PhalkeFactory - User contributions [en]

Timeline

2012-09-11T11:14:19Z

Thirdpoliceman007:

A mythology of Dada Saheb Phalke

In which we keep time in years, each [Year] like a woman's saree, gathering so much into its pleats.
Each Year aware that it is a lie, wanting to be a bundle of planted eyes at a factory, seeking wakefulness to everywhere at once. Each Year aware that at most, it is a net of holes,or maybe eyes,thrown over a consciousness of that which we simplify by calling it time.

We shake the bottoms of our nets and hang our meagre catch to dry: frozen photographs and alphabets strung across some pages. We try to preserve them by calling them into our eyes.
I wait for a carbon arc to jolt in contact up in a black box inside, where are those dried fish? We are about to make a new shadow play.

A needle appears in sky. Threading mind it begins to stitch upon the waters

[[Image:Saraswati gramaphone.jpg]]

O [[Saraswati]] who sinks into lotus like dew, we invoke you, parent, child, friend dear enough to be either.. again and again, putting a needle in those old grooves, letting them scratch, loving archivist of our creaking sounds.. teach us the patience to look carefully and wide, to gather too much and to know how to store in our stories, carefully, lovingly, beautifully.. the multiplying thoughts that overwhelm us, so that we might one day say, I drew the Wave

[[The Black Book]]

The very vanity of the enterprise, when it finally makes me move, pulls me in further, and [[me]] and [[Me]] and [[mee]]. Like a large gathering of locusts, we scatter, making a new sky
-------------
"So many things happening, so many stories one inside the other, with every link hiding yet more stories... and I have hardly hatched from my egg" thought an exultant Garuda, heading north. At a place with no living creatures. He would stop and think things over there.
excerpt from the [[first chapter, Ka]], by Roberto Calasso.

[[Image:Watchtower.jpg]]

[[BOOK 1- 1919]]

A timeline must be fed. What is the shape of the monster?

A time line of postcards

[http://imagesofasia.com/html/india/]

'''[[1921]]''' .
'''[[1922]]''' .
'''[[1923]]''' .
'''[[1924]]''' .
'''[[1925]]''' [[http://www.phalkefactory.net/wiki/index.php?title=Image:1925_-_birth_of_RSS_in_Nagpore.pdf]]

'''[[1926]]''' .
'''[[1927]]''' .
'''[[1928]]''' .
'''[[1929]]''' .
[[1930]]
'''[[1931]]''' .
'''[[1932]]''' .
'''[[1933]]''' .
'''[[1934]]''' .
'''[[1935]]''' .
'''[[1936]]''' .
'''[[1937]]''' .
'''[[1938]]''' .
'''[[1939]]''' .
'''[[1940]]''' .
'''[[1941]]''' .
'''[[1942]]'''
[[http://www.phalkefactory.net/wiki/index.php?title=Image:1942_quit_India_movement.pdf]]

'''[[1943]]''' .
'''[[1944]]'''

[[1946]]

[[1964]]

[[1967]]

[[1968]]

[[1972]]

[[ Advertisement]] Before 1946

'''[[World History Timeline]]'''
studying the world between the wars [http://www.mcps.k12.md.us/schools/wjhs/mediactr/socstupathfinder/worwar/index.html]

[[B.C.E. / C.E.]]

'''[[1861]]'''.

[[http://www.timetoast.com/timelines/the-history-of-mass-media]]
a history of mass media in a timeline

[[solipsism ]]

[[http://www.oldindianarts.in/2011/10/vintage-indian-advertisements-and.html ]Postcards and ads]

Timeline

2012-09-11T11:13:12Z

Thirdpoliceman007:

Main Page

2012-09-11T11:08:41Z

Thirdpoliceman007:

<center>[[Image:Ratschese.gif]]</center>

<center>'''[[The Recycle Bin]]'''</center>

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'''[[FTII Workshop]]''' - May 2009 ( Direction )<center>[[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]]</center>

[[FTII workshop January 2010]]
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'''[[Biography]]''' -- '''[[Phalke Films]]''' -- '''[[Indian Film History]]''' -- '''[[Space and Time]]''' --''' [[Imagination]]''' --''' [[Vision]]''' -- '''[[Photographs]]''' -- '''[[Workshops]]'''--'''[[Characters]]'''---'''[[Technologies]]'''---'''[[Timeline]]'''---'''[[Audios and visuals]]'''---'''[[Reading Library]]'''---'''[[The Phalke Text]]'''---'''[[Writer's Assist (formulae) ]]'''---'''[[Film Frames]]''' ---'''[[Talents]]'''
----
'''[[TRACING PHALKE]]'''

The [[multi-million]] rupee Indian Film Industry was born through the indomitable [[courage]], supreme self-sacrifice and far-sighted vision on of a remarkable man. That man was Dhundiraj Govind Phalke...
----
'''[[PHALKE BOOK]]'''

'''[[]]'''

----
'''[[PHALKE STORIES]]'''--''by Kamal Swaroop'' --- ( '''[[Hindi]]''' / '''[[English]]''')
----
'''[[NASHIK STORIES]]'''- ''(Photographs and Stories written during Nashik workshop)''
----
'''[[BOMBAY STORIES]]'''- ''(Photographs and Stories written during BOMBAY workshop)''
----
'''[[BARODA STORIES]]''' ''( Photographs and Stories written during Baroda
workshop)''
----
'''[[KOHLAPUR STORIES]]'''- ''(Photographs and Stories written during Kolahpur workshop)''
----
'''[[PUNE STORIES]]'''- ''(Photographs and Stories written during Pune workshop)''
----
'''[[GODHRA]]'''

'''[[BANARAS]]'''

'''[[BANGLORE]]'''

[[KRVIA]]
----

'''[[IN THE AGE OF SILENCE]]'''

Nearly nine decades ago, in a small town about one hundred kilometres from Pune, a devout young man, brought up in a traditional orthodox Hindu household, got interested in the Arts and Photography, threw away his family profession of priesthood, sold his wife's ornaments, pledged his life insurance policies and made history by producing what has been commonly acknowledged as the first Indian film. The man - DUNDIRAJ GOVIND PHALKE,...
----
'''[[BEES RANIYON KA BIOSCOPE]]'''

A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the father of the Indian film industry, his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills...
----
'''[[PHALKE-An Internet introduction]]'''--''by Sabu Francis''
----[[A sort of legendary organism]]

<cite><ruby><center>'''''[[First workshop has been completed on 8th June in Nashik]]'''''

----

'''''[[Second workshop has been completed on 22nd June in Mumbai]]'''''

----

'''''[[Third workshop has been completed on 19th August in Baroda ]]'''''

----

'''''[[Fourth workshop has been completed on 13th september in Kolahpur ]]'''''

----
'''''[[Fifth workshop has been completed on 30th september in Pune ]]'''''

----
'''''[[Sixth workshop starts on 4th December at IIT Mumbai ]]'''''

---------------
'''''[[Workshop with film students in Mumbai]]'''''
'''[[goregaon]]'''

Main Page

2012-09-11T11:02:12Z

Thirdpoliceman007:

<center>[[Image:Ratschese.gif]]</center>

<center>'''[[The Recycle Bin]]'''</center>

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'''[[FTII Workshop]]''' - May 2009 ( Direction )<center>[[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]]</center>

[[FTII workshop January 2010]]
----
'''[[Biography]]''' -- '''[[Phalke Films]]''' -- '''[[Indian Film History]]''' -- '''[[Space and Time]]''' --''' [[Imagination]]''' --''' [[Vision]]''' -- '''[[Photographs]]''' -- '''[[Workshops]]'''--'''[[Characters]]'''---'''[[Technologies]]'''---'''[[Timeline]]'''---'''[[Audios and visuals]]'''---'''[[Reading Library]]'''---'''[[The Phalke Text]]'''---'''[[Writer's Assist (formulae) ]]'''---'''[[Film Frames]]''' ---'''[[Talents]]'''
----
'''[[TRACING PHALKE]]'''

The [[multi-million]] rupee Indian Film Industry was born through the indomitable [[courage]], supreme self-sacrifice and far-sighted vision on of a remarkable man. That man was Dhundiraj Govind Phalke...
----
'''[[http://www.oldindianarts.in/2011/10/vintage-indian-advertisements-and.html]]'''

'''[[phalke book]]'''

----
'''[[PHALKE STORIES]]'''--''by Kamal Swaroop'' --- ( '''[[Hindi]]''' / '''[[English]]''')
----
'''[[NASHIK STORIES]]'''- ''(Photographs and Stories written during Nashik workshop)''
----
'''[[BOMBAY STORIES]]'''- ''(Photographs and Stories written during BOMBAY workshop)''
----
'''[[BARODA STORIES]]''' ''( Photographs and Stories written during Baroda
workshop)''
----
'''[[KOHLAPUR STORIES]]'''- ''(Photographs and Stories written during Kolahpur workshop)''
----
'''[[PUNE STORIES]]'''- ''(Photographs and Stories written during Pune workshop)''
----
'''[[GODHRA]]'''

'''[[BANARAS]]'''

'''[[BANGLORE]]'''

[[KRVIA]]
----

'''[[IN THE AGE OF SILENCE]]'''

Nearly nine decades ago, in a small town about one hundred kilometres from Pune, a devout young man, brought up in a traditional orthodox Hindu household, got interested in the Arts and Photography, threw away his family profession of priesthood, sold his wife's ornaments, pledged his life insurance policies and made history by producing what has been commonly acknowledged as the first Indian film. The man - DUNDIRAJ GOVIND PHALKE,...
----
'''[[BEES RANIYON KA BIOSCOPE]]'''

A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the father of the Indian film industry, his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills...
----
'''[[PHALKE-An Internet introduction]]'''--''by Sabu Francis''
----[[A sort of legendary organism]]

<cite><ruby><center>'''''[[First workshop has been completed on 8th June in Nashik]]'''''

----

'''''[[Second workshop has been completed on 22nd June in Mumbai]]'''''

----

'''''[[Third workshop has been completed on 19th August in Baroda ]]'''''

----

'''''[[Fourth workshop has been completed on 13th september in Kolahpur ]]'''''

----
'''''[[Fifth workshop has been completed on 30th september in Pune ]]'''''

----
'''''[[Sixth workshop starts on 4th December at IIT Mumbai ]]'''''

---------------
'''''[[Workshop with film students in Mumbai]]'''''
'''[[goregaon]]'''

Main Page

2012-09-11T10:55:40Z

Thirdpoliceman007:

<center>[[Image:Ratschese.gif]]</center>

<center>'''[[The Recycle Bin]]'''</center>

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'''[[FTII Workshop]]''' - May 2009 ( Direction )<center>[[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]]</center>

[[FTII workshop January 2010]]
----
'''[[Biography]]''' -- '''[[Phalke Films]]''' -- '''[[Indian Film History]]''' -- '''[[Space and Time]]''' --''' [[Imagination]]''' --''' [[Vision]]''' -- '''[[Photographs]]''' -- '''[[Workshops]]'''--'''[[Characters]]'''---'''[[Technologies]]'''---'''[[Timeline]]'''---'''[[Audios and visuals]]'''---'''[[Reading Library]]'''---'''[[The Phalke Text]]'''---'''[[Writer's Assist (formulae) ]]'''---'''[[Film Frames]]''' ---'''[[Talents]]'''
----
'''[[TRACING PHALKE]]'''

The [[multi-million]] rupee Indian Film Industry was born through the indomitable [[courage]], supreme self-sacrifice and far-sighted vision on of a remarkable man. That man was Dhundiraj Govind Phalke...
----
'''[[http://www.oldindianarts.in/2011/10/vintage-indian-advertisements-and.html]]'''

'''[[]]'''

----
'''[[PHALKE STORIES]]'''--''by Kamal Swaroop'' --- ( '''[[Hindi]]''' / '''[[English]]''')
----
'''[[NASHIK STORIES]]'''- ''(Photographs and Stories written during Nashik workshop)''
----
'''[[BOMBAY STORIES]]'''- ''(Photographs and Stories written during BOMBAY workshop)''
----
'''[[BARODA STORIES]]''' ''( Photographs and Stories written during Baroda
workshop)''
----
'''[[KOHLAPUR STORIES]]'''- ''(Photographs and Stories written during Kolahpur workshop)''
----
'''[[PUNE STORIES]]'''- ''(Photographs and Stories written during Pune workshop)''
----
'''[[GODHRA]]'''

'''[[BANARAS]]'''

'''[[BANGLORE]]'''

[[KRVIA]]
----

'''[[IN THE AGE OF SILENCE]]'''

Nearly nine decades ago, in a small town about one hundred kilometres from Pune, a devout young man, brought up in a traditional orthodox Hindu household, got interested in the Arts and Photography, threw away his family profession of priesthood, sold his wife's ornaments, pledged his life insurance policies and made history by producing what has been commonly acknowledged as the first Indian film. The man - DUNDIRAJ GOVIND PHALKE,...
----
'''[[BEES RANIYON KA BIOSCOPE]]'''

A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the father of the Indian film industry, his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills...
----
'''[[PHALKE-An Internet introduction]]'''--''by Sabu Francis''
----[[A sort of legendary organism]]

<cite><ruby><center>'''''[[First workshop has been completed on 8th June in Nashik]]'''''

----

'''''[[Second workshop has been completed on 22nd June in Mumbai]]'''''

----

'''''[[Third workshop has been completed on 19th August in Baroda ]]'''''

----

'''''[[Fourth workshop has been completed on 13th september in Kolahpur ]]'''''

----
'''''[[Fifth workshop has been completed on 30th september in Pune ]]'''''

----
'''''[[Sixth workshop starts on 4th December at IIT Mumbai ]]'''''

---------------
'''''[[Workshop with film students in Mumbai]]'''''
'''[[goregaon]]'''

Main Page

2012-09-11T10:54:14Z

Thirdpoliceman007:

Video

2012-08-29T04:50:31Z

Thirdpoliceman007:

[http://bombaymann2.blogspot.in/2010_08_01_archive.html]
[http://www.youtube.com/watch?v=sk6xYt1J9fU&feature=player_embedded]
[http://whitecitycinema.com/2010/03/01/top-25-films-made-before-1920/]

Video

2012-08-28T16:12:50Z

Thirdpoliceman007:

[http://bombaymann2.blogspot.in/2010_08_01_archive.html]
[http://www.youtube.com/watch?v=sk6xYt1J9fU&feature=player_embedded]

Video

2012-08-28T16:11:12Z

Thirdpoliceman007:

[http://bombaymann2.blogspot.in/2010_08_01_archive.html]
[]

Main Page

2012-08-28T15:11:43Z

Thirdpoliceman007:

<center>[[Image:Ratschese.gif]]</center>

<center>'''[[The Recycle Bin]]'''</center>

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'''[[FTII Workshop]]''' - May 2009 ( Direction )<center>[[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]][[Image:Horseinvert1.gif]]</center>

[[FTII workshop January 2010]]
----
'''[[Biography]]''' -- '''[[Phalke Films]]''' -- '''[[Indian Film History]]''' -- '''[[Space and Time]]''' --''' [[Imagination]]''' --''' [[Vision]]''' -- '''[[Photographs]]''' -- '''[[Workshops]]'''--'''[[Characters]]'''---'''[[Technologies]]'''---'''[[Timeline]]'''---'''[[Audios and visuals]]'''---'''[[Reading Library]]'''---'''[[The Phalke Text]]'''---'''[[Writer's Assist (formulae) ]]'''---'''[[Film Frames]]''' ---'''[[Talents]]'''
----
'''[[TRACING PHALKE]]'''

The [[multi-million]] rupee Indian Film Industry was born through the indomitable [[courage]], supreme self-sacrifice and far-sighted vision on of a remarkable man. That man was Dhundiraj Govind Phalke...
----
'''[[PHALKE BOOK]]'''
----
'''[[PHALKE STORIES]]'''--''by Kamal Swaroop'' --- ( '''[[Hindi]]''' / '''[[English]]''')
----
'''[[NASHIK STORIES]]'''- ''(Photographs and Stories written during Nashik workshop)''
----
'''[[BOMBAY STORIES]]'''- ''(Photographs and Stories written during BOMBAY workshop)''
----
'''[[BARODA STORIES]]''' ''( Photographs and Stories written during Baroda
workshop)''
----
'''[[KOHLAPUR STORIES]]'''- ''(Photographs and Stories written during Kolahpur workshop)''
----
'''[[PUNE STORIES]]'''- ''(Photographs and Stories written during Pune workshop)''
----
'''[[GODHRA]]'''

'''[[BANARAS]]'''

'''[[BANGLORE]]'''

[[KRVIA]]
----

'''[[IN THE AGE OF SILENCE]]'''

Nearly nine decades ago, in a small town about one hundred kilometres from Pune, a devout young man, brought up in a traditional orthodox Hindu household, got interested in the Arts and Photography, threw away his family profession of priesthood, sold his wife's ornaments, pledged his life insurance policies and made history by producing what has been commonly acknowledged as the first Indian film. The man - DUNDIRAJ GOVIND PHALKE,...
----
'''[[BEES RANIYON KA BIOSCOPE]]'''

A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the father of the Indian film industry, his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills...
----
'''[[PHALKE-An Internet introduction]]'''--''by Sabu Francis''
----[[A sort of legendary organism]]

<cite><ruby><center>'''''[[First workshop has been completed on 8th June in Nashik]]'''''

----

'''''[[Second workshop has been completed on 22nd June in Mumbai]]'''''

----

'''''[[Third workshop has been completed on 19th August in Baroda ]]'''''

----

'''''[[Fourth workshop has been completed on 13th september in Kolahpur ]]'''''

----
'''''[[Fifth workshop has been completed on 30th september in Pune ]]'''''

----
'''''[[Sixth workshop starts on 4th December at IIT Mumbai ]]'''''

---------------
'''''[[Workshop with film students in Mumbai]]'''''
'''[[goregaon]]'''

Timeline

2012-07-30T06:11:41Z

Thirdpoliceman007:

Victoria Terminus

2012-05-25T07:51:47Z

Thirdpoliceman007:

[[Image:Victoria terminus.jpg]][
Bori Bunder (alternatively "Bori Bandar") was one of the areas along the Eastern shore line of Mumbai, India which was used as a storehouse for goods imported and exported from Mumbai. In the area's name, 'Bori' mean sack and 'Bandar' means port or haven (in Persian); So Bori Bunder literally means a place where sacks are stored. In the 1850s, the Great Indian Peninsular Railway built its railway terminus in this area and the station took its name as Bori Bunder.On 16th April, 1853 the Great Indian Peninsula Railway operated the historic first passenger train in India from Bori Bunder to Thane covering a distance of 34 km, formally heralding the birth of the Indian Railways. The train between Bori Bunder and Thane was 57 minutes it was a distance of 35 km apart.
The station was eventually rebuilt as the Victoria Terminus, named after the then reigning Queen, and has been subsequently renamed Chhatrapati Shivaji Terminus (CSTM) after Maharashtra's and India's famed 17th century king. Though the shortened name is now CST, it still continues to be referred to as VT by the masses.
The station was designed by the consulting British architect Frederick William Stevens(1848-1900). Work began in 1878. He received 1,614,000 (US$32,199.3) as payment for his services.[1] Stevens earned the commission to construct the station after a masterpiece watercolour sketch by draughtsman Axel Haig.[1] The final design bears some resemblance to the St Pancras railway station in London.[1][5] GG Scott's plans for Berlin's parliament building had been published four years before, and also has marked similarities to the station's design.[6]
It took ten years to complete[5] and was named "Victoria Terminus" in honour of the Queen and Empress Victoria; it was opened on the date of her Golden Jubilee in 1887.[5][7] It cost £260,000 when it was finished in 1888, the highest for any building of that era in Bombay.[6] This famous architectural landmark in Gothic style was built as the headquarters of the Great Indian Peninsular Railway. Since then, the station came to be known as Bombay VT.]

1879

2012-05-25T07:51:03Z

Thirdpoliceman007:

Phalke's family moved to Bombay when [[his father]] joined the teaching staff of the Wilson/Elphinstone College
----
Dada is writing in his book, remembering himself as the young boy who came to Bombay for the first time:

The thought of Bombay excites Dhundhi, but he is saddened by the seperation from his friend.
Somewhere, he is hurt.

He takes his frustration out on his sister, who is teasing him for his tears.
He is around nine years old.

With his parents, uncle, brother and sister,Dhundhi first crosses the sacred Godavari river from Trymbak to Nasik.

They then catch a train bound for Bombay.

That evening on the train, Dhundhi's father takes out a miniature ritual yagnavedi in metal to perform his evening puja.

From the train we see, at a far distance, a huge bellows camera being carried on a bullock cart handled by eight Lilliputian men.

As within, a ritual is taking place, the train stops and the eight men assemble and load the Gulliver-like camera to take a single profile shot of the entire length of the train.

The sight of the huge machine mesmerizes Dhundhi, the boy.

The train moves on.

After a while, it enters a cave-like Victoria Terminus, almost as though entering a camera obscura, and halts.

A crowd gets off.

Dhundhi is seperated from his family and gets lost.

Darkness descends.

He is alone in a deserted [[Victoria Terminus]]], bewitched by the carvings of gargoyles, lizards, lions, tigers, flora and fauna, like in a fairyland.

Suddenly it satrs to rain, and everything comes to life.

Streams of water pour out of the stone mouths of mythical monsters, frothing at the jaws.

Dhundhi is shaken, shivering with cold, crying for his father in the dark.

But it is still unreal twilight outside VT station that a group of boys from the JJ School of Arts sit with hammers and knives, carving out figures on the terraces and the tops.
The cotton loaders are tasing a Victoria look-alike, a mad woman at the fountain outside.

Picking up leaves as if to build a nest, small birds move above.

A Victoria enters and drags a woman away by the hair.

A mad dog chases Dhundhi through a backdrop- streets, railways lines, ships and factories.

He enters a palace and finds the princess stretching her arms and calling his name, and then metamorphising into a frightening old woman.

With a jerk, Dhundhi comes awake.

[[He is fifteen years old.]]

remember to put in the picture of the copper moon behind Flora Fountain. collect women and moon rabbit and moon.
------------------------------------------
The Zoopraniscope projector was designed by Muybridge to project glass discs projecting sequences of pictures painted from the photographic series.

First electrified railroad. Arc lamp, Ball-bearing.
-----------------
In a time when many minds were restlessly inventing new devices, often simultaneously, Edison had the knack of making the loudest noise to say " I made this".
Edison lit up a street in Menlo Park and invited people to see his [[incandescent bulb]]. The bulb itself had been invented decades earlier, but this was the first time that such a practical version had been made, moreover, publicly demonstrated.
Besides, it was part of a larger system of production.. the Edison generator. Each flamboyant demonstration by the The "Wizard of Menlo Park", was like Edison's Mount Rushmore, the size of the spectacle seeking to ensure him a loud presence in the history of inventions.
At the same time, he was taking care of all legalities, buying patents fast.
And as a powerful businessman, selling his version of the invention and also ancillary products, and making his place in the houses of the new consumers.

[[Image:Ed sign1.jpg]]
-------------

An actor dressed in a saree, habituated to covering his mouth with his hand to hide his moustache, is sitting beside the bear cage. Prabhakar is sitting by. The actor is telling him a 'true story' about his hometown, Pune.

Actor

Vasudeo Balwant Phadke is a great man today, a mad dacoit who has frightened the British. He used to come to my uncle's akhada to learn wrestling, you know. He would never even wrestle, just stand there and watch the others, in the manner that you Brahmans have.

Prabhakar:

You knew him?

They used to call him home to eat, he would sit in their kitchen and eat off so much chivda. He told good jokes, Kaka told me. And he had a wound on his shoulder, that he would always hide with his towel.
He said he had hurt himself on the fence one day, but then they got to know, who he really was.

Prabhakar is listening wide eyed

Actor:

In the military accounts department for 15 years now, Vasudeo Balwant Phadke is used to the presence of paper. Plenty of paper, many files, and a pride in knowing how to write in English.

That afternoon in the large stone cavern of the office, in a cool darkness, Vasudeo metamorphoses. His hair shrinks first, becomes unruly. Then his toes flow out in curves ending in a flourish of nails. His eyes open wide, then wider, and redden with angry veins. His fingers let go of their role as a pen clutch. They open up begin to flow wildly like pennants in a blue sky.
His long fingered hand sweeps the table clean and makes all on it disappear, out of sight, under it- the inkpot falling on the papers and all the wretched English that was written on them. The papers astrew on the floor.

No one notices? Or people just let it be. They know his grievance..he had applied for leave to meet his ailing mother, but the leave application had taken its time touring so many desks, that his mother had died meanwhile.

Actor 2:

Ahhh, that is too sad, too sad. But such is the pain that people bear in their bosoms. Such is the pain that I..

he shakes his head as the other actor interrupts him to continue.

Actor:

Like a slow caterpillar, the quiet Vasudeo had been standing in corners, watching the wrestlers at Lahuji's Gajpeth talimkhana for a while. He saw upper caste revolutionaries, including Tilak, had been frequenting this place run by a lowly Mang. They were seeking the pulse of Parsuram, the warrior brahman.. they came to the Mang to find it.
And what a fighter he was, Lahuji! And he spoke so well.

Even as the office ate away so many of his precious hours, Vasudeo would make his way to the talimkhana when he could.. and with every conversation made there, with every energetic roll of body he made on the sand there, he was spinning himself his chrysalis.

When the chrysalis finally moulted, a fine angry face with light eyes unfurled itself with glorious creases all over its skin. The printing machines in Pune would go made making his images, soon. He would serve paper no more, paper would serve him.

In one fell swoop, one bearded man had defeated another..
Lytton's Arms Act and Vernacular Press Act were both rubbished, as the lithographic presses found new energy to run and bring out images, and a government clerk took to arms.

[[Image:Sky-bandit.jpg]]

When the butterfly-brahman-bandit flew over the landscape on a horse, leading an army of Ramoshis, he was followed by skyfuls of screeching parrots that flew away from the Chitrashala prints.
He wanted no more truck with the ill kept bodies, prone to acidity, of his own community. He would never keep writing in a file again either, he fought, and he lived among those who fought. Their first joyous raid was at the house of a local business man in a village in Pune district..there, in his vault, was the collections of income tax to hand over to the government.
Vasudeo and his army looted the British loot, and decided they would work to give it back to the people.

---------------------------
When two strong men come face to face though they come from the ends of the earth
Coleridge

[[Image:Lytton.jpg]] [[Image:Vasudev balwant phadke.jpeg]]
-------------
Babaraya:

Did Prabhakar really tell that story to you, Baba?

Sarasvati kisses Prabhakar's head:

He was a great storyteller, always.

She looks across at her husband.

----------------

Art School teachers are organising public exhibitions.
In 1879, Perstonji received the Viceroy's gold medal for his Head of a Gosain. He had won the overall prize at the exhibition, which went some way in loosening the category of a mere 'native artist'.
25 women artists also participated in 1879, most of them Bengali and married.

---------

Biography

2012-03-01T01:45:26Z

Thirdpoliceman007:

Dadasaheb Phalke

[[image:Phalke_potrait.jpg]]

Late Shri Dadasaheb Phalke - the pioneer of the Indian Film industry hailed from Nashik District. Born in Trimbakeshwar - about 30 kms away from Nashik, he worked and spent his life in Nashik. Dadasaheb’s name is Dhundiraj Govind Phalke. Born on 30th April 1870 in Trimbakeshwar he devoted his life for making silent movies. He had a multifaceted personality. He was the student of Sir J.J. School of Art, Bombay and Kalabhavan of Baroda. After passing out from the art school, while in Bombay, he happened to see a movie on the life of Jesus Christ made by a foreigner. It was projected on 7th July 1896 in Watson Hotel by Mr Meris Sestiye - the representative of the pioneer of Cinema Industry - Lumie Brothers. That inspired him to make an experiment of a movie in India. The film making techniques were alien to Indians then. Starting with the famous movie on mythological character “Raja Harishchandra” in 1913, he made 95 movies and 26 short films in the span of 19 years, till 1932. He earned a lot of money, but ploughed it back in the industry. When he stepped in to this venture, no one had anticipated this industry to flourish so much that thousands of people would be able to earn their livelihood from it, nor did anyone foresee the amount of huge money transactions in it.

On the contrary, people were skeptical about the general appreciation of movements of artificial pictures on screen, by the society, in place of live dramas. Because of this moneyed people were hesitant to come forward for investment in this industry. Manpower was not available for carrying out work. The educated and intellectuals preferred to keep themselves at a distance from this industry. This industry was considered of lower grade than drama.Dadasaheb made his first movie in Bombay. Although the necessary facilities for making movies were available in Mumbai, there were many other problems.

[[image:Raja_harishchandra.jpg]]

After deep thinking and observation, he found Nashik suitable and he decided to shift to Nashik. Nashik was a small city then and had a lot of open space. He got a nice place in the southern part of Nashik, where he decided to make his studio. There was a nice Shrikrishna temple in the plot, which belonged to Mr Bhave. Mr Bhave had maintained the plot and the temple very well. There was a beautiful garden around the temple and a big fountain too. In Untwadi on Trimbakeshwar Road, there was a big well, which used to have plenty of fresh water. A canal from that well to the Shrikrishna temple was built out of stone and used to supply water to the fountain in front of the temple. This canal existed since long, no one knows who built it and when. But it was a very nicely built sturdy canal. A horse rider could easily pass through the canal.

[[image:Phalke_house.jpg ]]

The fountain used to soar very high in the sky and the falling water was collected and diverted to another big tank.In course of time, Mr Bhave had to vacate that plot. He took away the idol of Shrikrishna with him. The plot was now owned by Mr Viadya who rented it to Dadasaheb Phalke. The tall fountain and the big tank were so famous then that the place used to be identified by the name “Houdacha Bangala” meaning the house with tank. Dadasaheb started developing that place. The head office, chemical laboratory were set up there. The shooting in those days, even of the interior of houses or mansions, used to be in open air. Animals like peacock, rabbits, monkeys, deer required for shooting in the movies were kept in the yard. Comfortable arrangements for the pets were provided and the surroundings looked very beautiful.

In 1913 for the first time, shooting of the movie “Bhasmasur Mohini” was done in this studio. In those days no women worked in drama or film industry, so gents used to play roles of women. But in Bhasmasur Mohini, for the first time Durga Gokhale - and Kamala Gokhale played roles in this movie. Durga Gokhale is grandmother of the famous Marathi actor''' [[Chandrakant Gokhale]]''' and Kamala Gokhale is his mother.

Dadasaheb’s first silent movie “Raja Harishchandra” had its official premier show in Coronation Theater in Bombay on 3rd May 1913 for the common people. Prior to this, Harishchandra Sakharam Bhatawadekar alias Savedada had made short movies and laid down foundation of film industry in India. R.G. alias Dadasaheb Torne had shot “Pundalik” drama and showed it in Coronation Theater of Bombay. People were astonished to witness it. However,since dadasaheb Phalke devoted his life for Indian Films he is considered the pioneer of Indian Film Industry.

[[image:Raja_harish_chandra_frame.jpg]]

In 1932, movies got voice. The age of silent movies receded back. Dadasaheb’s last silent movie “Setubandhan” was released in 1932 and the same movie was again released by dubbing voice. Records, as to who did dubbing for this movie, is not available. Dubbing voice was also a pioneer experiment then. Later on he made the only talkie “Gangavataran” which was not successful. That was the time when he retired from film industry. Talkies won over the silent movies and this affected the silent movies business adversely. Dadasaheb’s company was closed in 1932. The company was owned by Mr Shridhar Apte of Bombay. Although the company was closed, the ownership of the “Houdacha Bangala” was still with Mr Apte. The machinery was properly preserved in the bungalow and Mr Bhat used to take care of it. Around 1935, Godavari Cinetone Limited was founded. This was the first limited company in the cinema industry. Godavari Cinetone Ltd, using the machinery of Dadasaheb, made a movie named “Sati Sulochana”, under the direction of Mama Shinde. Mr Shinde was the favorite student of Dadasaheb. The famous writer and poet Mr V.V. Shirwadkar of Nashik had played a role of Laxman in this movie and also wrote the dialogues. This movie was released on a Dashahara Day in Circle Theatre of Nashik but could not make a success. This movie proved to be the last one made by using Dadasaheb’s machinery.

It was in 1938, just after four years of release of the movie “Setubandhan”, Silver jubilee of Indian Film Industry was celebrated under the leadership of Sardar Chandulal Shah and under the presidentship of Mr Satyamoorthy. Dadasaheb Phalke was invited for the function however was not honoured the way he deserved. He was not even noticed in the crowd of common men. Shantarambapu Vanakudre noticed this and he respectfully took him to the stage. On the last day of the celebrations, Shantarambapu urged producers, directors, distributors and artists in the film industry gathered there, to donate funds for construction of a house for Dadasaheb. However, meager amounts were received. Shantarambapu collected the funds , added handsome donation from his own Prabhat Films and sent it to Dadasaheb. With the help of Mamasaheb Shukla, Dadasaheb could get a small bungalow constructed in the Gole Colony of Nashik. He could enjoy his own house for a short period and passed away in 1944.

Government has been making announcements now and then that a monument in Dadasaheb’s memory will be built in Nashik. However this has so far not translated into action. Neither is the “Houdacha Bangala” preserved , nor is his residence.

Dadasaheb made considerable efforts in film industry, produced a number of wonderful films, which even today are appreciated by people. He was, however, not a practical man and could
never do financially successful business. He was caught into a vicious circle of poor financial condition . His health also did not cooperate in the later stage of his life.

The famous “Houdacha Bangala” is razed to ground now. The nameplate “Dadasaheb Phalke Path” is existing however,looking in deep silence to the remains of the magnificent, glorious past of the famous studio of the Pioneer of the Indian Film Industry.

Movies made by Dadasaheb

[[SetuBandhan]]

Saitanki shikar

Mohabbat ki putali

Ameerkhan

Vallikumari

Sati Sarala

Khuda parast

Kabeer Kamaal

Savati matsar

Santa Meerabai

Bolke Bhande

Vasant Sena

Prabhavati

Malavika-Agnimitra

Malati Madhav

Chandrahas

Sudarshan

Shrikrishna Mithai

Sati Pingala

Parashuram

Naarad Sansar

Malharee Martand

Ghosh yatra

Bhakta Damajee

Rukmini haran

RukmangadMohini

Nal-Damayanti

Madalasa

Hanuman janma

Droupadi vastraharan

Dakshayadnya

Bhakta Sudam

Sant Eknath

Ramarajya vijay

Bheem sanjeevan

Keechak vadha

Bhakta Pralhad

Bajaji Nimbalkar

ShatamukhRavanvadha

Pandav Shodh

Satyamba

Sugreeva

Sati Tara

Sant Janabai

Mahashivaratri

Syamantak Mani

Kakasaheb-Chaturtheecha

Bakasur vadha

Chandra

Anant vrata

Sundopsund

Uttar Ramcharit

Aagryahoon Sutaka

Ram-Ravan Yuddha

Jayadrath vadha

Sati Anusaya

Naarad

Guru Dronacharya

Mahananda

Vrinda

Jarasandha vadh

Sharada

Janaki swyamvar

Babruvahan

Buddhadev

Gora Kumbhar

Satyanarayan

Shishupal vadh

Ashwatthama

Rajashree

Sant Namdev

Sant Sakhubai

Ganesh Awatar

Hartalika

Pandav sanyas

Ahilyauddhar

Ahiravan-Mahiravan

Krishnajanma

Satvapariksha

Valmiki

vadh

Savitri Satyawan

Shani prabhav

Tukaram

Kansavadha

Pundalik

Sati Sulochana

Ushaswapna

Bhasmasoor-Mohinee

Gowardhandhari

Raja Harishchandra

Ram Janma

Shrikrishnaleela

Kacha Devayani

Kaliya Mardan

Lanka Dahan

Felici

2012-02-25T10:47:25Z

Thirdpoliceman007:

Sayaji Rao III Gaekwad, Maharaja of Baroda, created museums and collections within the context of early twentieth‐century politics in India. His collections were intimately tied to his many reformist projects and related museum activities (archaeological projects, scholarly publications, public education). Cultural politics also shaped the museum's textual representations in catalogues and articles by its European directors. Sayaji Rao was a ‘hybrid’, Anglicized in education and tastes, and a leader of modern Indian nationalism. Installing a large European collection in 1920 at a time of heated debate over British influences on Indian art, Sayaji Rao, through his strange arrangement of his collection, may have offered a view of colonial cultural exchange as requiring both assimilation and resistance. His European and Asian collections reflected his attempts to appropriate, control and segregate British culture, as they made tangible colonial political and social processes that shaped cultural identiities for Baroda and for modern India.

Patankar brothers

2012-02-25T10:21:23Z

Thirdpoliceman007:

[http://pbhooshan.tripod.com/thetrio.htm]

Characters

2012-02-25T10:21:02Z

Thirdpoliceman007:

[[Patankar brothers]]

[[Historical Characters]] Locate [[The archetypes]]

[[Bhandarkar]]

[[Gandhi]]

[[Dada saheb Torne]]

1. [[Sadashiv Govind Phalke]](18 -1906) - [[father]], Sanskrit scholar, teacher at Elphinstone College, Bombay
Report of The Sanskrit Commission appointed by the Government of India, in terms of their Resolution No. F. 34-1/56-A-1, dated the 1st October, 1956 [http://www.education.nic.in/cd50years/u/45/3Z/453Z0201.htm]

2. [[Dwarkabai Phalke]] (18 -1901)- [[mother]]

3. [[Dhundiraj Govind Phalke]] (1870 - 1944)[http://www.imdb.com/name/nm0679610/]

4. [[Shivram Govind Phalke]] -Phalke’s elder brother, secretary to [[Rameshchandra Dutt]] in Baroda state

5. Phalke’s elder sister

6. [[Kamala]] (18 -1900) – Phalke’s first wife

7. Kamala’s daughter- (1897-1900)

8. [[Saraswatibai]] (married in 1902- died 1947)- Phalke’s second wife

Phalke’s children

9. [[Bhalchandra]] (1907-19)- worked in the rubber industry

10. [[Mahadev]] (1909-1920)

11. [[Mandakini]](1912-19) [[http://www.phalkefactory.net/wiki/index.php?title=Image:Kaliya_mardan2.jpg]]

12. [[Neelkanth]] (1914-1991) - Soldier

13. [[Prabhakar]] (1916-1994) - Soldier

14. [[Shrikrishna]] (1918-1938)

15. [[Malati]] (1923-19)

16. [[Suresh]] (1925-1974) - Actor

17. [[Deodutta]] (1926-19)- drop out

18. [[Shankar Vasudev Karandikar]] – Saraswatibai’s father, theatre person [[painted backdrop in phalke's journey]][http://www.phalkefactory.net/wiki/index.php?title=A_knowledgable_person_in_the_field_of_drama]
19. Saraswatibai’s maternal grandfather- police officer

20. [[Anantrao Karandikar]]–Saraswatibai’s brother, theatre person [http://www.sarai.net/journal/02PDF/04spectacle/02parsi_theatre.pdf] [[Parsee]] theatre in nineteenth century bombay [http://www.phalkefactory.net/wiki/index.php?title=A_knowledgable_person_in_the_field_of_drama]
[[theatre person painted backdrop in phalke's journey]]

21. [[Bhaurao Kolhatkar]]- Saraswatibai’s uncle, famous actor and owner of the kirloskar music company

22. Bhalchandra, Phalke’s paternal uncle- Pharmacist and railway employee

23. [[U.R Athavale]]- Mandakini’s husband

24.[[ Mr. Kipling- Ex-principal of Sir JJ School Of Arts]], father of Rudyard Kipling - 1885

25. [Pastonjee- www.prannevile.com/article_42
painter, teacher of Sir JJ School Of Arts - 1885www.prannevile.com/article_42]

26. Mr. Griffith- Principal of Sir JJ School Of Art - 1885

27. [[Mhatre]]- Sculptor at Sir JJ school of Art

28. Lady Hardinge- Patroness of art, Vicereine of India - 1885

29. [[Non-Hindu boy at Elphinstone College]] - 1885

30. [[Prof. Gujjar]]- principal of Kala Bhuvan, Baroda - 1886-1900

31. [[Sayrajrao Gaekwad III]]- king of Baroda - 1886-1896[http://en.wikipedia.org/wiki/Gaekwad] [http://users.ox.ac.uk/~jouhs/michaelmas2005/Bellenoit03.pdf]summary of paper on.. and critique of..
[http://www.musicalnirvana.com/composers/vn_bhatkhande.html]bhatkhande, music conference in baroda 1916 [http://www.el-horto.hu/disco/disco-main/1990.6th%20All-India%20Music%20Conference/index.html]

32. [[Sir T. Madhavrao]] - Dewan and Regent of Baroda - 1886-1900

33. [[Raja Ravi Verma]][[http://www.phalkefactory.net/wiki/index.php?title=Calendar_art]] (1848-1906)- painter -1848-1906 [http://indianpost.com/viewstamp.php/Alpha/S/SHAKUNTALA%20SURCHARGE]
[http://indianpost.com/viewstamp.php/Alpha/R/RAJA%20RAVI%20VERMA%20(DAMAYANTI%20AND%20SWAN)]

34. [[Shankar Moro Ranade]] – dramatist and playwright tutor to Sayajirao’s children - 1886-1895

35. [[Rameshchandra Dutt]]…administrator and writer working for Sayaji Rao1 - 886-1900
Report of The Sanskrit Commission appointed by the Government of India, in terms of their Resolution No. F. 34-1/56-A-1, dated the 1st October, 1956 [http://www.education.nic.in/cd50years/u/45/3Z/453Z0201.htm]

[
36. [[Sir Aurobindo Ghosh]]—private secretary to king of Baroda-teacher, administrator,] en.wikipedia.org/wiki/Sri_Aurobindo
nationalist, saint - 1886

37. [[Felici]]—Italian sculptor

38. [[Maulabux]]—Musician - 1885---1886

39. [[Madhvrao Patvardhan]]- Illusionist [http://www.centres.ex.ac.uk/bill.douglas/Schools/lanterns/lantern1.htm]

40. [[Judge P Walawalker]] - Lithograph expert - 1890

41. [[King of Panchmahal]] - composer, musician - 1890--1900

42. [[Lala Deendayal—Photographer]][http://www.deendayal.com/lifesketch.htm]1896 - 1900 [http://photography.about.com/library/weekly/aa120803a.htm]

43. [[Herbert Spencer]] – Balloonist - 1900

[[Carl Hertz]] - Magician, employed by Lumiere, would include film in his repertoire?

44. Tribal bandits led by Bheema - 1896

45. Muslim neighbors at Godhra - 1896

46. [[Nicephore Niepce]] – Itinerant French magician – 1896 -1900

47. [[Dr. Ramakrishn Bhandarker]][http://webpages.csus.edu/~sac36337/HRS220/papers/Apr10-SecondaryRA.pdf] about his book Vasinavism, Saivism and the Minor Religious Systems [[curzon initiates excavation]]
48. [[Lord Curzon]]—1900—1906

49. [[Mr. Cousens]] - Phalke’s superior at the [[Archeological Survey of India]]

50. [[Mr. Slasher]] - [[German printing]] technologist in charge of Litho press in Lonavala

51. [[Urvashi]] -Raja Ravi Verma’s model and friend -1900 -1906

52. [[Seth Puroshtam Dass Mavji]] - Owner of printing press, who later sends Phalke to Germany – 1900 - till Phalke’s death

53. [[Babu Rao Painter]] - photographer, backdrop painter, film maker –1908 -1936 [[http://www.phalkefactory.net/wiki/index.php?title=Image:Microsoft_Word_-_Baburao_Painter_1890-_1954.pdf]]
[[http://www.phalkefactory.net/wiki/index.php?title=Image:Baburao_Painter_kolahpur%2C_photo.pdf]]
54. Anandrao Painter - 1900 - 1916

55. [[Keshav Rao Bhosle]] - Actor, producer - 1908

56. [[Nagindass Master]] – Mayor of Bombay - 1910 - 1922

57. [[GS Ranade]]---owner of temple of industries -1910 –1922

58. [[Dr.Prabhakar - restores Phalke’s sight]]

59. [[Mehta]] - Manager of America India cinema house - 1912

60. [[Yashvantrao Nadkarni]] - photography and sports shop owner, Phalke’s friend and his first backer –1912 - 1918

61. [[Solicitor Annasaheb Chitins]] – Nadkarni’s father-in-law – 1912 - 1918

62. [[Mr. Abdul]] - Muslim guesthouse owner in London - 1912

63. [[Mr. Caboun]]—manager of ‘Bioscope’, a cinema weekly - 1912 - 1918 [[Caboun in a story]]

64. [[Cecil Hepworth]] - owner of film factory - 1912 - 1918

64.a [[Aditi Nanavati]] a young art student at the Royal College in London, who accidentally meets Dadasaheb at the Bioscope office

65. [[Seth Mathuradas Vanji]]—owner of Dadar bungalow - 1913

66. [[Applicant for acting role]] - 1912

67. [[Salunke - Actor - 1912 - 1928]]

68. [[Trimbak Balaji Telang - childhood friend and photographer – 1875- 1944]]

69. Pandurang Gangadhar - Backdrop painter – 1912 - 1928

70. [[Dattatray Damodar Dabke]]---played Harishchandra – 1912 - 1944

71. [[Durgabai]] – Actress – 1913 - 1944

72. [[Kamalabai - her daughter—1912 - 1944]] [[http://www.phalkefactory.net/wiki/index.php?title=Image:Chandra_Kant_Gokhale.pdf]]

73. Kamalabai’s patron - 1913

74. Guest of honour at Harishchandra screening - Sir Bhalchandra Bhatwadeker, Sir Manmohan Das Ramji, Jayant Madan, Vima Dalal, Mr. Donald – Judge - 1913

75. Miss Irene Dalmarr - Dancer and singer at movie hall - 1913 [[http://www.phalkefactory.net/wiki/index.php?title=Image:Guhar_Jan.pdf]]

76. [[Dattatre Telang]]– Hangman - 1912

77. Theatre manager in Surat - 1913

78. Reporter in Navyug and Kesari – 1913 - 1918

79. [[Devishanker Narayan Joshi]]—Phalke’s domestic servant - 1914 - 1940

80. Moti – the studio horse - 1914 - 1926

81. [[Lokmanya Tilak]] – 1896 - 1920 [[http://www.phalkefactory.net/wiki/index.php?title=Image:B_G_Tilak-_the_Vedas_Revisited-.pdf]]

82. [[Three men from Paisa Fund]] - 1918

83.[[ Princess of Indore]] - 1918

84. Her Divan, [[Shrimant Talcherkar Mamasaheb]] - 1918

85. [[King of Gawalior]] - 1918

86. [[Laxamanrao Kirloskar]] [[http://www.phalkefactory.net/wiki/index.php?title=Image:Kirloskar.pdf]]- Industrialist - 1918 [[http://www.phalkefactory.net/wiki/index.php?title=Image:Kirloskar_timeline.pdf]][[http://www.phalkefactory.net/wiki/index.php?title=Image:Kirloskarwadi.pdf]]

87. [[Ratan Seth Tata]] - 1918

88. [[Zubeida]][[http://www.phalkefactory.net/wiki/index.php?title=Zubeida_%E2%80%93_Actress_%E2%80%93_1916_-_1936]] – Actress – 1916 - 1936

89. Partners in Hindustan company-

-[[V.S. Apte]]—money lender [[http://www.phalkefactory.net/wiki/index.php?title=Image:BEYOND_EMPTINESS_AND_BLINDNESS-_hope_for_accounting_research.pdf]]

-L.B Phatak- railway contractor

-[[Mayashankar Bhatt]]- Mill agent and electric shop owner.

-Madhavji Jessing- cloth merchant.

-Gokuldas Domodardas- cotton merchant.

90. Bhogilal Dave- Mayashankar Bhatt’s nephew. 1918-1928

91. Captain Rowan - American Householder, Studio manager with Hindustan film company - 1918 - 1928

92. Master Manhar Barve- Musician of Kirloskar Music Company - 1920

93. Shankar Bapuji Majumadar- owner of Kirloskar Music Company - 1920

94. Prof. Gunpatrao - 1920

95. [[Narayan Hari Apte]] – Novelist – 1914 - 1940

96. Maharashtrian boy and his mother at Varanasi - 1920

97. [[Kolhatkar]]- Journalist for ‘Sandesh’ - 1920

98. Owner of the Rajapurkar stage company and his actors - 1920 - 1922

99. [[Nanasaheb Sarpotdar]] of ‘Maharashtra Film Company’ – 1914 -1940

100. [[V. Damlo]]- Film maker[[http://www.phalkefactory.net/wiki/index.php?title=Sant_Tukaram_%281921%29]] - 1921 - 1944

101. [[S. Fattelal]] -[[http://www.phalkefactory.net/wiki/index.php?title=Sant_Tukaram_%281921%29]] Filmmaker – 1921 - 1944

102. [[Dr. V Shantaram]][[http://www.phalkefactory.net/wiki/index.php?title=Image:Shantaram.pdf]] - Film maker - 1921-1944 [[http://www.phalkefactory.net/wiki/index.php?title=Image:V_Shantaram_and_the_growth_of_a_new_aesthetic.pdf]]

103. [[Baburao Pendharkar]] – Filmmaker – 1921 - 1944

104. [[Himansu Rai]]- Actor, Filmmaker - 1935

105. [[Devika Rani]]- Actress - 1935[[http://www.phalkefactory.net/wiki/index.php?title=Image:DEVIKA_RANI_1907-_1994.pdf]]

106. [[Ashok Kumar]] - Actor - 1936 [[http://www.phalkefactory.net/wiki/index.php?title=Image:Microsoft_Word_-_Ashoke_Kumar.pdf]]

a. Dewan Bahadur T. Rangachariar- Chairman of Film and Cinema censorship committee - 1928

107. Sir Ebrahim Jaffer - Committee member - 1928

108. Mr. Green- Bombay custom officer, committee member - 1928

109. Col. Crawford – M.L.A., committee member - 1928

110. Mr. Coatman – Director of public information, Committee member - 1928

111. Mr. G.G. Hooper – I.C.S committee member - 1928

112. Vanar Sena - 1928

113. Shri Gopali – Cameraman - 1928

114. [[Ardeshir Irani]] - [[http://www.phalkefactory.net/wiki/index.php?title=Image:Ardeshir_Irani_1886-_1969.pdf]]Filmmaker - 1928

115. [[Drowning Englishwoman whom Prabhakar saves]] - 1926

116. Dr. Demming – American sound recordist - 1929

117. [[Master Vitthal]] – Actor - 1930

118. [[Prithviraj Kapoor]] – [[http://www.phalkefactory.net/wiki/index.php?title=Image:Prithviraj_kapoor.pdf]]Actor - 1931

119. [[Rustom Bharucha]] – Ardeshir Irani’s partner – 1928 - 1940

120. [[Y.M. Khan]] – Fakir in ‘Alam Ara’ - 1930

121. [[T.S. Mahadeo]] – Sound operator - 1931

122. [[Robert Flaherty]] – filmmaker of ‘Nanook of the north’ - 1935

123. [[Frenchman at the screening of ‘Setu Bandhan’]] - 1932

124. [[Shahuji Maharaj]][[http://www.phalkefactory.net/wiki/index.php?title=Image:Shahu_maharaj.pdf]] – King of Kolhapur - 1921-1926

125. [[Vasudevrao Karnatiki]] – Cameraman - 1936

126. [[Pandit Vishvanath Jadhav]] – Music director - 1936

127. [[JBH Wadia]] – Filmmaker – 1935 - 40

128. [[Homi Wadia]], brother of JBH Wadia – Filmmaker – 1935 - 40

129. [[Fearless Nadia]] – Actress - 1936

130. [[Sir Ibrahim Rehamatullah]] – Film producer - 1936

131. [[Chandulal Shah]] – Film producer / Director – 1935 - 42

132. [[JF Madan]] – Cinema owner – 1920 -

133. [[Dilip Kumar]] – Actor – 1944 –

134. [[Balgangadhar Tilak]]

135. [[Dadabhai Naoroji]]

136. [[Vinayak Damodar Savarkar]]

137. Several famous personalities captured from footage of that time

138 [[frnas osten]]

139.[ [[goharjaan]]]www.youtube.com/watch?v=SWuuHdf0ssg

140. [[Mark Twain]][http://mark-twain.classic-literature.co.uk/following-the-equator/]

141. [[P. K. Nair]]

And news reel footage of the spirit behind the Swadeshi movement, {{Mohandas Karamchand Gandhi]].

Retrieved from "http://www.phalkefactory.net/wiki/index.php?title=BEES_RANIYON_KA_BIOSCOPE"
https://www.manase.org/en/maharashtra.php?mid=68
http://en.wikipedia.org/wiki/Robert_J._Flaherty

Time image

2012-02-25T07:00:31Z

Thirdpoliceman007:

IN[]VISIBLE CULTURE
AN ELECTRONIC JOURNAL FOR VISUAL STUDIES
Images of Thought and Acts of Creation: Deleuze, Bergson, and the Question of Cinema
by Amy Herzog

©2000

"Existing not as a subject but as a work of art...."[1]
Gilles Deleuze, in his two books on film, Cinema 1: The Movement-Image and Cinema 2: The Time-Image, proposes a revolutionary approach to film theory. Drawing on Deleuze's own philosophy of repetition and difference and the work of Henri Bergson, the Cinema books extend these theories to foreground those aspects that are most essential to the medium: that film unfolds in time, and is comprised of ever-differentiating planes of movement. Deleuze's writings as a whole resonate with correspondences between concepts of transformation, difference, and the forces of impersonal time. Bergson's work is consistent with the thrust of this project, so Deleuze's exploration of Bergson in this context seems, on the one hand, unquestionably valid. In addressing the cinema, however, Deleuze transposes these theories, which are inherently bound up in the shifting and unique movements of life, and uses them to discuss the mechanized and standardized movements of film, a means of reproducing or representing that life.
How are we to account for Deleuze's or Bergson's theories of temporality, both based in philosophies of life, creation, and difference, when confronted with an aesthetic object such as film: a fixed, repeatable representation? Exploring the larger processes that drive Deleuze's work as a whole, one is faced with perhaps a more fundamental question: why can or should one use Deleuze to think about film? What potentials does Deleuzian theory offer to those who work on film, and what implications will his work have for the field of film theory?

To begin mapping these implications, I will first examine what might appear to be a contradiction in Deleuze's approach to film. He calls upon Bergson to address the cinema, while Bergson himself used the medium as a model for the forces of rationality that immobilize and fragment time. I will argue, however, that there is no contradiction between Deleuze's and Bergson's approaches when we view film not as a model for perception, nor a reflected image of reality, but as a unique image with its own duration. What this seeming conflict points to is at the heart of the problem of representation (as concept and in practice). At stake are not only all theories that address "the arts," but larger questions regarding the nature of the real. The key to unraveling this problem lies in the complex understanding of time that Bergson proposes. By using this theory to re-evaluate cinema, Deleuze does not misconstrue the mechanisms of film. Instead, following Bergson, Deleuze further expands our understanding of where the real lies, reinterpreting the way in which we understand the temporal nature of film. The result is a fundamental destabilization of the very idea of a representation, displacing notions of signification and association in favor of acts of creation and images of thought.

The greatest achievement of the Cinema books is that they suggest a means of looking at film that explodes static views of the work that the work of art does. Rather than "representing" something, film, for Deleuze, has the potential to create its own fluid movements and temporalities. These movements, while related to formal elements of rhythm and duration within the film itself, cannot be reduced to specific techniques or concrete images. Similarly, the temporality that Deleuze locates within the cinema cannot be pinned to a specific type of shot, nor a particular moment in the shooting, editing, projection, or reception of a film. By refusing to thus situate his theory, Deleuze completely sidesteps psychoanalytic and semiological film theories that would locate the "meaning" of film beneath the surface level of signs. The ramifications of Deleuze's project far exceed the scope of this paper. My goal, nevertheless, is to map several of its threads. The first is an interrogation of what varied meanings the term "representation" might have for Bergson or Deleuze with specific reference to cinema. The second involves the relationship between film and the realm that can be designated as the "real." Finally, the overarching question that motivates me is whether it is possible to maintain a commitment to the "art of living" that Bergson (and Deleuze) so convincingly promote while doing work on the "objects" of visual culture. These are lines of inquiry that I cannot exhaust, but at the same time, they are a movement toward understanding the creative potentials of thinking through and with the work of art.

The Cinema books map a rift in filmmaking which can be roughly situated at the end of World War II. This split, however, cannot be reduced to a historical shift, but exists instead in differing configurations of movement and time. The movement-image, according to Deleuze, is exemplified by classical Hollywood cinema. Time proceeds only as dictated by action (the action of narrative, of cause and effect, of rationality). Temporality in the movement-image, for Deleuze, is governed by the "sensory-motor schema."[2] All movements are determined by linear causality, and the characters are bent toward actions which respond to the situations of the present. Even when temporal continuity is momentarily disrupted (e.g. in a flashback), these moments are reintegrated into the prescribed evolution of past, present, and future. The movement-image is structured, not only by narrative, but by rationality: closed framings, reasonable progressions, and continuous juxtapositions.

The time-image, however, breaks itself from sensory-motor links. The emphasis shifts from the logical progression of images to the experience of the image-in-itself. What we find here are pure optical and sound situations (opsigns and sonsigns), unfettered by narrative progression, and empty, disconnected any-space-whatevers. This move from "acting" to "perceiving" carries over to the characters in the film, who cease to be "agents" and become, instead, "seers." Though Deleuze is hesitant to identify any single film that embodies the time-image, moments in films by Pasolini, Ozu, and Godard, for example, gesture towards that ideal: moments of rupture, hesitation, irrational cutting, or prolonged duration. Movement that is aberrant (i.e. not rational or sensory-motor) can be seen, according to Deleuze, to be caused by time itself. Built through irrational movements and op/sonsigns, the time-image exists thus not as a chronology, but as a series of juxtaposed "presents." What is achieved is exceedingly rare: a direct image of time.[3]

Deleuze's reading of Bergson explodes all the basic assumptions of film theory to date (the separation of subject and object, the primacy of the apparatus, the psychological nature of perception, etc.). But to designate images "time-" or "movement-" related runs the risk of remaining merely descriptive if one does not fully grasp that the distinction between the two is neither a question of form nor content. For Bergson's writing resists being reduced to a structural model; the experience of life, he claims, exceeds the comprehension of the intellect. And the integrated relationship between subject and object, matter and memory, that Bergson proposes results in a shift in emphasis from the aesthetic object to the act of creation. Indeed, Bergson's contribution to thought rests not in a new analysis of art, but in rethinking the practice of "the art of living."[4]

To understand the consequences of this shift for film theory, one must first turn to the distinction that Bergson draws between the methodologies of the intellect and intuition. The intellect, Bergson argues, is always bent on action. It is the component of consciousness which allows a being to comprehend its environment and survive within it. While its mode of perception is essential to life, however, the intellect does not have a privileged access to reality. Bergson writes:

If the intellect were meant for pure theorizing, it would take its place within movement, for movement is reality itself, and immobility is always only apparent or relative. But the intellect is meant for something altogether different. Unless it does violence to itself, it takes the opposite course; it always starts from immobility, as if this were the ultimate reality: when it tries to form an idea of movement, it does so by constructing movement out of immobilities put together.... Of immobility alone does the intellect form a clear idea.[5]
The intellect, in order to act upon reality, must thus reduce it to a series of frozen moments. Unlike the direct, reflective mode of what Bergson calls intuition, the intellect works scientifically. It extracts objects from motion in order to evaluate the action which it might perform upon them, restoring an abstract idea of motion upon them after the fact, like lines drawn between points on a graph.
Intuition, by contrast, is the mode through which one gains access to the undifferentiated flow of life, the real. All matter, for Bergson, exists as images defined by the range of their possible actions (real or virtual) upon other images. The human subject is an image/object like any other, with the distinction that, as a living being, it has both the potential to generate its own actions and to function as a perceptive center, organizing itself in relation to other images. While part of this organization involves the mechanisms of the intellect, there is a component that is opposed to spatialization and is inclined instead toward the temporal. Within each "living center" exists a potential delay between the moment of perception and the moment of action. The greater this delay or "zone of indeterminacy" becomes, the greater access the subject will have to an alternative axis of movement: that of intuition.

Bergson's intuition, unlike the popular usage of the term, involves a precise methodology. Rather than immobilizing and distilling from matter that which can be acted upon, intuition delves simultaneously inward to the depths of the self and outward, beyond the self, to grasp objects in their entirety, as they exist in duration. Duration here refers not to "time," which for Bergson is a concept already fractured into spatial components (minutes, seconds, years, etc.). Instead, each image contains its own unique duration, its own capacity for change. Intuition is a mode of unmediated access to the play of forces that comprise existence. Unlike the intellect, which is oriented toward the interest that a being has in the objects it can act upon, intuition is driven by the inward-motion of instinct, a form of sympathy "that has become disinterested, self-conscious, capable of reflecting upon its object and of enlarging it indefinitely."[6] As Deleuze writes about the temporal nature of intuition: "Intuition is not duration itself. Intuition is rather the movement by which we emerge from our own duration, by which we make use of our own duration to affirm and immediately to recognize the existence of other durations, above or below us."[7]

Cinema, for Bergson, or rather the cinematic apparatus, corresponds directly to the function of the intellect. He describes the phenomenon of film as a series of immobile snapshots of reality. The camera isolates fragments of reality, erasing the nuances of transformation occurring between frames. In order to achieve movement, the film must be unwound through the projector, thus restoring the illusion of continuous motion. But the motion we perceive is not the unique movement inherent to the object filmed. The camera/projector apparatus extracts from reality an "impersonal movement," a movement which can be generalized and regulated at a precise duration, a calculable frame rate. "Such is the contrivance of the cinematograph," Bergson writes, "[a]nd such is also that of our knowledge."[8]

The first pages of The Movement-Image address Bergson's theory of "the cinematographic illusion." Deleuze suggests, however, that Bergson makes an oversight in locating cinema and natural perception along the same continuum. Deleuze argues that while the mechanisms of film might mask themselves as those of perception, in actuality the projector "corrects" the illusion from the outset through its regulated reanimation of the image: "cinema does not give us an image to which movement is added, it immediately gives us a movement-image. It does give us a section, but a section which is mobile, not an immobile section + abstract movement."[9] Deleuze's argument is that Bergson's concept of the movement-image might have implications for the cinema that Bergson himself could not perceive at the time. He further asserts that the apparatus of the camera possesses temporal capabilities that complicate and supercede those of the projector.

Deleuze potentially misrepresents the breadth of his theory in this attempt to recuperate the cinematic apparatus.[10] If one considers film to be an attempt to reproduce physical reality, there is no doubt that the image on the screen cannot encompass the complex existence of the matter before the lens of the camera. Clearly Deleuze is writing against such a simplistic reading. At the same time, to argue that the mechanisms of film somehow ameliorate the visual "illusions" that the film audience necessarily undergoes is to leave such an assumption unchallenged. This is not a criticism that I would levy against the Cinema books as a whole. Indeed, Deleuze deftly avoids easy associations between physical "images" and Bergson's more complex use of the term, let alone any confusion between notions of "the real" and the objects that the camera represents. While I have reservations about Deleuze's argument in this instance, the goal of his investigation is, in fact, consistent with Bergson's larger project. The apparent discrepancy between Bergson and Deleuze's approaches to film is a reflection not of contradiction nor oversight, but of a fundamental shift in their understandings of the function of cinema. I see this shift between the way in which Bergson discusses film (as a metaphoric model for a mode of thought) and the way in which Deleuze uses Bergson to discuss film (where film is no longer a "model," but contains its own potential image of thought) as an entryway for exploring the question of representation that lies at the heart of the Cinema books.

When Bergson compares cinema to the processes of the intellect, he describes it as a model of representation. Just as the intellect selects from the swirling movements of surrounding matter only those images upon which the body can act, the cinematic apparatus immobilizes instances, slicing them from the undifferentiated flow of life and reanimating them through the uniformity of the machine. Bergson's discussion of the cinematic apparatus perfectly describes his theory of the intellect (one might even pursue another line of inquiry: how do technological developments enable or influence the evolution of concepts?). But the analogy he makes is not sufficient for describing (or dismissing) the cinematic experience as a whole.

The mechanism of thought that functions "cinematically" creates a "theoretical illusion" for Bergson, obscuring our perception of "the true evolution, the radical becoming."[11] But one would be mistaken to deduce from this that the "reality" which the "cinematographical mechanism of thought" prevents access to would in fact be representable given a more fluid apparatus or model. Or further that Bergson's critique of the mode of thought can be interpreted as or extended to a critique of the medium. What his "cinematographical" model does provide, however, is a powerful critique of the very mechanisms of representation. Representation operates through immobilization, spatialization. The representation becomes a "sign" through which we interpret the always implied referent. It asserts correspondences, analogies, and associations between elements at the expense of their differences, their dynamisms, their movements and changes.

The problem of representation is one that extends almost limitlessly. It is a question that permeates nearly all aspects of human existence: perception, language, and thought. How is it possible to move beyond the realm of representation? And if it is indeed a mechanism that can be overcome, what alternative methodologies might be left in its wake?

Deleuze and Guattari, in their discussion of the rhizome, make a distinction between a map and a tracing. The trace is described in terms strikingly similar to Bergson's model of "cinematographic thought": The trace is "like a photograph or X ray that begins by selecting or isolating, by artificial means such as colorations or other restrictive procedures, what it intends to reproduce."[12] The strength of the map, by contrast, is that it never operates by means of resemblance. While a map functions always in relation to something beyond itself, it engages in those relations as a tool-box, a set of potentialities that are never predetermined and that can in turn effect changes upon the images and objects they come up against:

What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious.... The map is open and connectable in all of its dimensions; it is detachable, reversible, susceptible to constant modification....A map has multiple entryways, as opposed to the tracing, which always comes back "to the same."[13]
The function of the map described here, I would argue, suggests a vehicle for thinking outside representation, a modality not dissimilar from that of Bergson's intuition. Like the flow of images that Bergson designates as the real, the map interacts with configurations of elements that defy binaristic classification (subject/object, spectator/text, etc.). With reference to the rhizomatic potential of literature, Deleuze and Guattari write:
There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a book has no sequel nor the world as its object nor one or several authors as its subject.... The book as assemblage with the outside, against the book as image of the world.[14]
The assemblages which film forms with its outside will necessarily differ from those formed in literature or the other arts. Nevertheless, Deleuze and Guattari's discussion bears weight on my discussion here. Practices of filming or writing cannot be generalized as having "productive" or "regressive" relationships with the real. Books and films can act equally rhizomatic/crystalline or trace-like, depending on their individual relation to the outside, the direction of their movements.
As such, I would agree with Deleuze that it is inaccurate to describe cinema based on a model of perception. At the same time, both cinematic and perceptive modalities exist in relation to a "real" that is, for Bergson (and Deleuze), more complex than has been indicated thus far. In Matter and Memory, Bergson proposes a definition of matter:

Matter, in our view, is an aggregate of "images." And by "image" we mean a certain existence which is more than that which the idealist calls a representation, but less than that which the realist call a thing-- an existence placed halfway between the "thing" and the "representation."[15]
For Bergson, the brain does not produce a representation of what it perceives. Perception is the mutual influence of images upon one another, of which the brain is only another image-it does not "produce" anything, but filters impulses into actions or non-actions. The implications for film are two-fold. By addressing the perceiving subject as one image among the world of images, Bergson steps outside models that locate perception and memory within the mind of the subject. I would further suggest, following Deleuze, that Bergson's theory of matter allows us to see film not as a fixed representation, a concrete image of a "real" object, but as an image in its own right, with its own duration and axes of movement. What we might call the film-image thus occurs in the gap between subject and object, through the collision of affective images.
Deleuze's formulation of the film-image as a mobile assemblage (sometimes a frame, sometimes a shot, a sound, or the film as a whole) lends itself to this reading, refusing to reduce the physical image on the screen to a mere reproduction of an assumed "real" object it represents. Such a formulation similarly reevaluates the relationship between the concrete optical and sonic images that comprise the film. Rather than conceiving of each component as a concrete "building block," it allows for the shifting and multiple conglomerations of elements which are themselves dynamic and mobile. A film cannot be distilled to an analyzable structure that originates from outside itself. Instead, each film-image is contingent, particular, and evolving.

The potential affective force of film is not that it more closely resembles the objects that it represents (having a more direct relationship to those objects via the photographic method than more abstract systems of representation such as language or painting). Rather, this potential lies in film's ability to key into durations which would defy the limitations of the intellect, working not toward action, but toward the zone of indeterminacy which lies between perception and action. Bergson writes:

Pure duration is the form which the succession of our conscious states assumes when our ego lets itself live, when it refrains from separating its present state from its former states....[I]n recalling these states, it does not set them alongside its actual state as one point alongside another, but it organizes them with itself [avec lui], as it happens when we recall the notes of a tune , melting, so to speak into one another.[16]
But film-images, while possessing individual durations, cannot engage in the active process of recollection that Bergson describes. Indeed, while my investigation of film has been driven by Bergson's theory of intuition, one could not claim that film functions "intuitively." The cinematic experience, for Deleuze, is not a pure state of reflection. One cannot "think inside" film; film must be conceived of as a problem that arises from outside. Meaning, as such, cannot be conceptualized as signification, nor as something garnered through a direct synthesis or sympathetic penetration of the object. Deleuze posits instead a theory of expression, filmic images that are temporal and dynamic. It is the image that is encountered directly, presenting a complex provocation to thought.
It is this provocation that I see as the true potential of film. The act of creation, for Bergson, is a solution to a challenge from the outside, from life. The question of cinema is not a question of representing or perceiving movement, but of thinking through movement, of creating new movements and new images of thought. Dorothea Olkowski, in her work on representation, returns to Bergson's assertion that the most elemental function of philosophy is to ask whether a problem has been properly stated. One cannot propose to solve a problem in which the terms are falsely established. In such cases, one will be bound up in an illusion, unable to see the qualitative and quantitative differences between the elements in question. Olkowski writes:

This is the dark thought I have had about representation for so long; we are immersed in it and it has become inseparable from our condition. It has created a world, a cosmos even, of false problems such that we have lost our true freedom: that of invention.[17]
What Bergson and Deleuze both point to in their writings is a means of restating the question of representation, rending it open to the forces of creation and invention.
These forces are tapped into when perception, rather than isolating an image for the purposes of action, orients itself toward memory, the virtual potential of the past. "When perception is attentive," Olkowski writes, "every perception becomes an act of creation in which the perception opens as many circuits as there are memory images attracted by this new perception, making of every perception a qualitative multiplicity."[18] The act of creation occurs with the introduction of the new. In the case of the body, the new exists as these perceptions and affections, what it creates from impulses and images it perceives.

"Style in philosophy," Deleuze writes, "strains toward three different poles: concepts, or new ways of thinking; percepts, or new ways of seeing and hearing; and affects, or new ways of feeling. They're the philosophical trinity, philosophy as opera: you need all three to get things moving."[19] Cinema, I would argue, contains the potential to transect all three poles. While its relation to percepts and affects have been touched upon in terms of the act of perception, the concept draws cinema toward a new type of image, the image of thought.

D.N. Rodowick notes that the "image of thought" is not a representational image (i.e. the concept is not contained within a concrete, physical image). Rather, the image of thought is a movement, a process of continual differentiation. While this movement, in terms of film, takes its roots in what Deleuze calls the movement-image, Rodowick notes that an image of thought, for Deleuze, only becomes an active force when it takes a step further: "But in order to claim for philosophy what is its activity by right, the philosopher must invoke the more fundamental 'movement' of the impersonal form of time and eternal recurrence."[20] This is what leads to the distinction between the movement-image and the time-image: a qualitative difference, where what is seen, what is conveyed becomes less significant than what is not revealed, what is unknown.

[O]nly the movement-image pretends that thought can be presented directly in or by the image. Alternatively, time always divides thought from the signs that express or represent it. Through the force of the eternal return, time affirms a specific power, or rather "impower" of thought: "we are not yet thinking."[21]
It is this third axis of movement, toward concept, the image of thought, that allows film the potential to "get things moving." It never progresses by means of representation, tracing, but always through the crystal, the rhizome, the unforeseeable foldings of creation. "[T]here's a hidden image of thought that, as it unfolds, branches out, and mutates, inspires a need to keep on creating new concepts, not through any external determinism but through a becoming that carries the problems themselves along with it."[22] Born from the unpredictable collision of forces which coalesce in the act of creation, the image of thought bears the motion of the question that has been reformulated, carrying it not toward solution, but opening it further into new, ever-differentiating questions.
Deleuze's assertions in the Cinema books can be read as a call to action on two fronts. On the one hand, the distinction he draws between images that rely upon movement-images and time-images challenge artists to create works that transcend the representational, that explore the interstices between memory and perception, that approach what we might call a pure image of time, an image of thought. I would argue that Deleuze's work on cinema poses an equal challenge to those who think and write about/through film, a venture with perhaps even higher stakes. In opposing the movement- and time-images, Deleuze inadvertently constructs a structure of valuation that I find suspect (particularly when the images which he cites as most closely approaching the time-image-Godard, Passolini, etc.-coincide with those championed by elitist, modernist traditions). Yet the tools that he provides for conceiving of film beyond the confines of representation carry invaluable potential for theorists to manipulate toward their own ends. A great deal more work remains to be done on the particular configurations of time within popular works that may be driven by the sensory-motor schema, but that are never fully contained by that logic. Likewise, the evolution of digital technology and new networks of image circulation will give rise to new images of thought and new theoretical methodologies.

The provocation, then, for both the filmmaker and the film theorist, is one posed by philosophy. The challenge is to see film not as a means of representation, but as an assemblage of images in flux with the world of images, to see the history of film and the history of philosophy as convergent. The art of living remains the becoming of true creation, but the image of thought introduces the stutters and hesitations that give us access to this movement. "It's the image of thought that guides the creation of concepts. It cries out, so to speak, whereas concepts are like songs."[23] Bergson writes of the creative capacity in art, "[w]hen music cries, it is humanity, it is the whole of nature which cries with it. Truly speaking, it does not introduce these feelings in us; it introduces us rather into them, like the passers-by that might be nudged in a dance"[24] It is somewhere between the crying out and the song that we can hope to find the movement of becoming that will carry us thus, beyond ourselves.

Notes

1. Gilles Deleuze, Negotiations, 1972-1990, trans. Martin Joughin (New York: Columbia University Press, 1995), 95.

2. Deleuze develops his concept of the sensory-motor schema to describe structures and transitions that are governed by a linear, cause-and-effect logic. It emerges from Bergson's discussion of the faculties of perception and the actualization of images into action. In order to act upon its environment, a body must isolate from the undifferentiated flow that it perceives only those images that interest it in particular, upon which it can choose to act. The complex correlations between objects and images are thus reduced to causal (and spatial) links. Deleuze finds that the associations made between elements in the movement-image progress along a similar trajectory.

3. Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis, University of Minnesota Press, 1989), 41, 272.

4. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, trans. Mabelle L. Andison (New York: Citadel Press, 1992), 106.

5. Bergson, Creative Evolution, trans. Arthur Mitchell (Mineola, New York: Dover Publications, 1998), 155.

6. Bergson, Creative Evolution, 176.

7. Deleuze, Bergsonism, trans. Hugh Tomlinson and Barbara Habberjam (New York: Zone Books, 1991), 32-33.

8. Bergson, Creative Evolution, 306.

9. Deleuze, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis, University of Minnesota Press, 1986), 2. Also quoted in D.N. Rodowick, Gilles Deleuze's Time Machine (Durham: Duke University Press, 1997), 22.

10. Rodowick similarly notes, "Deleuze's reasoning is certainly weak here," for Deleuze, in his attempt to distinguish between film and natural perception, privileges the automated movements of the projector, eliding any involvement of "cognitive correction" in the perception of the filmic event and creating a "curious identity between movement and image." Rodowick, 22.

11. Bergson, Creative Evolution, 272, 273.

12. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. and forward by Brian Massumi (Minneapolis: University of Minnesota Press, 1987), 13.

13. Deleuze and Guattari, 12.

14. Deleuze and Guattari, 23.

15. Bergson, Matter and Memory, trans. Nancy Margaret Paul and W. Scott Palmer (New York: Zone Books, 1991), 9.

16. Bergson, Time and Free Will: An Essay on the Immediate Data of Consciousness, trans. F.L. Pogson (New York: Macmillan, 1959), 100, as quoted in Dorothea Olkowski, Gilles Deleuze and the Ruin of Representation (Berkeley: University of California Press, 1999), 121. Translation altered by Olkowski.

17. Olkowski, 91.

18. Olkowski, 114.

19. Deleuze, Negotiations, 164-165.

20. Rodowick, 176.

21. Rodowick, 177.

22. Deleuze, Negotiations, 149.

23. Deleuze, Negotiations, 148.

24. Bergson, The Two Sources of Morality and Religion, trans. R. Ashley Audra and Cloudesley Brereton with the assistance of W. Horsfall Carter (New York: Henry Holt and Co., 1935), 30-32 as quoted in Deleuze, Bergsonism, 110.

Return to Table of Content

Space and Time

2012-02-25T06:59:49Z

Thirdpoliceman007:

[[time image]]

[[Godavari]][Godavari River

Brahmadev worshipped God Trivikram when he came to Satya Loka (on earth) with the same holy water of the Ganges, to get the river Ganges held up by God Shankar on his head, to flow. River Ganges in the form of a woman was enjoying with Lord Shiva, which was noticed by Lord Shiva's wife Parvati. She planned to drive Ganges away from her husband.
Parvati and her son Ganesh came to live in Gautama's Ashram with Parvati's friend Jaya. There was a famine of 24 years and people were affected by the pangs of hunger. However, Varun - the God of Rains, pleased with Sage Gautama arranged rains every day in Gautama's Ashram (dwelling place) which was in Trimbakeshwar. Gautama used to sow rice in the surrounding fields of his Ashram in the morning, reap the crop in the afternoon and with it fed a large group of Rishis, who took shelter in his Ashram on account of the famine. The blessings of the group of rishis increased the merit (Punya) of Gautama. Lord Indra's position became shaky because of his increased merit. So Indra ordered clouds to rain all over Trimbakeshwar, so that the famine will be over and Rishis will go back and the increasing merits of Gautama will be weakened. Although the famine was over, Gautama urged the Rishis to stay back and kept on feeding them and gaining merit. Once he saw a cow grazing in the paddy field and he drove her away by throwing Darbha (sharp, pointed grass). The slender cow died by this. It was Jaya - Parvati's friend, who had taken the form of a cow. This news upset the Rishis and they refused to luncheon at his Ashram. Gautama requested Rishis to show a way out of this sin. He was advised to approach Lord Shiva and request him to release Ganges and a bath in the Ganges would set him free of his sins. Gautama then practiced penance by going to the peak of Brahmagiri. Lord Shankara was pleased by his worships and gave him the Ganges. However, Ganges was not prepared to part with Lord Shiva, which irritated him. He made TandavNrutya (dance) on the peak of Brahmagiri and dashed his jata there. Frightened by this action, Ganges appeared on Brahmagiri. Later on Ganges appeared in the Trimbak Tirtha. Gautama praised her but she off and on appeared on the mountain at various places and disappeared in anger. Gautama could not bathe in her waters. Ganges then appeared in Gangadwar, Varaha-tirtha, Rama-Laxman tirtha, Ganga Sagar tirtha. Still Gautama could not bathe in her waters. The Gautama surrounded the river with enchanted grass and put a vow to her. The flow stopped there and the tirtha thus came to be called Kushavarta. It is from this Kushavarta that the river Godavari flows up to the sea. The sin of killing a cow by Gautama was wiped off here.]

[[DIARIES_RAJA RAVI_VARMA]]

[[PHOTOS_OF_GODS]]
The story of how a numbed sensorium was brought back to life is one of the central concerns of this book.
photos of the Gods
The Printed Image and Political Struggle in India
Christopher Pinney

[[ARTS AND NATIONALISM]] excerpted from Art and Nationalism in Colonial India, 1850- 1922 by Partha Mitter

'''[[Suffism and Islam]]'''

[[BOMBAY,CITY_WITHIN_CITIES]] [http://theory.tifr.res.in/bombay/history/cotton.html] indigenous industry, the growth and decline of the cotton mills

[[Time, Bergson and the Cinematographical Mechanism]]

[[Walter Benjamin]]

[[William Carey]] '''1761-1834'''

on the edges between hinduism and christianity
[http://www.martynmission.cam.ac.uk/CRFoxYoung.3.htm]

-----------------------------------------------------------------------------------------------------------------------------------------------[[Dreams]] [[Memory]] [[Thought]]

Piaget

2012-02-25T04:18:05Z

Thirdpoliceman007:

[http://en.wikiquote.org/wiki/Jean_Piaget]

Thought

2012-02-25T04:17:32Z

Thirdpoliceman007:

Excerpts of interviews with children from Jean Piaget's
A child's conception of the world

Barb:
( 5 years, 6 months)
You know what it means to think?
When you can't remember something, you think

what do you think with
The ears

If you were to stop them up, could you think?
_yes.. no...

Rehm( 5 years, 11 months): You know what it means to think of something?-
Yes-
Think of your house-
yes-
What do you think with?-
With the ears-
When you think of your house, you think with the ears- yes

Ceres( 7) What do we think with?
I don't know
Where do we think?
In the head.

Where?
In the mouth, inside the head.

Ratt (8 years, 10 months
When you think of your house, where is what you think?
In the head
What is there inside your head?
Nothing
How can you think of your house then?
With the mouth
Are there words inside your head?
No
Is there a voice inside your head?
Yes
Is the voice and your thinking the same thing?
Yes

Kenn(7years, 6 months)
What do you think with?
Inside my head
Is the head empty or full?
Full
If someone opened your head, would they see when you were thinking?
No, because you couldn't see
If they could look inside your head without your dying, would they see your thought?
You can't hear it when you speak gently
What do you think with?
The head
With what part of the head?
The mouth
What is there inside your head when you think?
Nothing
Can you see thought?
No
Could I hear it?
No
Could I feel it if I put my finger there?
Yes

[[Piaget]]

1942

2012-02-24T01:47:33Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=KSD9CWhY71s&feature=related]

[http://www.youtube.com/watch?v=tv9DGrP8jDA]

[http://en.wikipedia.org/wiki/Indian_National_Army]

[http://www.youtube.com/watch?v=r0XfueCPLhA&feature=relmfu]

[http://www.youtube.com/watch?v=wTNARKHIK8Y]

[http://ia.rediff.com/news/2002/aug/12spec.htm] three men from bombay recall their participation

'''April 27, [[1942]]'''

'''INDIA OF THE ORIGINAL "QUIT INDIA" RESOLUTION DRAFTED BY MOHANDAS K. GANDHI AND REJECTED BY THE ALL-INDIA CONGRESS WORKING COMMITTEE IN FAVOR OF THE MODIFIED VERSION SUBMITTED BY PANDIT JAWAHARLAL NEHRU.'''

The Gandhi Draft Was Presented to the Committee on April 27, 1942
New York Times, August 5, 1942.
Whereas the British War Cabinet proposals by Sir Stafford Cripps have shown up British imperialism in its nakedness as never before, the All-India Congress Committee has come to the following conclusions:
The committee is of the opinion that Britain is incapable of defending India. It is natural that whatever she does is for her own defense. There is the eternal conflict between Indian and British interest. It follows that their notions of defense would also differ.
The British Government has no trust in India's political parties. The Indian Army has been maintained up till now mainly to hold India in subjugation. It has been completely segregated from the general population, who can in no sense regard it as their own. This policy of mistrust still continues, and is the reason why national defense is not entrusted to India's elected representatives.
Japan's quarrel is not with India. She is warring against the British Empire. India's participation in the war has not been with the consent of the representatives of the Indian people. It was purely a British act. If India were freed, her first step would probably be to negotiate with Japan.
The Congress is of the opinion that if the British withdrew from India, India would be able to defend herself in the event of the Japanese, or any aggressor, attacking India.
The committee is, therefore, of the opinion that the British should withdraw from India. The plea that they should remain in India for the protection of the Indian princes is wholly untenable. It is an additional proof of their determination to maintain their hold over India. The princes need have no fear from an unarmed India.
The question of majority and minority is the creation of the British Government, and would disappear on their withdrawal.
For all these reasons, the committee appeals to Britain, for the sake of her own safety, for the sake of India's safety and for the cause of world peace, to let go her hold on India, even if she does not give up all her Asiatic and African possessions.
This committee desires to assure the Japanese Government and people that India bears no enmity, either toward Japan or toward any other nation. India only desires freedom from all alien domination. But in this fight for freedom the committee is of the opinion that India, while welcoming universal sympathy, does not stand in need of foreign military aid.
India will attain her freedom through her non-violent strength, and will retain it likewise. Therefore, the committee hopes that Japan will not have any designs on India. But if Japan attacks India, and Britain makes no response to its appeal, the committee will expect all those who look to the Congress for guidance to offer complete non-violent non-cooperation to the Japanese forces, and not to render any assistance to them. It is no part of the duty of those who are attacked to render any assistance to the attacker. It is their duty to offer complete non-cooperation.
It is not difficult to understand the simple principle of nonviolent non-cooperation:
First, we may not bend the knee to an aggressor, or obey any of his orders.
Second, we may not look to him for any favors nor fall to his bribes, but we may not bear him any malice nor wish him ill.
Third, if he wishes to take possession of our fields we will refuse to give them up, even if we have to die in an effort to resist him.
Fourth, if he is attacked by disease, or is dying of thirst and seeks our aid, we may not refuse it.
Fifth, in such places where British and Japanese forces are fighting, our non-cooperation will be fruitless and unnecessary.
At present, our non-cooperation with the British Government is limited. Were we to offer them complete non-cooperation when they are actually fighting, it would be tantamount to bringing our country deliberately into Japanese hands. Therefore, not to put any obstacle in the way of the British forces will often be the only way of demonstrating our non-cooperation with the Japanese.
Neither may we assist the British in any active manner. If we can judge from their recent attitude, the British Government do not need any help from us beyond our non-interference. They desire our help only as slaves.
It is not necessary for the committee to make a clear declaration in regard to a scorched-earth policy. If, in spite of our nonviolence, any part of the country falls into Japanese hands, we may not destroy our crops or water supply, etc., if only because it will be our endeavor to regain them. The destruction of war material is another matter, and may, under certain circumstances, be a military necessity. But it can never be the Congress policy to destroy what belongs, or is of use, to the masses.
Whilst non-cooperation against the Japanese forces will necessarily be limited to a comparatively small number, and must succeed if it is complete and genuine, true building up of swaraj [self-government] consists in the millions of India wholeheartedly working for a constructive program. Without it, the whole nation cannot rise from its age-long torpor.
Whether the British remain or not, it is our duty always to wipe out our unemployment, to bridge the gulf between the rich and the poor, to banish communal strife, to exorcise the demon of untouchability, to reform the Dacoits [armed bandits] and save the people from them. If scores of people do not take a living interest in this nation-building work, freedom must remain a dream and unattainable by either non-violence or violence.
Foreign soldiers: The committee is of the opinion that it is harmful to India's interests, and dangerous to the cause of India's freedom, to introduce foreign soldiers in India. It therefore appeals to the British Government to remove these foreign legions, and henceforth stop further introduction. It is a crying shame to bring foreign troops in, in spite of India's inexhaustible man power, and it is proof of the immorality that British imperialism is.

[http://en.wikipedia.org/wiki/1942_in_India#Incumbents]

1908

2012-02-24T01:05:37Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=0qxXcBmo9lg&feature=related]

Everyone died during the Plague.

Grandpa, Grandma, etcetra

Raghu Kaka (Dhakte Bhau)

His wife

Children

House withour caretaker

House ruined. Villagers stole bricks, beams, etcetra. Only a veeran(when she saw it)

Joglekar Vadi

Boy scouts movement founded.

Our telephones- a report

Tilak- Defense fund, a letter

Letter in Kesari extolling the bomb- a kind of witchcraft, a charm, an amulet..
'these simple playful sports of science'
Tilak speaks four whole days in his defence
Justice Davar sentences Tilak
To six years transportation changed in view of his health to simple imprisonment at Mandalay

Six day riots, one for every day of imprisonment
Bhattias and Banias in the cloth market, not seen ever as seditious characters, participated very actively one day

Establishment of the [[Tata Iron and Steel Co.]], India's largest private sector corporation. [[Terrorist movements in Bengal]], active since 1902, reach their peak with organisations such as the Anushilan Samiti of Calcutta and Dacca, the return of [[Hemchanda Kanungo]] from Paris and raids such as the Barrah dacoity by [[Pulin Das]]'s group. The movement, often led by upper case men proclaiming a communal Hindu or casteist ideology, dominated the romantic imagination of Bengali nationalism for decades.[[ Khudiram Bose]], a former Swadeshi activist and momber of the Revolutionary Party, is hanged on 11 August.
[[Bal Gangadhar Tilak]] is convicted of sedition and [[deported to Mandalay]]. [[Keshavrao Bhosle]] starts the Sangeet Natak troupe, Lalitkaladarsh.
----

case against [[Aurobindo Ghose]] for inciting revolution

----

[[Abdually Esoofally]], a South Asian and Singaporean travelling showman, starts exhibiting in India.

----

[[1908 in Phalke's Journey]]

1942

2012-02-24T01:00:14Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=KSD9CWhY71s&feature=related]

[http://en.wikipedia.org/wiki/Indian_National_Army]

[http://www.youtube.com/watch?v=r0XfueCPLhA&feature=relmfu]

[http://www.youtube.com/watch?v=wTNARKHIK8Y]

[http://ia.rediff.com/news/2002/aug/12spec.htm] three men from bombay recall their participation

'''April 27, [[1942]]'''

'''INDIA OF THE ORIGINAL "QUIT INDIA" RESOLUTION DRAFTED BY MOHANDAS K. GANDHI AND REJECTED BY THE ALL-INDIA CONGRESS WORKING COMMITTEE IN FAVOR OF THE MODIFIED VERSION SUBMITTED BY PANDIT JAWAHARLAL NEHRU.'''

The Gandhi Draft Was Presented to the Committee on April 27, 1942
New York Times, August 5, 1942.
Whereas the British War Cabinet proposals by Sir Stafford Cripps have shown up British imperialism in its nakedness as never before, the All-India Congress Committee has come to the following conclusions:
The committee is of the opinion that Britain is incapable of defending India. It is natural that whatever she does is for her own defense. There is the eternal conflict between Indian and British interest. It follows that their notions of defense would also differ.
The British Government has no trust in India's political parties. The Indian Army has been maintained up till now mainly to hold India in subjugation. It has been completely segregated from the general population, who can in no sense regard it as their own. This policy of mistrust still continues, and is the reason why national defense is not entrusted to India's elected representatives.
Japan's quarrel is not with India. She is warring against the British Empire. India's participation in the war has not been with the consent of the representatives of the Indian people. It was purely a British act. If India were freed, her first step would probably be to negotiate with Japan.
The Congress is of the opinion that if the British withdrew from India, India would be able to defend herself in the event of the Japanese, or any aggressor, attacking India.
The committee is, therefore, of the opinion that the British should withdraw from India. The plea that they should remain in India for the protection of the Indian princes is wholly untenable. It is an additional proof of their determination to maintain their hold over India. The princes need have no fear from an unarmed India.
The question of majority and minority is the creation of the British Government, and would disappear on their withdrawal.
For all these reasons, the committee appeals to Britain, for the sake of her own safety, for the sake of India's safety and for the cause of world peace, to let go her hold on India, even if she does not give up all her Asiatic and African possessions.
This committee desires to assure the Japanese Government and people that India bears no enmity, either toward Japan or toward any other nation. India only desires freedom from all alien domination. But in this fight for freedom the committee is of the opinion that India, while welcoming universal sympathy, does not stand in need of foreign military aid.
India will attain her freedom through her non-violent strength, and will retain it likewise. Therefore, the committee hopes that Japan will not have any designs on India. But if Japan attacks India, and Britain makes no response to its appeal, the committee will expect all those who look to the Congress for guidance to offer complete non-violent non-cooperation to the Japanese forces, and not to render any assistance to them. It is no part of the duty of those who are attacked to render any assistance to the attacker. It is their duty to offer complete non-cooperation.
It is not difficult to understand the simple principle of nonviolent non-cooperation:
First, we may not bend the knee to an aggressor, or obey any of his orders.
Second, we may not look to him for any favors nor fall to his bribes, but we may not bear him any malice nor wish him ill.
Third, if he wishes to take possession of our fields we will refuse to give them up, even if we have to die in an effort to resist him.
Fourth, if he is attacked by disease, or is dying of thirst and seeks our aid, we may not refuse it.
Fifth, in such places where British and Japanese forces are fighting, our non-cooperation will be fruitless and unnecessary.
At present, our non-cooperation with the British Government is limited. Were we to offer them complete non-cooperation when they are actually fighting, it would be tantamount to bringing our country deliberately into Japanese hands. Therefore, not to put any obstacle in the way of the British forces will often be the only way of demonstrating our non-cooperation with the Japanese.
Neither may we assist the British in any active manner. If we can judge from their recent attitude, the British Government do not need any help from us beyond our non-interference. They desire our help only as slaves.
It is not necessary for the committee to make a clear declaration in regard to a scorched-earth policy. If, in spite of our nonviolence, any part of the country falls into Japanese hands, we may not destroy our crops or water supply, etc., if only because it will be our endeavor to regain them. The destruction of war material is another matter, and may, under certain circumstances, be a military necessity. But it can never be the Congress policy to destroy what belongs, or is of use, to the masses.
Whilst non-cooperation against the Japanese forces will necessarily be limited to a comparatively small number, and must succeed if it is complete and genuine, true building up of swaraj [self-government] consists in the millions of India wholeheartedly working for a constructive program. Without it, the whole nation cannot rise from its age-long torpor.
Whether the British remain or not, it is our duty always to wipe out our unemployment, to bridge the gulf between the rich and the poor, to banish communal strife, to exorcise the demon of untouchability, to reform the Dacoits [armed bandits] and save the people from them. If scores of people do not take a living interest in this nation-building work, freedom must remain a dream and unattainable by either non-violence or violence.
Foreign soldiers: The committee is of the opinion that it is harmful to India's interests, and dangerous to the cause of India's freedom, to introduce foreign soldiers in India. It therefore appeals to the British Government to remove these foreign legions, and henceforth stop further introduction. It is a crying shame to bring foreign troops in, in spite of India's inexhaustible man power, and it is proof of the immorality that British imperialism is.

[http://en.wikipedia.org/wiki/1942_in_India#Incumbents]

1943

2012-02-24T00:58:37Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=SDqt-0kaLZ8&feature=related]

The following recollecting pertains to the year 1943 after Dada suffered from [[amnesia]]. He found a handkerchief in the house. As it was worn out, I wanted to throw it away. He said, " This frayed handkerchief is good for cleaning lenses''
He would ask mother at any time whether the meal was ready. After his amnesia improved, I once held before him a page of the Illustrated Weekly of India. There was a photograph on it of two tribals. He loudly read its title, 'Naga Warriors of Assam'.

details in [[Prabhakar remembers]] from Bapu Watve's book Dadasaheb Phalke, publsihed by the National Book Trust
[[Media:[]]]

[http://en.wikipedia.org/wiki/Bengal_famine_of_1943#News_Reports_and_Literature]

[http://www.oldindianphotos.in/2009/12/bengal-famine-of-1943-part-1.html]

History is written by those who win a war and not by the losers. No wonder, the history of Second World War is written by British and American authors. We are told that the war was necessary to eliminate the evil of Nazism and Hitler from the earth. Nazism and Hitler are painted as devils because they killed six million Jews (a figure put out by British and Jew historians and disputed by many).

The last chapter in the history of Second World War was written in early October 1945 at the famous Nuremberg trial, when the four prosecuting nations -- the United States, Great Britain, France and Russia -- issued an indictment against 24 men and six organizations. The individual defendants were charged with the systematic murder of millions of people.

Sixty years after the end of the war, time has come to reopen the case and institute a fresh Nuremberg trial - this time against one of the prosecuting nations -- Great Britain -- for systematic and intentional murder of millions of people. This genocide was not confined to the Second World War. In fact, only its last episode was played out during the war. The ghastly genocide, which used hunger and starvation as tools, lasted for about eighteen decades and was carried out in Bengal, India (at present Bengal is partly in India and partly in Bangladesh) by the British colonial masters claiming about thirty million victims.

It started in 1770 with a big bang, when approximately one third of the total population of Bengal died because of a drought. About 10 million people died! East India Company, which had occupied the country five years earlier, did not even once attempt to introduce any measures of aid worth mentioning. British officers in India were happily reporting to their bosses in London about having maximized their profit through trading and export of food. (Incidentally, Bankim Chandra Chatterjee, the prophet of Indian nationalism, wrote his celebrated novel "Anandamath" with the battle cry 'Bandemataram' in the context of the agony evoked by the ravages of the famine of 1770.)

It must be mentioned here that Bengal is a land of rivers and most fertile land of Ganges delta. Bengal was a granary of India till British came in. Every village had, and still has, a pond, which has fishes that can feed the village even when there is no rice. It needed British intervention to convert the lush green land of Bengal into famine-starved land.

Bengal had 30 or 40 famines (depending on how one defines famine) during 182 years of British rule in Bengal. There are no reliable accounts of the number of people who died in these famines. We have only the figures put out by British colonialists. But even given the limited data availability, once can see the barbaric face of British colonialism in India.

The last big famine in Bengal occurred between 1942 and 1945. At least four million people died during these three years. Some scholars believe that the number of dead was much higher (remember that the figure of four million is based on British sources). Notwithstanding the controversy about the number of dead, it is widely accepted that the famine was man-made. Nobel laureate, Amartya Sen, has demonstrated quite convincingly that the famine deaths were caused by British policies and not by drastic slump in food production.

The following facts deserve attention:

In May 1942, Burma fell to Japanese. British were afraid that Japanese aided by Indian National Army (led by Subhash Chandra Bose) would invade India from the east. Bose's slogan - Dilli Chalo (Let us go to Delhi) - had struck fear in the hearts of British. The British followed a policy of 'scorched earth'. On one hand, this was to ensure denial of food to invading armies, in case the Japanese decided to march across Bengal. On the other hand, the British wanted to break the will and ability of people of Bengal to rise in rebellion in support of the invaders. It could not be a coincidence that British executed a military police action in October 1942, during which 193 camps and buildings of the Congress Party were destroyed and countless people arrested. Between August 1942 and February 1943, 43 persons were shot by the British occupation police. Additionally, British troops were involved in an unknown number of rapes and lootings of food supplies, among other things.

Bengal was overcrowded with refugees as well as with retreating soldiers from various British colonies which were temporarily occupied by the Japanese. In March 1942 alone, around 2,000 to 3,000 British soldiers and civilians arrived every day in Calcutta and Chittagong, and in the month of May, a total of 300,000 were counted. As a result of the massive food purchases by the government, food prices in the countryside skyrocketed.

Expecting a Japanese landing in the Gulf of Bengal, the British authorities enacted the so-called "Boat-Denial Scheme" leading to confiscation of all boats and ships in the Gulf of Bengal which could carry more than 10 persons. This resulted in not less than 66,500 confiscated boats. Consequently, the inland navigation system collapsed completely. Fishing became practically impossible, and many rice and jute farmers could not ship their goods anymore. Subsequently the economy collapsed completely, especially in the lower Ganges-Delta.

The confiscations of land in connection with military fortifications and constructions (airplane landing places, military and refugee camps) led to the expulsion of about 150,000 to 180,000 people from their land, turning them practically into homeless persons.

Food deliveries from other parts of the country to Bengal were refused by the government in order to make food artificially scarce. This was an especially cruel policy introduced in 1942 under the title "Rice Denial Scheme." The purpose of it was, as mentioned earlier, to deny an efficient food supply to the Japanese after a possible invasion. Simultaneously, the government authorized free merchants to purchase rice at any price and to sell it to the government for delivery into governmental food storage. So, on one hand government was buying every grain of rice that was around and on the other hand, it was blocking grain from coming into Bengal from other regions of the country.

The blank check of the government (for food purchases) triggered price inflation. As a result, some merchants did not deliver food to the government but hoarded it, hoping for higher profit margins when selling it later. This led to further food shortages on the market and to further price increases.

In addition to this inflationary thrust, massive military activities in Bengal were basically financed by overtime of money printing presses. Oversupply of paper money by Government led to a general inflation, which hit the impoverished population in the countryside especially hard.

Even though British law in India provided that emergency laws were to be applied in case of famines, the famine in Bengal was never officially recognized as such; an emergency was not declared, and therefore no drastic counter measures were taken for its amelioration. It was not until October of 1943 that the British government took notice of the emergency situation, but it still refused to introduce any supportive measures that would have been necessary.

Even though India imported about 1.8 million tons of cereals before the war, Britain made sure that India had an export surplus of rice at record levels in the tax year 1942/43.

The bad situation in Bengal was discussed in the British Parliament during a meeting at which only 10% of all members participated. Repeated requests for food imports to India (400 Million people) led to the delivery of approximately half a million tons of cereal in the years 1943 and 1944. In contrast to this was the net import to Great Britain (50 Million people) of 10 million tons in the second half of the year 1943 alone. Churchill repeatedly denied all food exports to India, in spite of the fact that about 2.4 million Indians served in British units during the Second World War.

Given a choice, I would rather die in a gas chamber than die of starvation begging on the streets. Viewed from this perspective, Hitler appears humane and even angelic, while Churchill puts even the devil to shame. The thirty million men, women and children who died slow, painful deaths in the villages of Bengal were not enemies of the British Empire. They had done nothing to deserve the cruel fate. Howsoever much one might disagree with Hitler, at least in his own warped logic, he had a reason to hate Jews. British Government and Churchill did not even have such a fig leaf of distorted logic to justify their cruel barbaric act.

Amartya Sen has used the Bengal famine to justify democracy and run down dictatorships. The fact is that Churchill was democratically elected by British people. After independence, from 1947 till date, East Bengal (presently known as Bangladesh) has been ruled by dictators for many years. Yet, during the past five and a half decades, the number of starvation deaths in East Bengal (or West Bengal) is not even one per cent of the number of people that died of starvation during the half-century before independence. The issue, obviously, is not dictatorship versus democracy.

We are also told that the rulers of Bengal, before the British arrived, were self-centered despots, who did not care about their people's well being and were spoilt by luxury. British take pride in the fact that they brought 'good governance' and 'rule of law' to India, starting from Bengal and spreading to the rest of the country. In spite of all the alleged misrule that the Indian rulers of pre-British era indulged in, there is absolutely no historical account of any major famine in Bengal prior to the arrival of British in Bengal.

Academicians have a tendency to miss the holistic reality when they go hammer and tongs over fine details. Most academic debates about Bengal Famine have missed the most essential aspect - criminal act of the British Government. There is a tendency to study the Bengal famine in terms of parameters, which were internal to Bengal, like food supply, disease history of rice, inflation economics, democracy as a system of governance, weather analysis and many such wonderful terms. All such studies treat the famine as if it was a product of some systemic internal parameters peculiar to Bengal; and all that is needed is to study the parameters with a view to ensure that the same do not recur. This is a wrong premise.

Bengal was a victim of a criminal act perpetrated for more than one and three quarters of a century. British establishment indulged in brutal genocide in Bengal, at times to further their own interests and at other times out of sheer negligence of their duties. In either case, the British Government stands guilty of the worst crime in recent human history.

The Holocaust in Germany was a minor event compared to what the British did to a people, who trusted them and were loyal to them. Nazis have been accused and convicted of the Holocaust in Germany. Even today, there are attempts to hunt down ex-Nazis and bring them to justice. A few weeks ago, a court awarded compensation to a Holocaust victim.

Is it not time that the descendants of the victims of The Great Holocaust of Bengal sought compensation from the present Government of the United Kingdom? Is it possible to initiate a criminal case against Winston Churchill and all those who were in power during 1942-45 (or during 1765-1947) in British Government? Is that too much to ask for? Do you believe that the systematic murder of six million white-skinned Jews was a crime worthy of punishment, while the killing of thirty million black-skinned people of Bengal does not even deserve a footnote in history?

The least that people of India and Bangladesh can do is to construct a memorial in the memory of millions who died at the hand of a cruel barbaric monster. Let us at least shed a tear for them! Let us at least rewrite the history!

Anil Chawla

1936

2012-02-24T00:56:50Z

Thirdpoliceman007:

[[telegraph]][http://www.youtube.com/watch?v=gumb4-8trjY]

The return to painting backdrops

[[Image:Gangavtaran.jpg]]

this time making Kailasa out of a mountain around Kolhapur

-----------------
A piece of sound can strike through the centuries, that lie across each other in layers of time, layers of rock. sheets of aam papad.

[[Waajid Ali Shah]] had thought of this sound as word, as sentiment, when he was forced to leave his beloved Lakhnau. Where he had made his practice necessary- of dancing the raas leela as kathak, the skirts of the nawab gracefully touching the billowing skirts of the adjacent dancers, the gopis.

One day a large man would let into his open eyes, those paintings of the Nawab: sometimes a hovering head over a chestful of the most delicately embroidered flowers, the nawab's left nipple*, like the largest one in the meadow, flower and more than flower, peering out of the kurta, provocatively declaring the necessity of pleasure; or the more staid portrait at his tomb, where he looks like a gruff, proud old man, neverthelss bearing muslin that will always fall softly on the skin. And even in staidness,the nipple.
That day, having let those images in, Amjad Khan would dance within the loose folds of whitemuslin and Wajid Ali would dance within him.

But that was on a morrow. Maybe when the moon was Allan Sealy's sliver of garlic
shining over the silver pencils of Lakhnau.

But this year, now, a man who liked to look sensual in his photographs, reveals a simpler side as he walks across a moving camera in a sultry Bombay studio, holding a harmonium, singing that song live, bringing it alive like never before, and perhaps, never again.
People might well close their eyes forgetting the image, in the darkness of the theatre.

Deep from within a well where, past the honeyed walls of alcohol, the voice strikes a timeless spring- a [[chashma]] - where history can be the mere reflection it should be.

The gramaphone needle will tease out of the vinyl the ancillary sound of a finger at a tabla, at a loss in face of that voice, barely hitting the taut skin. And the well of the gramaphone horn will crackle with the sounds of playback, the waves finding their heads cut off as they rise, and still that voice flows out, protected, like a bemused baby in a basket, let loose in the waters of a messy river.

[http://www.youtube.com/watch?v=w_BmHDD8rSM]

the song, on youtube

*The left portion of the body of the Supreme Lord is Shrimati Radha, seated blissfully, as beautiful as the Lord Himself; who is served by thousands of gopis: we meditate on the Supreme Goddess, the fulfiller of all desires.( Vedanta Kamadhenu, Dashashloki)

According to the 15th century Mahavani written by Jagadguru Swami Sri Harivyasa Devacharya

radhaamkrsnasvaroopaam vai, krishnam raadhaasvarupinam; kalaatmaanam nikunjastham gururoopam sadaa bhaje I ceaselessly praise Radha who is none other than Krishna, and Sri Krishna who is none other than Radha, whose unity is represented by the Kaamabeeja and who are forever resident in Nikunja Goloka Vrndavana.

[http://en.wikipedia.org/wiki/Radha_Krishna]

------------------------

May 1936, filmindia:

Hollywood's successful formula includes
"25% romance and sex

15% strong melodrama

15 % music and dancing

10 % sentimentalism

10% kids stuff

10% strong meat, eg. fights and brawls

K.M. Multani, 'Public Taste"

--------------

1936

Amar Jyoti, Prabhat

" The film opens with the spectacle of her( Durga Khote) pirate crew capturing the royal ship that carries the Princess Nandini, the daughter of the royal family that SDaudamini is fighting. Her speech to the captures prince ( translated by Neepa Majumdar)

After my marriage I came to understand that woman is slave to man. The law says it, religion supports it, and the state puts its stamp of authority on it. My heart broke when I realised that truth and in that instant, I vowed to eradicate our slavery. Even if you become queen sopmeday, you still won't escape this slavery. You will have become the lesser half of your husband. This means that you will have to act according to his wishes.. If you go against his wishes you will be punished. As queen you might overcome your status as a woman, but as a wife, your status will remain even worse than a slaves'... I have begun the task of tearing up this system and replacing it with equality between men and women in order to create a new image of freedom"

Also, a debate with an old man about how to go about the fight- violent or non violent means

--------------

Bombay Talkies

Acchyut Kanya

Dwevika Rani played the untouchable daughter of a low caste railway signalman, Ashok Kumar played the son of the upper caste village grocer.
Fathers are friends, but...

"Acchyut Kanya'; a critique of the caste system was coupled with a similar critique of traditional forms of medicine, village justice, and moral codes, against which were placed modern medicine, ( practiced by the gorcer) and the impersonal law of the state, enforced by the police who intervened at the end.

neepa majumdar

Bombay Talkies

on its payroll- ( which year?) director
Franz Osten and cameraman Josef Wirsching

meant to be replaced once they had trained others. Often led to criticism about the nature of their films- the Indian spirit lacking..

--------------

Patience Cooper in Khyber Pass

1936

2012-02-24T00:55:18Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=gumb4-8trjY]

The return to painting backdrops

[[Image:Gangavtaran.jpg]]

this time making Kailasa out of a mountain around Kolhapur

-----------------
A piece of sound can strike through the centuries, that lie across each other in layers of time, layers of rock. sheets of aam papad.

[[Waajid Ali Shah]] had thought of this sound as word, as sentiment, when he was forced to leave his beloved Lakhnau. Where he had made his practice necessary- of dancing the raas leela as kathak, the skirts of the nawab gracefully touching the billowing skirts of the adjacent dancers, the gopis.

One day a large man would let into his open eyes, those paintings of the Nawab: sometimes a hovering head over a chestful of the most delicately embroidered flowers, the nawab's left nipple*, like the largest one in the meadow, flower and more than flower, peering out of the kurta, provocatively declaring the necessity of pleasure; or the more staid portrait at his tomb, where he looks like a gruff, proud old man, neverthelss bearing muslin that will always fall softly on the skin. And even in staidness,the nipple.
That day, having let those images in, Amjad Khan would dance within the loose folds of whitemuslin and Wajid Ali would dance within him.

But that was on a morrow. Maybe when the moon was Allan Sealy's sliver of garlic
shining over the silver pencils of Lakhnau.

But this year, now, a man who liked to look sensual in his photographs, reveals a simpler side as he walks across a moving camera in a sultry Bombay studio, holding a harmonium, singing that song live, bringing it alive like never before, and perhaps, never again.
People might well close their eyes forgetting the image, in the darkness of the theatre.

Deep from within a well where, past the honeyed walls of alcohol, the voice strikes a timeless spring- a [[chashma]] - where history can be the mere reflection it should be.

The gramaphone needle will tease out of the vinyl the ancillary sound of a finger at a tabla, at a loss in face of that voice, barely hitting the taut skin. And the well of the gramaphone horn will crackle with the sounds of playback, the waves finding their heads cut off as they rise, and still that voice flows out, protected, like a bemused baby in a basket, let loose in the waters of a messy river.

[http://www.youtube.com/watch?v=w_BmHDD8rSM]

the song, on youtube

*The left portion of the body of the Supreme Lord is Shrimati Radha, seated blissfully, as beautiful as the Lord Himself; who is served by thousands of gopis: we meditate on the Supreme Goddess, the fulfiller of all desires.( Vedanta Kamadhenu, Dashashloki)

According to the 15th century Mahavani written by Jagadguru Swami Sri Harivyasa Devacharya

radhaamkrsnasvaroopaam vai, krishnam raadhaasvarupinam; kalaatmaanam nikunjastham gururoopam sadaa bhaje I ceaselessly praise Radha who is none other than Krishna, and Sri Krishna who is none other than Radha, whose unity is represented by the Kaamabeeja and who are forever resident in Nikunja Goloka Vrndavana.

[http://en.wikipedia.org/wiki/Radha_Krishna]

------------------------

May 1936, filmindia:

Hollywood's successful formula includes
"25% romance and sex

15% strong melodrama

15 % music and dancing

10 % sentimentalism

10% kids stuff

10% strong meat, eg. fights and brawls

K.M. Multani, 'Public Taste"

--------------

1936

Amar Jyoti, Prabhat

" The film opens with the spectacle of her( Durga Khote) pirate crew capturing the royal ship that carries the Princess Nandini, the daughter of the royal family that SDaudamini is fighting. Her speech to the captures prince ( translated by Neepa Majumdar)

After my marriage I came to understand that woman is slave to man. The law says it, religion supports it, and the state puts its stamp of authority on it. My heart broke when I realised that truth and in that instant, I vowed to eradicate our slavery. Even if you become queen sopmeday, you still won't escape this slavery. You will have become the lesser half of your husband. This means that you will have to act according to his wishes.. If you go against his wishes you will be punished. As queen you might overcome your status as a woman, but as a wife, your status will remain even worse than a slaves'... I have begun the task of tearing up this system and replacing it with equality between men and women in order to create a new image of freedom"

Also, a debate with an old man about how to go about the fight- violent or non violent means

--------------

Bombay Talkies

Acchyut Kanya

Dwevika Rani played the untouchable daughter of a low caste railway signalman, Ashok Kumar played the son of the upper caste village grocer.
Fathers are friends, but...

"Acchyut Kanya'; a critique of the caste system was coupled with a similar critique of traditional forms of medicine, village justice, and moral codes, against which were placed modern medicine, ( practiced by the gorcer) and the impersonal law of the state, enforced by the police who intervened at the end.

neepa majumdar

Bombay Talkies

on its payroll- ( which year?) director
Franz Osten and cameraman Josef Wirsching

meant to be replaced once they had trained others. Often led to criticism about the nature of their films- the Indian spirit lacking..

--------------

Patience Cooper in Khyber Pass

MARATHI THEATRE

2012-02-23T12:38:36Z

Thirdpoliceman007:

In Search of Women in History of
Marathi Theatre, 1843 to 1933
Neera Adarkar
The recorded history ofMarathi theatre both marginalises and undervalues women's real contribution to theatre.
However, there is extensive material to show that when the presence of women became necessary for the survival
of the theatre, patriarchal society suitably modified its views on women performers.
IN July 1990, 'Expressions' a women's
Cultural festival was organised by some
women from various women's groups. Since
the focal point of the festival was 'theatre'
an effort was made to invite some of the first
generation stage actresses of the 1930s to
share their experiences. It was soon realised
that the task undertaken was rather difficult
as very few women of that generation were
alive and amongst those who were, most
were confined to the house because of their
age. The third important factor was that actresses from the upper caste background
were comparatively easier to contact than the
actresses of Devdasi origin. We were denied
access to them by their family members who
were rather ashamed of their past.
The study which follows is the result of
further research undertaken to explore
women's presence in, and their contribution
to theatre in the recorded history. History
of Marathi theatre in addition to a chronological documentation presents a comprehensive analysis of the various aspects
and issues related to theatre.
Annual events of natya sammelans (annual conferences on theatre), magazines like
Rangabhoomi published by a theatre company and dedicated only to theatre, many
literary periodicals and frequently held
seminars, discussions, lectures provided a
continuous platform to raise, discuss and
debate, to the minutest details, issues connected with theatre—from aesthetics and
techniques of the theatre to the political,
social and moral values of the people involved in theatre. From the study of the available
material it is seen that the actual contribution of women to theatre is marginalised in
the otherwise comprehensive analysis of the
theatre. Thus an important component of
women's cultural tradition is missing. On the
other hand one can find extensive material
to show how women in the context of their
'use' to the theatre were viewed by the
patriarchal society. This paper deals with
these two aspects.
DOCUMENTATION OF WOMEN'S
CONTRIBUTION TO THEATRE
Women as performers, as theatre company owners, as playwrights are practically
invisible as only a brief mention of the
names of a few of these women with cursory one line remarks about their work in
the history if made. This stands out starkly
against the backdrop of glorious accounts
of the contribution made to the theatre be
men, specially those who performed female
characters on stage. It is interesting to note
that historians of different periods have
given the same information about women
theatre companies while male theatre is
reviewed with a revised analysis over the
years.
The earliest record of women performers
is of 1865. Women performed in theatre
companies which were very often owned and
founded by women. Although specific information about their background is not
available, one can conclude from their names
that these were prostitutes or from the low
caste communities perhaps earlier associated
with 'tamasha' (a folk form). These theatre
companies were 'all women' theatre companies and the female as well as male roles
were enacted by women. There is not a single
mixed theatre company mentioned till 1929
when it was founded by the well known
classical singer Hirabai Badodekar although
Kamlabai Gokhale performed both female
and male roles in the company owned by her
husband and later managed by her. Barring
these exceptions, women actresses were not
part of mainstream theatre.
The recorded documentation is given
below. I have quoted some cursory remarks
available in the history books, specially the
ridiculing comments of the women's enactment of male characters.
The earliest mention of women performers in the theatre company as per
historical record is of 'Vibhujanchittachatakswativarsha Punekar Hindu Stree
Natak Mandall'. The main heroine's name
was Mhalsa "who was young and beautiful"
[1, 2]. This company was owned by a
brahmin and the cast composed of prostitutes. The company performed the play
'Padmavati' which dealt with child marriage,
widow marriage and world religious principles [1, 3]. In 1867 was set up the
Natakankar Manoranjak Mumbai Hindu
Stree Mishrit Natak Mandali where
Neerabai, Taibai, Vithabai, Mhalsabai were
in the cast [2]. Manik Prabhu Prasadik
Purnachandroday Sanglikar Mandali was
also owned by a brahmin, Joshi. Soni
Punekarin was the main performer, who was
"beautiful and was a good dancer"[l].
Purnachandroday Sanglikar Natak Mandali
seems to have been a mixed company where
Krishnabai acted as Draupadi. She is
described as being "fair, slim, medium
height but the quality of her voice and singing ability was average" [1].
From 1908-1925 three companies were performed regularly—Belgaonkar, Satarkar and
Manohar [1]. Belgaonkar Stree Sangeet
Mandali was a popular all-women theatre
company founded by a prostitute Ekamba
which performed a 'pro Ttlak' play
Dandadhari. The women performing male
characters looked like *ardhanari', 'ugly' and
'abnormal' [4]. A prostitute named
Sheshasani founded a company where male
and female actors performed [1,4]. Sarubai
owned Satarkar Stree Sangeet Natak
Mandali [1]. Kamlabai Gokhale from 1914
onwards performed male and female roles
in the company owned by her husband. In
1929, Hirabai Badodekar a famous classical
singer with her two sisters and one brother
founded a 'mix caste* company [3], In some
memoir books there are a couple of other
local companies mentioned, one of them at
Sawantwadi, where a local trader collected
the local prostitutes to form a theatre
company.
MARATHI THEATRE AND
SOCIO-POLITICAL MOVEMENTS
The growth of Marathi theatre has
paralleled the political and social movements
in Maharashtra. The year 1843 marks the
beginning of Marathi theatre when Vishnudas Bhave with the performance of Seeta
Swayamwar started a tradition of
mythological plays (which lasted till 1860).
This wat the period when religious resentment, specially of the upper caste Hindus,
towards the Christian missionaries had
reached its peak. The theatre companies of
this period were in the hands of brahmins,
pundits and shastries. The objective of these
mythological plays, according to Bhave was
'national entertainment'. The concept 'national' includes consolidation of religious
sentiments and moral values. The plays were
mostly based on Ramayana to show Ram
as an ideal of manhood against the effeminate males portrayed by tamasha' (a
folk form of decadent Maratha period)
which was still continuing at the time.
From 1861 a new tradition of historical
plays started to evoke the emotions of
patriotism rather than religious fervour.
These plays were termed 'bookish' plays
since for the first time the script of the play
was written down. The establishment of
universities and the exposure to English
literature encouraged many college students
and teachers to translate Shakespearean
Economic and Political Weekly October 26, 1991 WS-87plays as well as old Sanskrit plays and stage
their shows in the colleges of Bombay and
Pune. These historical plays in addition to
evoking the patriotic sentiments also upheld
orthodox, conservative and moral values.
The plays reflecting social reform issues had
to take the form of 'social plays'.
Although nearly 35 plays seem to have
been written on the theme of social reforms
pertaining to women till the 1930s, the
'golden era' of Mara!hi theatre is identified
only with musical historical plays between
1885 to 1920 which had a patriotic message
and very high standards of production and
music This is also characterised by the era
ol glorification of some of the male actors performing female roles. Actors like
Balgandharva were legends.
Most theatre company owners, playwrights (especially, Khadilkar), actors (such
as Balgandharva) were highly influenced by
the personality and political ideology of
l.okrnanya Tilak. Plays like Rana Bhimdev,
Khara Rajput (Real Rajput) glorified virtues
of self righteousness, strength, valour, national and religious pride and martyrdom.
All these plays were not subtle in conveying
the messages and directly provoked the
British rulers by characters and situations
identical to the then prevailing political
events.
Almost all the political events of that
period specially those taken up by Lokmanya
Tilak in his paper Kesari and Marathu
became ready material for plays. A few
examples: the Swadeshi movement and
boycott on foreign goods advocated by Tilak
reflected in the play Swadeshi Chalwal. In
the first Natya Sammelan of 1906, a resolution was passed to use only 'swadeshi'
material for theatre company requirements.
Partition of Bengal, the Vang Bhang
movement got reflected in Divya Arunoday
and British atrocities on the people demanding their right to sing 'Vande Mataram'
under the presidentship of Surendranath
Bannerjee a close friend of Lokmanya Tilak
(were reflected) in the Marathi play
Barisakhi Dhamdhum.
For Tilak the priority was political
freedom and not social reforms which according to him would divide the people by
isolating the orthodoxy, whereas leaders like
Agarkar, Bhandarkar, Lokhitwadi stressed
on the social reforms, specially those related
to women. These differences among the
leaders on social and political pnorit> are
well known. Since the theatre was more
influenced by Tilak, plays on women's issues
although not directed against the reforms
reflect Tilak's low. priority for women's
issues. The plays were structured to depict
the characters and views of both the sides,
the traditional and the reformist, however
characterisations and the situations created
in a very shrewd and clever way, always
showed the reformist as westernised, over enthusiastic ridiculous and a hypocrite.
There were during that time a few
examples of famous leaders like justice
Ranade who advocated widow remarriage
but himself remarried a young girl of 11
years. Such hypocritical behaviour of a
reformist was quoted frequently in the plays
to undermine the reformist movement in
general. Educated women were often portrayed as immature, juvenile, flippant and
anglicised.
The play Sampan Kaydyache Natak was
written on the 'Consent Act' of 1891 which
prevented a husband from having intercourse
with his wife under 12 years, the play showed how one of the sections of the act
becomes responsible for ruining the married
life of an innocent young man. Another play
on the same act, Indira Madhav SadhyasthiU
was written to oppose the views expressed
by the former play as it exposed the
hypocrisy of Tilak's supporters and their
shortcomings.
It is difficult to slot these plays as being
pro or anti reforms for women since many
plays which were considered pro women by
the writers and the viewers of that time will
not be so considered in today's context.
it is an interesting fact that, with the exception of Dandadhari which was produced by a women's company founded by a prostitute, almost all these plays on social
reforms dealing with women's education,
child marriages, love marriages, infanticide
by widows, divorce, dowry marriages were
enacted by a totally male cast. This contradiction is never mentioned in any of the
debates about women and theatre.
Women theatre companies which existed
during 1885 and 1925 had male roles enacted
by women. These roles were severely criticised and ridiculed by the historians of Marathi
sheatre with derogatory remarks like "ugly,
cheap, abnormal' [4].
The play Dandadhari provides a good example. This was performed by an all-women
company, Belgaonkar Stree Mandali founded by a prostitute named Ekamba. The play
was in the tradition of the pro Tilak plays.
Dandadhari is the 'nayak' of the play who
advocated a cautious and restrained attitude
towards remarriages of widows, not hurting
social sentiments. In contrast, the character
of a reformist stresses the immediate importance of remarriages. Both these characters
dressed like Lokmanya Tilak and justice
Gokhale respectively, were performed by
women. The review of the play in one of the
memoir book states that the audience applauded when Dandadhari appeared on the
stage and both the actresses playing Tilak
and Gokhale showed their acting talents but
they looked like 'Ardhanari Nateshwar,
Brihannanda' [4j. They looked ugly and unnatural. A paradoxical situation of this play
is worth noting. The play on widow remarriage, was performed by a cast of actresses
who were prostitutes and conveyed the
message against widow remarrige.
Glorious accounts of some of the male actors who performed female roles mainly
showed how these male actors even when
outside the theatre could fool society by posing as women. A frequently quoted example is how Vishnu Watwa enacting the
character of Sati Ramabai is worshipped by
the women in the audience.
There is at least one record to show how
women looked at male actors who performed female roles. At the Natya Sammelan in
1912, held at Amravati, an educated woman
Mathurabai Dravid read out a paper titled
'Actors and their Acting' [5j criticising very
boldly males enacting female roles, their entire appearance, mannerisms and acting
calibre.
She has described the way the actors wore
the low necked blouses and the manner in
which the saree was stretched over the front
emphasising the breast in a vulgar fashion.
She has observed that the young boys acting
as grown up women, do not do justice to the
language the characters speak and how even
if an actor was enacting an elderly married
woman, he used seductive gestures all the
time. She wonders whether these actors
believed that they could replace good performance by ornamentary gimmicks. "Certainly, at least the women cannot stand this
obscenity", she says. This paper must have
had a fair impact because in the debate
which took place in Rangabhoomi magazine
later many participants have taken note of
the criticism and supported it.
DEBATE ON WOMEN AND THEATRE
While women performers are cursorily
mentioned, the debate around this issue is
documented extensively! The debate is carried from 1903, continues till 1940 on the
platforms of theatre conferences and literary
conferences, periodicals and daily newspapers, public lecture series and seminars
and is conducted and participated by urban
educated middle class men only. Careful
scrutiny of the debate shows that the patriarchy initially justified the exclusion of women
from mainstream theatre but later to retain
the commercial viability within the changing society, the same system justified the inclusion of women but within narrow and
restricted confines. The discussion on this
subject started in 1903 but an intense debate
took place in two phases after 1910, the
deciding factor was "the change in society's
attitude towards male enactment of female
roles". The debate only centred around the
possibility of women as actresses, to replace
male actors enacting female roles. Women
as playwrights, company owners and music
composers were not considered.
The period 1903 to 1915 was the peak
period of the 'golden era' of Marathi theatre.
Male actors like Baigandharva, Keshavrao
Bhosale, Tipnis, Vishnu Pagnis were creating
history by their mass appeal. Therefore during this period there was not much discussion - on women entering theatre, and
whenever there was, it only assumed the
possibility of prostitutes as actresses.
In 1903 Abaji Kulkarni, a historian, talked of disadvantages of having women on
stage. To support his statements he described an unbelievable situation in a play on
Radha and Krishna. "Just before the curWS-88 Economic and Political Weekly October 26, 1991tains opened 'evil thought s' entered the
minds of the performers playing Radha and
Krishna and they were overcome by lust and
could not take their entry on the stage. The
curtain of course could not be raised and the
theatre company was ridiculed by the
audience" [2].
According to him there was no art in
women enacting female roles but there was
art in men enacting female roles. For Abaji
Vishnu Kulkarni who shows in his book his
intellectual and scholarly approach to the
analysis of history of Marat hi theatre in a
manner which may be appreciated even
today, the statement he makes against
women appearing on stage (as mentioned
above) sound superficial, hollow and
ridiculous.
The first phase of the debate was the latter
half of the 'golden era' of theatre. Society
had seen and appreciated male enactment
of female roles but at the same time, with
exposure to western literature and western
thoughts the shortcomings of the male
enactment were noticed sharply. Simultaneously because of women's education and
their increased visibility in society the
possibility of 'kulin' (from upper caste
origin) women enacting female roles in
theatre was considered for the first time.
Hence the focus of the debate was whether
the kulin women should enter theatre to
replace the male actors performing female
roles.
In the second phase between 1925-1933 the
complexity of the debate increased. The
theatre trade was declining because of a stiff
competition from cinema. Educated women
in good numbers were emerging in the so far
prohibited fields and the theatre trade
needed all pos s ible props for its financial
sustenance. So the trend was more towards
kulin educated women joining the theatre.
In both these phases the arguments,
whether against or in favour of kulin
women's entry into theatre, were firmly
rooted in the base of patriarchal moral
values. This patriarchal bias was sometimes
shrewdly camouf laged in the arguments
which were in favour of women's entry.
In the first phase in 1915, Rangabhoomi
invited open debate from readers on the
subject of kulin women and theatre, by
publishing a questionnaire which dealt with
the questions of moral values, development
of art and the advantages and disadvantages
of kulin women entering the theatre [6j. The
response from the men, most of them well
known in either theatre or literature, was
tremendous. Only one woman seems to have
participated in the debate.
The arguments given in favour of women's
entry only cpneerned the 'development of
theatre art' [7]. It is very clear that in this
period the only relevant issue was the growing dissatisfaction in society towards the
male enactment of female roles and towards
the obscenity, vulgarity and artificiality
which followed in the script, in the acting,
as well as in the production in general.
Development of art in practical terms
actually meant improving the above situation with women enacting female roles to
replace men.
In theory most men agree to the concept
of the 'development of art* but assumed that
there was an inherent contradiction between
art and morality. The choice was of morality
over art for the stability of the society. The
advocates of morality seemed quite sure that
if women and men came together in the
'vulnerable' f i e ld,of theatre, morals would
be adversely affected. It was said that to imagine any man other than the husband, in
the role of husband was in itself immoral.
There were some very 'practical' objections raised by these men, "if women take
to theatre as a career, then during the
menstruating period, is the company going
to stop the shows? Even the spoiled actors
of the theatre trade would not dare touch
this actress in her impure days!' It was
further asked whether the purity of theatre
as conceived by Bharat (author of Bharat
Naiya Shastra) would be retained by such
impure behaviour [10].
It is important to see how society viewed
prostitutes and widows in the context of the
theatre. For those who thought women
necessary for the 'art of theatre' but who did
not want kulin women to lose their morality,
gave reluctant 'consent' to the prostitutes
but with condi t ions that they should be
neeteeman', fil into the moral standard of
the society; or else these prostitutes would
spoil the morality of the men in the theatre
compani e s.
They were willing to accept prostitutes in
theatre under the guise of 'reforming the
prostitute' by offering them an opportunity
for a decent profession which in turn would
improve their immoral behaviour. Prostitutes' entry into theatre is justified by saying that their minds are full of evil thoughts
rather than se.....5le thoughts which would
help them enact all kinds of emot ions [6].
Those who were not very happy with the
choice of prostitutes suggested that widows
could take up acting [7] with necessary training in theatre craft.
In the second phase of the debate, i e, after
1925, the arguments against the kulin
women's entry are almost the same, but the
arguments in favour be come stronger and
very elaborate to make them sound convincing. The women were required in theatre,
as popular male actors performing female
roles were getting older and new men did not
find the enacting of female roles very
lucrative. The earlier glorified examples of
male actors were at this stage replaced by
giving examples of their ridiculous appearance and acting. Examples like these
were given to illustrate the 'degradation of
the art of theatre". Govind Tembe a very well
known personality in the world of theatre
mentioned that young men in our society
were beginning to imitate popular actors
enacting female roles. He maintained, that
at a time when the nation required strong
men. this tendency to look effeminate was
to be discouraged [9|.
The technical side of production by
this period was quite advanced. Threedimensional realistic sets replaced 'painted
back drops'. One finds description of how
the entry of the artists used to be purposely
delayed to allow the audience in the theatre
to appreciate the set of a pool side garden [10].
Changes in social attitude c ame about
due to a combinat ion of more realism in
techniques of production, and in the contents of the plays and due to the greater
visibility of women in various fields so far.
A shrewd twist was now given to the
earlier objections on the grounds of morality
versus art. It was argued that the danger of
any degradation of moral values was not so
acute any more because the women joining
theatre would be educated, cultured and kulin,
unlike the women of the earlier period [4J.
It is clear that at this stage the supporters
of women's entry into theatre did not
visualise women as independent and responsible persons but as women who fit in the
mould of the moral values put across by the
reformer men with women only in supportive roles.
'Natural feminine' qualities of women
were romanticised to pave their entry into
theatre. Much was written about the natural
grace of movements, flair for music and
natural inclination towards the emotions.
The most amusing comparison between the
two sexes made in order to prove that women
were beneficial for the art of acting is "the
imitating qualities" seen in young girls
playing with dol l s. How they imitate and
transform themselves into the roles of
mother, wife, grandmother with utmost
involvement as against boys of that age who
cannot concentrate in a single game. It was
further added that this quality in women
ought to be encouraged and purposely used
for the art of theatre [4].
The inclusion of kulin women had
another aspect. It was openly admitted that
the theatre trade in its prevailing low financial state, could not afford prostitutes
because the prostitutes earned Rs 1,000 per
night whereas the theatre trade could only
afford Rs 150 per month. Yet the needs of
the trade was greater than the number of
kulin women w ho were available. Therefore
a very clever move of expanding the definition of kulin to include more women was
made after an elaborate, intricate analysis
of the concept of kulin [II]. According to
the traditional concept, kulin is linked with
'higher' birth whereas the modified version
included women who were not necessarily
kulin by birth, but by their moral behaviour.
It had two expectations, one of being loyal
to one man and secondly of having an
aspiration of giving birth to a new kulin
'khandan'. The true intentions of this
modification of the definition should be
seen in the context of the social scene in
Maharashtra. There was a class of devdasis
from Goa who had a concubine status. They
had a high standard of artistic talents,
specially in music which the theatre trade
could not afford to waste. In order to be able
Economic and Political Weekly October 26, 1991 WS-89to be called 'neetiman', with high morals,
they could be pressurised to follow a life style
prescribed by the middle class patriarchy.
One can find examples of such women, some
of them still alive today, who must have been
emotionally pressurised to modify their
lifestyle in order to be called kulin. On the
other hand educated urban high caste kulin
women had to be trained in the art of
theatre. Quite pertinently nobody questioned
whether male actors needed any training at
all. Both these classes of women had to
follow a strict code of conduct prescribed
by the 'well wishers of the theatre*.
In 1915 when Rangabhoomi imited people
to react to the debate only one woman
Kashibai Herlekar had responded. In 1933
when the periodical Sanjiwani in its special
issue on women and theatre invited reactions, seven upper class educated (all degree
holders) women from places like Indore,
Nagpur, Khandwa, Pune and Bombay
responded. Out of these eight women who
responded, two were totally opposed to the
idea whereas six were in favour and were very
clear in advocating their views.
Some of the important points which
emerge from these reactions are: (1) Whether
women should act on stage, should be considered their personal choice based on their
personal inclination, in the same way they
would make a choice of careers as a school
teacher or a doctor. Concepts like woman's
urge for art, their ability for self expressions
are pointed out by these women, which were
never mentioned by men at any stage. (2) Art
need not be linked to morality or with being
kulin. (3) Women should not hesitate to take
the risk of entering theatre as any new venture has its own risks. They should not allow
men to make a mess of the theatre. (4) There
is no need to wait for society to accept
women in theatre but women should overcome societal prejudices. One should follow
the examples of the courageous women who
have already taken to acting to satisfy their
extreme urge to act. Jyotsna Bhole and
Padma Vartak [12]. (5) Women should accept and encourage free mixing of men and
women to overcome inhibitions. It is a
matter of our own opinion and not that of
society. (6) There are some very bold statements by Yamunabai Dravid [18] regarding
Khadilkar the famous playwright and
Balgandharva. According to her playwrights
cannot portray women characters and
Khadilkar is no exception. She has criticised
the way Khadilkar in the play Maneka, has
insulted the womanhood and motherhood
by making Maneka run after Rishi Vishwamitra urging him to make her the mother of
his child. She says "Every woman has an
urge to become a mother but certainly
women are not so crazy as to run after a
man. How can a male writer like Khadilkar
understand this? No wonder that a male
actor like Balgandharva is not ashamed to
portray this Menaka. She adds that Rukrnini
and Draupadi portrayed by Khadilkar in his
famous play Swayamwar are similarly 'male
nayikas' [13]. (7) Many women thought it
would be ideal if both the partners were in
the field of theatre, not necessarily as husband and wife. That any art form requires
total dedication therefore the women should
marry only if she can select a husband who
also respects and loves art, otherwise one
should remain unmarried to serve theatre.
Therefore in conclusion, we see that when
female roles performed by men were appreciated by society, there was a trend
against including women performers
whereas at a later stage when the demands
of 'realism' appear, the trend not only
changed in favour of women but sought to
lure women into joining theatre by romanticising feminity and by widening the definition of kulin women to include even the devdasis so that the needs of the trade were
fulfilled, but at the same time containing
them by not allowing them to deviate from
a code of conduct based on patriarchal standards of morality. There is no mention
of women's creativity or of their own
inclinations.
Thus on the one hand the 'well wishers
of theatre" looked down upon prostitutes as
having a commercial attitude towards the
art. They were called greedy for wealth and
were accused of not having a genuine love
for the art. On the other hand when women
performers become necessary of the same
•well wishers' blatantly used the language of
'using' women as a commodity to help the
theatre trade to elevate its financial and
social status.
R e f e r e n c es
[I] Valimbe, R S, Marathi Natya Samiksha
1865 to 1935.
[2] Kulkarni, Appaji Vishnu, Marathi
Rangabhoomi, 1903.
[3]Joshi, Sumant, Marathi Natyasrishtitali
Mushfiri, 1966.
[4]Kanekar, P G, Mazya Kahi Natya Smriti,
1944.
[5] Rangabhoomi (monthly), 1912.
[6] Rangabhoomi (monthly), 1915.
[7] Rangabhoomi, (monthly), 1916.
[8] Bipinchandra, 'Prostitutes and Theatre*.
Rangabhoomi, 1912.
[9] Tembe, Govindrao, 'Rangabhoomi Ani
Striya', Part I. Ratnakar, (monthly), 1928.
[10] Kale, P S, Lalit Kalechya Sahwasat, 19S6.
[II] Desai, Vasant Shantaram,'Kulin Striya Ani
Rangabhoomi', 1933.
[12] 'Striya va Rangabhoomi', special issue of
Sanjiani, 1933.
[13] Dravid, Yamunabai, 'Striya va
Rangabhoomi'.
Filling the Rice Bowl: Women in Paddy
Cultivation
K. Saradamoni
Based on intensive field work in three states (Bengal, Tamil Nadu and
Kerala), this book is a study of women's contribution to agricultural work.
The book documents in detail women's work in rice cultivation, both
in the fields and in support work (processing, supervision). It redefines
concepts like 'work', 'agricultural work', 'household work' etc. and sets
out in an appendix possible measures to ameliorate the lot of the women.
The author's profiles of some of the women bring out the ways in which
they manage their chores in the face of tremendous odds, with a courage
and dignity that light up their otherwise difficult lives.
The author taught at the Indian Statistical Institute, New Delhi, until her
recent retirement.
Hardback Rs 150.00
Orient Longman
3-6-272 Himayatnagar, Hyderabad 500 029
WS-90 Economic and Political Weekly October 26, 1991

Reading Library

2012-02-23T12:38:04Z

Thirdpoliceman007:

[[MARATHI THEATRE]]

[[Prototypes of books Phalke might have read in the 19th century]]

Narrative is like a landscape.. like particle physics..like algebra, or words, assigning values to objects on it
[http://www.dustormagic.net/NasL.html]

Moral Stories [http://moralstories.wordpress.com]

[[The Third Policeman]]

[[Excerpts- The Power of the Printed Image]]

[[Image:Ideology Of Swadeshi Art.doc1.pdf]]

[[Image:THE TRANSFORMATION OF OBJECTS INTO.pdf]]
chapter from Colonialism and its Forms of Knowledge, the British in India. by Bernard S.Cohn published by OUP

[[image:CLOTH,CLOTHES,AND COLONIALISM INDIAN IN THE NINE TEENTH CENTURY.pdf]]

[[Image:IMPRINT OF THE RAJ.pdf]]

[[Image:INITIAL ATTEMPTS TO CREATE MOVING PICTURES.pdf]]

[[Image:The Practice and Science of Drawing.pdf]]

[[Art and Nationalism Partho Mitter]]

the new international, may 1938. s. stanley, problmes of colonial india 2. read online [http://www.marxists.org/history/etol/writers/judd/1938/05/india.htm] or see [[1938]]

[[Image:Indian Unrest.pdf]] sir valentine chirol read online [http://www.gutenberg.org/catalog/world/readfile?fk_files=193968&pageno=2]
[http://en.wikipedia.org/wiki/Ignatius_Valentine_Chirol] wiki about [[valentine chirol]]
[item image]
The Bombay City Police
A Historical Sketch
1672-1916
a fascinating text to wander into, features Tilak as a seditious Hindu subject
[
http://www.archive.org/stream/bombaycitypolice00edwauoft/bombaycitypolice00edwauoft_djvu.txt]

Notes on criminal classes in the Bombay Presidency with appendices regarding some foreign criminals who occasionally visit the Presidency including hints on the detection of counterfeit coin (1908)
[http://www.archive.org/stream/notesoncriminalc00bombiala/notesoncriminalc00bombiala_djvu.txt
]

[http://www.sscnet.ucla.edu/southasia/History/British/Criminality.html] Criminality and Colonial Anthropology, Vinay Lal

Walter Benjamin on the concept of history [http://www.tasc.ac.uk/depart/media/staff/ls/WBenjamin/CONCEPT2.html]

Walter Benjamin- the work of art in the age of mechanical reproduction
[http://bid.berkeley.edu/bidclass/readings/benjamin.html]

[[Lacan]]

Jacques Derrida on the archive [http://www.hydra.umn.edu/derrida/arch.html]
[http://www.christianhubert.com/hypertext/abstract___concrete.html]abstract/concrete

[http://www.precinemahistory.net/1400.htm]the history of the discovery of cinematography

[http://www.bbc.co.uk/radio4/reith2003/lecture1.shtml] the emerging mind, understanding the human brain

[http://etext.library.adelaide.edu.au/w/wells/hg/w45th/introduction.html]read online h g wells the shape of things to come

from '[[as with shadows]]' by sulekha nair. about phalke's pea plant experiment

[[Image: Page37A.jpg]] from phalke's journey

'''[[Indian Unrest - Valentine Chirol]]'''

[[Image:Test.pdf]]
[Jules Verne, collected works. http://www.readcentral.com/author/Jules-Verne]

[[Links to free online books on magic]]

1932

2012-02-23T11:40:46Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=EgXuQZpn2g8]

10th september 1932

Rangabhoomi issue

Advertisement for 'swadeshi' directory, which would list where which swadeshi good was available.

-------------
Saigal starts his career in New Theatre Calcutta with

Mohabbat ke Aansoo

Subah ka Sitara

Zinda Laash
-------------

Maya Machindra V. Shantaram Prabhat Studios
Durga Khote plays the queen of a kingdom of man hating women

Ayodhyache Raja, first ever Marathi talkie. Prabhat Studios. Durga Khote plays Taramati
runaway hit

---------------
Patience Cooper in Bilwamangal and Ali Baba and the Forty Thieves

-----------
Sulochana in the 1932 remake of Madhuri. emerges glistening from behind a waterfall. Rangabhoomi Annual Issue, describes her, in an article by V. S. Nigam, B.A., with her soft delicate limbs and sculpted body "shaped as if by the hand of brahma at a particularly auspicious moment"(cinema Queen Miss Sulochana)

other articcles

Siren Sulochana Varieiteies Weekly

Video

2012-02-22T13:10:43Z

Thirdpoliceman007:

[http://bombaymann2.blogspot.in/2010_08_01_archive.html]

Audios and visuals

2012-02-22T13:10:13Z

Thirdpoliceman007:

'''Audio'''

----

'''[[Master Madan]]'''

'''[[louis Armstrong]]'''

'''[[Charles Chaplin]]'''

[[video]]

Indian Film History

2012-02-22T13:07:16Z

Thirdpoliceman007:

[[posters]][http://gallimafry.blogspot.in/2010/05/indian-film-posters-1930-to1940.html]

[[Image:Dadasahebphalkewith_film.jpg]]

[[victorian and cinema time line]]

----

'''The Firsts of Indian Cinema'''

----
[[a short history of cinema, notes from gilles deleuze]]

----
early indian documentary [http://www.upperstall.com/documentary.html]

timeline for cinematography in india [http://www.sarai.net/cinematography/pages/timeline_nf.htm]

[http://www.filmsound.org/india/]ths history of sound in indian cinema

----

'''Milestones from 1896-1951'''

Though film production commenced in India in 1913, it is necessary to record the progress of the film business from 1896, the historical year when Lumiere Bros' films were exhibited at Watson Hotel in Mumbai. This was the forerunner of the film industry in India; as it held many future technicians spellbound, and went on to encourage the making of the motion picture in India.

[[Image:Lumiere.jpg]]

1896

First Cinema Show

The first Cinema show in India was arranged by the agents of two French brothers, Louis and August Lumiere, pioneers of the Cinematography in France, at the Watson Hotel in Bombay on July 7, 1896 and the show was Marvel of the Century.
First Cinema Advertisement
The first cinema advertisement in India appeared in the Times of India, Bombay on July 7, 1896, which carried details of the “Living Photographic pictures in life-size reproductions by Messrs Lumiere Brotheres.

1897

First Indian to handle a cine camera
Harishchandra Sakharam Bhatvadekar alias Save Dada was the first Indian to import a Cine-camera from London at a price of 21 guineas and made a topical in 1897. He filmed a wrestling bout between Pundalik and Krishna Nhavi, which was specially arranged at the Hanging Gardens in Bombay.

The Lumière Cinématographe arrived in India at Bombay on 7 July 1896, presented by Marius Sestier, and among the audience for these first shows was a photographer from Maharastra, H.S. Bhatvadekar (more commonly known as Save Dada). He had established a photographic studio in Bombay in 1880, and was so captivated by the Lumière show that he ordered a camera from Riley brothers of England, at a price of 21 guineas. Bhatvadekar's first film, taken in November 1899, was of a wrestling match at the Hanging Gardens in Bombay and was sent back to London for processing. While awaiting the film's return Bhatvadekar secured a projector and began touring with imported films, adding the wrestling film on its return and then his second film, showing the training of circus monkeys. He filmed local scenes and an event which has gone down as the first Indian news film, the return to India from Cambridge in December 1901 of acclaimed mathematics student R.P. Paranjype, an event with considerable resonance for both Indian and British communities. Bhatvadekar went on to film the 1902/3 Delhi Durbar celebrating Edward VII's coronation, before turning to exhibition, becoming manager of the Gaiety Theatre in Bombay and ending up a wealthy man. He died while cracking a joke with a friend.1898

First Bioscope

Prof. Stevenson brings “first Bioscope” to Calcutta at the Star Theatre. “Panorama of Calcutta”- an early Indian coverage by foreign cameramen.

1899

[[Harishchandra Sakharam Bhatvadekar]]www.victorian-cinema.net/bhatvadekar.htm ( Save Dada), a photo goods dealer,
turns exhibitor and film maker.

1901

First Indian Film

“Return of Wrangler Paranjapee”- first Indian Actually Film shot by Bhatvadekar. Haralal Sen stars working in Bengal by filming extracts from stage-plays.

1902

J.F. Madan (1856-1926) launches his bioscope show in a tent at Calcutta Maidan.

1904

First Cinema show on regular basis
Manek D Sethna, who owned a cinema project, started a touring cinema with the screening of the first film “ Life of Christ” on a regular basis in Bombay in 1904. Abdulally Essofally, enterprising showman, makes the masses movie-conscious, takes up exhibition as a regular business proposition.

1907

First Cinema

The First Cinema hall in India as built by J.F. Madan in Calcutta in 1907 and it was named Elphinstone Picture Palace.

1911

First Mini Feature Film

After filming the Imperial Darbar of 1911, three business partners S.N. Patankar Anantram Parshuram Karandikar and V.P. Divekar who had earlier purchased the cine camera from Save Dada, produced the first mini-feature film (about 1,000 feet) “Savitri” in 1912. Narmada Mande, a young lady from Ahmedabad, K G Gokhale and divekar himself featured in the leading roles of the film, which could not see the screen due to several technical reasons and flaws.

First Theatrical film

Shreepad Sangit Mandali, a professional theatre group of Bombay, was performing a theatre play “pundalik” during 1911 in Bombay. Narayan Govind Chitre alias Nana Bhai Chita of India Press, Bombay sought help from R.P. Tipnis, Manager of Corontion Cinematograph, and decided to picturise the stageplay Pundalik. They took R.G. Torney alias Dada Saheb Torney, along with them to direct the proposed film. M/s Bourne and Shepherd, a British concern, took keen interest in the venture and joined hands with the promoters by providing them a cameraman, Johnson to shoot the film at Mangaldas Wadi in Bombay. The film also named “PUNDALIK” was exhibited on May 18, 1912 at Coronation Cinematography, Bombay.

1912

First Foreign-Returned Indian Cine-Technician

Dadasaheb Phalke was the first foreign returned Indian cine- technician who learned filmcraft from Cecil Hepworth, a prominent producer at Walton in England, for about a week in February 1912, March 1912.

First City of Film Production
Bombay was the first city in India where film production started in
1912

1913

First Indian feature film

RAJA HARISHCHANDRA was the first Indian feature film produced by an Indian, with out any foreign collaboration, Dadasaheb Phalke in 1912. The film was however released on May 3, 1913 at Coronation Cinematograph, Bombay.

First Producer

Dadasaheb Phalke, who released his first film RAJA HARISHCHANDRA ON May 3, 1913, was the first film producer of India.
First “Heroine” of Indian Film
The first heroine for Indian film was not a female but a young boy. Salunke, who acted as Taramati in India's first feature film “Raja Harishchandra”.

First Female Heroine

Kamala, a Maharashtrian lady, was the first female heroine in an Indian film with her lead role in Dadasaheb Phalke's second film “Bhasmasur Mohini” produced in 1913. Kamala's mother Durgabai also featured in the film.

First Hero

Dattatraya Damodar Dabke was the first hero of an Indian film. He acted as Harishchandra in “Raja Harishchandra” in 1913.
First Artiste playing as both hero & heroine
Salunke, acted as both Ram and Seeta, In Phalke's fifth film” Lanka Dahan” produced in 1917.

First Technician

Dadasaheb Phalke was not only the film producer but also the first director, writer, cameraman, make-up man, editor, art director and cine-laboratorian, with his first film “Raja Harishchandra”.

1914

First Indian feature film shown Abroad

“Raja Harishcnadra” was the first Indian Film which was shown on percentage basis in London in 1914.

1917

First feature film from Bengal

J.F. Madan produced Bengal first, feature film “Nal Damyanti” in 1917. This film had two Italians, namely, Signor and Signora Manelli in the leading roles. A new actress Patience Cooper was also introduced in the film. The film was photographed by cameraman Jyotish Sarkar.

1918

First Act to regulate cinema

The first Act which regulated and controlled the Indian film industry was enacted in 1918 and it was known as Indian Cinematograph Act 1918.

First Indian Serial

S. N. Patankar's “Exile of Shri Rama” was the first Indian Serial.
First Hollywood-trained Indian
Suchet Singh was the first Hollywood-trained Indian who had taken training in cinema technique in America and had worked as an associated under Charlie Chaplin in 1918. He returned by the end of 1918 and formed the Oriental Film Manufacturing Company Ltd. which produced its maiden film “[[Shakuntala]]” in 1920.

1919

First silent feature film from South India

R. Nataraja Mudaliar of Madras made “ Keechaka Vadham” the first silent feature film from South India.
First Female Child Star
Manadakini, daughter of Dadasaheb Phalke, was the first female child star, who featured as the child Krishna in Phalke's “Kaliya Mardan” produced by Hindustan cinema Film Company in 1919.

First Indian Made Cine-Camera

Anandrao Painter of Kolhapur was the first Indian to make a cine-camera with the help of an old cine-projector and he shot a comic film around 1918. After his death, his brother Baburao Painter produced his first film “Sairandhiri” under the banner of Maharashtra Film Company in 1919 with the help of this Indian camera.

First Film Distributor

Dadasaheb Phalke was distributing his films himself. But this business was first handled in a proper manner by R. G. Torney in 1919 under the name and style of M/s Western Movies.
First title bestowed upon any film personality
Baburao Painter was the first film personality who was bestowed with the title of Cinema Kesari by Lokmanya Tilak in 1919 after seeing his silent film “Sairandhri” produced by Maharashtra Film Company.

1920

First Cinema Poster

Baburao Painter was the first man to advertise his film “Vatsala Haran” through cinema posters as a publicity campaign in 1920.
First Film Censor Board
For the first time Boards of Film Censors were set up in Bombay, Calcutta, Madras and Rangoon in 1920 and later on at Lahore in 1927.

1921

First feature film from South

The first feature film produced in South India was “Bhishma Pratigna” produced by R. Venkiah and R. Prakash of Stars of the East Film Company, Madras in 1921.
First Social Satire
Dhiren Ganguly made “ England Returned”, the first social satire on an Indian obsessed with Western ideas, “Vali Thirumanam” made in Madras by Whittakar, is critically ac claimed and is also a box-office success.

First Artificial Lights

Baburao Painter was the first man in India to use artifical lights while making his film “Sinhagad” in 1921.

1922

First Levy of Entertainment Tax

The first levy of Entertainment Tax was o,[psed om Nemga; om 1922 and later on in Bombay in 1923 at 12 -1/2 percent.

1926

First Lady Director

The first lady director in India was Begum Fatima Sultana (wife of the Nawab of Sachien State), mother of Princess, Zubeida, star of “Alam Ara”. Begum Fatima not only acted but produced and directed several silent films including “Bulbule Paristan” “Goddess of Luck”, “Chandravati” and Milan Dinar”

First Cinema Trade Organisation

The Bombay Cinema and Theatres Trade Association, formed around 1926, was the first cinema trade organization in India. After sometime the Indian Motion Picture Association was also formed in Bombay. The Madras Cinema and Theatre League was formed in Madras in 1929. However, actual trade activities started only after the formation of the Motion Picture Society of India in Bombay in June 1932

1927

First Independent Film Processing Laboratory

The first Independent Film Processing laboratory was setup by Narayanrao Alias Dhanjibhai K. Desai in Bombay in October 1927. It was known as Atmanand Labortory.
First Indian Cinematograph Enquiry Committee
The Govt. of India appointed the first Indian Cinematograph Enquiry Committee on 6 th October 1927. The Indian Cinematograph Committee, set up under the Chairmanship of Dewan Bahudar T. Rangachariar; J.C. Daniel makes first Malayalam film “Vigada Kumaran” “Exceptional Young Man”.

First Double Role

Master Vithal was the first actor who portrayed a double role in a feature film “Prisoner of Love” produced by Sharda Film Company in 1927. The company owned by Nanubhai Desai and Bhogilal K.M. Dave, was founded in 1925.

1929

First Talkies Short Production in India

J.F. Madan and J.J. Madan of Madan Theates Ltd., Calcutta had received their sound equipment from America and they started producing as well as exhibiting sound films in India. They released a two reeler sound film in their talkies cinema, Elphinstone Picture Palace, Calcutta, in
1929.

First Talkie Feature Film Shown in India

The first Talkie Feature film shown in India was Universal's “Melody of Love” in English, which celebrated its premiere at Elphinstone Picture Palace in Calcutta in 1929.

1931

First Talkie Shorts released in Bombay

Some talkie shorts produced by Madan Theatres Ltd. , Calcutta and Krishan Film Company, Bombay; were released for the first time in the Lamingrone and Empress Cinemas in Bombay on February 4, 1931.
First Indian Talkie feature film
The first full length talkie feature film produced in India was “ ALAMARA ” Light of the World in Hindustani, produced by Ardeshir M. Irani of Imperial Film Company, Bombay. It was released at the Majestic Cinema, Bombay, on March 14, 1931.

First Talkie from Bengal

The first talkie film from Bengal was “ JAMAI SASTHI ” in Bengali
produced by Madan Theatres Ltd. in 1931.

First Tamil Talkie

Sagar Movietone's “ KALIDASS ” was the first Tamil feature film starring T.P. Rajalakshmi and directed by H.M. Reddi. The film with Tamil dialogue and Telugu songs was released in Madras on October 31,
1931.

First Talkie Film Distributor

Talkie film distribution came into existence with the advent of talkie film in 1931. Sagar Movietone, founded by Chimanlal Desai, stated the business of distribution by taking the distribution of India's first Talkies “ALAM ARA ” in 1931.

First Song

“De de khuda ke naam par” was the first song recorded for “Alam Ara” in 1931. it was sung by W.M. Khan under the music direction of Phiroz Shah.

First Music Director

Phiroz Shah Mistry was the first music director of the talkie film “Alam Ara”.
First Advertising Film Company
Niranjan Pal of Publicity/Drammatic Film Co. (1931) was the first Indian to introduce the advertising film production and business in India in 1931.

1932

First Talkie film from Punjab

“ HEER RANJAH ” in Hindi was the first talkie feature film from Punjab. It was produced by Hakim Ram Prasad on Play Art Photophone Company in 1932. This talkie film was censored by the Punjab Board.

First Marathi Film

Prabhat Film Company's “AYODHECHA RAJA” Directed by V.Shantaram in 1932 was the first Marathi film which starred Durga Khote.
First Double Version talkie
“AYODHYECHA RAJA” in Marathi and “Ayodhya Ka Raja” in Hindi were the first double version talkie films produced by Prabhat Film Company in
1932.

First Talkie which celebrated Silver Jubliee

“SHYAMSUNDER” in Marathi, produced by Dadasaheb Torne of Saraswati Cinetone and directed by Bhal G. Pendarkar was the first Indian talkie which celebrated silver jubilee by running for 27 weeks at the West End Cinema in Bombay in 1932.
First Talkie Film on Fidelytone Sound System
Eastern Film's “Shikari” in Hindi was the first talkie film with sound recorded on the Fidelytone Sound System brought into India by a foreign film unit in1932.

First Film With Maximum Songs

Madan Theatres “Indra Sabha” in 1932 is the only film produced so far with a record number of 71 songs. Madan's other three films “ CHATRABAKAVALI ”, “Guru Zarina” and “Bilwamangal” Produced in 1932 had 41, 37 songs respectively, Meenakshi Cinetone's “Pavalakkodi”, produced in 1934, had 50 songs while Angle Film's Tamil hit “Sri Hrishna Leela” in 1934 had 62 songs.
First Film With Background Music
New Theatre's “Chandidas” in Bengali was the first talkie film in which “Background” music was scored by music director R.C. Boral in 1932. Prabhat Film Company's “Amrit Manthan” released at almost the same time also had imaginative background music scored by music director Keshavrao Bhole.

1933

First Air-Conditioned Cinema

First air-conditioned cinema Regal started in Bombay.

First Colour Film

Prabhat Film Company's “Sairandhri” was the first talkie film produced
in Multicolour in 1933. However, as the colour quality was not satisfactory Imperial Film Company's “KISAN KANYA ” produced in 1937 is considered as the first colour film. Minerva Movietone's “Jhansi Ki Rani” was the first technically perfect Technicolour film directly shot on 35mm in 1953.

First Film shot in Ellora Caves

Gandharva Cinetone was, the first film company to utilize the famous Ellora Caves in their talkie film “Sati Mahananda” in 1933, written and directed by Baburao Patel.
First Talkie released in England
“Karma” (Fate) in which Devika Rani co-starred with Himansu Rai was an Anglo-Indian co-production and had a premiere of its English version in London in May 1933. The Hindi version of the film was premiered at Bombay on January 27, 1934.

1934

First Talkie shown at Venice Film Festival

The Bengali talkie film “Seeta”, directed by Debaki Bose, was the first Indian talkie film shown at the Venice Film Festival in 1934

First Talkie Produced in South

“Srinivas Kalyanam” in Tamil was the first talkie produced in the South by Srinivas Cinetone and directed by A.Narayanan in Madras in 1934. It featured R.B. Lakshmi Devi in the main role.

First Telugu Film from South

The first Telugu talkie produced by South Indian Technicians entirely in the South, in Madras, was “Seetha Kalyanam” produced by P.V. Das at the Vel Pictures Studio. Starring Rama Tilakam in the main role in 1934.

First Cartoon Film

For the first time a cartoon short was made by Messrs. Ketkar and Raosaheb Oak in 1933. Prabhat Film Company also announced a cartoon film “Jambu Kaka” but on hearing this news R.C. Boral of New Theatres started his own Cartoon film “ON A MOONLIGHT NIGHT” and completed it within one month and released it even before the completion of “Jambu Kaka”. However, “Jambu Kaka” was released at the Majestic Cinema, Bombay, on November 15, 1934 along with “Amrit Manthan”.
First Hindi Talkie to celebrate Silver Jubilee
Prabhat Film company's “Amirt Manthan” was the first talkie in Hindi which celebrated Silver Jubilee at Krishna Talkies, Bombay, by running for 29 weeks at a stretch in 1934.

1935

First Playback [http://www.upperstall.com/hindisong1.html] history of the hindi film song

Playback's was introduced in the talkie “ Bhagya Chakra” (Dhoop Chaon) produced by New Theatres in 1935 and Bombay talkie ‘Milan' B/W. Music Director R.C. Boralhad composed the music for the film.
First All India Motion Picture Convention
The first All India Motion Picture convention was held in Bombay on February 20, 1935 under the auspices of the Motion Picture Society of India headed by Mr. B.V. Jadhav.
The Parsi Panchayat took strong objection to Parsi Music Director Saraswati Devi and Chandraprabha (known as Homi Sisters) who acted in JAWANI KI HAWA . Morchas were taken out to prevent the release of the film which finally opened at Imperial Cinema under Police Protection. Parsi members of Bombay Talkies, Board of Directors including Sir Phirozshah Mehta, Sir Cavasji Jehangir & F.E. Dinshaw refused to resign. Thereafter the agitation died down. Bombay Talkies arranged a special show for Pt. Jawaharlal Nehru to see their film [[ACHHUT KANYA]] .

1937

First Kannada-Tamil Double Version Film

The first talkie film produced simultaneously in two versions, in Kannada and Tamil, was “[[PURANDARDAS]]” by Devi Films in 1937.
First Film without Any Song
Wadia Movietone's “ Naujawan” was the first talkie without any song produced in 1937.

First Colour Film Laboratory

K.B. Ardeshir M Irani of Imperial Film Company established a colour film laboratory for the first time in India in 1937. Imperia's “Kisan Kanya” was the first cine colour film from this laboratory.
IMPPA Formed
Formation of Indian Motion Picture Producers” Association in Bombay
“CHITAMANI” (Tamil), directed by Y.V. Rao and starring M.K. Thilagaraja Bhagavathar and K. Aswathama (13 th March), creates a record for continuous run for more than one year in one cinema house alone.
Debaki Bose gives lyrical and philosophical treatment to the life of a Vaishnative poet in New Theatres ‘ VIDYAPATI'.

1938

First Malayalam Talkie

The first talkie film in Malayalee was “Balan” produced by Modern Theatres Ltd. Salem in 1938. It was directed by Notani.
Formation of South Indian Film Chamber of Commerce in Madras and Indian Motion Picture Distributor's Association in Bombay.

First Camera Crane

Wadia Movietone used the camera crane for the first time in India while producing their films in 1938. The crane was built in their own workshop under the expert care of B.M. Tara.

1939

Silver Jubilee celebrations of the Indian Cinema in Bombay (in May)

First Hindi Talkie from South

“Prem Sagar” produced and directed by K. Subramanyam in 1939 was the first Hindi Talkie produced in the south.

1942

First Film Society

Bombay Film Society was the first film society in India formed in Bombay in 1942.

First Govt. Control over length & Distribution of Raw Film

The Govt. of India restricted the footage of the feature films to 11,000 feet and that of trailers to 400 feet, from May 16, 1942. Further, distribution of raw film was also controlled for the first time from 17 th July 1943 to 15 th Dec. 1945.

1943

Government Control on the distribution of raw film; The Information Films of India and Indian News Parade, set up by Government to produce documentaries and newsreels; Exhibition of Government “approved” films made compulsory under D.I.R. 44 A.

1944

First Talkie Produced in English Language

Wadia Movietone's “The Court Dancer” was the first Indian Talkie which had English dialogue. It was released in USA in 1944. Dadasaheb Phalke, father of Indian Cinema, passes away on 16 th Feb. 1944.

1947

Bombay Talkies ‘[[KISMAT]]', made in 1943, creates an all time record for the longest continuous run of more than three and a half years at a single cinema ROXY in Calcutta.

1948

First Ballet Film

Screen and Stage Production Madras “Kalpana” directed by Uday Shankar in 1948 was the first ballet film in India. It had dialogue by Amrit Lal Nagar and Lyrics by Sumitra Nandan Pant.

1949

First 16mm colour feature film

Bhavnani Productions ‘Rangeen Zamana” produced and directed by M. Bhavnani in 1948 (released as “Ajit” in 1949) was the first colour feature film produced on Kodachrome and blown up to 35mm.
First Time “A” and “U” Classification
The Indian Cinematograph Act 1918 was amended in December 1949 by which time censorship was made a Central subject for the first time and two types of categories “A” and “U” were prescribed for certification of films.

1950

First Film With “A” certificate

Akash Chitra's “Hanste Aansu” was the first Hindi feature film in 1950 which was is sued an “A” Certificate (Film suitable for exhibition to Adults only) in India.

1951

Formation of Central Board of Film Censors with B.N. Sircar on the Board.
Launching of Film Federation of India.

Indian Film History

2012-02-22T13:06:47Z

Thirdpoliceman007:

[[posters]]

[[Image:Dadasahebphalkewith_film.jpg]]

[[victorian and cinema time line]]

----

'''The Firsts of Indian Cinema'''

----
[[a short history of cinema, notes from gilles deleuze]]

----
early indian documentary [http://www.upperstall.com/documentary.html]

timeline for cinematography in india [http://www.sarai.net/cinematography/pages/timeline_nf.htm]

[http://www.filmsound.org/india/]ths history of sound in indian cinema

----

'''Milestones from 1896-1951'''

Though film production commenced in India in 1913, it is necessary to record the progress of the film business from 1896, the historical year when Lumiere Bros' films were exhibited at Watson Hotel in Mumbai. This was the forerunner of the film industry in India; as it held many future technicians spellbound, and went on to encourage the making of the motion picture in India.

[[Image:Lumiere.jpg]]

1896

First Cinema Show

The first Cinema show in India was arranged by the agents of two French brothers, Louis and August Lumiere, pioneers of the Cinematography in France, at the Watson Hotel in Bombay on July 7, 1896 and the show was Marvel of the Century.
First Cinema Advertisement
The first cinema advertisement in India appeared in the Times of India, Bombay on July 7, 1896, which carried details of the “Living Photographic pictures in life-size reproductions by Messrs Lumiere Brotheres.

1897

First Indian to handle a cine camera
Harishchandra Sakharam Bhatvadekar alias Save Dada was the first Indian to import a Cine-camera from London at a price of 21 guineas and made a topical in 1897. He filmed a wrestling bout between Pundalik and Krishna Nhavi, which was specially arranged at the Hanging Gardens in Bombay.

The Lumière Cinématographe arrived in India at Bombay on 7 July 1896, presented by Marius Sestier, and among the audience for these first shows was a photographer from Maharastra, H.S. Bhatvadekar (more commonly known as Save Dada). He had established a photographic studio in Bombay in 1880, and was so captivated by the Lumière show that he ordered a camera from Riley brothers of England, at a price of 21 guineas. Bhatvadekar's first film, taken in November 1899, was of a wrestling match at the Hanging Gardens in Bombay and was sent back to London for processing. While awaiting the film's return Bhatvadekar secured a projector and began touring with imported films, adding the wrestling film on its return and then his second film, showing the training of circus monkeys. He filmed local scenes and an event which has gone down as the first Indian news film, the return to India from Cambridge in December 1901 of acclaimed mathematics student R.P. Paranjype, an event with considerable resonance for both Indian and British communities. Bhatvadekar went on to film the 1902/3 Delhi Durbar celebrating Edward VII's coronation, before turning to exhibition, becoming manager of the Gaiety Theatre in Bombay and ending up a wealthy man. He died while cracking a joke with a friend.1898

First Bioscope

Prof. Stevenson brings “first Bioscope” to Calcutta at the Star Theatre. “Panorama of Calcutta”- an early Indian coverage by foreign cameramen.

1899

[[Harishchandra Sakharam Bhatvadekar]]www.victorian-cinema.net/bhatvadekar.htm ( Save Dada), a photo goods dealer,
turns exhibitor and film maker.

1901

First Indian Film

“Return of Wrangler Paranjapee”- first Indian Actually Film shot by Bhatvadekar. Haralal Sen stars working in Bengal by filming extracts from stage-plays.

1902

J.F. Madan (1856-1926) launches his bioscope show in a tent at Calcutta Maidan.

1904

First Cinema show on regular basis
Manek D Sethna, who owned a cinema project, started a touring cinema with the screening of the first film “ Life of Christ” on a regular basis in Bombay in 1904. Abdulally Essofally, enterprising showman, makes the masses movie-conscious, takes up exhibition as a regular business proposition.

1907

First Cinema

The First Cinema hall in India as built by J.F. Madan in Calcutta in 1907 and it was named Elphinstone Picture Palace.

1911

First Mini Feature Film

After filming the Imperial Darbar of 1911, three business partners S.N. Patankar Anantram Parshuram Karandikar and V.P. Divekar who had earlier purchased the cine camera from Save Dada, produced the first mini-feature film (about 1,000 feet) “Savitri” in 1912. Narmada Mande, a young lady from Ahmedabad, K G Gokhale and divekar himself featured in the leading roles of the film, which could not see the screen due to several technical reasons and flaws.

First Theatrical film

Shreepad Sangit Mandali, a professional theatre group of Bombay, was performing a theatre play “pundalik” during 1911 in Bombay. Narayan Govind Chitre alias Nana Bhai Chita of India Press, Bombay sought help from R.P. Tipnis, Manager of Corontion Cinematograph, and decided to picturise the stageplay Pundalik. They took R.G. Torney alias Dada Saheb Torney, along with them to direct the proposed film. M/s Bourne and Shepherd, a British concern, took keen interest in the venture and joined hands with the promoters by providing them a cameraman, Johnson to shoot the film at Mangaldas Wadi in Bombay. The film also named “PUNDALIK” was exhibited on May 18, 1912 at Coronation Cinematography, Bombay.

1912

First Foreign-Returned Indian Cine-Technician

Dadasaheb Phalke was the first foreign returned Indian cine- technician who learned filmcraft from Cecil Hepworth, a prominent producer at Walton in England, for about a week in February 1912, March 1912.

First City of Film Production
Bombay was the first city in India where film production started in
1912

1913

First Indian feature film

RAJA HARISHCHANDRA was the first Indian feature film produced by an Indian, with out any foreign collaboration, Dadasaheb Phalke in 1912. The film was however released on May 3, 1913 at Coronation Cinematograph, Bombay.

First Producer

Dadasaheb Phalke, who released his first film RAJA HARISHCHANDRA ON May 3, 1913, was the first film producer of India.
First “Heroine” of Indian Film
The first heroine for Indian film was not a female but a young boy. Salunke, who acted as Taramati in India's first feature film “Raja Harishchandra”.

First Female Heroine

Kamala, a Maharashtrian lady, was the first female heroine in an Indian film with her lead role in Dadasaheb Phalke's second film “Bhasmasur Mohini” produced in 1913. Kamala's mother Durgabai also featured in the film.

First Hero

Dattatraya Damodar Dabke was the first hero of an Indian film. He acted as Harishchandra in “Raja Harishchandra” in 1913.
First Artiste playing as both hero & heroine
Salunke, acted as both Ram and Seeta, In Phalke's fifth film” Lanka Dahan” produced in 1917.

First Technician

Dadasaheb Phalke was not only the film producer but also the first director, writer, cameraman, make-up man, editor, art director and cine-laboratorian, with his first film “Raja Harishchandra”.

1914

First Indian feature film shown Abroad

“Raja Harishcnadra” was the first Indian Film which was shown on percentage basis in London in 1914.

1917

First feature film from Bengal

J.F. Madan produced Bengal first, feature film “Nal Damyanti” in 1917. This film had two Italians, namely, Signor and Signora Manelli in the leading roles. A new actress Patience Cooper was also introduced in the film. The film was photographed by cameraman Jyotish Sarkar.

1918

First Act to regulate cinema

The first Act which regulated and controlled the Indian film industry was enacted in 1918 and it was known as Indian Cinematograph Act 1918.

First Indian Serial

S. N. Patankar's “Exile of Shri Rama” was the first Indian Serial.
First Hollywood-trained Indian
Suchet Singh was the first Hollywood-trained Indian who had taken training in cinema technique in America and had worked as an associated under Charlie Chaplin in 1918. He returned by the end of 1918 and formed the Oriental Film Manufacturing Company Ltd. which produced its maiden film “[[Shakuntala]]” in 1920.

1919

First silent feature film from South India

R. Nataraja Mudaliar of Madras made “ Keechaka Vadham” the first silent feature film from South India.
First Female Child Star
Manadakini, daughter of Dadasaheb Phalke, was the first female child star, who featured as the child Krishna in Phalke's “Kaliya Mardan” produced by Hindustan cinema Film Company in 1919.

First Indian Made Cine-Camera

Anandrao Painter of Kolhapur was the first Indian to make a cine-camera with the help of an old cine-projector and he shot a comic film around 1918. After his death, his brother Baburao Painter produced his first film “Sairandhiri” under the banner of Maharashtra Film Company in 1919 with the help of this Indian camera.

First Film Distributor

Dadasaheb Phalke was distributing his films himself. But this business was first handled in a proper manner by R. G. Torney in 1919 under the name and style of M/s Western Movies.
First title bestowed upon any film personality
Baburao Painter was the first film personality who was bestowed with the title of Cinema Kesari by Lokmanya Tilak in 1919 after seeing his silent film “Sairandhri” produced by Maharashtra Film Company.

1920

First Cinema Poster

Baburao Painter was the first man to advertise his film “Vatsala Haran” through cinema posters as a publicity campaign in 1920.
First Film Censor Board
For the first time Boards of Film Censors were set up in Bombay, Calcutta, Madras and Rangoon in 1920 and later on at Lahore in 1927.

1921

First feature film from South

The first feature film produced in South India was “Bhishma Pratigna” produced by R. Venkiah and R. Prakash of Stars of the East Film Company, Madras in 1921.
First Social Satire
Dhiren Ganguly made “ England Returned”, the first social satire on an Indian obsessed with Western ideas, “Vali Thirumanam” made in Madras by Whittakar, is critically ac claimed and is also a box-office success.

First Artificial Lights

Baburao Painter was the first man in India to use artifical lights while making his film “Sinhagad” in 1921.

1922

First Levy of Entertainment Tax

The first levy of Entertainment Tax was o,[psed om Nemga; om 1922 and later on in Bombay in 1923 at 12 -1/2 percent.

1926

First Lady Director

The first lady director in India was Begum Fatima Sultana (wife of the Nawab of Sachien State), mother of Princess, Zubeida, star of “Alam Ara”. Begum Fatima not only acted but produced and directed several silent films including “Bulbule Paristan” “Goddess of Luck”, “Chandravati” and Milan Dinar”

First Cinema Trade Organisation

The Bombay Cinema and Theatres Trade Association, formed around 1926, was the first cinema trade organization in India. After sometime the Indian Motion Picture Association was also formed in Bombay. The Madras Cinema and Theatre League was formed in Madras in 1929. However, actual trade activities started only after the formation of the Motion Picture Society of India in Bombay in June 1932

1927

First Independent Film Processing Laboratory

The first Independent Film Processing laboratory was setup by Narayanrao Alias Dhanjibhai K. Desai in Bombay in October 1927. It was known as Atmanand Labortory.
First Indian Cinematograph Enquiry Committee
The Govt. of India appointed the first Indian Cinematograph Enquiry Committee on 6 th October 1927. The Indian Cinematograph Committee, set up under the Chairmanship of Dewan Bahudar T. Rangachariar; J.C. Daniel makes first Malayalam film “Vigada Kumaran” “Exceptional Young Man”.

First Double Role

Master Vithal was the first actor who portrayed a double role in a feature film “Prisoner of Love” produced by Sharda Film Company in 1927. The company owned by Nanubhai Desai and Bhogilal K.M. Dave, was founded in 1925.

1929

First Talkies Short Production in India

J.F. Madan and J.J. Madan of Madan Theates Ltd., Calcutta had received their sound equipment from America and they started producing as well as exhibiting sound films in India. They released a two reeler sound film in their talkies cinema, Elphinstone Picture Palace, Calcutta, in
1929.

First Talkie Feature Film Shown in India

The first Talkie Feature film shown in India was Universal's “Melody of Love” in English, which celebrated its premiere at Elphinstone Picture Palace in Calcutta in 1929.

1931

First Talkie Shorts released in Bombay

Some talkie shorts produced by Madan Theatres Ltd. , Calcutta and Krishan Film Company, Bombay; were released for the first time in the Lamingrone and Empress Cinemas in Bombay on February 4, 1931.
First Indian Talkie feature film
The first full length talkie feature film produced in India was “ ALAMARA ” Light of the World in Hindustani, produced by Ardeshir M. Irani of Imperial Film Company, Bombay. It was released at the Majestic Cinema, Bombay, on March 14, 1931.

First Talkie from Bengal

The first talkie film from Bengal was “ JAMAI SASTHI ” in Bengali
produced by Madan Theatres Ltd. in 1931.

First Tamil Talkie

Sagar Movietone's “ KALIDASS ” was the first Tamil feature film starring T.P. Rajalakshmi and directed by H.M. Reddi. The film with Tamil dialogue and Telugu songs was released in Madras on October 31,
1931.

First Talkie Film Distributor

Talkie film distribution came into existence with the advent of talkie film in 1931. Sagar Movietone, founded by Chimanlal Desai, stated the business of distribution by taking the distribution of India's first Talkies “ALAM ARA ” in 1931.

First Song

“De de khuda ke naam par” was the first song recorded for “Alam Ara” in 1931. it was sung by W.M. Khan under the music direction of Phiroz Shah.

First Music Director

Phiroz Shah Mistry was the first music director of the talkie film “Alam Ara”.
First Advertising Film Company
Niranjan Pal of Publicity/Drammatic Film Co. (1931) was the first Indian to introduce the advertising film production and business in India in 1931.

1932

First Talkie film from Punjab

“ HEER RANJAH ” in Hindi was the first talkie feature film from Punjab. It was produced by Hakim Ram Prasad on Play Art Photophone Company in 1932. This talkie film was censored by the Punjab Board.

First Marathi Film

Prabhat Film Company's “AYODHECHA RAJA” Directed by V.Shantaram in 1932 was the first Marathi film which starred Durga Khote.
First Double Version talkie
“AYODHYECHA RAJA” in Marathi and “Ayodhya Ka Raja” in Hindi were the first double version talkie films produced by Prabhat Film Company in
1932.

First Talkie which celebrated Silver Jubliee

“SHYAMSUNDER” in Marathi, produced by Dadasaheb Torne of Saraswati Cinetone and directed by Bhal G. Pendarkar was the first Indian talkie which celebrated silver jubilee by running for 27 weeks at the West End Cinema in Bombay in 1932.
First Talkie Film on Fidelytone Sound System
Eastern Film's “Shikari” in Hindi was the first talkie film with sound recorded on the Fidelytone Sound System brought into India by a foreign film unit in1932.

First Film With Maximum Songs

Madan Theatres “Indra Sabha” in 1932 is the only film produced so far with a record number of 71 songs. Madan's other three films “ CHATRABAKAVALI ”, “Guru Zarina” and “Bilwamangal” Produced in 1932 had 41, 37 songs respectively, Meenakshi Cinetone's “Pavalakkodi”, produced in 1934, had 50 songs while Angle Film's Tamil hit “Sri Hrishna Leela” in 1934 had 62 songs.
First Film With Background Music
New Theatre's “Chandidas” in Bengali was the first talkie film in which “Background” music was scored by music director R.C. Boral in 1932. Prabhat Film Company's “Amrit Manthan” released at almost the same time also had imaginative background music scored by music director Keshavrao Bhole.

1933

First Air-Conditioned Cinema

First air-conditioned cinema Regal started in Bombay.

First Colour Film

Prabhat Film Company's “Sairandhri” was the first talkie film produced
in Multicolour in 1933. However, as the colour quality was not satisfactory Imperial Film Company's “KISAN KANYA ” produced in 1937 is considered as the first colour film. Minerva Movietone's “Jhansi Ki Rani” was the first technically perfect Technicolour film directly shot on 35mm in 1953.

First Film shot in Ellora Caves

Gandharva Cinetone was, the first film company to utilize the famous Ellora Caves in their talkie film “Sati Mahananda” in 1933, written and directed by Baburao Patel.
First Talkie released in England
“Karma” (Fate) in which Devika Rani co-starred with Himansu Rai was an Anglo-Indian co-production and had a premiere of its English version in London in May 1933. The Hindi version of the film was premiered at Bombay on January 27, 1934.

1934

First Talkie shown at Venice Film Festival

The Bengali talkie film “Seeta”, directed by Debaki Bose, was the first Indian talkie film shown at the Venice Film Festival in 1934

First Talkie Produced in South

“Srinivas Kalyanam” in Tamil was the first talkie produced in the South by Srinivas Cinetone and directed by A.Narayanan in Madras in 1934. It featured R.B. Lakshmi Devi in the main role.

First Telugu Film from South

The first Telugu talkie produced by South Indian Technicians entirely in the South, in Madras, was “Seetha Kalyanam” produced by P.V. Das at the Vel Pictures Studio. Starring Rama Tilakam in the main role in 1934.

First Cartoon Film

For the first time a cartoon short was made by Messrs. Ketkar and Raosaheb Oak in 1933. Prabhat Film Company also announced a cartoon film “Jambu Kaka” but on hearing this news R.C. Boral of New Theatres started his own Cartoon film “ON A MOONLIGHT NIGHT” and completed it within one month and released it even before the completion of “Jambu Kaka”. However, “Jambu Kaka” was released at the Majestic Cinema, Bombay, on November 15, 1934 along with “Amrit Manthan”.
First Hindi Talkie to celebrate Silver Jubilee
Prabhat Film company's “Amirt Manthan” was the first talkie in Hindi which celebrated Silver Jubilee at Krishna Talkies, Bombay, by running for 29 weeks at a stretch in 1934.

1935

First Playback [http://www.upperstall.com/hindisong1.html] history of the hindi film song

Playback's was introduced in the talkie “ Bhagya Chakra” (Dhoop Chaon) produced by New Theatres in 1935 and Bombay talkie ‘Milan' B/W. Music Director R.C. Boralhad composed the music for the film.
First All India Motion Picture Convention
The first All India Motion Picture convention was held in Bombay on February 20, 1935 under the auspices of the Motion Picture Society of India headed by Mr. B.V. Jadhav.
The Parsi Panchayat took strong objection to Parsi Music Director Saraswati Devi and Chandraprabha (known as Homi Sisters) who acted in JAWANI KI HAWA . Morchas were taken out to prevent the release of the film which finally opened at Imperial Cinema under Police Protection. Parsi members of Bombay Talkies, Board of Directors including Sir Phirozshah Mehta, Sir Cavasji Jehangir & F.E. Dinshaw refused to resign. Thereafter the agitation died down. Bombay Talkies arranged a special show for Pt. Jawaharlal Nehru to see their film [[ACHHUT KANYA]] .

1937

First Kannada-Tamil Double Version Film

The first talkie film produced simultaneously in two versions, in Kannada and Tamil, was “[[PURANDARDAS]]” by Devi Films in 1937.
First Film without Any Song
Wadia Movietone's “ Naujawan” was the first talkie without any song produced in 1937.

First Colour Film Laboratory

K.B. Ardeshir M Irani of Imperial Film Company established a colour film laboratory for the first time in India in 1937. Imperia's “Kisan Kanya” was the first cine colour film from this laboratory.
IMPPA Formed
Formation of Indian Motion Picture Producers” Association in Bombay
“CHITAMANI” (Tamil), directed by Y.V. Rao and starring M.K. Thilagaraja Bhagavathar and K. Aswathama (13 th March), creates a record for continuous run for more than one year in one cinema house alone.
Debaki Bose gives lyrical and philosophical treatment to the life of a Vaishnative poet in New Theatres ‘ VIDYAPATI'.

1938

First Malayalam Talkie

The first talkie film in Malayalee was “Balan” produced by Modern Theatres Ltd. Salem in 1938. It was directed by Notani.
Formation of South Indian Film Chamber of Commerce in Madras and Indian Motion Picture Distributor's Association in Bombay.

First Camera Crane

Wadia Movietone used the camera crane for the first time in India while producing their films in 1938. The crane was built in their own workshop under the expert care of B.M. Tara.

1939

Silver Jubilee celebrations of the Indian Cinema in Bombay (in May)

First Hindi Talkie from South

“Prem Sagar” produced and directed by K. Subramanyam in 1939 was the first Hindi Talkie produced in the south.

1942

First Film Society

Bombay Film Society was the first film society in India formed in Bombay in 1942.

First Govt. Control over length & Distribution of Raw Film

The Govt. of India restricted the footage of the feature films to 11,000 feet and that of trailers to 400 feet, from May 16, 1942. Further, distribution of raw film was also controlled for the first time from 17 th July 1943 to 15 th Dec. 1945.

1943

Government Control on the distribution of raw film; The Information Films of India and Indian News Parade, set up by Government to produce documentaries and newsreels; Exhibition of Government “approved” films made compulsory under D.I.R. 44 A.

1944

First Talkie Produced in English Language

Wadia Movietone's “The Court Dancer” was the first Indian Talkie which had English dialogue. It was released in USA in 1944. Dadasaheb Phalke, father of Indian Cinema, passes away on 16 th Feb. 1944.

1947

Bombay Talkies ‘[[KISMAT]]', made in 1943, creates an all time record for the longest continuous run of more than three and a half years at a single cinema ROXY in Calcutta.

1948

First Ballet Film

Screen and Stage Production Madras “Kalpana” directed by Uday Shankar in 1948 was the first ballet film in India. It had dialogue by Amrit Lal Nagar and Lyrics by Sumitra Nandan Pant.

1949

First 16mm colour feature film

Bhavnani Productions ‘Rangeen Zamana” produced and directed by M. Bhavnani in 1948 (released as “Ajit” in 1949) was the first colour feature film produced on Kodachrome and blown up to 35mm.
First Time “A” and “U” Classification
The Indian Cinematograph Act 1918 was amended in December 1949 by which time censorship was made a Central subject for the first time and two types of categories “A” and “U” were prescribed for certification of films.

1950

First Film With “A” certificate

Akash Chitra's “Hanste Aansu” was the first Hindi feature film in 1950 which was is sued an “A” Certificate (Film suitable for exhibition to Adults only) in India.

1951

Formation of Central Board of Film Censors with B.N. Sircar on the Board.
Launching of Film Federation of India.

Elphinstone Bioscope Co.

2012-02-21T08:46:38Z

Thirdpoliceman007:

[http://en.wikipedia.org/wiki/Madan_Theatre]

1906

2012-02-21T08:44:00Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

[[Tilak]] writes his "Arctic Home of the Vedas" while in prison [http://en.wikipedia.org/wiki/The_Arctic_Home_in_the_Vedas]

First Radio broadcast

First cubist painting, [[Les Demoiselles of Avignon]]- Picasso[http://en.wikipedia.org/wiki/Les_Demoiselles_d'Avignon]

[[Demand for Home Rule]][http://en.wikipedia.org/wiki/History_of_the_Indian_National_Congress]

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1906

2012-02-21T08:43:33Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

[[Tilak]] writes his "Arctic Home of the Vedas" while in prison [http://en.wikipedia.org/wiki/The_Arctic_Home_in_the_Vedas]

First Radio broadcast

First cubist painting, [[Les Demoiselles of Avignon]]- Picasso[http://en.wikipedia.org/wiki/Les_Demoiselles_d'Avignon]

[[Demand for Home Rule]]

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1906

2012-02-21T08:41:12Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

[[Tilak]] writes his "Arctic Home of the Vedas" while in prison [http://en.wikipedia.org/wiki/The_Arctic_Home_in_the_Vedas]

First Radio broadcast

First cubist painting, [[Les Demoiselles of Avignon]]- Picasso[http://en.wikipedia.org/wiki/Les_Demoiselles_d'Avignon]

Demand for Home Rule

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1906

2012-02-21T08:40:39Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

[[Tilak]] writes his "Arctic Home of the Vedas" while in prison [http://en.wikipedia.org/wiki/The_Arctic_Home_in_the_Vedas]

First Radio broadcast

First cubist painting, [[Les Demoiselles of Avignon]]- Picasso

Demand for Home Rule

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1906

2012-02-21T08:39:02Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

[[Tilak]] writes his "Arctic Home of the Vedas" while in prison [http://en.wikipedia.org/wiki/The_Arctic_Home_in_the_Vedas]

First Radio broadcast

First cubist painting, Les Demoiselles of Avignon- Picasso

Demand for Home Rule

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1906

2012-02-21T08:38:31Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

Tilak writes his "Arctic Home of the Vedas" while in prison [http://en.wikipedia.org/wiki/The_Arctic_Home_in_the_Vedas]

First Radio broadcast

First cubist painting, Les Demoiselles of Avignon- Picasso

Demand for Home Rule

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1899

2012-02-21T06:02:15Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=T1iaF4Np2PU&feature=relmfu]

Lord Curzon.[http://www.youtube.com/watch?v=QOythSWY7Fw]
-----------
Phalke is returning from Ratlam, filled with a strange sense of foreboding, and anxious to get home(check date).

Stopping by the crest of a hill, he is stunned by the tableau at his feet.

Vultures are wheeling in the sky.

Their hungry cries echo in a landscape of carts pulling the dead from Godhra.

"The plague came soon after you arrived with your camera, Baba," the driver spits, fear on his face.

In a frenzy, Phalke runs from cart to cart, snapping open the shrouds, praying that he will not find the faces he seeks.

Bewildered, he makes his way home.

An empty house yawns at him.

Three women in the white robes of widows whimper at the gate.

A dog appears at the door and runs back inside.

"Your camera imprisoned our soul. You've brought the black plague upon us," the neighbours wail.

A sound comes from his house.

Phalke rushes inside, calling for his wife and child.

The house has been ransacked.

The fire in the kitchen is cold.

Even the cupboards are empty.

Only a few of his photographs have survived.

He runs into the child's room.

It is dark.

He strikes a match.

Many matches later, he spots the bed.

A rat scuttles away.

On the bed is a slate with a child's drawing.

His child's last game.

By the flickering light of the match we see a stick man with a camera.
-----------------------

There is an interesting story where hearth becomes the theatre. The figures were manipulated from inside the chimmney in which the operator was cpncealed by a green baize. Al went well until a large bird tumbled down the chimmney and covered everything with soot, burst its way through the cloth curtain, flapped its great wings and clawed at everythign within reach. All the women shrieked and fled, being sure that the devil himself had come for them.
Ultimately what I am seeking in the photograph of me is Death:
strangley the only thing that i tolderate, that I liek, that is familiar to me when I am photographed, is the sound of the camera. The photographer's organ is not his eyes (which lens frees me), but his finger, what is linked to the trigger of his lens, to the metalllic shifitng of the plates. For me the noise of this is not ...?? Caeras, in short, are clocks for seeing.- and perhaps someone very old still hears in the photographic mechanism the living sound of the wood. The Astronomical Revolver- in which a circular Daguerrotype plate was rotated intermittently by clockwork through a modified form of Maltese Cross mechanism.

A rotating shutter of 12 apertures exposed the plate each time it was at rest, giving 48 exposures in 72 seconds. The bareel of the gun is a tube containting the photographic lens. Behind,and mounted on the butt, is a large cylindrical

--------------------

Calcutta receives electricity supply , although earlier that year, the Maharaja of Bikaner had apparently been the first Indian to switch on an electric light bulb. [[Lord Curzon]] becomes Viceroy and Governor general of India. The seminal work of Urdu literature,[[ Ruswa Mohammed Hadi Mirza]]'s Umrao Jaan Ada is published. Performance of B.G.Deval's Marathi play, [[Sangeet Sharada]], someties cited as the first ever reform 'social'.

[[H.S. Bhatavadekar]] films a wrestling match in Bombay's hanging gardens.
----

[[in phalke's journey]]

----
[[1899 in ravi varma's diaries]]

The Ravi Varma press is facing mounting debts for various reasons- the brothers' constant travels, the prevailing plague conditions and the difficulty of hiring labour, the death of their uncle making their brothers leave Bombay for two years.
A number of paintings are sold to Joshi for the sum of Rs. 22,000

----

'''[[Indian Gramophone Records]]'''

First recording of Indian music by Gramaphone and Typewriter Ltd. in London in 1899. Voice of an Indian person

---------
[[Image:1899mar1.jpg]]

-----------

1899

2012-02-21T05:58:50Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=T1iaF4Np2PU&feature=relmfu]

Lord Curzon.
-----------
Phalke is returning from Ratlam, filled with a strange sense of foreboding, and anxious to get home(check date).

Stopping by the crest of a hill, he is stunned by the tableau at his feet.

Vultures are wheeling in the sky.

Their hungry cries echo in a landscape of carts pulling the dead from Godhra.

"The plague came soon after you arrived with your camera, Baba," the driver spits, fear on his face.

In a frenzy, Phalke runs from cart to cart, snapping open the shrouds, praying that he will not find the faces he seeks.

Bewildered, he makes his way home.

An empty house yawns at him.

Three women in the white robes of widows whimper at the gate.

A dog appears at the door and runs back inside.

"Your camera imprisoned our soul. You've brought the black plague upon us," the neighbours wail.

A sound comes from his house.

Phalke rushes inside, calling for his wife and child.

The house has been ransacked.

The fire in the kitchen is cold.

Even the cupboards are empty.

Only a few of his photographs have survived.

He runs into the child's room.

It is dark.

He strikes a match.

Many matches later, he spots the bed.

A rat scuttles away.

On the bed is a slate with a child's drawing.

His child's last game.

By the flickering light of the match we see a stick man with a camera.
-----------------------

There is an interesting story where hearth becomes the theatre. The figures were manipulated from inside the chimmney in which the operator was cpncealed by a green baize. Al went well until a large bird tumbled down the chimmney and covered everything with soot, burst its way through the cloth curtain, flapped its great wings and clawed at everythign within reach. All the women shrieked and fled, being sure that the devil himself had come for them.
Ultimately what I am seeking in the photograph of me is Death:
strangley the only thing that i tolderate, that I liek, that is familiar to me when I am photographed, is the sound of the camera. The photographer's organ is not his eyes (which lens frees me), but his finger, what is linked to the trigger of his lens, to the metalllic shifitng of the plates. For me the noise of this is not ...?? Caeras, in short, are clocks for seeing.- and perhaps someone very old still hears in the photographic mechanism the living sound of the wood. The Astronomical Revolver- in which a circular Daguerrotype plate was rotated intermittently by clockwork through a modified form of Maltese Cross mechanism.

A rotating shutter of 12 apertures exposed the plate each time it was at rest, giving 48 exposures in 72 seconds. The bareel of the gun is a tube containting the photographic lens. Behind,and mounted on the butt, is a large cylindrical

--------------------

Calcutta receives electricity supply , although earlier that year, the Maharaja of Bikaner had apparently been the first Indian to switch on an electric light bulb. [[Lord Curzon]] becomes Viceroy and Governor general of India. The seminal work of Urdu literature,[[ Ruswa Mohammed Hadi Mirza]]'s Umrao Jaan Ada is published. Performance of B.G.Deval's Marathi play, [[Sangeet Sharada]], someties cited as the first ever reform 'social'.

[[H.S. Bhatavadekar]] films a wrestling match in Bombay's hanging gardens.
----

[[in phalke's journey]]

----
[[1899 in ravi varma's diaries]]

The Ravi Varma press is facing mounting debts for various reasons- the brothers' constant travels, the prevailing plague conditions and the difficulty of hiring labour, the death of their uncle making their brothers leave Bombay for two years.
A number of paintings are sold to Joshi for the sum of Rs. 22,000

----

'''[[Indian Gramophone Records]]'''

First recording of Indian music by Gramaphone and Typewriter Ltd. in London in 1899. Voice of an Indian person

---------
[[Image:1899mar1.jpg]]

-----------

1906

2012-02-21T05:57:04Z

Thirdpoliceman007:

[http://www.youtube.com/watch?v=oJwfrCPVNa4&feature=relmfu]

Dada's father dies.

20th OCtober, Ravi Varma Dies.

Tilak writes his "Arctic Home of the Vedas" while in prison

First Radio broadcast

First cubist painting, Les Demoiselles of Avignon- Picasso

Demand for Home Rule

TOI report on the Raj travellers

[[Dadabhai Naroji]], president of the [[Indian National Congress]] announces that the Party aim is full self -government or [[Swaraj]]. The artist [[Raja Ravi Varma]] dies.

----

Madan's [[Elphinstone Bioscope Co.]] dominates over indigenous film production.

[[Shri Aurobindo]] comes to Bengal and joins the freedom movement page 8, [http://www.aurobindo.ru/workings/sa/catalog.pdf]

----

[[1906 in Phalke's journey]]

[[Image:1906 pears soap crop paleo-future.jpg]]

the view of the panorama.. the city spread out below

[[Image:1906-atlantic-monthly-advertiser-src-smithsonian.jpg]]
---------
Calcutta session of INC. Tilak a prominent presence

Surat split of INC.
Swadeshi boycott..

1938

2012-02-21T05:52:58Z

Thirdpoliceman007:

delhi[http://www.youtube.com/watch?feature=player_embedded&v=hiSFxKMO_2Q]

Song of india[http://youtu.be/5hDWIg4FG][http://youtu.be/GhVNguVl0qA]

Shri Bala Saheb's Bhavani Museum in Aundh.
Glass covered galleries in a building designed by an Italian. A museum atop a hill, with copies of European masters, paintings, sculpture, and a large collection of contemporary Indian art.

'''Colonial India''' from the new international by s. stanley
'''May 1938'''

AGAINST THESE TRAINED armed forces, against this rigidly mechanized bureaucracy and colonial state apparatus built up by England with minute and loving care over a period of two centuries, the Indian nationalist movement has raised itself – for the most part, with incredible feebleness, cowardice and subservience. Not because there was lacking the necessary human material and widespread social discontent for a powerful, dynamic liberation movement. These factors have been present ever since those days when England entered the stage of aggressive, imperialist penetration (1840’s). But to the present day, the nationalist movement has been under the complete control of the national Indian bourgeoisie. This bourgeois leadership has aimed primarily at the maintenance and strengthening of England’s grip upon India, because it well knows that any serious liberation struggle against England will set into motion great forces within India itself – forces inevitably bound to threaten its own class existence: the peasant-agrarian revolution against the Hindu landowners, moneylenders, etc., the proletarian revolution against Hindu industrialists and finance-bankers in the large cities.
A real liberation struggle means the class struggle for socialism. India’s capitalists and landlords recognize this and thus basically oppose both liberation and independence. At the most, they desire minor political concessions giving them greater freedom to carry on their own private exploitation of the masses. It is similar to the middleman of capital who, while cheating the farmer, tries to take a little extra “cut” for himself. The most “left” section of the Indian bourgeoisie, the Hindu liberals, desires Dominion Status or “Swaraj” (Home Rule) – that is, the opportunity to set up an Indian parliament, modeled after Britain’s Parliament, in which they can ape their English brothers at playing the game of parliamentary cant. To an unparalleled extent, the Indian bourgeoisie is tied hand and foot to the ruling class of the imperialism oppressing its native country. The official press of both countries continually harps on the fact that there is no real – either internal or external – dissension between them – only slight disagreements. Absolutely true! Yet this class ally of England dominates the liberation movement!
Several years ago the world witnessed violent rioting and fighting between Hindus and Moslems at Chittagong. English and Indian rulers alike united in suppressing not only the riots but also their meaning. The official press (including that of America) plastered the label of “religious strife” over the events. Actually, the riots were a struggle between revolting, land-hungry Moslem peasants and their Hindu landlords! The Midland Daily Telegraph (1930) gives another example of the economic content behind so-called religious riots. “The population of the village [recently destroyed in a “religious” battle] is almost entirely Mohammedan, with a small section of Hindu moneylenders and traders to whom many of the Mohammedans are indebted. Communal feeling is, therefore, aggravated by economic causes.” The fire of class struggle burns with elemental heat within India. It is present in Indian life from its most primitive forms to its most contemporary. Thus it is impossible to speak of the Indian bourgeoisie leading a liberation struggle – it is a formidable obstacle on that road.
The Indian Nationalist Congress (INC) is the best known expression of Indian nationalism. For many years it was an outright pro-British fraternal organization, not even seeking minor political reforms. Through it Britain worked to build up and cultivate the friendship of a native bourgeoisie. Under pressure of the Swarajist Party (a liberal-bourgeois party organized by C.R. Das, who was also an important figure in the English Fabian and cooperative movements), a slight turn was given to the INC helm. Although still made up entirely of native bourgeois organizations, it began to demand certain political concessions from England. These demands, needless to say, were presented in humble, lackey-like fashion. This slight shift took place around 1890 when, for the first time, working class and peasant organizations became known to the Indians. During the pre-war period, under the harsh military rule of Lord Curzon, there appeared the first primitive manifestation of a growing revolutionary spirit – acts of terrorism carried out by Indian students. The inevitably unfavorable rejoinder to this was an Act of Parliament permitting Lord Curzon (and future Indian Viceroys) to exercise a six-month emergency decree-power whenever he so desired. Suppression of newly formed organizations, wholesale arrests, etc., followed.
Meanwhile, to satisfy more vociferous elements in the INC a kind of Parliament was established. (Morley-Minto Constitution of 1909.) Of course, Constitutional provisions assured beforehand English control of the majority membership. (Highly selective voting requirements, a set number of Englishmen to constitute part of the Parliament without having to be elected, etc.) Again, due to the post-war revolutionary fire kindled by the October Bolshevik Revolution, the Montagu-Chelmsford Reforms were adopted, granting further political concessions. The Russian Revolution gave to the nationalist movement its first revolutionary element – the Indian Communist Party. (The Social-Democracy had never attempted to organize a colonial movement in India – or, for that matter, in any colonial country.) To further guarantee the friendship of the native bourgeoisie, “Dyarchy,” the greatest political concession up till then, was granted. This reform established Provincial Parliaments with exceedingly minor functions. But the nationalist movement in general and the revolutionary CP of India in particular continued to grow. It was at this time that Gandhi first assumed importance in the Indian movement.

2.
What is Gandhism? Of all the innumerable blights weighing down up the long-oppressed Indian masses, the curse inflicted by Gandhism is the worst. Gandhism is the art of leading the Indian people up a blind alley and then showing the way out – straight into the arms of England. The man himself dissolves into insignificance when placed beside his ideas and their tragic effect in disorganizing and disorientating the liberation movement. Yet these ideas have always been reflected in his personal career. Gandhi comes from a high-caste Hindu family and was educated as a barrister in England. He practised law among Indians who had been shanghaied from India and brought to do forced labor in South Africa by the English. There he developed his “nonviolence” and “passive resistance” doctrine, before his return to India. During the World War Gandhi supported the English imperialists and actively helped recruit Indians into the British European armies. (Tens of thousands of Indians fought in Europe, and India paid over to England a total sum of 240 million pounds.) After the War, his ideas were rounded out into a fullblown ideology and he began to recruit the mass movement which reached its height in 1930-1933 under the name of “Civil Disobedience.”
Gandhism is the epitome of petty-bourgeois reactionary doctrine. The two basic ideas are: (1) Liberation can be attained by ethical means – i.e., non-violence; (2) India must return to the ways of the ancient Hindus. These conceptions were employed in India on a gigantic scale and under almost ideal conditions. An elemental movement of the masses, sweeping from the depths of Indian society, was cut off at the very peak of its development when its leaders time after time capitulated before the threats of England. (Delhi Pact, 1931; Poona Agreement, 1934.) Each time, Gandhi strangled the movement when it appeared on the verge of transcending his bourgeois ideas, with the result that his vast following became discouraged and more than ever a prey to the exploitation of the Indian and English bourgeoisie. The objective role of Gandhi has been to handcuff the workers and peasants and then turn them over to the whip of imperialism. He is known as Britain’s greatest policeman in India! The reactionary content of his doctrine is further embodied in his idea that India must return to the past. The one progressive aspect of Britain’s historic rule, that of partly freeing India from the backwardness of Asiatic antiquity, appears to have been, for Gandhi, retrogressive. Petty-bourgeois thought has always been distinguished by its yearnings for the customs of the past, but certainly never on such a scale as Gandhi would have it. His ideal India is that of the hand spinning wheel and distillation of salt from the sea. From this it naturally follows that the present caste-system, remnant of the ancient hereditary labor-division, meets with his full approval. Gandhi desires to “alleviate”, not destroy, the sufferings of the Untouchables. As for the workers, they do not belong in his India. With them he has no concern.

3.
A large share of the responsibility for Gandhi’s influence rests upon the Indian Communist Party. We have mentioned its growth in numbers and influence during the post-war period. In 1925, the swing to the right of the Comintern began the period of Stalinist opportunism. Just as it was marked by the tragic defeat of the second Chinese Revolution (1925-1927), so in India it saw the decline of the communist movement and its subordination to petty-bourgeois and bourgeois control. The Indian CP nestled itself deeply in the ISC, under the stifling wing of the “progressive national bourgeoisie”.
The defeat of the Chinese Revolution had its inevitable effect upon the Indian movement. There began a period of decline, retreat, withdrawal. The Indian CP preferred to learn nothing from the events in China and before long, under orders from the Comintern, they executed their turn into the insanity of the “Third Period”. They boycotted not only the Indian Nationalist Congress (now become a nest of Indian “fascists”), but the labor and peasant movement itself. It was the same story as in every country. “Red Trade Unions” (the Girni Kamgar), corresponding to the American TUUL, were organized – on paper; complete aloofness from every slight manifestation of struggle; complete loss of any following or influence among the workers and peasants; bureaucratic expulsions for any opposition to the divine line; complete eclipse of the Indian CP. Yet precisely during these years (1930-1933) the Gandhist influence reached its high point. Through the Civil Disobedience movement Gandhi held full sway over the masses and led them to defeat and humiliation before their British masters. The amazingly limited character of this bourgeois-led movement is shown by the fact that while the peasants stopped rental payments to their British landlords, they were forced to continue these payments to their Hindu landlords. Instead of active participation with the aim of broadening the struggle’s scope, the isolated Indian Stalinists stood aside and launched manifestoes denouncing the “social-fascist” leaders. By the middle of 1933 Civil Disobedience had halted before the tomb that lay in wait for it, and Gandhi was soon on his way to help the British forge new fetters on prostrate India (the Round-Table Conferences).

4.
Not till 1936 was there any serious sign of a revival in nationalist or revolutionary sentiments. In that year the INC held two important sessions heralding a new period of activity. A most casual reading of the Indian press at that time was sufficient evidence that Britain was preparing to impose upon India a new constitution, one that had been ten years in the making and which the British imperialists knew would meet the sternest opposition. The year opened amidst a wave of strikes, arrests, police beatings (the infamous lathi charges), enforcement of curfew laws, lockouts, martial law measures, etc., etc. Britain announced that the new Constitution (the Government of India Act, adopted by Parliament in 1935) would be launched officially in April, 1937. India rose almost as one man in opposition. All turned towards the 50th Indian Nationalist Congress to be held at Allahabad, in December of 1936.
What is this New Constitution? Its provisions include the most reactionary measures yet foisted upon the Indian masses. Its broader provisions (not yet put into effect) create a Federal India, abolishing the Native States and welding them into one centralized federation. The old system of “Dyarchy” which granted the provincial assemblies minor powers is abolished. Its general purpose is to make of India one complete political unit under the military domination of the imperialists.
The more concrete measures of the New Constitution are already in effect under the Bill of Provincial Autonomy and Self-Government. Listen to what this liberal and democratic bill contains:
1. The Governor-General (a British appointee) shall direct and control the Departments of Defense, External Affairs and Ecclesiastical Affairs.
2. “The Governor-General and the Provincial Governors can issue any executive order, without consultation with either Minister or Legislature, he may consider necessary; he can dismiss and replace any Minister or Ministers, with or without resort to a dissolution of the Legislature, and if he fails to find an alternative Government capable of administering law and order on lines consistent with the discharge of his special responsibility, he will be obliged to declare a breakdown of the Constitution, and to assure himself all such powers as he judges requisite to retrieve the situation.”
3. The Governor-General can dissolve, prorogue or summon the Legislature; veto all bills and act as he sees fit despite any act to the contrary the Legislature may have adopted.
4. Any legislation affecting the Sovereign, the Sovereignty of the Crown over any part of British India, the Army Act, the Air Force and Naval Discipline Acts, the Constitution Act itself, etc., is placed beyond the scope of the Legislature.
5. The same holds true for legislation affecting the Police, the Special Branch (secret police), Indian Reserve Bank and finances in general.
6. Approximately 10% of the population may vote, since only this percentage fulfills the property and educational qualifications.
7. There are separate electorates and constituencies for different communities and religions (“Divide and Rule”).
8. One-third of the seats in the Federal Lower House automatically go to the Indian Princes and Rajahs. Almost one-half are theirs in the Upper House.
9. Tens of thousands of trade-union voters are automatically disqualified from voting.
“A New Charter of Bondage”, Nehru called it. It presaged a vast expansion of militarism over India, it meant an increase in the permanent armed forces stationed throughout the country, it implied a state of perpetual martial law. With nervous anxiety the British rulers awaited the outcome of the INC meetings. They saw with what eagerness the masses awaited instructions to launch a mass struggle against the proposed “Slave Constitution”.
----
phalke in 1938
[[Image:Devika rani's birthday party.pdf]] from phalke's journey

Space and Time

2012-02-20T12:40:12Z

Thirdpoliceman007:

[[Godavari]][Godavari River

Brahmadev worshipped God Trivikram when he came to Satya Loka (on earth) with the same holy water of the Ganges, to get the river Ganges held up by God Shankar on his head, to flow. River Ganges in the form of a woman was enjoying with Lord Shiva, which was noticed by Lord Shiva's wife Parvati. She planned to drive Ganges away from her husband.
Parvati and her son Ganesh came to live in Gautama's Ashram with Parvati's friend Jaya. There was a famine of 24 years and people were affected by the pangs of hunger. However, Varun - the God of Rains, pleased with Sage Gautama arranged rains every day in Gautama's Ashram (dwelling place) which was in Trimbakeshwar. Gautama used to sow rice in the surrounding fields of his Ashram in the morning, reap the crop in the afternoon and with it fed a large group of Rishis, who took shelter in his Ashram on account of the famine. The blessings of the group of rishis increased the merit (Punya) of Gautama. Lord Indra's position became shaky because of his increased merit. So Indra ordered clouds to rain all over Trimbakeshwar, so that the famine will be over and Rishis will go back and the increasing merits of Gautama will be weakened. Although the famine was over, Gautama urged the Rishis to stay back and kept on feeding them and gaining merit. Once he saw a cow grazing in the paddy field and he drove her away by throwing Darbha (sharp, pointed grass). The slender cow died by this. It was Jaya - Parvati's friend, who had taken the form of a cow. This news upset the Rishis and they refused to luncheon at his Ashram. Gautama requested Rishis to show a way out of this sin. He was advised to approach Lord Shiva and request him to release Ganges and a bath in the Ganges would set him free of his sins. Gautama then practiced penance by going to the peak of Brahmagiri. Lord Shankara was pleased by his worships and gave him the Ganges. However, Ganges was not prepared to part with Lord Shiva, which irritated him. He made TandavNrutya (dance) on the peak of Brahmagiri and dashed his jata there. Frightened by this action, Ganges appeared on Brahmagiri. Later on Ganges appeared in the Trimbak Tirtha. Gautama praised her but she off and on appeared on the mountain at various places and disappeared in anger. Gautama could not bathe in her waters. Ganges then appeared in Gangadwar, Varaha-tirtha, Rama-Laxman tirtha, Ganga Sagar tirtha. Still Gautama could not bathe in her waters. The Gautama surrounded the river with enchanted grass and put a vow to her. The flow stopped there and the tirtha thus came to be called Kushavarta. It is from this Kushavarta that the river Godavari flows up to the sea. The sin of killing a cow by Gautama was wiped off here.]

[[DIARIES_RAJA RAVI_VARMA]]

[[PHOTOS_OF_GODS]]
The story of how a numbed sensorium was brought back to life is one of the central concerns of this book.
photos of the Gods
The Printed Image and Political Struggle in India
Christopher Pinney

[[ARTS AND NATIONALISM]] excerpted from Art and Nationalism in Colonial India, 1850- 1922 by Partha Mitter

'''[[Suffism and Islam]]'''

[[BOMBAY,CITY_WITHIN_CITIES]] [http://theory.tifr.res.in/bombay/history/cotton.html] indigenous industry, the growth and decline of the cotton mills

[[Time, Bergson and the Cinematographical Mechanism]]

[[Walter Benjamin]]

[[William Carey]] '''1761-1834'''

on the edges between hinduism and christianity
[http://www.martynmission.cam.ac.uk/CRFoxYoung.3.htm]

Space and Time

2012-02-20T12:39:14Z

Thirdpoliceman007:

[[Godavari]]

[[DIARIES_RAJA RAVI_VARMA]]

[[PHOTOS_OF_GODS]]
The story of how a numbed sensorium was brought back to life is one of the central concerns of this book.
photos of the Gods
The Printed Image and Political Struggle in India
Christopher Pinney

[[ARTS AND NATIONALISM]] excerpted from Art and Nationalism in Colonial India, 1850- 1922 by Partha Mitter

'''[[Suffism and Islam]]'''

[[BOMBAY,CITY_WITHIN_CITIES]] [http://theory.tifr.res.in/bombay/history/cotton.html] indigenous industry, the growth and decline of the cotton mills

[[Time, Bergson and the Cinematographical Mechanism]]

[[Walter Benjamin]]

[[William Carey]] '''1761-1834'''

on the edges between hinduism and christianity
[http://www.martynmission.cam.ac.uk/CRFoxYoung.3.htm]

1938

2012-02-20T12:13:18Z

Thirdpoliceman007:

Song of india[http://youtu.be/5hDWIg4FG][http://youtu.be/GhVNguVl0qA]

Shri Bala Saheb's Bhavani Museum in Aundh.
Glass covered galleries in a building designed by an Italian. A museum atop a hill, with copies of European masters, paintings, sculpture, and a large collection of contemporary Indian art.

'''Colonial India''' from the new international by s. stanley
'''May 1938'''

AGAINST THESE TRAINED armed forces, against this rigidly mechanized bureaucracy and colonial state apparatus built up by England with minute and loving care over a period of two centuries, the Indian nationalist movement has raised itself – for the most part, with incredible feebleness, cowardice and subservience. Not because there was lacking the necessary human material and widespread social discontent for a powerful, dynamic liberation movement. These factors have been present ever since those days when England entered the stage of aggressive, imperialist penetration (1840’s). But to the present day, the nationalist movement has been under the complete control of the national Indian bourgeoisie. This bourgeois leadership has aimed primarily at the maintenance and strengthening of England’s grip upon India, because it well knows that any serious liberation struggle against England will set into motion great forces within India itself – forces inevitably bound to threaten its own class existence: the peasant-agrarian revolution against the Hindu landowners, moneylenders, etc., the proletarian revolution against Hindu industrialists and finance-bankers in the large cities.
A real liberation struggle means the class struggle for socialism. India’s capitalists and landlords recognize this and thus basically oppose both liberation and independence. At the most, they desire minor political concessions giving them greater freedom to carry on their own private exploitation of the masses. It is similar to the middleman of capital who, while cheating the farmer, tries to take a little extra “cut” for himself. The most “left” section of the Indian bourgeoisie, the Hindu liberals, desires Dominion Status or “Swaraj” (Home Rule) – that is, the opportunity to set up an Indian parliament, modeled after Britain’s Parliament, in which they can ape their English brothers at playing the game of parliamentary cant. To an unparalleled extent, the Indian bourgeoisie is tied hand and foot to the ruling class of the imperialism oppressing its native country. The official press of both countries continually harps on the fact that there is no real – either internal or external – dissension between them – only slight disagreements. Absolutely true! Yet this class ally of England dominates the liberation movement!
Several years ago the world witnessed violent rioting and fighting between Hindus and Moslems at Chittagong. English and Indian rulers alike united in suppressing not only the riots but also their meaning. The official press (including that of America) plastered the label of “religious strife” over the events. Actually, the riots were a struggle between revolting, land-hungry Moslem peasants and their Hindu landlords! The Midland Daily Telegraph (1930) gives another example of the economic content behind so-called religious riots. “The population of the village [recently destroyed in a “religious” battle] is almost entirely Mohammedan, with a small section of Hindu moneylenders and traders to whom many of the Mohammedans are indebted. Communal feeling is, therefore, aggravated by economic causes.” The fire of class struggle burns with elemental heat within India. It is present in Indian life from its most primitive forms to its most contemporary. Thus it is impossible to speak of the Indian bourgeoisie leading a liberation struggle – it is a formidable obstacle on that road.
The Indian Nationalist Congress (INC) is the best known expression of Indian nationalism. For many years it was an outright pro-British fraternal organization, not even seeking minor political reforms. Through it Britain worked to build up and cultivate the friendship of a native bourgeoisie. Under pressure of the Swarajist Party (a liberal-bourgeois party organized by C.R. Das, who was also an important figure in the English Fabian and cooperative movements), a slight turn was given to the INC helm. Although still made up entirely of native bourgeois organizations, it began to demand certain political concessions from England. These demands, needless to say, were presented in humble, lackey-like fashion. This slight shift took place around 1890 when, for the first time, working class and peasant organizations became known to the Indians. During the pre-war period, under the harsh military rule of Lord Curzon, there appeared the first primitive manifestation of a growing revolutionary spirit – acts of terrorism carried out by Indian students. The inevitably unfavorable rejoinder to this was an Act of Parliament permitting Lord Curzon (and future Indian Viceroys) to exercise a six-month emergency decree-power whenever he so desired. Suppression of newly formed organizations, wholesale arrests, etc., followed.
Meanwhile, to satisfy more vociferous elements in the INC a kind of Parliament was established. (Morley-Minto Constitution of 1909.) Of course, Constitutional provisions assured beforehand English control of the majority membership. (Highly selective voting requirements, a set number of Englishmen to constitute part of the Parliament without having to be elected, etc.) Again, due to the post-war revolutionary fire kindled by the October Bolshevik Revolution, the Montagu-Chelmsford Reforms were adopted, granting further political concessions. The Russian Revolution gave to the nationalist movement its first revolutionary element – the Indian Communist Party. (The Social-Democracy had never attempted to organize a colonial movement in India – or, for that matter, in any colonial country.) To further guarantee the friendship of the native bourgeoisie, “Dyarchy,” the greatest political concession up till then, was granted. This reform established Provincial Parliaments with exceedingly minor functions. But the nationalist movement in general and the revolutionary CP of India in particular continued to grow. It was at this time that Gandhi first assumed importance in the Indian movement.

2.
What is Gandhism? Of all the innumerable blights weighing down up the long-oppressed Indian masses, the curse inflicted by Gandhism is the worst. Gandhism is the art of leading the Indian people up a blind alley and then showing the way out – straight into the arms of England. The man himself dissolves into insignificance when placed beside his ideas and their tragic effect in disorganizing and disorientating the liberation movement. Yet these ideas have always been reflected in his personal career. Gandhi comes from a high-caste Hindu family and was educated as a barrister in England. He practised law among Indians who had been shanghaied from India and brought to do forced labor in South Africa by the English. There he developed his “nonviolence” and “passive resistance” doctrine, before his return to India. During the World War Gandhi supported the English imperialists and actively helped recruit Indians into the British European armies. (Tens of thousands of Indians fought in Europe, and India paid over to England a total sum of 240 million pounds.) After the War, his ideas were rounded out into a fullblown ideology and he began to recruit the mass movement which reached its height in 1930-1933 under the name of “Civil Disobedience.”
Gandhism is the epitome of petty-bourgeois reactionary doctrine. The two basic ideas are: (1) Liberation can be attained by ethical means – i.e., non-violence; (2) India must return to the ways of the ancient Hindus. These conceptions were employed in India on a gigantic scale and under almost ideal conditions. An elemental movement of the masses, sweeping from the depths of Indian society, was cut off at the very peak of its development when its leaders time after time capitulated before the threats of England. (Delhi Pact, 1931; Poona Agreement, 1934.) Each time, Gandhi strangled the movement when it appeared on the verge of transcending his bourgeois ideas, with the result that his vast following became discouraged and more than ever a prey to the exploitation of the Indian and English bourgeoisie. The objective role of Gandhi has been to handcuff the workers and peasants and then turn them over to the whip of imperialism. He is known as Britain’s greatest policeman in India! The reactionary content of his doctrine is further embodied in his idea that India must return to the past. The one progressive aspect of Britain’s historic rule, that of partly freeing India from the backwardness of Asiatic antiquity, appears to have been, for Gandhi, retrogressive. Petty-bourgeois thought has always been distinguished by its yearnings for the customs of the past, but certainly never on such a scale as Gandhi would have it. His ideal India is that of the hand spinning wheel and distillation of salt from the sea. From this it naturally follows that the present caste-system, remnant of the ancient hereditary labor-division, meets with his full approval. Gandhi desires to “alleviate”, not destroy, the sufferings of the Untouchables. As for the workers, they do not belong in his India. With them he has no concern.

3.
A large share of the responsibility for Gandhi’s influence rests upon the Indian Communist Party. We have mentioned its growth in numbers and influence during the post-war period. In 1925, the swing to the right of the Comintern began the period of Stalinist opportunism. Just as it was marked by the tragic defeat of the second Chinese Revolution (1925-1927), so in India it saw the decline of the communist movement and its subordination to petty-bourgeois and bourgeois control. The Indian CP nestled itself deeply in the ISC, under the stifling wing of the “progressive national bourgeoisie”.
The defeat of the Chinese Revolution had its inevitable effect upon the Indian movement. There began a period of decline, retreat, withdrawal. The Indian CP preferred to learn nothing from the events in China and before long, under orders from the Comintern, they executed their turn into the insanity of the “Third Period”. They boycotted not only the Indian Nationalist Congress (now become a nest of Indian “fascists”), but the labor and peasant movement itself. It was the same story as in every country. “Red Trade Unions” (the Girni Kamgar), corresponding to the American TUUL, were organized – on paper; complete aloofness from every slight manifestation of struggle; complete loss of any following or influence among the workers and peasants; bureaucratic expulsions for any opposition to the divine line; complete eclipse of the Indian CP. Yet precisely during these years (1930-1933) the Gandhist influence reached its high point. Through the Civil Disobedience movement Gandhi held full sway over the masses and led them to defeat and humiliation before their British masters. The amazingly limited character of this bourgeois-led movement is shown by the fact that while the peasants stopped rental payments to their British landlords, they were forced to continue these payments to their Hindu landlords. Instead of active participation with the aim of broadening the struggle’s scope, the isolated Indian Stalinists stood aside and launched manifestoes denouncing the “social-fascist” leaders. By the middle of 1933 Civil Disobedience had halted before the tomb that lay in wait for it, and Gandhi was soon on his way to help the British forge new fetters on prostrate India (the Round-Table Conferences).

4.
Not till 1936 was there any serious sign of a revival in nationalist or revolutionary sentiments. In that year the INC held two important sessions heralding a new period of activity. A most casual reading of the Indian press at that time was sufficient evidence that Britain was preparing to impose upon India a new constitution, one that had been ten years in the making and which the British imperialists knew would meet the sternest opposition. The year opened amidst a wave of strikes, arrests, police beatings (the infamous lathi charges), enforcement of curfew laws, lockouts, martial law measures, etc., etc. Britain announced that the new Constitution (the Government of India Act, adopted by Parliament in 1935) would be launched officially in April, 1937. India rose almost as one man in opposition. All turned towards the 50th Indian Nationalist Congress to be held at Allahabad, in December of 1936.
What is this New Constitution? Its provisions include the most reactionary measures yet foisted upon the Indian masses. Its broader provisions (not yet put into effect) create a Federal India, abolishing the Native States and welding them into one centralized federation. The old system of “Dyarchy” which granted the provincial assemblies minor powers is abolished. Its general purpose is to make of India one complete political unit under the military domination of the imperialists.
The more concrete measures of the New Constitution are already in effect under the Bill of Provincial Autonomy and Self-Government. Listen to what this liberal and democratic bill contains:
1. The Governor-General (a British appointee) shall direct and control the Departments of Defense, External Affairs and Ecclesiastical Affairs.
2. “The Governor-General and the Provincial Governors can issue any executive order, without consultation with either Minister or Legislature, he may consider necessary; he can dismiss and replace any Minister or Ministers, with or without resort to a dissolution of the Legislature, and if he fails to find an alternative Government capable of administering law and order on lines consistent with the discharge of his special responsibility, he will be obliged to declare a breakdown of the Constitution, and to assure himself all such powers as he judges requisite to retrieve the situation.”
3. The Governor-General can dissolve, prorogue or summon the Legislature; veto all bills and act as he sees fit despite any act to the contrary the Legislature may have adopted.
4. Any legislation affecting the Sovereign, the Sovereignty of the Crown over any part of British India, the Army Act, the Air Force and Naval Discipline Acts, the Constitution Act itself, etc., is placed beyond the scope of the Legislature.
5. The same holds true for legislation affecting the Police, the Special Branch (secret police), Indian Reserve Bank and finances in general.
6. Approximately 10% of the population may vote, since only this percentage fulfills the property and educational qualifications.
7. There are separate electorates and constituencies for different communities and religions (“Divide and Rule”).
8. One-third of the seats in the Federal Lower House automatically go to the Indian Princes and Rajahs. Almost one-half are theirs in the Upper House.
9. Tens of thousands of trade-union voters are automatically disqualified from voting.
“A New Charter of Bondage”, Nehru called it. It presaged a vast expansion of militarism over India, it meant an increase in the permanent armed forces stationed throughout the country, it implied a state of perpetual martial law. With nervous anxiety the British rulers awaited the outcome of the INC meetings. They saw with what eagerness the masses awaited instructions to launch a mass struggle against the proposed “Slave Constitution”.
----
phalke in 1938
[[Image:Devika rani's birthday party.pdf]] from phalke's journey

1938

2012-02-20T12:10:59Z

Thirdpoliceman007:

Song of india[http://youtu.be/5hDWIg4FG]

Shri Bala Saheb's Bhavani Museum in Aundh.
Glass covered galleries in a building designed by an Italian. A museum atop a hill, with copies of European masters, paintings, sculpture, and a large collection of contemporary Indian art.

'''Colonial India''' from the new international by s. stanley
'''May 1938'''

AGAINST THESE TRAINED armed forces, against this rigidly mechanized bureaucracy and colonial state apparatus built up by England with minute and loving care over a period of two centuries, the Indian nationalist movement has raised itself – for the most part, with incredible feebleness, cowardice and subservience. Not because there was lacking the necessary human material and widespread social discontent for a powerful, dynamic liberation movement. These factors have been present ever since those days when England entered the stage of aggressive, imperialist penetration (1840’s). But to the present day, the nationalist movement has been under the complete control of the national Indian bourgeoisie. This bourgeois leadership has aimed primarily at the maintenance and strengthening of England’s grip upon India, because it well knows that any serious liberation struggle against England will set into motion great forces within India itself – forces inevitably bound to threaten its own class existence: the peasant-agrarian revolution against the Hindu landowners, moneylenders, etc., the proletarian revolution against Hindu industrialists and finance-bankers in the large cities.
A real liberation struggle means the class struggle for socialism. India’s capitalists and landlords recognize this and thus basically oppose both liberation and independence. At the most, they desire minor political concessions giving them greater freedom to carry on their own private exploitation of the masses. It is similar to the middleman of capital who, while cheating the farmer, tries to take a little extra “cut” for himself. The most “left” section of the Indian bourgeoisie, the Hindu liberals, desires Dominion Status or “Swaraj” (Home Rule) – that is, the opportunity to set up an Indian parliament, modeled after Britain’s Parliament, in which they can ape their English brothers at playing the game of parliamentary cant. To an unparalleled extent, the Indian bourgeoisie is tied hand and foot to the ruling class of the imperialism oppressing its native country. The official press of both countries continually harps on the fact that there is no real – either internal or external – dissension between them – only slight disagreements. Absolutely true! Yet this class ally of England dominates the liberation movement!
Several years ago the world witnessed violent rioting and fighting between Hindus and Moslems at Chittagong. English and Indian rulers alike united in suppressing not only the riots but also their meaning. The official press (including that of America) plastered the label of “religious strife” over the events. Actually, the riots were a struggle between revolting, land-hungry Moslem peasants and their Hindu landlords! The Midland Daily Telegraph (1930) gives another example of the economic content behind so-called religious riots. “The population of the village [recently destroyed in a “religious” battle] is almost entirely Mohammedan, with a small section of Hindu moneylenders and traders to whom many of the Mohammedans are indebted. Communal feeling is, therefore, aggravated by economic causes.” The fire of class struggle burns with elemental heat within India. It is present in Indian life from its most primitive forms to its most contemporary. Thus it is impossible to speak of the Indian bourgeoisie leading a liberation struggle – it is a formidable obstacle on that road.
The Indian Nationalist Congress (INC) is the best known expression of Indian nationalism. For many years it was an outright pro-British fraternal organization, not even seeking minor political reforms. Through it Britain worked to build up and cultivate the friendship of a native bourgeoisie. Under pressure of the Swarajist Party (a liberal-bourgeois party organized by C.R. Das, who was also an important figure in the English Fabian and cooperative movements), a slight turn was given to the INC helm. Although still made up entirely of native bourgeois organizations, it began to demand certain political concessions from England. These demands, needless to say, were presented in humble, lackey-like fashion. This slight shift took place around 1890 when, for the first time, working class and peasant organizations became known to the Indians. During the pre-war period, under the harsh military rule of Lord Curzon, there appeared the first primitive manifestation of a growing revolutionary spirit – acts of terrorism carried out by Indian students. The inevitably unfavorable rejoinder to this was an Act of Parliament permitting Lord Curzon (and future Indian Viceroys) to exercise a six-month emergency decree-power whenever he so desired. Suppression of newly formed organizations, wholesale arrests, etc., followed.
Meanwhile, to satisfy more vociferous elements in the INC a kind of Parliament was established. (Morley-Minto Constitution of 1909.) Of course, Constitutional provisions assured beforehand English control of the majority membership. (Highly selective voting requirements, a set number of Englishmen to constitute part of the Parliament without having to be elected, etc.) Again, due to the post-war revolutionary fire kindled by the October Bolshevik Revolution, the Montagu-Chelmsford Reforms were adopted, granting further political concessions. The Russian Revolution gave to the nationalist movement its first revolutionary element – the Indian Communist Party. (The Social-Democracy had never attempted to organize a colonial movement in India – or, for that matter, in any colonial country.) To further guarantee the friendship of the native bourgeoisie, “Dyarchy,” the greatest political concession up till then, was granted. This reform established Provincial Parliaments with exceedingly minor functions. But the nationalist movement in general and the revolutionary CP of India in particular continued to grow. It was at this time that Gandhi first assumed importance in the Indian movement.

2.
What is Gandhism? Of all the innumerable blights weighing down up the long-oppressed Indian masses, the curse inflicted by Gandhism is the worst. Gandhism is the art of leading the Indian people up a blind alley and then showing the way out – straight into the arms of England. The man himself dissolves into insignificance when placed beside his ideas and their tragic effect in disorganizing and disorientating the liberation movement. Yet these ideas have always been reflected in his personal career. Gandhi comes from a high-caste Hindu family and was educated as a barrister in England. He practised law among Indians who had been shanghaied from India and brought to do forced labor in South Africa by the English. There he developed his “nonviolence” and “passive resistance” doctrine, before his return to India. During the World War Gandhi supported the English imperialists and actively helped recruit Indians into the British European armies. (Tens of thousands of Indians fought in Europe, and India paid over to England a total sum of 240 million pounds.) After the War, his ideas were rounded out into a fullblown ideology and he began to recruit the mass movement which reached its height in 1930-1933 under the name of “Civil Disobedience.”
Gandhism is the epitome of petty-bourgeois reactionary doctrine. The two basic ideas are: (1) Liberation can be attained by ethical means – i.e., non-violence; (2) India must return to the ways of the ancient Hindus. These conceptions were employed in India on a gigantic scale and under almost ideal conditions. An elemental movement of the masses, sweeping from the depths of Indian society, was cut off at the very peak of its development when its leaders time after time capitulated before the threats of England. (Delhi Pact, 1931; Poona Agreement, 1934.) Each time, Gandhi strangled the movement when it appeared on the verge of transcending his bourgeois ideas, with the result that his vast following became discouraged and more than ever a prey to the exploitation of the Indian and English bourgeoisie. The objective role of Gandhi has been to handcuff the workers and peasants and then turn them over to the whip of imperialism. He is known as Britain’s greatest policeman in India! The reactionary content of his doctrine is further embodied in his idea that India must return to the past. The one progressive aspect of Britain’s historic rule, that of partly freeing India from the backwardness of Asiatic antiquity, appears to have been, for Gandhi, retrogressive. Petty-bourgeois thought has always been distinguished by its yearnings for the customs of the past, but certainly never on such a scale as Gandhi would have it. His ideal India is that of the hand spinning wheel and distillation of salt from the sea. From this it naturally follows that the present caste-system, remnant of the ancient hereditary labor-division, meets with his full approval. Gandhi desires to “alleviate”, not destroy, the sufferings of the Untouchables. As for the workers, they do not belong in his India. With them he has no concern.

3.
A large share of the responsibility for Gandhi’s influence rests upon the Indian Communist Party. We have mentioned its growth in numbers and influence during the post-war period. In 1925, the swing to the right of the Comintern began the period of Stalinist opportunism. Just as it was marked by the tragic defeat of the second Chinese Revolution (1925-1927), so in India it saw the decline of the communist movement and its subordination to petty-bourgeois and bourgeois control. The Indian CP nestled itself deeply in the ISC, under the stifling wing of the “progressive national bourgeoisie”.
The defeat of the Chinese Revolution had its inevitable effect upon the Indian movement. There began a period of decline, retreat, withdrawal. The Indian CP preferred to learn nothing from the events in China and before long, under orders from the Comintern, they executed their turn into the insanity of the “Third Period”. They boycotted not only the Indian Nationalist Congress (now become a nest of Indian “fascists”), but the labor and peasant movement itself. It was the same story as in every country. “Red Trade Unions” (the Girni Kamgar), corresponding to the American TUUL, were organized – on paper; complete aloofness from every slight manifestation of struggle; complete loss of any following or influence among the workers and peasants; bureaucratic expulsions for any opposition to the divine line; complete eclipse of the Indian CP. Yet precisely during these years (1930-1933) the Gandhist influence reached its high point. Through the Civil Disobedience movement Gandhi held full sway over the masses and led them to defeat and humiliation before their British masters. The amazingly limited character of this bourgeois-led movement is shown by the fact that while the peasants stopped rental payments to their British landlords, they were forced to continue these payments to their Hindu landlords. Instead of active participation with the aim of broadening the struggle’s scope, the isolated Indian Stalinists stood aside and launched manifestoes denouncing the “social-fascist” leaders. By the middle of 1933 Civil Disobedience had halted before the tomb that lay in wait for it, and Gandhi was soon on his way to help the British forge new fetters on prostrate India (the Round-Table Conferences).

4.
Not till 1936 was there any serious sign of a revival in nationalist or revolutionary sentiments. In that year the INC held two important sessions heralding a new period of activity. A most casual reading of the Indian press at that time was sufficient evidence that Britain was preparing to impose upon India a new constitution, one that had been ten years in the making and which the British imperialists knew would meet the sternest opposition. The year opened amidst a wave of strikes, arrests, police beatings (the infamous lathi charges), enforcement of curfew laws, lockouts, martial law measures, etc., etc. Britain announced that the new Constitution (the Government of India Act, adopted by Parliament in 1935) would be launched officially in April, 1937. India rose almost as one man in opposition. All turned towards the 50th Indian Nationalist Congress to be held at Allahabad, in December of 1936.
What is this New Constitution? Its provisions include the most reactionary measures yet foisted upon the Indian masses. Its broader provisions (not yet put into effect) create a Federal India, abolishing the Native States and welding them into one centralized federation. The old system of “Dyarchy” which granted the provincial assemblies minor powers is abolished. Its general purpose is to make of India one complete political unit under the military domination of the imperialists.
The more concrete measures of the New Constitution are already in effect under the Bill of Provincial Autonomy and Self-Government. Listen to what this liberal and democratic bill contains:
1. The Governor-General (a British appointee) shall direct and control the Departments of Defense, External Affairs and Ecclesiastical Affairs.
2. “The Governor-General and the Provincial Governors can issue any executive order, without consultation with either Minister or Legislature, he may consider necessary; he can dismiss and replace any Minister or Ministers, with or without resort to a dissolution of the Legislature, and if he fails to find an alternative Government capable of administering law and order on lines consistent with the discharge of his special responsibility, he will be obliged to declare a breakdown of the Constitution, and to assure himself all such powers as he judges requisite to retrieve the situation.”
3. The Governor-General can dissolve, prorogue or summon the Legislature; veto all bills and act as he sees fit despite any act to the contrary the Legislature may have adopted.
4. Any legislation affecting the Sovereign, the Sovereignty of the Crown over any part of British India, the Army Act, the Air Force and Naval Discipline Acts, the Constitution Act itself, etc., is placed beyond the scope of the Legislature.
5. The same holds true for legislation affecting the Police, the Special Branch (secret police), Indian Reserve Bank and finances in general.
6. Approximately 10% of the population may vote, since only this percentage fulfills the property and educational qualifications.
7. There are separate electorates and constituencies for different communities and religions (“Divide and Rule”).
8. One-third of the seats in the Federal Lower House automatically go to the Indian Princes and Rajahs. Almost one-half are theirs in the Upper House.
9. Tens of thousands of trade-union voters are automatically disqualified from voting.
“A New Charter of Bondage”, Nehru called it. It presaged a vast expansion of militarism over India, it meant an increase in the permanent armed forces stationed throughout the country, it implied a state of perpetual martial law. With nervous anxiety the British rulers awaited the outcome of the INC meetings. They saw with what eagerness the masses awaited instructions to launch a mass struggle against the proposed “Slave Constitution”.
----
phalke in 1938
[[Image:Devika rani's birthday party.pdf]] from phalke's journey

1944

2012-02-20T12:08:39Z

Thirdpoliceman007:

[wikipedia.org/wiki/Bollywood_films_of_1944]

[http://youtu.be/UlfAbHlA1vI]

[] [http://www.youtube.com/shemaroovintage]

[Kismet Dur Hatho Duniya Walo Hindustan India Hamara Ashok Kumar
http://www.youtube.com/watch?v=tv9DGrP8jDA]

To add to it Dadasaheb suffered from [[amnesia]]. He vividly remembered his childhood, his friends of those days. He would converse with some of his dead friends as if they were alive and sitting in front of him. But, unfortunately, he had lost the memory of the days of his active life. He was unable to talk about those days with any consistency. However, this condition improved substantially by medication. As his son-in-law, Mai's husband, was a medical practitioner and lived in Naskhik, he took maximum care of Dadasaheb.

On day, Dadasaheb's son, [[Prabhakar]], said to him, " Dada, you have produced animated films like [[Fun with Matchsticks and Laxmi's Carpet]]. We have a [[Pathe camera]][https://www.google.co.in/search?q=pathe+camera&hl=en&rlz=1C1CHJW_enIN470IN470&prmd=imvns&tbm=isch&tbo=u&source=univ&] at home. We shall produce cartoon films. I will do the work. You only be with me.

God knows how, but Dadasaheb again showed a spurt of enthusiasm. His mind egged him on: I should produce a movie for which I should choose such a subject as would holdup to view real Indian culture. The Indian audience should be told that this is our culture, not what you see in today;s movies.This means that although Dadasaheb was depressed, he had not retired. In those days of the [[Second World War]], a government license was necessary for producing a movie and producers usually got it on application. Dadasaheb too sent a application to Delhi on 26th January 1944 for a license. There was no reason why any difficulty should have arisen in his getting a licence. He had produced and directed so many movies. He was, after all, the father of Indian Cinema.

Dadasaheb was all eyes, waiting for the license. He had planned to proceed with his movie immediately on receiving it. But, 'Oh, No!' Misfortune dealt him the final and fatal blow. On 14th February he received a letter from Delhi saying, 'It is not possible to grant you a license'. This unbearable shock completely enervated him. He was drained of energy. Grief-stricken he said,"Toiling and struggling for twenty-five years, I brought glory to Indian Cinema, neglected my family, contracted illness by the stress of financial worries. I am like a calf, which has lost its way. I have again realised that a penniless man is worth nothing."...

...Only a day later, even before the ink had dried on the government's negative reply, on 16th February, 1944, at the age of 74, the Father of Indian Cinema breathed his last in penury, in great mental agony. A play with dreams was over A life-long struggle came to an end.

from
Bapu Watve's Dadasaheb Phalke, published by the National Book Trust

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Do Naina Matwaare tihare, K. L. Saigal[]
New Theatres

My Sister

[http://www.youtube.com/watch?v=Gz_Rd1jYIew]

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Patience Cooper in Iraadaa

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[[Link title]]
Anterograde amnesia, is the loss of long-term memory, the loss or impairment of the ability to form new memories through memorization. People may find themselves constantly forgetting a piece of information, people or events after a few seconds or minutes, because the data does not transfer successfully from their conscious short-term memory into permanent long-term memory. Primarily in older men, transient global amnesia causes severe loss of memory for minutes or hours.
Retrograde amnesia, the loss of pre-existing memories to conscious recollection, beyond an ordinary degree of forgetfulness. This type of amnesia first targets the patient's most recent memories, the amount of memories lost depends on the severity of the case. The person may be able to memorize new things that occur after the onset of amnesia (unlike in anterograde amnesia), but is unable to recall some or all of their life or identity prior to the onset. The effects of retrograde amnesia (RA) occurs on fact memory on a lower degree than its effects on autobiographical memory, which can be affected over the whole lifespan of the patient by RA.[2][3] There have also been some cases where retrograde amnesia is a result of hypoglycemia in insulin-dependent diabetic patients.[4]
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