Kingdom Of The Soap Queen The Story Of Balaji Telefilms
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Kingdom of the Soap Queen
With the entry of cable television in 1992, the television industry in India was poised for a gigantic leap. All that it needed was a fairy godmother to wave the magic wand. And it found one in Ekta Kapoor and Balaji Telefilms. Kingdom of the Soap Queen is the enchanting narrative of Balaji Telefilms. It is the story of how a laid-back seventeen-year-old became one of the most powerful women in global media, how a project kicked off by a teenager in her father's garage turned into the biggest entertainment provider across India. And like every fairy tale, this too has its share of magic, curses, spells, potions, and pixie dust. With insights from over a hundred television celebrities, Kovid Gupta - who has written for popular television shows Balika Vadhu, Bade Acche Lagte Hain and Chhan Chhan - chronicles the larger-than-life narrative right from the christening of the company in 1994 all the way to its transformation into the most influential production house of 2013. He not only depicts the initial struggles of the media house, but also explores every aspect of its growth - the creation of the iconic Tulsi and Parvati, its K-fixation, how it changed the very demographic of TV viewers in the country, the social impact of its daily soaps, the charges of being regressive that it has consistently battled, and the company's very successful and high-profile foray into cinema.This is the fascinating behind-the-scenes story of the 15,000 hours of television software that have made India laugh and cry for fifteen years.
Romeo and Juliet, Adaptation and the Arts
Author: Julia Reinhard Lupton
language: en
Publisher: Bloomsbury Publishing
Release Date: 2022-08-25
Romeo and Juliet is the most produced, translated and re-mixed of all of Shakespeare's plays. This volume takes up the iconographic, linguistic and performance layers already at work within it and tracks the play's dispersal into neighbouring art forms – including ballet, opera, television and architecture – and geographical locations, including Italy, Ireland, France, India and Korea. Chapters trace Shakespeare's own acts of adaptation and appropriation of sources and the play's subsequent migrations into other media. Part One considers reworkings of Romeo and Juliet in Hector Berlioz's 1839 choral symphony and ballets choreographed by Sir Kenneth MacMillan and John Neumeier. Part Two explores the afterlives of Shakespeare's lovers in the narrative forms of fiction, film and serial television, including works by James Joyce, Samuel Beckett and HBO's series Westworld. Part Three examines dramatic adaptations of the play into other languages, dialects and cultural contexts. Authors consider Hindi translations and the complex and changing status of Shakespeare's work in India, as well as productions of the play in Korea set against its evolving history. The volume ends with a first-person account of staging Romeo and Juliet at an HBCU (historically Black college/university), documenting the tensions between the notion of Shakespeare as a universal author and the lived experiences of marginalized communities as they engage with his plays.
Global Entertainment Media
A critical cultural materialist introduction to the study of global entertainment media. In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies. Among other topics, Mirrlees examines: Paradigms of global entertainment media such as cultural imperialism and cultural globalization. The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media. The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow. The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions. The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media. The cross-cultural reception and effects of TV shows and films. The World Wide Web, digitization and convergence culture.