (Moore 1987, Evans & Gamman 1995, Mort 1996, Edwards 1997).

They have a conservative stance. Different ideologies and upbringing. Page 3 is representing issues that Asians feel they cant talk about. change in society?

Paragraph 6

Bollywood is not changing. (arguing against) the main protagonist Madhavi we see the narrative through her eyes (camera techniques POV shot)- forced to feel her emotions.. Despite your race of cultural background we can all somehow relate to the story. Goes against laura muvleys theory that the audience are males.. infact the males are forced to watch this film through the eyes of a women. She doesnt fulfil the qualities of being 'looked-at-ness' shows alot of discrimination, sexism things that women face everyday. Should women be at home? rather than working? all the higher ranks in the film are men. women conform to stereotypes as the women shown are into fashion and gossiping. Realims? (no). Promoting a multi cultural society

Paragraph 7

In contrast in Fanaa (after her husband leaves her) she is shown to be strong and fully capable of bringing out her son without a father. Introduce this film. Fanaa. briefly explain what its about. Terrorism. realism? yes.. the fued between the pakistani, kashmir and indians fighting over land is mirrored in Fanaa. similary in Page 3 a scene where there was a bombing. Both films emphasize the fact that terrorism is contemporary its sometthing we all need to be aware of.

Paragraph 8

" I feel that Bollywood films were honest and dealt with real issues " -said by a women called heidi who was in the series of Bollywood ideal. which was published in a popular Asian magazine : ASIANA. Films like 'Black' who represent those with special needs. in this case a blind women who is being taught the basics to communicate. People with disablities would of normally been look down on society would have thought the person was possessed by a devil. Now people know its more than that. feel sympathyy. media makes the audience more aware and teaches them rather than escape. (e.g lagaan set back in the 1900 the cripled man was looked down on.)

Paragraph 9

Throughout the film, there are obvious western influences.Cultural Imperialism: In typical Bollywood films there would be songs and dances in page 3 there isn't. another film that doesnt have songs is Black. Always links back to reality - the recurring image is the theme of celebrations. After each issue the audience is drawn back to a party. Ignorant people? avioding these important issues just to have parties. Here the parties include a variety of different people and culture amplifying the idea that it is common all over the world.

Paragraph 10

Capitalism - to get somewherre and to be someone you need to have money, contacts and status. Cultural Industry:India is known for the government and police being corrupt and this is one of a few films who explicitly show this along with Rang De Basanti. in one scene the a character was arrested being caught in the act of peadophillia and soon being released becuase his father is a well respected and higher status man.

Paragraph 11

Asian culture is now seen as a stylish and is influencing area's in fashion, music food and entertainment. After Lagaan winning oscars, Bollywood began to become well known in the western culture. This could of triggered its change. It aims in portraying modern Asian life tackling real issues that the British audience can relate to. Ironically in todays society India has now become a source of inspiration for spirituality, music and fashion. This reflects how much attitdues have changed in the west to asian culture. "mainstream isno longer synonymous and white. "

Conclusion:In conclusion Page 3 contains a variety of contemporary issues represented by Asian. These stereotypes of asian are being challenged however indirectly most are conforming. influences from western culture has in fact introduced a new genre to Bollywood. social realism

Historical Context

- Mother India talkes about Contemporary issues in that time.
E.g. Land, Politics and family issues.


- Bollywood is all about Indian myths and legends. Back then morals where based around these traditional Hindu myths.

Mother India (Hindi, भारत माता, Bhārat Mātā) is a 1957 Bollywood movie directed by Mehboob Khan, nominated for Academy Award for Best Foreign Language Film in 1957.

Plot and/or ending details follow.

The film begins with the finishing of a water canal to the village set in the present. Radha (Nargis), as the 'mother' of the village is asked to open the canal and remembers back to her past when she was newly married, mirroring the new independence of India.

The wedding between Radha and Shamu (Raaj Kumar) was paid for by Radha's mother in law who raised a loan from the moneylender, Sukhilala. This event starts the spiral of poverty and hardship which Radha endures. The conditions of the loan are disputed but the village elders decide in favour of the moneylender after which Shamu and Radha are forced to pay three quarters of their crop as interest on the loan of 500 rupees.

Whilst trying to bring more of their land into use to alleviate their poverty, Shamu's arms are crushed by a boulder. He is shamed by his helplessness and is humiliated by others in the village, deciding that he is no use to his family he leaves and does not return. Soon after this, Radha's mother in law dies.

Radha continues to work in the fields with her children and gives birth again. Sukhilala offers to help alleviate her poverty in return for Radha marrying him, but she refuses to "sell herself". A storm sweeps through the village destroying the harvest and killing Radha's youngest child - the villagers start to migrate but decide to stay and rebuild on the urging of Radha.

The film then skips forward several years to when Radha's two surviving children, Birju and Ramu, are young men. Birju, embittered by the exactions of Sukhilala since he was a child takes out his frustrations by pestering the village girls, especially Sukhilala's daughter. Ramu, by contrast, is calmer in temeprament and is married - soon after, his becomes a father but his wife is soon absorbed into the cycle of poverty in the family.

Birju's anger finally becomes dangerous and, after being provoked, attacks Sukhilala and his daughter as well as violently lashing out at his family. He is chased out of the village and becomes a bandit. On the day of the weeding of Sukhilala's daughter, Birju returns to take his revenge. He kills Sukhilala and takes his daughter - but Radha, who had promised that Birju would not do harm, shoots Birju who dies in her arms. The film ends with her opening of the canal and reddish water flowing into the fields.

Gracious Me wins top Asian award

http://news.bbc.co.uk/1/hi/entertainment/arts/1242056.stm

Meera Syal won best female personality Hit TV comedy Goodness Gracious Me has won two awards at a ceremony celebrating the achievements of Britain's Asian community. Both received the awards at the Mega Mela BBC Asian Success, Innovation and Achievement show at the National Exhibition Centre in Birmingham.

Asia Awards were also given out in categories highlighting achievement in music, media and film. Judges included the Duchess of York and Nina Wadia, who also stars in Goodness Gracious Me. Composer Nitin Sawhney won the prize for music.

The London-based performer's fusion of east and west rhythms have earned him critical acclaim and led him to work with international artists such as Sting.

The film award went to Mohabbatein. It was shot on the Longleat estate by director Aditya Chopra and starred Amitabh Bachchan and Shah Rukh Khan. It made £246,000 in its first three days of release, taking it to the ninth spot in the UK film charts at the end of last year. The arts award went to Akademi. The London-based organisation was responsible for the hit dance spectacle Coming of Age at London's South Bank Centre last year.

Former BBC Delhi correspondent Mark Tully carried off the lifetime achievement award. Nobel Prize winner Professor Amartya Sen was commended for his work on famine, the welfare of children and women, and poverty.

Channel Four was also credited for its series of programmes on the Kumbh Mela festival, which attracts millions of pilgrims to the banks of the River Ganges every 12 years.

Wadi, who was also short-listed for the best female personality award, said: "The level of entries of nominees was incredibly high and made my job an absolute nightmare. "It's fantastic to see that there are so many wonderful individuals out there who are making a difference to people's lives on a daily basis."

The event was co-hosted by the BBC's George Alagiah But the BBC Asia Awards were not for famous names. Kavita Brahmbatt, 12, won the young achievers award. She signs for her parents who are both deaf. This means attending doctors appointments and even business meetings with them, signing critical and complicated information.

The event was hosted by BBC newsreader George Alagiah, and Sky news presenter Lisa Aziz. BBC Director General Greg Dyke, Cherie Blair and news-making minister Keith Vaz were also on the guest list.

Winners in full:

Female Personality of the Year: Meera Syal Male Personality of the Year: Sanjeev Bhaskar Media Award: Kumbh Mela - The Greatest Show on Earth,
Channel Four Lifetime Achievement Award: Mark Tully
Special Commendation: Professor Amartya Sen
Achievement in Film Award: Mohabbatein
Music Award: Nitin Sawhney Achievement in Sport: Respect All Fans Football Initiative (RAFFI) Young Achievers Award: Kavita Brahmbhatt Achievement in Arts Award: Akademi Achievement in Enterprise and Innovation Award: Sasha Dhillon
Community Award: The Newham Asian Women's Project, London

Task 11

Laura Mulvey - visual pleasures and narrative cinema summary

This theory can relate to This Bollwood film Page 3 as it encourages the idea of 'Male Gaze' there are many attractive young girls who try and make it big in Bollywood, and are prepared to anything to get fame. one if the girls who plays a side role is trying to become a actress in a male dominated society. She reinforces the stereotypes of women, someone who is weak and in constant need of help (by the men) she therefore an icon and fulfils the purpose of being looked at In most scenes she is under dressed which help fetishize her feminine figure, that the audience who are presumably male are watching her voyeuristic pleasures. Therefore she is an object of the male pleasure.The main character is not passive like other women in the film, infact she questions authorit. She is portrayed to be not attractive. Therefore not posses the quality of to-be-looked-at-ness.

The phallic object in page three is a camera. As this whole film is based around celebrities and how truthful is the news in the magazine. This idea of a camera connotes this idea of male gaze,voyueristism and fetishism which is continvious throught the fim.

Sigmund Freud - Laura Mulvey adapted from the work of him. His theory was that there was a fear inserted in boys, when lokoing at girls they think that she has had her penis removed. therefore the boy becomes filled with anxiety as he believes this may possible happen to him.this is also known as castration anxiety

Theorists

Marxism --->
The basic marxist ideologies is develop of material life. Capitalism is based on profit motives. society being split up in two classes.
Proletariat and Bourgeoise. Adorno = 'culture industeries' Mass media is a way of entertaining the workers whilst feeding them ideologies and beliefs.
Althusser = 'ideologial state apparatus'. Using institutions to funnel through the beliefs of the ruling class.
Eisenstein and montage: even conventional narrative and media language maintained capitalist ideologies.

This theory links to my study as this film is centered around the media printing stories and articles they feel is important. Therefore as the ruling class are all 'looking out' for each other specific news would be available to the majority working class people.

ASIANA - I dream of Bollywood...

Lookin through the Asiana magazine i have i came across many articles realting to Bollywood, suprisingly ones that linked to my question...
" I FEEL THAT BOLLYWOOD FILMS WERE HONEST AND DEALT WITH REAL ISSUES "-

"BOLLYWOOD IS ABOUT BLOOD,SWEAR AND TEARS" says Saydur Rahman.

Key words - B to S

'B'

Binary Oppositions: When two opposing forces come together. Thoery - Levi Strauss
Bollywood: Term for the Indian film industry, based in Bombay (mumbai) The industry produces a large number of films based on traditional Indian themes involving exotic sets and dance routines, complicated romances between the female and male. Based of Hindu religion, myth and fol tale. Indian films are aimed specifically at Indian audience but in recent years their influence has been felt more widely, with themes briding western and Indian culture was a international success.

'C'

Capitalism: an economic system. (marxism) see this as a expliotation class. Power is sustained by agencies like the media which help maintain collective consciousness.
Cinema vertite: french term meaning 'truth cinema'
Circular narrative: a narrative in which the story-line end where it began.
Common sense: termed coined by Gramsci to describe the consensus in the public opinion that forms around topic of social political and economic concern in line with ideology of the dominant class, as represented by the media.
Consipiracy theory: a pessimistic and unrealistic view of the structure and operation of power within media orginisations, which sees them as being controlled by a highly organised and coordinated elite.
Cultural capital: term devised by the french sociologists to decribe the advantage given to middle class children in the education system. (status - achieved )
Cultural Imperialism: the dominance of western, particulary US, cultural values and ideology across the world.
Cultural Industry: a term used by Adorno, who saw mass culture as in industry produced and controlled by the capitalism for the benefit of the ruling elite.

'D'

Deep focus: a camera technique that allows objects both near and far from the camera to be in focus at the same time.
Dependency theory: a passive audience theory associated with researchers focusing on the degree to which audiences become dependent on the media.
Determinism: The marxist concept that individuals and institutions have no chioce in their behaviour because their decisions are shaped by socioeconomic forces beyond their control.
Deviance: behaviour that 'deviates' (turns away) from the norm or that which is generally accepted within a society.
Diachronic: in narrative, describing events that move through time sequentially.
Diegesis: the storyline or narrative which includes the whole fictional world created by the media text.

'E'

Effects Theory: an audience theory that tends to see the audience as passive and seeks to measurehow to expose to particular aspects of the media content can influence the behaviour of the reader or veiwer.
Elite : a small select group in a society which claims leadership priviledges as a result of expertise, in terms of knowledge or skill in a particular field. Empathy: the ability to share the emotions or piont of view of a group or individual.

'F'

False consciousness : marxists term for the effect of dominant ideolgy. Workers are manipulated by institutions such as the educationd system, organised relligion and the mass media, and are aware of their unequal status and expliotation by capitalism.
Feminism : political movement to advance the status of women by challenging values, social constructions and socioeconomic practices which disadvantage women in favor of men.

'H'

hyodermic theory: early attempt to explain the effects media tets have on audience. Based on the assumed 'passive audience' nature of mass culture, the theory argues that consumption of media text is like the injection of drug and that the audience behaviour and opinions are therefore directly affected.

'I'

Iconography: the distingushing elements, in terms of props and visual details which characterise a genre.
ideological state apparatus: term devised by althusser to describe institution which are established and controlled by the state and which have the power to reinforce and reproduce dominant ideology.

'M'

Male gaze: term used by laura mulvey in her essay 'Visual Pleassure and narrative cinema' to describe what she saw as the male piont of view adopted by the camera for the benefit of an assumed male audience.
Marxists: ideology derived from the writings of the sociologist karl marx. which sees society as dominated by capitalist structures which maintain the hegemony of the ruling class and lead to the expliotation of workers.
Mulvey, Laura: feminist academics and media and film and film critic, responsible for developing theories of the male gaze in her essay.

'N'

narrative: The story line and structure of media text. narratives or stories help to shape and explain all aspectsof our lives from earliest infancy.

'P'

Parallel action: the narrative technique of showing two or more scenes happening at the same by cutting between them.
Patriachy: male dominance of the political, cultural and socioeconimic system.
Protagonist: the leading character or hero in a film with whom the audience can identify and from whose piont of view the action is positioned, often set in binary opposition against the antagonist.

'Q'

queer theory: a term used to describe films representing the lifestyles and experiences of gays and lesbians.

'S'

social realism: the representation of characters and issues in film and television drama in such a way to raise serious underlying social and political issues.