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1921 मूवी रिव्यू  कलाकारकरण कुंद्रा,ज़रीन खान निर्देशक विक्रम भट्ट मूवी टाइपहॉरर अवधि2 घंटा 35 मिनट फिल्म के एक शुरुआती सीन में मिस्टर वाडिया आयुष (करण कुंद्रा) को समझाते हैं कि तुम्हें जो मिल गया उसमें खुश मत हो। कुछ ऐसा ही हाल 1920 फ्रैंचाइज़ी की चौथी फिल्म 1921 के निर्माता और निर्देशक विक्रम भट्ट का भी है। विक्रम की 1920 को पसंद किया गया था, लेकिन वह उससे खुश नहीं हुए और इस सीरीज की चौथी फिल्म तक आ गए। फिर भले ही इसके लिए उन्हें बेसिर-पैर की कहानी पर फिल्म बनानी पड़ी। फिल्म आयुष की कहानी है, जो कि एक पियानो आर्टिस्ट है। जैसा कि नाम से ही पता लग रहा है कि फिल्म 1921 की कहानी है। मिस्टर वाडिया आयुष को अपने ब्रिटेन स्थित घर का केयरटेकर बना कर भेजते हैं। वहां आकर आयुष के साथ उस मकान में कुछ अजीब घटनाएं होती हैं। उनसे छुटकारा पाने के लिए आयुष, रोज़ (जरीन खान) से मिलता है, जो कि एक अनाथ लड़की है और आयुष की फैन भी। रोज़ रूहों को देख सकती है। आयुष को चाहने की वजह से रोज़ उसकी मदद करने का फैसला करती है। उसके बाद कुछ ऐसा होता है कि चीज़ें आयुष और रोज़ दोनों की ज़िन्दगी पर हावी हो जाती हैं

Know the complete story of Rani Padmavati There's a thing about history, we are never sure what exactly happened because often, the facts get mutated with the ravages of time and travel. Similarly, the story of Rani Padmavati, fondly referred to as Rani Padmini, is wrought in various versions, some claiming her to have been defeated by Ratan Sen in sword fighting that made her marry him, others suggesting that it was her talking parrot that led to the union of the two lovers. If we talk about the current era of social media, discourses about history are innumerable and untraceable. Nevertheless, there's one thing that runs common in all the versions: she was a woman of unprecedented beauty. And the 'Johar Kund' in Chittorgarh where Rani Padmavati performed 'jauhar' (custom of self-immolation by women) more than seven hundred years ago is a place as significant as, let's say, the Western Wall or the Ka'bah in Mecca. The jauhar of Rani Padmini has

Cinema and Culture Theory : Film Theory: Critical Concepts in Media and Cultural Studies edited by Philip Simpson, Andrew Utterson and K.J. Shepherdson Before cinema studies was established as an academic enterprise there existed already a fair pile of theoretical writing on cinema. Hugo Münsterberg, Béla Balász and Rudolf Arnheim were the most prominent; however, the protagonists of Soviet montage film, Eisenstein and Kuleshov, also contributed substantially to early theoretical reflection on the nature of cinema and its impact on spectators. André Bazin, perhaps the most significant during the period when early theories of cinema were gradually superseded by modern theories within academia, wrote a number of essays in the ’40s establishing a new angle on cinema not least through the French film journal Les cahiers du cinéma. Characteristic of most early writing is its concern with the meaning of film in comparison with other forms of art. Is film understandable as an extensi

AN INTRODUCTION THROUGH THE SENSES Excerpt from the Introduction Film Theory, Cinema, the Body and the Senses II What is the relationship between the cinema, perception and the human body? Film theories, classical or contemporary, canonical or avant-garde, normative or transgressive, have all addressed this issue, implicitly framing it or explicitly refocusing it. In Film Theory: An Introduction Through the Senses we opt for making this our key concern: it provides the guiding concepts to our historical-systematic survey, and it gives the chapters their coherence and determines their succession. Each type of cinema (as well as every film theory) imagines an ideal spectator, which means it postulates a certain relation between the (body of the) spectator and the (properties of the) image on the screen, however much at first sight the highlighted terms are ‘understanding’ and ‘making sense,’ ‘interpretation,’ and ‘comprehension.’ What is called classical narrative cinema, for i

1921 STORY : When Ayush (Karan Kundra) arrives in England to learn music, he is shocked and scared when the manor he is living in becomes haunted by spirits. To exorcise them, he seeks the help of Rose (Zareen Khan), a woman who can see and speak with them. 1921 REVIEW: What different could Vikram Bhatt do in the fourth instalment of his period horror franchise, you wonder? Well, he has a female exorcist this time, but her talents are suspect. Why? Because in one scene, when Rose says that she can see spirits ever since she was a kid and can talk to them and even helps them, you want to believe her. But the fact that she nearly jumps out of her skin whenever she sees even a little shadow of the ghosts makes you suspect her abilities as an exorcist. But you play along because her neighbouring manor, where a strapping young pianist from India strums the piano like a pro is in danger. The Wadia manor where he is living is haunted by ghosts who run around giggling like little girls,

Padmaavat box office collection Deepika Padukone's prediction of Padmaavat having "earth-shattering box office performance" is turning out to be true. Sanjay Leela Bhansali's magnum opus has managed to create records at the box office not only in India but also in the international markets. Sanjay Leela Bhansali’s Padmaavat reached theaters on January 25 after a few bumps in the road. The Deepika Padukone, Ranveer Singh and Shahid Kapoor starrer made headlines after its release as much as it did before hitting screens. The story of the film divided the audience into two sects, one who loved the film for its grandeur, Ranveer’s acting and Deepika’s beauty and the others who questioned the climax of the movie where hundreds of women indulged in an act of self-immolation for their dignity and honour. But this debate around Bhansali’s piece of art and the earlier roadblocks that hampered the release of the movie seem to be only adding up to the craze among c

1921 is a 2018 Indian horror film, produced and directed by Vikram Bhatt, under his banner of LoneRanger Productions.[3] It is the fourth film in the 1920 franchise. The film stars Zareen Khan and Karan Kundra in lead roles and was released on 12 January 2018 and became first hit of year 2018. Plot The film starts in England 1927 with a crowd of audience waiting for a performance to begin. The host apologizes for the delay and goes backstage and furiously tells a lady called Nafeesa to call Ayush (Karan Kundra), who has locked himself in a room. They break the door down to see Ayush has slit his wrist. Then the film goes in flashback when he was in Mumbai. A wealthy man discovers Ayush"s incredible talents and asks him to take care of his mansion in return of which he would pay for Ayush's educational expenses. Ayush is overjoyed to hear this and heads towards his journey to the mansion. Ayush is warmly received by the both the housekeeper and the caretaker of the house

Sanjay Leela Bhansali's film starring Deepika Padukone , Shahid Kapoor and Ranveer Singh rakes in Rs 13.25 crore. Deepika Padukone, Shahid Kapoor and Ranveer Singh starrer 'Padmaavat' has managed to win the hearts of the audience and critics with stellar performances from the cast and the sheer brilliance of filmmaker Sanjay Leela Bhansali that took this film to a different level altogether. According to a recent report on BoxofficeIndia., the film has earned an estimated Rs 13.25 crore on its sixth day, thus taking its total collection to Rs 137 crore. Also Read: Padmaavat Movie Review The film which had a blistering start in Mumbai and South India has now also excelled in the Northern regions. Bhansali's masterpiece is reportedly in the running to become one of the highest grosser of all time, after 'Baahubali 2 : The Conclusion'. The multi-starrer did not release in Rajasthan, Madhya Pradesh, Gujarat and Haryana after facing protests from fringe group