Malibu will forever be one of my favorite places in California. It has the prettiest beaches and my favorite food spots. Aside from that, it also has an intense variety in locations to photograph -- here's one. Malibu Creek State Park is like Hawaii in California. It feels so otherworldly and a complete escape from the concrete jungle of LA that is not too far away. Sarung and Chandni happened to have just celebrated their one year of dating. They had dinner at Nobu before their shoot, so they were full and happy when they came to me. For this session, I shot on 35mm film to get that nostalgia feel through my images. Chandni absolutely loves film, so this was particularly exciting and special.
We started our shoot during the tail-end of golden hour. We continued through blue light. The sun was peeking through the trees onto the golden field that dried up over the summertime. It was absolutely beautiful and a total dream to shoot this session in film. It truly is an entirely different feel and so absolutely nostalgic. I did also photograph the session with my digital camera but I am only highlighting the film photography in this post. I hope you love it.
Download Film Jungle Ki Chandni
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If you are interested in doing a film photoshoot, or any kind of photoshoot in this beautiful location -- please reach out and let's talk. I would absolutely love to make it happen and photograph whichever part of your journey, even without a particular event.
Amit decides to leave his loveless marriage to be with Chandni. The news shatters Shobha, who has genuinely fallen for Amit but believes that her love will make him return. Dr. Anand is also aware of Chandni's infidelity and feels devastated. When Dr. Anand leaves on a business trip, Amit and Chandni secretly leave town to start a new life. Anand's plane then crashes, causing Amit, Chandni, and Shobha to rush to the wreckage site. There, Amit is confronted by Shobha, who reveals that she is expecting his child. He vows to return to her, then rushes to rescue Anand from the wreckage. Chandni realizes her love for her husband and returns to him. The film ends with Amit and Shobha living happily in their marriage.
Silsila was directed and produced by Yash Chopra for his banner Yash Raj Films.[4][5] He co-wrote the screenplay with Sagar Sarhadi, who also co-wrote the story with Preeti Bedi.[4] According to Sarhadi, Chopra "fell madly in love with the subject".[6] The dialogue was written by Romesh Sharma.[4] The film is about an extramarital relationship, the first time for a Hindi-language film;[7] after he failed with action films, Chopra had decided to make a romantic film for his next venture.[8]
Chopra's biographer Rachel Dwyer described the casting as complicated, for which the film was controversial before release. Speculations about the relationship between Amitabh Bachchan, who was married to Jaya Bachchan, and Rekha was common in gossip magazines and newspapers at the time.[9] Chopra called his ability to cast the three his greatest achievement.[5] He initially considered Parveen Babi and Smita Patil for Rekha's and Jaya Bachchan's parts, respectively, but abandoned the plans owing to their unsuitability in playing their respective roles.[9] On the recommendations of Amitabh Bachchan, who had agreed to star in the film in 1980, Chopra subsequently replaced them with Rekha and Jaya Bachchan.[8] Rekha designed her own costumes and jewellery.[9] This was her final collaboration with Amitabh Bachchan.[10]
Silsila was shot by Raju Kaygee.[4] Filming was done from November 1980 to May 1981, starting in Kashmir and later Amsterdam, Bombay (now Mumbai), and Delhi.[8][9] Wanting no exposure from the media, Chopra did the filming privately with the entire cast and crew. He described the production as "real life coming into reel life"[8] but said that there are no incidents on the sets and all the lead actors were co-operative.[9] The Delhi schedule sometimes took place at 5.30 PM when the weather was cold; Rekha recounted how she hated it and that she did so only for Chopra.[9] The film, edited by Keshav Naidu, runs for 166 minutes.[4] Hariprasad Chaurasia and Shivkumar Sharma provided the background score.[6]
Laxmi Chowk is a magical place; its aura enigmatic. It was in this very locality that the entertainment life of pre-partition Lahore was deeply grouted. In those days, film stars would hitch a horse-drawn carriage, embellished with seasonal flowers, foot bells and lamps to reach their production sets near the famed chowk.
Close to the intersection was, Hotel King Circle, the most sought after haunt for celebrities. While next to it were over a dozen historic cinemas such as Ratan, Odeon, Gulistan, Metropole, Nishat, Mehfil and Mubarik, to name a few. Also, offices of all major film distributors and production houses dotted the area.
Ali Sibtain Fazli, son of Sibtain Fazli, who directed Dupatta, once told me that Kazmi was hired as the lyricist for the film by his father. The elder Fazli was a man of letters and had a keen sense for the finer things, which is why meeting his literary demands was an uphill task. No matter what Kazmi wrote for the in-production film, it would be binned by Fazli.
An artist is a sensitive soul. He/she takes inspiration from his/her surroundings. I believe that the magic of the Laxmi chowk was such that is enamored Kazmi to write an iconic tune. Unfortunately, today the chowk is a concrete jungle and in ruins. One wonders that had Kazmi been tasked to ink a new tune, at the Laxmi chowk of today, would it have been just as magical?
They were definitely right to do so, as many of their older films have characters or songs that promote or make use of racial stereotypes. For example, Dumbo has been highly criticized for portraying two wise-cracking crows that speak in stereotypical African-American voices - played by a white voice actor. Furthermore, The Jungle Book features a group of monkeys picturized with negative, dated African and African-American characteristics. And of course, the infamous We Are Siamese song from Lady and the Tramp, too, has come under fire for its racial insensitivity. These are only mere examples of the blatant racism included in some of Disney's earlier work.
Based in London, my work explores the intersection between new technologies and media, and contemporary socio-political issues affecting identity and community. In ADS4, I have been interested in speculative design, approaching new technologies and legislative approaches through a concentration towards the implications of alternative futures. My first year project investigated English-language bias, and the influence of this bias in policy and legislation, through a design-engine built through AI. I am highly interested in image-making and story-telling through film and animation, using a cartoon landscape for alternative spatial narration.
If you want the Indian beach experience, this is my favorite spot for that. Located in the well-known state of Goa, Palolem is very low-key, offering an affordable mix of beach huts located in a fully walkable and welcoming village setting. The whitish sands are clean and backed by towering palm trees, the bluish water is calm and perfect for swimming, and the sunset is consistently stunning as the sun dips behind jungle-filled Monkey Island at the far end of the beach each evening.
Established and emerging scholars in literature, theater, film, dance, music, media, cultural studies, and sociology from different parts of the world present their views from multidisciplinary perspectives based on case studies from Australia, New Zealand, the UK, Germany, Russia, the US, Senegal, Pakistan, Bangladesh, Indonesia and Canada, in addition to India.
Indian films have been long recognized in the USSR and Russia as a unique cultural phenomenon due to the strong historical and political ties between the two nations and their shared outlook and values. Without being necessarily ... be457b7860
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