indian directors

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aaina (1993) is one of many indian films where the director or the screenwriter was like, yeah let’s give this chick a pair of glasses and make the entire plot about how she’s the ugly sister. and instead of developing her personality, we make her non-glasses wearing hot sister a psychopath so the audience knows who the moral center of the story is.

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From Indian Lakes - “Sunlight”

Directed by Chris Schoonover

On the day the Indian Wells tournament director Raymond Moore was forced to resign following his remarks at the weekend, when he suggested that women “should get on their knees” and be thankful for the men’s game boosting their own profile, the world No1 Djokovic has now come under severe criticism from two of the biggest names in the game. The Serb believes that men deserve a greater monetary reward because their ticket sales and viewing figures are superior.
 
That drew a withering response from Williams as well as Djokovic’s long-time rival Andy Murray, both in town for the Miami Open, which begins on Thursday, who both questioned the legitimacy of his claims. “It has been disappointing,” Williams, a 21-times grand slam winner, said of the reopening of the equality debate. “If I have a daughter who plays tennis and also have a son that plays tennis, I wouldn’t say that my son deserves more because he is a man. If they both started at three years old I would say they both deserve the same amount of money.
 
“I have been playing since the age of two and it would be shocking to say my son would deserve more than my daughter. It is irrelevant. Novak is entitled to his opinion but if he has a daughter – I think he has a son right now – he should talk to her and tell her how his son deserves more money because he is a boy.

I’m a die hard Beyoncé fan but I also hate cultural appropriation so I get angry when something is wrongly shown about a culture but this music video honestly isn’t that bad.

I get how it can seem like cultural appropriation but come on:
• The Main directors were Indian and so they would’ve pointed out if they felt as if something was being portrayed incorrectly or rudely.
• They’re not trying to STEAL or APPROPRIATE anything, they’re appreciating beautiful Indian culture and using it to portray the equally beautiful message in their song.
• The outfit that everyone is so mad about was made by an INDIAN designer, not someone who doesn’t understand the culture.
• Beyoncé being a strong black woman knows what it’s like to have HER culture appropriated and obliviously wouldn’t feel comfortable doing the same to someone else’s culture.

I get that there were some exaggerations and alterations but it’s was NEVER meant in a mean derogatory way.
Can’t we just enjoy this beautiful piece of art without looking for all these little small problems within it ?

9

meet revathi (aka ananya swaminathan’s mother radha in the film adaption of 2 states): actress, dancer, director and all round queen

revathi (born as asha kelunni kutty on 8 July 1966) is an indian actress and film director. she has acted in over 100 films majorly in tamil and malayalam. she has also directed feature films, and has acted in and produced multiple television programs. she has won several accolades, including:

national film awards

  • 1992 – best supporting actress for thevar magan
  • 2002 – best feature film in english for mitr, my friend
  • 2011 – best non-feature film on family welfare for red building where the sun sets

tamil nadu state film awards

  • 1990 – best actress for kizhakku vasal
  • 1998 – special prize for best actress for thalaimurai

filmfare awards south

  • 1983 – special award for man vasanai
  • 1988 – best malayalam actress for kakkothikkavile appooppan thaadikal
  • 1992 – best telugu actress for ankuram
  • 1992 – best tamil actress for thevar magan
  • 1993 – best tamil actress for marupadiyum
  • 1994 – best tamil actress for priyanka

cinema express awards

  • 1984 – best telugu actress for seethamma pelli
  • 1990 – best tamil actress for kizhakku vasal
  • 1991 – best malayalam actress for kilukkam
  • 1991 – best tamil actress for thevar magan
  • 1994 – special best tamil actress for en aasai machan

film fans associate awards

  • 1983 – best malayalam actress for kattathe kilikkoodu
  • 1984 – best tamil actress for pudhumai penn
  • 1984 – best telugu actress for manasa veena
  • 1986 – special commendation
  • 1990 – best tamil actress for anjali
  • 1991 – best malayalam actress for kilukkam
  • 1992 – best tamil actress for thevar magan
  • 1994 – best tamil actress for priyanka

the mylapore academy berkley drama award

  • 1989 – best actress in television for iravil oru pagal
  • 1984 – best actress in television for penn

international film festival of india

  • 2002 - silver peacock jury award for mitr, my friend

international film festival of kerala

  • 2009 - NETPAC award for best malayalam film for kerala cafe

anonymous asked:

what do you think are the boundaries to cultural appreciation and appropriation?

I think there’s a slightly blurred line between the two, especially since it differs from area to area, is different depending on those celebrating a culture locally versus those celebrating as part of the diaspora, and a lot of it has to do with acknowledgement. For example, I’ve seen people wearing a cultural article and refusing to acknowledge that it’s part of someone else’s culture (eg, rhinestone =/= bindi). The conversation can go literally nowhere if you pretend you’re doing nothing wrong. 

But I think it becomes apparent when you’re appreciating a culture when it’s not “exotified” or fetishized, when the person in question has consulted with natives of a culture and fully understand the significance of what they’re doing (so no, no om tattoos for you until you understand what om means to Hindus and Buddhists and Jains and Sikhs, and even then, I’ll probably side-eye you a little). You have to be INVITED in, and even then, you have to know your bounds. Obviously I’m not going to say anything to a white person at a desi wedding wearing mehendi and bindis and saris, but a white person going to a music festival with a bindi on their face because it’s “hipster” or “cool” is obviously not okay. If I, as a brown girl, wore a bindi to the mall or something, people would be giving me dirty looks and telling me to go back to my country and learn how to assimilate… so, see, culture mixing can only occur when two cultures meet on even ground and the sharing of ideas is mutual, not when one culture is spit on and the other comes by and rifles through it’s pockets to steal the pieces it likes. 

For example, contrast Iggy Azaelia in her music video for Bounce, a video directed by and starred by a white person, where she is the center of attraction

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and that too in a wedding outfit… also, this is a video in which she later pretends to be a Hindu religious diety:

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Well, my culture isn’t meant to make you look cool or give you street cred with the desis, especially when the ONLY time you support my people are when they’re earning you money or staying in the background of your limelight (and even then, “support” is being too kind).

Alternate this with the music video for Feeling by Bombay Bicycle Club, where the music video takes place at an Indian wedding… with a fully desi cast AND directed by an Indian director:

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Nothing is fetishized, nothing is taken out of place or presented without context, nothing is depoliticized or portrayed inappropriately/offensively. It’s clear they are appreciating our culture. 

tbh whether you like it or not, that new Coldplay Beyonce song is definitely cultural appropriation. The sole purpose of that video being in India was for the aesthetic, and nothing else really. If they actually cared about appreciating the culture they would have hired an Indian director and/ or producer, and possibly even feature an Indian co-singer. The fact that all the major video team was non Indian, shows that they wanted to exploit the beauty of India, without giving anything in return. 

know I now loads of people don’t really give a shit about cultural appropriation, but I wrote this specifically for all the people who are bending over backwards to defend the music video. It’s cultural appropriation whether you like it or not

Dhundiraj Govind Phalke, the first Indian film director, looks over a filmstrip, 1913.  Before working on movies in 1912, he worked as a portrait photographer, make-up man, assistant to a German illusionist and as a magician.  He went to England to train in cinematography and editing and  purchased his film equipment there before returning to India.

The Indian director Satyajit Ray, who died in 1992, first came to prominence in the 1950s with the three films known as The Apu Trilogy, which quickly became an international touchstone. Most people have never seen a good print of these films, but there is now a new digital restoration done by the Criterion Collection along with the Academy Film Archive of the Academy of Motion Pictures Arts and Sciences. The restored prints are now being released in theaters around the country, and in November, Criterion will release them on DVD and Blu-ray.  Our critic at large John Powers says he’s never seen them look so good.

An Indian Coming-Of-Age Trilogy, Restored To Its ‘True Splendor’

DAY 2857

The Grand, Kolkata                Jan 27/28,  2016               Wed/Thu  2:10 am


40 years of ‘Kabhi Kabhie ..! And the strains of the music the poetry of the lyrics, the ethereal beauty of Kashmir and the company of extraordinary colleagues ..

Collected, managed, sewn together, in a most alluring cinema experience .. by the master of all that he did and make, Yash Chopra .. 


It came about in the middle of the making of ‘Deewar’ .. a month here and a month there and we were done .. none imagined that the makers and the artists involved in both the projects, could be so diverse in such short a time .. but he did it .. Yash ji and Salim-Javed and the crew and cast of both the projects ..

The one harsh and grim and filled with anger and the armpit odours of a time and place and occurrences of a reality that few were aware of ..

The other washed in the fragrance of the freshness of the morning dew, soft snow flakes, lilting music and the smell of pine and mountain air ..

In one breath the audience of today, some not even born 40 years ago, seek recreation of the poetry in one and the rugged lamentation of a troubled childhood in the other .. 

The power of story telling can never be put aside .. when right, it becomes eternal ..




And here today amidst the early morning chores that the city of joy conducts, a covert and camouflaged act on select bridge on busy traffic laden street is pulled of with the secrecy and management of an intelligence agency .. and before it is known that we shoot film we are out at another location .. under the shadow of another great son of India - Netaji Subhash Chandra Bose ..

That over .. the excitement of the onlooker .. the passion of the Kolkata crowd, unique from any other in the entire universe, breaks loose ..

Some where in the white vehicle in the foreground, sits a perplexed and emotional individual .. wonder and surprise in his mind and eye .. why .. what .. how .. 

And no answers ..

No answers to many other query that now unfolds soon after within the premise of the Hotel, to an evening with ‘AmitAkshar’ .. a concept by the fan club of Kolkata to have an ‘Adda’ with some of my Bengal contemporaries and talk .. talk to be able to raise funds for the education of girls that need study and care, an activity that I have initiated the fan club to perform, instead of just screaming accolades at airport arrivals and public demonstrations on release of films ..

The presence of Sharmila Tagore, Aparna Sen, Sandeep Ray, Shoojit Sircar .. all adding to the event and the evening .. narrating just about all that those years of connect with Bengal and Kolkata meant …

….. and then suddenly in the middle of this conversation an aged lady walks up gingerly, a walking help in hand to assist, and stands amidst a sudden silence and asks :

“Do you recognise me ?”

I look embarrassed and uncomfortable, for I have no remembrance of her .. I keep looking at her frail form and try to run memory to its limit .. NAH .. !

And in the silence of my awkwardness she softly states :

“I am Mrs Pran Prasad ..!!”

I rise in shock and surprise from my elevated state on stage step down and :

“Oh my God .. !”

O my goodness .. this is Mrs Pran Prasad, wife of the ‘burra sahib’ of Bird & Heilgers, the Company I got my very first job in Kolkata, Managing Director and one of the most dynamic persons I had met … Mr Pran Prasad .. !!! The only Indian Director among a bench of Whites .. quite an achievement !!

It must be close to 50 years since I last met her .. she of great flair and conduct, of warmth and generosity, of strength and presence ..

O my goodness ..

She speaks of times gone by .. of that ‘little round boy’ that I played around with, her son, now of some eminence, which she hurriedly narrates in the sudden rush and crowding of the cameras that surround us .. she leans against me in affection and as gently as she came, walks away, leaving me with such an encyclopaedia of glistening memories … 


There has to be some hidden providence in matters of such .. there has to be reason and cause .. there has to be  ….

And amidst all those conversations that continue soon after .. of days spent in the 60′s, of later, of incidents and gestures of friends ..

….. who when the entire world ostracised and maliciously accused and branded me as the scum of the nation, of the earth that I trod on, stood up singularly against all odds, by me, in support .. because of belief … and gave me the impetus and will and the strength to fight and WIN .. win against the mightiest .. WIN for honor .. WIN for innocence .. WIN for name .. WIN against dishonest accusation !!!

Thank you Aveek da .. I had hesitated to express this publicly, but with your presence tonight I just did it .. and I care not what the consequences could be !

Yes I care not .. 

For, such moments and such gestures, mark themselves permanently into our souls .. 



BUT … the evening is not over yet .. with constraints of time, to be explained presently, a quick snatch with Shoojit, amongst all this .. a reference discussion on the script we work on for his next film .. hahahaha … strange are the ways of them that inhabit this film world .. 

So yes .. a quick reference to a work in literature that could be a guide in what we are proposing and trying to battle with in the script, and then off .. 

Off in a jiffy .. to the make up room, a transformation of character and on to set for a night shoot .. inside a travelling tram .. the tram ..

… the Kolkata tram service .. one of the oldest forms of travel in the city .. still operative and functional .. 

The tram .. the only mode of transport I could afford when I came looking for a job .. moving from one end of the city to the ‘job area’, dressed appropriately in jacket and tie, the only one I had, and exercising the most extreme precaution of not crushing it in the oppressive heat and sweat, so that a presentable appearance was made to a prospective giver of job  .. !!!

Such a joy to be reliving those days of yore .. the condition of the tram still the same .. knocking all the bones in the body into shape by the ‘vibrancy’ of its movement, and yes leaning out of the gates when space inside was restricted ..

It was magical .. if I am not wrong Rs 2/-, for an all round ticket, for the entire day !!



Back in the cluttered room of mine, and an uncluttered mind reminiscing those years again and again .. wondering who and what else remains in store for me in this city, that could take me back to those unfettered, uncaring, wild unmindful days in this great City of Kolkata ..

Aashi …

Amitabh Bachchan

so let me get this straight, people are mad at Beyonce for a video and song that isn’t hers and was directed by an Indian director who came up with this whole idea of turning her into a Bollywood actress….

I’m guessing ya’ll wanted her to be like “no sir, I will not participate in this because I’m appropriating your culture and although I’m only in the video for about a minute in total and my name isn’t even featured in the title of the song, my say is the only one that matters so cancel anything else you may have on your schedule and come up with a new video treatment that suits my tastes” 

*cue media outlets calling her a “diva” and difficult to work with*