Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries. Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women’s playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.

The musical, whether on stage or screen, is undoubtedly one of the most recognizable musical genres, yet one of the most perplexing. What are its defining features? How does it negotiate multiple socio-cultural-economic spaces? Is it a popular tradition? Is it a commercial enterprise? Is it a sophisticated cultural product and signifier? This research guide includes more than 1,400 annotated entries related to the genre as it appears on stage and screen. It includes reference works, monographs, articles, anthologies, and websites related to the musical. Separate sections are devoted to sub-genres (such as operetta and megamusical), non-English language musical genres in the U.S., traditions outside the U.S., individual shows, creators, performers, and performance. The second edition reflects the notable increase in musical theater scholarship since 2000. In addition to printed materials, it includes multimedia and electronic resources.

The book is second part under the book series CUSTODIANS OF NATION… THIS BOOK IS NOT WRITTEN TO HARM ONE’S SENTIMENTS.. WITH AN ACTION OF RESPECT THIS BOOK IS JUST A TRIBUTE TO THE GOLDEN PEOPLE WHO SACRIFICED THEIR LIVES.

2022-23 Year Book Current Affairs Bulletin Annual Edition

Anhonee ko honee karna hamara kaam hai.' (It is our job to make the impossible possible.) The sentence leading into the title song of the blockbuster film Amar Akbar Anthony sums up the magic of Manmohan Desai, the master entertainer whose desire to please his public made his name synonymous with success during much of his career in popular Hindi cinema from 1960 to 1988. In Enchantment of the Mind: Manmohan Desai's Films, Connie Haham delves into the director's work and analyses some of his cinematic signatures - speed, fun, adventure and delight, alongside a devotion to motherhood and a stance in favour of inter-religious harmony. His cinema is fondly remembered for its many catchy tunes and the characters brought to life by leading stars, from Raj Kapoor to Amitabh Bachchan. Lending extra magic to this book is Manmohan Desai's own account of a life dedicated to cinema - a medium he wielded artfully to depict both struggle and an affirmation of life.

The Mumbai drugs mafia worked; thanks to the Commissioner’s mercy. Ayesha was the only one who knew about this secret information. The Commissioner had blurted all his secrets to her when he had downed a few pegs and was lost in her beauty. He found peace in Ayesha’s arms, and they spent many nights together. This was also one of the many reasons to not put up a camera inside the house. The next day Vakil Saab’s statement was printed on the front page of all the Gujarati newspapers. The Gujarat Government took this statement very seriously and asked the Home Minister to initiate an enquiry. Gujarat police wanted to save their prestige. They gathered all the informants and started the search. The next day, the Gulf News carried the headline, “Zakir dies of an overdose.” The crime world was shaken by this news. It was unbelievable that a horrible man like Zakir would end his existence by simply an overdose of the same drug he was selling. The Dubai police stated that Zakir died in the bathtub consuming alcohol. The post-mortem report also said that Zakir died due to alcohol and drugs.