Hindi Films

आदर्श केंद्रित लोकतांत्रिक समाज की आधारशिला रखने वाले गुलाब सिंह की रचनात्मक प्रस्तुतियाँ 'ऑफ़ स्टेज' नहीं, बल्कि ‘ऑन-स्टेज' हैं। इस 'ऑन-स्टेज प्रस्तुति' से भाव-संवेदन एवं परिवेश के स्तर पर भावकों को आधुनिक समाज की संगत एवं विसंगत छवियाँ तो देखने को मिलती ही हैं, मानवीय संवेदना से परितृप्त शब्दों-बिम्बों के चिन्तनपरक चित्रांकन एवं रागवेशित भावाभिव्यक्ति से जीवन मूल्यों की पुनर्स्थापना हेतु एक विशिष्ट प्रकार का संवाद भी स्थापित होता चला जाता है। यह संवाद जहाँ बाज़ारवाद के बढ़ते दुष्प्रभावों के बीच मनुष्य की पीड़ा, त्रास, घुटन, आभाव, शोषण, भय आदि को उजागर करता है, वहीं मनुष्य होने की कुछ बुनियादी शर्तों की वकालत करता हुआ निस्वार्थ प्रेम, दया, करुणा, त्याग, सहयोग एवं सम्मान करने और प्रकृति के साथ सच्चा साहचर्य निभाने की बात भी करता है। यह अलग बात है कि ऐसा करने में यह लोकोपकारी रचनाकार कभी-कभी अपने नवगीतों में शिल्पगत छूट ले लेता है, फिर भी अन्य नवगीतों की तरह ही उसकी ये रचनाएँ भी कथ्य के स्तर पर सुगढ़, मौलिक और नवीन हैं; उनमें टटकापन, सहजता और लयात्मकता है।

MLA Citation:
चौहान, अवनीश सिंह, "अर्थों की पंखुड़ियाँ बिछाते गुलाब सिंह", साहित्य कुञ्ज, वर्ष : 17, अंक : 184, 01 जुलाई 2021, वेब पृष्ठ

While the monstrous feminine of Hollywood is available transhistorically over much of cinema across the world, the female monster of Hindi horror cinema remains ignored and merits serious academic exploration. Much of the widely accepted modern art-horror theory as applied to the horror genre is predicated upon Julia Kristeva’s notion of the
‘abject’ and the Freudian notion of the ‘return of the repressed’. While Creed (1993, 2002) exemplifies that horror texts indeed serve to illustrate abjection, her work reduces all forms of the monstrous feminine in the horror genre to fear of the abject mother. I posit that there is no universal archetype of the abject mother, and the maternal as an abject figure does not find resonance in the Hindi horror genre. Instead, I propose that a sub-genre, which I term the ‘Monstrous “Other” Feminine’ narrative, within the Hindi horror cinema engendered in the 1980s, presents an interstitial phantasmal female monster with wanton sexual
desire and gaze as the abject ‘other’. Through narrative closures, traditional gendered perspectives are reinforced, normative femininity is deified and the monstrous other feminine, commanding sovereign female desire and controlling gaze, is annihilated. Exorcism becomes the means
not only of expelling the interstitial phantasmal being but also of punishing and disciplining the female body for unrestrained desire and look.

The history of Hindi films is more than a hundred years old. In the hundred odd years Hindi films have seen myriad changes. The changes have happened in terms of genres, themes, story lines, budgets and even promotion strategies. The one genre that has frequently raised quite a few eyebrows is Horror. As with its western counterpart where the original horror gave way to several sub genres like Gothic horror, Slasher horror, Teen horror, and Vampire horror and so on and so forth, Hindi horror films have sprouted many versions of their own. From the initial horror endeavour Mahal by acclaimed director Kamal Amrohi in the year 1949 to the latest Khamoshiyaan in 2015 from the stable of Mahesh Bhat, Hindi horror films have reinvented themselves from being just garden variety to becoming game changers for their makers by ringing the cash registers. Often ridiculed in the past for their excesses and tacky treatment, Hindi horror films in recent years have metamorphosed into products that are classy and sophisticated to say the least. The elements of horror vis-à-vis creaking doors, darkly lit corridors, and scary background score now have the new add on elements of sex and skin show, which have become the USP (unique selling points) of such films. The present paper attempts to explore the different facets that are a common fixture in Hindi horror films today and reasons for their popularity among viewers.

"The aim of this paper is to explore Hindu–Muslim relations through the cinematic register of on-screen inter-faith marriages, and critique the under-currents of ‘Otherness’ that undergirds most of these narratives in the post-Hindutva milieu. Since the Hindu female embodies the (Hindu) nation in popular imagination, Muslim males gain access to Hindu females only within narrations of perfidy and ‘inappropriate appropriation’, signifying their perceived ‘Otherness’. The cohabitation of the Muslim female with a Hindu male, on the other hand, is framed within quotidian love narratives and marks her homecoming or gharwaapsi. Even as it offers national integration as its central motif, Jodhaa Akbar (JA) offers a narrative in which Akbar must be sufficiently indigenized and homogenized to merit absorption into the nation. JA both participates in and responds to the construction of this ‘Otherness’,as I shall demonstrate. While charting a new cartography of cinematic terrain where the
faith of a minority group occupies the centre stage, JA nevertheless presents a Hindutva polemic aware of accusations of self-aggrandizement and thus amenable to hegemonic concerns."

India has had a mind boggling variety of actors and artistes who have enthralled the country's moviegoers by sheer talent, impressive histrionics and superlative performances making themselves unforgettable in the mind of the audience, both in India and abroad. These fine actors are revered, fondly remembered and saluted in award ceremonies and cherished by their fans even to this day. It is they who find a respectable mention in film encyclopedias, inspire academic papers which are written on their films today considered classics; in short these actors are immortal in public memory. Their volume and quality of work are both-unmatchable and enviable. They are the real assets of the Indian cinema, which is a force to reckon with in the global cine world. Old film enthusiasts keep them alive by watching their stupendous performances on TV channels as Star Gold, Zee Classic and others. Young actors are inspired by their talent and contribution to the Hindi cinema and find them exemplary. Also, It should be kept in mind that these artistes travelled the rough path when the road was neither so smooth nor was traversing it so glamorous, when the journey was neither so lucrative nor was the destination so gratifying. Though all know about the best work of these artistes, an unusual side of them must be highlighted, underscoring the creative range of their varied performances and their prodigious talent.

The nine extensive essays of this volume are by specialists on South Asia whose research focus includes the extremely complicated problematics of the linguistic situation there. It is devoted to the broadly understood problem of defining Hindi as well as indicating the different ranges of its use. The authors of the included texts come from Europe, the USA and India, and grapple with questions such as what Hindi is, how it functions in the social, political and cultural dimensions of present-day India, and how it is being used by authorities and various influential actors at different levels of Indian reality. The volume should be important and useful for all those who are interested in Hindi, its official and non-official status, and in Indian linguistic policy and politics generally.

From time to time, the dedicated editors along with the enlightened navgeet poets (neo-lyricists) have tried their best to expand the global consciousness of navgeet (neo-lyric)— the modern version of geet (lyric) in Hindi language, for the purpose of disseminating knowledge and wisdom to the receptive and perceptive society of the world. One such effort can be seen in the form of this edited book— 'Navgeet Vangmay' (नवगीत वाङ्मय), whose 'Samarambh' (the beginning) section contains brief introductions of three founder navgeet poets— Shambhunath Singh, Shivbahadur Singh Bhadauria, Rajendra Prasad Singh with their intelligible comments on navgeet and their three navgeet on various themes; whose 'Navrang' (nine-colours) section comprises brief introductions of nine prominent contemporary navgeet poets— Gulab Singh, Mayank Srivastava, Shanti Suman, Ram Sengar, Nachiketa, Virendra Astik, Buddhinath Mishra, Vinay Bhadauria and Ramakant) with their lucid comments on navgeet and their nine navgeet on multiple themes; whose 'Ath-bodh' (erudition) section includes a prudent article, taken from Dinesh Singh's 'Naya-Purane' magazine (geet issue-5, 1999); whose ‘Sakshatkar’ (interview) section covers a noteworthy conversation of Madhusudan Saha with Abnish Singh Chauhan; and whose ‘Parshisht’ (Appendix) section encloses the first lines of navgeet with page numbers and names and addresses of navgeet poets for giving a pretty picture of this form of Hindi literature.

MLA Citation:
चौहान, अवनीश सिंह, नवगीत वाङ्मय, ऑथर्सप्रेस, 2021

Read More: http://creationandcriticism.com/_blog/202-new-book-navgeet-vangmay-by-abnish-singh-chauhan/

In the 1970s popular Hindi cinema witnessed an emergence of action oriented films with a distinctive “angry young man” protagonist. Tracing the antecedents of Indian masculine subjectivity in colonial discourse, this essay seeks to constitute a framework that identifies vestiges of mythological narratives alongside the politico-historical factors, to explain the formation of the belligerent male in the post-independence popular Hindi films. Reconciling the problematic of overdetermined “Indianness”— conceived as spiritual, calm, and other-worldly, together with its opposite: aggression, anger and this-worldly, that is also constitutive of Indian masculinity— the essay argues, benevolence or militancy cohere in the masculine self and, are activated according to specific political conditions in history. The angry man figure inscribed in the 1970s popular Hindi cinema is explicable in relation to the 1960s political crises in India that exposed a delegitimized Indian state. This essay ...

Bollywood cinema has proved a highly effective means of promoting a pan-Indian agenda that supersedes differences of religion, language, ethnicity, gender and sexual preference within the largest democracy in the world. Beginning with the introduction of the cinematic apparatus to the sub-continent, this course will examine popular cinema as a reflection of India’s navigation of the tradition/modernity binary since gaining independence in 1947. We will focus on Bollywood films as vehicles for promoting and disseminating socio-politic, cultural, and national ideologies.

समय-समय पर प्रबुद्ध नवगीतकारों के साथ-साथ समर्पित सम्पादकों ने समाज-निर्माण के उद्देश्य से नवगीत— गीत का आधुनिक संस्करण, की वैश्विक चेतना का विस्तार करने की भरपूर कोशिश की है। ऐसी ही एक कोशिश के रूप में इस संपादित पुस्तक— 'नवगीत वाङ्मय' (Navgeet Vangmay) को देखा जा सकता है, जिसके 'समारंभ' खण्ड में तीन संस्थापक नवगीतकारों— शम्भुनाथ सिंह, शिवबहादुर सिंह भदौरिया व राजेंद्र प्रसाद सिंह के संक्षिप्त परिचय सहित उनकी नवगीत पर टिप्पणियाँ एवं उनके तीन-तीन नवगीत, 'नवरंग' खण्ड में नौ प्रतिष्ठित नवगीतकारों— गुलाब सिंह, मयंक श्रीवास्तव, शान्ति सुमन, राम सेंगर, नचिकेता, वीरेंद्र आस्तिक, बुद्धिनाथ मिश्र, विनय भदौरिया व रमाकान्त के संक्षिप्त परिचय सहित उनकी नवगीत पर टिप्पणियाँ एवं उनके नौ-नौ नवगीत, 'अथबोध' खण्ड में दिनेश सिंह का 'नये-पुराने' पत्रिका (गीत अंक-5, 1999) से लिया गया एक सारगर्भित लेख, 'साक्षात्कार' खण्ड में मधुसूदन साहा से हुई अवनीश सिंह चौहान की महत्वपूर्ण बातचीत, और 'परिशिष्ट' खण्ड में नवगीत की प्रथम पंक्ति के साथ नवगीतकारों के नाम व पते को सहेजा गया है। इस संदर्भ में डॉ विमल (पूर्व आचार्य एवं अध्यक्ष, हिंदी विभाग, वर्धमान विश्वविद्यालय, वर्धमान) का मानना है—"संपादन-कला के मर्मज्ञ आचार्यों से अपने सतत जुड़ाव के कारण मैं यहाँ यह बात साधिकार लिख रहा हूँ कि डॉ अवनीश सिंह चौहान द्वारा संपादित— 'नवगीत वाङ्मय' में प्रयुक्त संपादन-कला वस्तुतः शिखर-चुम्बी है। शिखर-चुम्बी इसलिए कि इस पुस्तक में प्रस्तुत अभिव्यंजना के प्रत्येक पक्ष (नवगीतकारों का चयन, नवगीतों का चयन, सुगठित टिप्पिणियाँ, लेख, साक्षात्कार आदि) में संपादक ने जिस कौशल को प्रस्तुत किया है, वह सराहनीय ही नहीं, अनुकरणीय भी है। चयन व संपादन कला में दक्षता हेतु संपादक महोदय को मेरी बहुत-बहुत बधाई।"
...
शीर्षक : नवगीत वाङ्मय
सम्पादक : अवनीश सिंह चौहान
प्रकाशक : नई दिल्ली : ऑथर्सप्रेस
प्रकाशन वर्ष : 2021
पृष्ठ : 174
ISBN: 978-93-5529-004-5
MLA Citation:
चौहान, अवनीश सिंह, नवगीत वाङ्मय, ऑथर्सप्रेस, 2021
ASIN
https://www.amazon.in/dp/B09FY2T7NY/ref=sr_1_1?dchild=1&qid=1631335221&refinements=p_27%3AAbnish+Singh+Chauhan&s=books&sr=1-1

फ़ैज़ की पंक्ति थी 'इक उम्मीद से दिल बहलता रहा' - ये उम्मीद ग़ालिब के 'दिल बहलाने के ख़याल' से अलग थी। यहाँ सर्वेश्वर की 'दिए में तेल से भीगी बाती' की उम्मीद थी। अवनीश अपने गीतों में चाहे जितनी क्रूर स्थितियों का वर्णन करें लेकिन उम्मीद का दामन नहीं छोड़ते। मैथ्यू आर्नल्ड का मानना था 'कि सभ्यता के संक्रांति काल में कविता ही अंततः मानव सभ्यता और संस्कृति को पोषित कर सकती है' - तो अवनीश के गीत भी इस भाव से अलग नहीं हैं। उनके कुछ गीतों में जीवन और समाज की निर्मलता और मासूमियत के ऐसे चित्र  देखने को मिलते हैं जो निश्चित ही ऐसी उम्मीद जागते हैं जिनसे दिल को आने वाले सुखद समय के इंतज़ार में बहलाया जा सकता है। 
MLA Citation:
अभिजीत, "इक उम्मीद से दिल बहलता रहा", शोध दिशा (ISSN: 0975-735X), शोध अंक 27, जुलाई-दिसंबर 2014, पृ. 229-232

समीक्षित कृति : वीरेन्द्र आस्तिक. गीत अपने ही सुनें. नई दिल्ली :  के.के. पब्लिकेशन्स, 2017. पृष्ठ : 128, मूल्य : रु 395/-, ISBN: 978-81-7844-305-8           

शीर्षक : 'गीत अपने ही सुनें' का प्रेम-सौंदर्य
पत्रिका : साहित्य कुञ्ज
वर्ष : 16
अंक : 162 
तिथि : 1 अगस्त 2020 
पृष्ठ : वेब
ISSN: 2292-9754

MLA Citation:
चौहान, अवनीश सिंह, "'गीत अपने ही सुनें' का प्रेम-सौंदर्य", साहित्य कुञ्ज , वर्ष : 16, अंक : 162, 1 अगस्त 2020, वेब पृष्ठ

Sagar Sarhadi born as Ganga Sagar Talwar in the Frontier Province of pre-Partition India who expired on 22-23 March, 2021 was a great film director, producer, playwright, script writer, street theatre practitioner and above all a political activist and a fine human being. Throughout his life he remained  a committed to Marxism.
LINK: https://www.hastakshep.com/sagar-sarhadi/

The paper attempts to discuss the understanding of masculinity as portrayed in the
2008 Hindi film, Jaane Tu...Ya Jaane Na. The paper argues that the film attempts
a subtle subversion of hegemonic masculinity by contesting the traces of a martial
masculinity it seeks to abandon. The film succeeds in this contestation as it infuses
the characters representing this martial masculinity with humour, rendering them
comic. Borrowing from Butler’s theory of Performativity, and Vasudevan’s formu-
lation of the role of comic, this paper studies the performance of masculinity in the
film, its excess, the function of the comic, and their subsequent implications.

Keywords: masculinity, martial, comic, hindi cinema, performativity

While the monstrous feminine of Hollywood is available transhistorically over much of cinema across the world, the female monster of Hindi horror cinema remains ignored and merits serious academic exploration. Much of the widely accepted modern art-horror theory as applied to the horror genre is predicated upon Julia Kristeva’s notion of the ‘abject’ and the Freudian notion of the ‘return of the repressed’. While Creed (1993, 2002) exemplifies that horror texts indeed serve to illustrate abjection, her work reduces all forms of the monstrous feminine in the horror genre to fear of the abject mother. I posit that there is no universal archetype of the abject mother, and the maternal as an abject figure does not find resonance in the Hindi horror genre. Instead, I propose that a sub-genre, which I term the ‘Monstrous “Other” Feminine’ narrative, within the Hindi horror cinema engendered in the 1980s, presents an interstitial phantasmal female monster with wanton sexual desire and gaze as the abject ‘other’. Through narrative closures, traditional gendered perspectives are reinforced, normative femininity is deified and the monstrous other feminine, commanding sovereign female desire and controlling gaze, is annihilated. Exorcism becomes the means not only of expelling the interstitial phantasmal being but also of punishing and disciplining the female body for unrestrained desire and look.

समीक्षित गीत : संदीपनाथ (कवि एवं गायक) & हैरी खालसा (निर्देशक). रंगरेज़ (गीत). मुंबई : बॉलीवुड, 28 फरवरी 2020: https://www.youtube.com/watch?v=BNOnvhQHvjs

शीर्षक : मोहे रँग दे ओ रंगरेज़
पत्रिका : साहित्य कुञ्ज
वर्ष : 16 
अंक : 152   
तिथि : 15 मार्च 2020 
पृष्ठ : वेब
ISSN: 2292-9754
MLA Citation:
चौहान, अवनीश सिंह, "मोहे रँग दे ओ रंगरेज़", साहित्य कुञ्ज, वर्ष : 16, अंक : 152, 15 मार्च 2020, वेब पृष्ठ

In the 1970s popular Hindi cinema witnessed an emergence of action oriented films with a distinctive "angry young man" protagonist. Tracing the antecedents of Indian masculine subjectivity in colonial discourse, this essay seeks to constitute a framework that identifies vestiges of mythological narratives alongside the politico-historical factors, to explain the formation of the belligerent male in the post-independence popular Hindi films. Reconciling the problematic of overdetermined "Indianness"- conceived as spiritual, calm, and other-worldly, together with its opposite: aggression, anger and this-worldly, that is also constitutive of Indian masculinity- the essay argues, benevolence or militancy cohere in the masculine self and, are activated according to specific political conditions in history. The angry man figure inscribed in the 1970s popular Hindi cinema is explicable in relation to the 1960s political crises in India that exposed a delegitimized India...

ADMISSIONS OPEN -ACTING FOR FILM & TELEVISION
COURSE COMMENCEMENT DATE: 1st May 2015
Duration: SIX MONTHS
MINDSCREEN FILM INSTITUTE, Chennai, a venture of Rajiv Menon, Director-Cinematographer, besides its regular courses on Cinematography and Screenwriting, is launching the SIX MONTHS COURSE on ACTING FOR FILM & TELEVISION
A chance to live many lifetimes
Actors or performers are the embodiment of a film as they are the ones who appear in the physical form on screen. They interpret the script, bring characters to life and need to be extremely adaptable. They must also have a good voice, a strong sense of expression and be able to transform gestures and emotions. Finally, they should be capable of imitating life and relationships.
While preparing students for films, television, theatre and voice-over, the course teaches script interpretation, characterization, diction, basic techniques, movement, observation, improvisation, role analysis, technique of make-up and basic ideas about costumes. Students are also guided in auditioning, compiling a portfolio and creating a comprehensive show reel.
This program is designed for individuals who desire to achieve a position in Film & Television, but want to focus exclusively on acting, with a concentration on acting for film. Classes include Scene Study, Meisner Technique, Acting for Film, Voice and Movement, Monologues, Improvisation, Audition Technique and Stage Combat. In addition to the course work, students perform projects, both on-camera and on stage.
A Repertory will be started by Mindscreen Film Institute in which the students of Acting will organize events to showcase their talent on stage regularly among the invitees from Media and public.
Skills learned as a result of successful completion of this program include:
The ability to work independently and collaboratively in a high-pressure creative environment
• In-depth knowledge of and experience with the art and craft of acting for film and television
• Experience with multiple modern and classical approaches to performance, script interpretation, and character formation
• Understanding of avenues for exposure using new media
• Ability to act confidently in front of the camera
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