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The most basic of them is the traditional contempt of accuracy of fact and the glorification of myth making.
Thus the epics and the Puranas were both originally told by the Sutas, or the king's retainers, who kept him company in peace and drove his chariot in war.
In the caste hierarchy, they were lower than the Brahmins; thus, the latter had no difficulty in dispossessing them of any chronicle that became overly popular and reworking it to suit their own interest. D.), providing ample scope to the Brahmins to interpolate to the extent that the interpolated text grew to four times the size of the original.
The anonymity of the writer of the chronicles only helped the process. Some of it resulted from the addition of tales, gaining currency later on and deemed suitable for accession into the vast compilation that the epic turned into but there are others, which clearly preached the casteist ideology of the later-day authors. This traditional difficulty is compounded in the field of the cinema by the absence of archives.
The Mahabharata grew from 24 thousand shlokas in the original long poem, called Jaya to 100 thousand over a period of eight hundred years (c. Shocking as it may seem to Hindu zealots, respect for exact historical dating of events was alien to the Hindu temperament and came into currency only with the advent of the Muslims via the scientific penchant of the Arab civilization c. Fire hazards in the inflammable medium of cellulose nitrate rolls were not the sole reason for creating the desert of historical resources in the silent period.
About the Book : Cinema came to India from France on 7th July 1986, when six silent film strips, made by Lumiere brothers, were shown in Mumbai's Watson Hotel. Phalke made the first Indian Feature film, Raja Harishchandra.
Three years later, a Marathi still photographer, H. Bhatwadekar shot India's first movie strip in Kamla Nehru Park in Mumbai. The Indian cinema became the world's largest in volume, overtaking Japan in 1971.
Some 900 feature films are added every year, bringing the total to nearly 33,000 at the end of 2003.
About the Author Since Satyajit Ray compelled the world's attention to the Indian cinema through his debut, Pather Panchali in 1955, a new genre has been added, called variously as auteur, art parallel minority, offbeat etc: Ray himself preferred the term offbeat.
In this chronicle, the author presents an uptodate bird's eye view of the genre and holds that in its totality, it reflects the 'conscience of the race'.
Born in West Bengal in 1940, the author studied English literature and joined the Indian Information Service.
He worked in various Media Units before retiring as Registrar of Newspapers of India.
An avid filmgoer since boyhood, Shri Ray has written extensively on good cinema in various newspapers and journals, including Sight & Sound . The writing of any form of history is subject to many hazards in India.