Cinema

The film Mean Girls (2004) is an expose on cliquey high school culture. The opening sequence of the film portrays the protagonist, Cady Heron’s, outsider status to this culture. Cady’s innocence and naivety contrasts the rest of the film’s devious yet amusing characters. This pivotal scene represents Cady’s introduction to the world of mean girls.

The sequence begins with introducing and establishing Cady, her background and the setting of the film. Soft piano, accompanied by sounds of nature, enter the scene; The upward point-of-view shot shows Cady’s parents speaking down to her, emphasizing that Cady still looks up to her parents.

“You can ask one of the big kids” — the dialogue, along with the camera angle, suggests that Cady is a naïve child attending her first day of school. The camera slowly pans up as Cady jumps into the shot with an eager smile. To the audience’s amusement, she is actually 16 years old.

Cady introduces herself to us through her non-diegetic voice-over, giving insight on her backstory. Her narration synchronizes with two clips portraying the stereotypical home-schooled children— she assures her audience that she is not a “religious freak” and instead has a totally normal family. Cady continues to narrate as a relaxed score enters.

Freeze frames portray Cady’s memories from living in Africa, creating the effect that a photo is being taken. Her plain appearance suggests that she cares about more comfort rather than standing out, as she wears little makeup and is covered with baggy, plain clothing. These combined elements illustrate the innocence and steadiness in Cady’s past.

As the last freeze frame depicts Cady waving goodbye to her life in Africa, the scene cuts to present-time where Cady is saying hello to high school.

The steady score is interrupted by a roaring horn of a yellow American school bus, nearly hitting Cady and bringing the audience back to reality. Her parents anxiously watch Cady as she walks into her new, fast-pace chapter of high school A pop song enters the scene— signifying her transition from childhood to pre-adulthood.

As the lyrics read, “Would ya look at that hair?” Cady’s eager expression fades as she anticipates judgement from her fellow high schoolers ahead. The upbeat music along with the sound of conversing students sets the mis-en-scène of the stereotypical high school. This scene alters from point-of-view shots of her walk through the campus and close-up shots of her expressions.

The jolty movements and the fast editing pace emphasize her confusion and anxiety as the world moves around her.

As the school bell rings, Cady takes a deep breathe and struts into her first class. A point-of-view shot shows Cady looking for a seat to sit in— Her expression leaves the audience with anxiety, as she doesn’t feel like she belongs. As an attempt to make a new friend goes horribly, the camera pans to Janis and Damian laughing at her failure.

Janice and Damian are introduced in this scene, showing their importance in the film, as they’re the first to willingly communicate with her. This scene conveys information about the characters’ personalities without dialogue— Janice expresses who she is through her dark wardrobe and gothic makeup. This appearance gives insight into Janice’s rebellious and outsider behavior. Damien sits behind Janice, representing the power she has over him.

Having spent the last twelve years being home schooled in Africa, Cady has had plenty of exposure to jungles; however, none of that prepared her for the jungle that is high school. Walking into class as the “new kid,” Cady’s social status is equivalent to that of weak prey in the jungle. This scene sets up the action for the rest of the film. Like a baby animal who must learn how to survive in the jungle, Cady will have to learn how to survive high school.

Jackie Chan was born Chan Kong, Sang on April 7, 1954, Hong Kong, China. While Jackie was still a little young boy, his parents then moved to Australia to find new jobs but they wanted Jackie to stay so he could study at the Chinese Opera Research Institute, which is a boarding school in Hong Kong.

Within the next couple of years Jackie started in his first film, “The Cantonese feature Little Big and Little Wong Tin Bar” (1962), and he was only eight and he went on to be in more musical films. When he graduated in 1971, his first job was an acrobat and a stuntmen, he then started as a stuntmen for a movie called, “Fist of Fury” (1972), which starred Hong Kong’s favorite movie actor Bruce Lee.

After Bruce Lee’s unexpected death in 1973, Jackie decided to work with Lo Wei, a producer and a director who had work with Bruce. Unfortunately the two split up in the late 1970s and that’s when Jackie realized that he should start his own path to becoming an actor. He then started doing his own stunts with a little bit of comedy mixed together and with a blink of an eye an actor was born.

He had so many films that had came out as” Kung Fu Comedy”, which are “Drunken Master” (1978), “The Fearless Hyena” (1979), “Half a Loaf of Kung Fu” (1980), and “The Young Master” (1980). As many people have watched these hilarious movies Jackie had become the highest paid actor in Kong Kong and known as an international superstar throughout Asia. He was basically the director and the producer for most of his films and he would always perform the theme songs.

In 1980s Jackie wanted to push his luck out to Hollywood. He got his chance to start in a film called, “The Big Brawl” (1980) which dropped. Back in Hong Kong Jackie’s stardom began to grow even more. He did more action comedies which were called, “ Project A” (1983). “Police Story” (1985), “Armor of God” (1986), “Mr.Canton and Lady Rose” (1989), and a remake of one of Frank Capra’s films, “A Pocket of Miracles” (1961).

In 1986 Jackie formed his own company called, “Golden Way”, he also had a casting/modeling agency called,”Jackie’s Angels”, in order to recruit talent for many of his films. Jackie had many people that were injured during, “Police Story”, he then put together the, “Jackie Chan Stuntmen Association”, which he personally trained with them and he provided medical coverage for its members. In 1986, during the film, “Armor of God”, while attempting to jump forty feet from the top of the building to a tree branch, he fractured his skull.

In the 1990s, Jackie made sequels to his, “Police Story”, and “Drunken Master”. Jackie wasn’t known in America but by the mid 1990s a series of events had brought him to a wider American audience. In 1995, Jackie had come up with his own character for a comic book called, “Spartan X”, a series that was very popular in Asia and the United States.

Jackie was then awarded at the MTV Movie Awards with the Lifetime Achievement Award by Quentin Tarantino who started in the film, “Pulp Fiction” (1994). Jackie had three films that made the ratings go up, “Jackie Chan’s First Strike” (1997), “Mr. Nice Guy” (1998), and “Rush Hour” (1998).

In 2002, Jackie co-starred with Jennifer Love Hewitt in the film called, “The Tuxedo”, it’s about a tuxedo that gives the taxi driver powers when he puts it on. Later on he received a Hollywood Star on the Walk of Fame and then he was awarded with a Taurus Award for Best action movie star at the World Stunts Awards.

Jackie did other amazing sequels which were, “ Shanghai Knights (2003), but “The Medallion”, and “Around the world in 80 days” (2004) both dropped. Jackie wanted more financial and artistic control over his films, so he co-founded with JCE Movies Limited in 2004, he successfully produced more Hong Kong films, “New Police Story” (2004), “The Myth” (2005), and Rob-B-Hood (2006).

In 2007, Jackie had released, “Rush Hour 3” (2007). In 2008 he became the voice Master Monkey which was for the animated movie, “Kung Fu Panda, which went to a video game, a sequel and a TV series. That same year, he also appeared in a movie called, “The Forbidden Kingdom”, with another Chinese actor, Jet Li. The U.S. then had Jackie appear in family movies called, “The Spy Next Door” (2010), and a remake of, “The Karate Kid” (2010).

Jackie was adored by many people as he starred in more action comedy, “Shinjuku Incident” (2009), he starred and wrote this film, “Little Big Soldier” (2010). In 2011, he completed a big project as co-director and star of, “1911.CZ12” (2012), Jackie then franchised with “Police Story” (2013). Jackie was thrilled with the 2015 3-D film, “Dragon Blade”, which had two American actors, John Cusack and Adrien Brody, later in 2016 would be introduced with two films, “Skiptrace and Railroad Tigers”.

Philippine Cinema: A Review on ‘No Other Woman’

Cinema production No Other Woman is a smash hit, and in show business, there is no arguing with lots of money. We may assume from the box-office grosses that this is the sort of movie the Filipino audience wants to see. What exactly is this movie saying?

1. Character is unnecessary; all you need are stereotypes.
2.  The Handsome Husband
3. The Handsome Husband is so hot that he is literally bursting out of his clothes, which are at least one size too small for him so as to emphasize his well-developed pectoral muscles.
4. The Handsome Husband flirts outrageously with the customers who come to his store, but that’s all right because it sells furniture.
5. The Handsome Husband is devoted to his wife until a scheming slut throws herself at him. He cannot be blamed for succumbing because men are men and their brains are in their pants.
6. The Handsome Husband is only slightly less animated than the furniture he designs and sells.
7. The Beautiful Wife
8. The Beautiful Wife could be the sexiest woman in the archipelago, but now that she’s married she must suppress her sexuality in shapeless clothes and pale make-up.
9. The Beautiful Wife cooks nutritious meals for her husband and personally supervises his laundry.
10. The Beautiful Wife consoles her husband by having sex with him every time her domineering father makes disparaging remarks about his professional prospects.
11. The Beautiful Wife, being inexperienced in the ways of the world, confuses seduction with arson.
12. The Beautiful Wife is a good girl, hence she does not wear mascara and she has long, straight black hair that she wears in a ponytail.
13. The Sexy Mistress
14. The Sexy Mistress has lived in New York, ergo she is “liberated”, which in the Philippines is a synonym for “promiscuous”.
15. The Sexy Mistress speaks a strange, over-enunciated English and begins each sentence with an arch laugh (Ah-ha-ha! And she smokes.
16. The Sexy Mistress is a bad girl, hence she wears copious amounts of mascara and has long dramatically wavy hair.
17. The Sexy Mistress does not cook.
18. The Sexy Mistress likes to taste forbidden pleasures, so she eats seafood she is allergic to, which is just daft.
19. All fathers are mean and horrible, hence responsible for your issues.
20. The Handsome Husband’s father is a philanderer, embezzler, and failed businessman, so The Handsome Husband will also be all of the above.
21. The Beautiful Wife’s father is a tacky philanderer, so The Beautiful Wife will marry the same.
22. The Sexy Mistress’s father is domineering and arrogant, so The Sexy Mistress refuses to commit to a relationship until she meets someone who really can’t commit because he’s already married. 3. Women should humiliate themselves for their men.
23. They should engage in public bitch fights in which handbags become metaphors for the man they are fighting over.
24. They should invite each other to dinner and threaten to kill the bitch who is boinking their husband.
25. If thinly-veiled verbal aggression does not suffice, they should have a brawl in a public place.
26. It does not occur to them that the person connected to the penis is also responsible for their troubles.
27. Nothing solves a domestic problem like a near-fatal accident.
28. The cheating husband endures excruciating physical torment as a substitute for castration.
29. The suffering wife has to forgive her husband because the thought of living without him is more than she could bear, and she’s forgotten that she left him.
30. The scheming mistress is jolted back to her senses.
31. The moral of the story is, Thou shalt not commit adultery.
32. The cheating husband crawls back to his wife, who doesn’t seem particularly enamored of him but is compelled to defend their marriage.
33. The wife always wins because there is no alternative. It’s not as if she could ditch her unfaithful spouse—there is no divorce in the Philippines (Well, technically).
34. The mistress goes back to New York, where all the bad girls are supposed to go, which makes you wonder who won exactly.

Shahrukh Khan was born 2 November 1965 (1965-11-02) (age 44) New Delhi, India Other name(s) Shah Rukh Khan, King Khan, SRK, King of Bollywood Occupation Actor, producer, television presenter Years active 1988–present Spouse(s) Gauri Khan (1991–present) Shahrukh Khan, sometimes credited as Shah Rukh Khan, is an Indian actor and a prominent Bollywood figure, as well as a film producer and television host. Khan began his career appearing in several television serials in the late 1980s. He made his film debut in Deewana (1992). Since then, he has been part of numerous commercially successful films and has earned critical acclaim for many of his performances. Khan has won thirteen Filmfare Awards for his work in Indian films, seven of which are in the Best Actor category.

Khan’s films such as Dilwale Dulhaniya Le Jayenge (1995), Kuch Kuch Hota Hai (1998), Chak De India (2007), Om Shanti Om (2007) and Rab Ne Bana Di Jodi (2008) remain some of Bollywood’s biggest hits, while films like Kabhi Khushi Kabhie Gham (2001), Kal Ho Naa Ho (2003), Veer-Zaara (2004) and Kabhi Alvida Naa Kehna (2006) have been top-grossing Indian productions in the overseas markets, making him one of the most successful actors of India. [2] Since 2000, Khan branched out into film production and television presenting as well. He is the founder/owner of two production companies, Dreamz Unlimited and Red Chillies Entertainment.

In 2008, Newsweek named him one of the 50 most powerful people in the world.

Biography

Shahrukh Khan and family Khan was born in 1965 to Muslim parents of Pathan descent in New Delhi, India. [4] His father, Taj Mohammed Khan, was an Indian independence activist from Peshawar, British India.

According to Khan, his paternal grandfather was originally from Afghanistan. [5] His mother, Lateef Fatima, was the adopted daughter of Major General Shah Nawaz Khan of the Janjua Rajput clan, who served as a General in the Indian National Army of Subash Chandra Bose. [6] Khan’s father came to New Delhi from Qissa Khawani Bazaar in Peshawar before the partition of India,[7] while his mother’s family came from Rawalpindi, British India. [8] Khan has an elder sister named Shehnaz. [9] Growing up in Rajendra Nagar neighbourhood,[10] Khan attended St. Columba’s School where he was accomplished in sports, drama, and academics.

He won the Sword of Honour, an annual award given to the student who best represents the spirit of the school. Khan later attended the Hansraj College (1985–1988) and earned his Bachelors degree in Economics (honors). Though he pursued a Masters Degree in Mass Communications at Jamia Millia Islamia, he later opted out to make his career in Bollywood. [11] After the death of his parents, Khan moved to Mumbai in 1991. [12] In that same year, before any of his films were released, he married Gauri Chibber, a Hindu, in a traditional Hindu wedding ceremony on 25 October 1991. 13] They have two children, son Aryan (b. 1997) and daughter Suhana (b. 2000). According to Khan, while he strongly believes in Allah, he also values his wife’s religion. At home, his children follow both religions, with the Qur’an being situated next to the Hindu gods. [14] In 2005, Nasreen Munni Kabir produced a two-part documentary on Khan, titled The Inner and Outer World of Shah Rukh Khan. Featuring his 2004 Temptations concert tour, the film contrasted Khan’s inner world of family and daily life with the outer world of his work.

The book Still Reading Khan, which details his family life, was released in 2006. Another book by Anupama Chopra, “King of Bollywood: Shahrukh Khan and the seductive world of Indian cinema”, was released in 2007. This book described the world of Bollywood through Khan’s life. [15][16] Khan has been awarded several honours which includes the Padma Shri, India’s fourth highest civilian award from the Government of India in 2005. In April 2007, a life-size wax statue of Khan was installed at the Madame Tussauds Wax Museum, London. Another statue was installed at the Musee Grevin in Paris, the same year. 17] During the same year, he was accorded the Ordre des Arts et des Lettres (Order of the Arts and Literature) award by the French government for his “exceptional career”. [18] In October 2008, Khan was conferred the Darjah Mulia Seri Melaka which carries the honorific Datuk (in similar fashion to “Sir” in British knighthood), by the Yang di-Pertua Negeri Tun Mohd Khalil Yaakob, the head of state of Malacca in Malaysia. Khan was honoured for “promoting tourism in Malacca” by filming One Two Ka Four there in 2001. Some were critical of this decision. 19] He was also honoured with an honorary doctorate in arts and culture from Britain’s University of Bedfordshire in 2009. [20]

Film career

Background

Khan studied acting under celebrated Theatre Director Barry John at Delhi’s Theatre Action Group (TAG). In 2007, John commented thus on his former pupil that, “The credit for the phenomenally successful development and management of Shahrukh’s career goes to the superstar himself. “[21] Khan made his acting debut in 1988 when he appeared in the television series, Fauji, playing the role of Commando Abhimanyu Rai. [22] He went on to appear in several other television serials, most notably in the 1989 serial, Aziz Mirza’s Circus, which depicted the life of circus performers. [23] The same year, Khan also had a minor role in the made-for-television English-language film, In Which Annie Gives it Those Ones, which was based on life at Delhi University and was written by Arundhati Roy.

1990s

Upon moving from New Delhi to Mumbai in 1991,[24] Khan made his Bollywood movie debut in Deewana (1992). The movie became a box office hit, and launched his career in Bollywood. [25] His performance won him a Filmfare Best Male Debut Award.

He went on to star in Maya Memsaab, which generated some controversy because of his appearance in an “explicit” sex scene in the movie. [26] In 1993, Khan won acclaim for his performances in villainous roles as an obsessive lover and a murderer, respectively, in the box office hits, Darr and Baazigar. [27] Darr marked his first collaboration with renowned film-maker Yash Chopra and his banner Yash Raj Films, the largest production company in Bollywood. Baazigar, which saw Khan portraying an ambiguous avenger who murders his girlfriend, shocked its Indian audience with an unexpected violation of the standard Bollywood formula. 28] His performance won him his first Filmfare Best Actor Award. In that same year, Khan played the role of a young musician in Kundan Shah’s Kabhi Haan Kabhi Naa, a performance that earned him a Filmfare Critics Award for Best Performance. Khan maintains that this is his all-time favourite among the movies he has acted in. [29] In 1994, Khan once again played an obsessive lover/psycho’s role in Anjaam, co-starring alongside Madhuri Dixit. Though the movie was not a box office success, Khan’s performance earned him the Filmfare Best Villain Award. [30]

In 1995, Khan starred in Aditya Chopra’s directorial debut Dilwale Dulhania Le Jayenge, a major critical and commercial success, for which he won his second Filmfare Best Actor Award. [31] In 2007, the film entered its twelfth year in Mumbai theaters. By then the movie had grossed over 12 billion rupees, making it as one of India’s biggest movie blockbusters. [32] Earlier in the same year he found success in Rakesh Roshan’s Karan Arjun which became the second biggest hit of the year. 1996 was a disappointing year for Khan as all his movies released that year failed to do well at the box office. 33] This was, however, followed by a comeback in 1997. He saw success with Subhash Ghai’s social drama Pardes — one of the biggest hits of the year — and Aziz Mirza’s comedy Yes Boss, a moderately successful feature. [34] His second project with Yash Chopra as a director, Dil to Pagal Hai became that year’s second highest-grossing movie, and he won his third Filmfare Best Actor Award for his role as a stage director who falls in love with one of his new actresses. [34] In 1998, Khan starred in Karan Johar’s directorial debut, Kuch Kuch Hota Hai, which was the biggest hit of the year. 35] His performance won him his fourth Best Actor award at the Filmfare. He won critical praise for his performance in Mani Ratnam’s Dil Se. The movie did not do well at the Indian box office, though it was a commercial success overseas. [36] Khan’s only release in 1999, Baadshah, was an average grosser. [37]

2000s

Khan’s success continued with Aditya Chopra’s 2000 film, Mohabbatein, co-starring Amitabh Bachchan. It did well at the box office, and Khan’s performance as a college teacher won him his second Critics Award for Best Performance.

He also starred in Mansoor Khan’s action film Josh. The film starred Khan as the leader of a Christian gang in Goa and Aishwarya Rai as his twin sister, and was also a box office success. [38] In that same year, Khan set up his own production house, Dreamz Unlimited with Juhi Chawla (see below). Both Khan and Chawla starred in the first movie of their production house, Phir Bhi Dil Hai Hindustani. [38] His work with Karan Johar continued as he collaborated on the family drama Kabhi Khushi Kabhie Gham which was the second biggest hit of the year.

He also received favorable reviews for his performance as Emperor Asoka in the historical epic, Asoka, a partly fictionalised account of the life of Ashoka the Great (304 BC–232 BC). [39] In 2002, Khan received acclaim for playing the title role in Sanjay Leela Bhansali’s award-winning period romance, Devdas. It was the third Hindi movie adaptation of Sharat Chandra Chattopadhyay’s well-known novel of the same name, and surfaced as one of the biggest hits of that year. [40] Khan also starred opposite Salman Khan and Madhuri Dixit in the family-drama Hum Tumhare Hain Sanam, which did well at the box office. 40] In 2003, Khan starred in the moderately successful romantic drama, Chalte Chalte. [41] That same year, he starred in the tearjerker, Kal Ho Naa Ho, written by Karan Johar and directed by Nikhil Advani. Khan’s performance in this movie as a man with a fatal heart disease was appreciated. The movie proved to be one of the year’s biggest hits in India and Bollywood’s biggest hit in the overseas markets. [41] 2004 was a particularly good year for Khan, both commercially and critically. He starred in Farah Khan’s directorial debut, the comedy Main Hoon Na. The movie did well at the box office.

He then played the role of an Indian officer, Veer Pratap Singh in Yash Chopra’s love saga Veer-Zaara, which was the biggest hit of 2004 in both India and overseas. [42] The film relates the love story of Veer and Pakistani woman Zaara Haayat Khan, played by Preity Zinta. Khan’s performance in the film won him awards at several award ceremonies. In that same year, he received critical acclaim for his performance in Ashutosh Gowariker’s drama Swades. He was nominated for the Filmfare Best Actor Award for all three of his releases in 2004, winning it for Swades. [42]

In 2006, Khan collaborated with Karan Johar for the fourth time with the melodrama movie Kabhi Alvida Na Kehna. It did well in India and much more so in the overseas market, becoming the biggest Bollywood hit in the overseas market of all-time. [43] His second release that year saw him playing the title role in the action film Don, a remake of the 1978 hit Don. The movie was a success. [43] Khan’s success continued with a few more highly popular films. One of his most successful works was the multiple award-winning 2007 film, Chak De India, about the Indian women’s national hockey team.

Earning over Rs 639 million, Chak De India became the third highest grossing movie of 2007 in India and won yet another Filmfare Best Actor Award for Khan. [44] The film was a major critical success. [45] In the same year Khan also starred in Farah Khan’s 2007 film, Om Shanti Om. The film emerged as the year’s highest grossing film in India and the overseas market, and became India’s highest grossing production ever up to that point. [44] It earned him another nomination for Best Actor at the Filmfare ceremony. Khan’s more recent films include the 2008 release, Rab Ne Bana Di Jodi which was a huge box office success, and Billu.

Khan’s next film, My Name Is Khan, is due for release on 12 February 2010. While on one shoot in Los Angeles, along with his wife Gauri and director Karan Johar, he took a break from filming to attend the 66th Golden Globe Awards, held in Los Angeles, California, on 11 January 2009. [46][47] Khan introduced Slumdog Millionaire along with a star from the film, Freida Pinto. [48][49]

Producer

Khan turned producer when he set up a production company called Dreamz Unlimited with Juhi Chawla and director Aziz Mirza in 1999.

The first two of the films he produced and starred in: Phir Bhi Dil Hai Hindustani (2000) and Asoka (2001) were box office failures. [39] However, his third film as a producer and star, Chalte Chalte (2003), proved a box office hit. [41] In 2004, Khan set up another production company, Red Chillies Entertainment, and produced and starred in Main Hoon Na, another hit. [42] The following year, he produced and starred in the fantasy film Paheli, which did poorly. [50] It was, however, India’s official entry to the Academy Awards for consideration for Best Foreign Language Film, but it did not pass the final selection.

Also in 2005, Khan co-produced the supernatural horror film Kaal with Karan Johar, and performed an item number for the film with Malaika Arora Khan. Kaal was moderately successful at the box office. [50] His company has gone on to produce Om Shanti Om (2007), in which he starred, and Billu (2009), in which he played a supporting role as a Bollywood superstar. Apart from film production, the company also has a visual effects studio known as Red Chillies VFX. It has also ventured into television content production, with shows like, The First Ladies, Ghar Ki Baat Hai’, and Knights and Angels.

Television advertisements are also produced by the company. [51] In 2008, Red Chillies Entertainment became the owner of the Kolkata Knight Riders in the BCCI-backed IPL cricket competition.

Television host

In 2007, Khan replaced Amitabh Bachchan as the host of the third series of the popular game show Kaun Banega Crorepati, the Indian version of Who Wants to Be a Millionaire?. [52] The previous had hosted the show for five years from 2000–05. On 22 January 2007, Kaun Banega Crorepati aired with Khan as the new host[53] and later ended on 19 April 2007. [54]

On 25 April 2008, Khan began hosting the game show Kya Aap Paanchvi Pass Se Tez Hain? , the Indian version of Are You Smarter Than a 5th Grader? ,[55] whose last episode was telecasted on 27 July 2008, with Lalu Prasad Yadav as the special guest. [56]

Filmography

Actor

• 1992 Deewana Raja Sahai Winner, Filmfare Best Male Debut Award Idiot Pawan Raghujan Chamatkar Sunder Srivastava Raju Ban Gaya Gentleman Raju (Raj Mathur) Dil Aashna Hai Karan
• 1993 Maya Memsaab Lalit Kumar King Uncle Anil Bhansal Baazigar Ajay Sharma/Vicky Malhotra Winner, Filmfare Best Actor Award Darr Rahul Mehra Nominated, Filmfare Best Villain Award Kabhi Haan Kabhi Naa Sunil Winner, Filmfare Critics Award for Best Performance Nominated, Filmfare Best Actor Award
• 1994 Anjaam Vijay Agnihotri Winner, Filmfare Best Villain Award
• 1995 Karan Arjun Arjun Singh/Vijay Zamana Deewana Rahul Malhotra Guddu Guddu Bahadur Oh Darling! Yeh Hai India Hero Dilwale Dulhania Le Jayenge Raj Malhotra Winner, Filmfare Best Actor Award Ram Jaane Ram Jaane Trimurti Romi Singh
• 1996 English Babu Desi Mem Vikram/Hari/Gopal Mayur Chaahat Roop Rathore Army Arjun Special appearance Dushman Duniya Ka Badru
• 1997 Gudgudee Special appearance Koyla Shankar Yes Boss Rahul Joshi Nominated, Filmfare Best Actor Award Pardes Arjun Saagar Dil To Pagal Hai Rahul Winner, Filmfare Best Actor Award
• 1998 Duplicate Bablu Chaudhry/Manu Dada Nominated, Filmfare Best Villain Award Achanak Himself Special appearance Dil Se Amarkant Varma Kuch Kuch Hota Hai Rahul Khanna Winner, Filmfare Best Actor Award
• 1999 Baadshah Raj Heera/Baadshah Nominated, Filmfare Best Comedian Award
• 2000 Phir Bhi Dil Hai Hindustani Ajay Bakshi Hey Ram Amjad Ali Khan Josh Max Har Dil Jo Pyar Karega Rahul Special appearance Mohabbatein Raj Aryan Malhotra Winner, Filmfare Critics Award for Best Performance Nominated, Filmfare Best Actor Award Gaja Gamini Himself Special appearance
• 2001 One 2 Ka 4 Arun Verma Asoka Asoka Kabhi Khushi Kabhie Gham Rahul Raichand Nominated, Filmfare Best Actor Award
• 2002 Hum Tumhare Hain Sanam Gopal Devdas Devdas Mukherjee Winner, Filmfare Best Actor Award Shakti: The Power Jaisingh Special appearance Saathiya Yeshwant Rao Cameo
• 2003 Chalte Chalte Raj Mathur Kal Ho Naa Ho Aman Mathur Nominated, Filmfare Best Actor Award
• 2004 Yeh Lamhe Judaai Ke Dushant Main Hoon Na Maj. Ram Prasad Sharma Nominated, Filmfare Best Actor Award Veer-Zaara Veer Pratap Singh Nominated, Filmfare Best Actor Award Swades Mohan Bhargava Winner, Filmfare Best Actor Award
• 2005 Kuch Meetha Ho Jaaye Himself Special appearance Kaal Special appearance in song Kaal Dhamaal Silsiilay Sutradhar Special appearance in song Jab Jab Dil Mile Paheli Kishenlal/The Ghost The Inner and Outer World of Shah Rukh Khan Himself (Biopic) Documentary directed by British-based author and director Nasreen Munni Kabir
• 2006 Alag Special appearance in song Sabse Alag Kabhi Alvida Naa Kehna Dev Saran Nominated, Filmfare Best Actor Award Don – The Chase Begins Again Vijay/Don Nominated, Filmfare Best Actor Award Nominated, Asian Film Award for Best Actor I See You Special appearance in song Subah Subah
• 2007 Chak De India Kabir Khan Winner, Filmfare Best Actor Award Heyy Babyy Raj Malhotra Special appearance in song Mast Kalandar Om Shanti Om Om Prakash Makhija/Om Kapoor Nominated, Filmfare Best Actor Award
• 2008 Krazzy 4 Special appearance in song Break Free Bhoothnath Aditya Sharma Special appearance Rab Ne Bana Di Jodi Surinder Sahni/Raj Nominated, Filmfare Best Actor Award
• 2009 Luck by Chance Himself Special appearance Billu Sahir Khan Aao Wish Karein Narrator [57] 2010 Dulha Mil Gaya Released on 8 January
• 2010 My Name Is Khan Rizwan Khan Releasing on 12 February 2010 Ra. 1 Koochie Koochie Hota Hain Rocky Filming

Producer

• Phir Bhi Dil Hai Hindustani (2000)
• Asoka (2001)
• Chalte Chalte (2003)
• Main Hoon Na (2004)
• Kaal (2005)
• Paheli (2005)
• Om Shanti Om (2007)
• Billu (2009)

Playback singer

• Main to hoon Pagal – Baadshah (1999)
• Apun Bola – Josh (2000)
• Khaike Paan Banaraswala – Don – The Chase Begins Again (2006)
• Ek Hockey Doongi Rakhke – Chak De India (2007) Sattar Minute – Chak De India (2007)

Stunts director

• Kuch Kuch Hota Hai (1998)
• Main Hoon Na (2004)
• Kabhi Alvida Naa Kehna (2006)
• Chak De India (2007)
• Om Shanti Om (2007)

Television appearances

• Dil Dariya (1988)
• Fauji (1988) … Abhimanyu Rai
• Doosra Keval (1989) * Circus (1989)
• In Which Annie Gives It Those Ones (1989)
• Idiot (1991) … Pawan Raghujan
• Kareena Kareena (2004) … Special appearance
• Rendezvous with Simi Garewal….. Guest
• Koffee with Karan (2004–2007) … Guest (3 episodes)
• Kaun Banega Crorepati (2007) … Host
• Jjhoom India (2007) … Guest
• Nach Baliye (2008) …. Guest
• Kya Aap Paanchvi Pass Se Tez Hain? (2008) …. Host
• Oye! It’s Friday! (2009) … Guest
• Tere Mere Beach Mein (2009) … Guest

Bibliography

1. Nasreen Munni Kabir. The Inner and Outer World of Shah Rukh Khan (Documentary, 2005).
2. Shahrukh Khan – Still Reading Khan. A1Books Distributor 2007. ISBN 9788187107798.
3. Gahlot, Deepa; Agarwal, Amit. King Khan SRK. Augsburg Weltbild 2007. ISBN 9783828988699.
4. Ghosh, Biswadeep. Hall of fame: Shahrukh Khan (in English). Mumbai: Magna Books, 2004. ISBN 8178092379.
5. Chopra, Anupama. King of Bollywood : Shah Rukh Khan and the seductive world of Indian cinema (English). New York: Warner Books, 2007. ISBN 9780446578585.

Notes

1.  “Indian cinema doing well because of cultural ethos: Shah Rukh Khan”. The Hindu. 17 June 2007. http://www. hindu. com/thehindu/holnus/009200706171961. htm. Retrieved 2009-08-16.
2. Kumar, Anuj (11 November 2004). “Bollywood bonanza”. The Hindu. http://www. hindu. com/mp/2004/11/11/stories/2004111101010300. htm. Retrieved 2009-08-16. Kamath, Sudhish (7 December 2007). Being SRK”. The Hindu. http://www. hindu. com/cp/2007/12/07/stories/2007120750010100. htm. Retrieved 16 August 2009.
3. “The Global Elite – 41: Shahrukh Khan”. Newsweek. 20 December 2008. http://www. newsweek. com/id/176325. Retrieved 24 December 2008.
4. “The Rediff Interview / Shah Rukh Khan”. Rediff. http://www. rediff. com/movies/2007/mar/16srk. htm. Retrieved 5 July 2006.
5. 2009 interview with an Afghan movie director on Afghan TV channel, Shahrukh Khan states that his father’s father (grandfather) is from Afghanistan.
6. “Badshah at durbar and dinner”. elegraphindia. com. http://www. telegraphindia. com/1040531/asp/frontpage/story_3313328. asp. Retrieved 12 March 2007.
7. “Rediff News Gallery: The Shahrukh Connection”. http://specials. rediff. com/news/2004/may/31sl02. htm.
8. A Hundred Horizons by Sugata Bose, 2006 USA, p136
9. “Shahrukh Khan – Journey”. http://movies. indiatimes. com/cms. dll/articleshow? artid=177008&right=1&fright=1&botlink=1.
10. SRK to run for Delhi TNN, The Times of India, 30 September 2009. “I was born here, in Talwar Nursing Home. I lived here for more than two decades in Rajinder Nagar”
11. IndiaFM News Bureau (2 November 2006). “Facts you never knew about SRK”. indiaFM. http://www. indiafm. com/features/2006/11/02/1777. Retrieved 26 July 2008.
12. “Shah Rukh Khan turns 42”. zeenews. com. http://www. zeenews. com/znnew/articles. asp? aid=404915&sid=ZNS&sname=exclusive-news. Retrieved 2 November 2007.
13. Siddiqui, Rana (17 November 2006). “Much ado about King Khan”. The Hindu. http://www. hinduonnet. com/thehindu/fr/2006/11/17/stories/2006111701130100. htm. Retrieved 9 February 2008.
14. Zubair Ahmed (23 September 2005). “Who’s the real Shah Rukh Khan? “. BBC News – BBC.

‘A matter of making images seen. ’ This is what Fernand Leger was writing in 1902 about the new art, trying to describe the possible changes in cinema, by emphasizing the fact that imitating the movements of nature is not necessarily the best way of defining cinema’s essence. This is only one of the writings concerning this topic which influenced Tom Gunning in characterizing the cinematic period before 1906 as that of the ‘cinema of attractions’.

In this essay I am going to talk about the cinema of attractions and its main characteristics with examples from several early films, with an emphasis on ‘Un homme de tetes’ (Georges Melies, 1898) and L’arrivee d’un train a la Ciotat (Auguste and Louis Lumiere,1895).

History of the cinema of attractions

The term of ‘cinema of attractions’ was introduced into the study of film by Tom Gunning and Andre Gaudreault in 1985, describing a filmmaking technique used for early films, until 1906, in which the main interest is in the spectacle and the audience’s visual experience rather than in the narrative side. The cinema of attractions employed delights like colors, costumes, commentary, sometimes even grotesque features, like freaks or indigenous people. In the simplest terms, it was a cinema based on entertainment, shock and sensations, the ability of showing something.

The main difference between this style and the cinema in later years is the focus: the cinema of attractions is trying to take the spectators on an unique trip to an extraordinary place, by inviting them to look, get involved and be amazed by these perfect illusions, rather than telling a story, while the narrative cinema focuses on human psychology, continuity of the plot and characters. The term ‘attract’ is defined by the english dictionary as ‘to draw by appealing to the emotions or senses, by stimulating interest, or by exciting admiration; allure; invite’.

In cinema, Eisenstein was one of the first people to use ‘attraction’ as a way of describing his techniques, which had either a physical or psychological unexpected impact on the audience, due to its direct address towards it, sometimes causing an emotional shock, through aggressivity and due to the unpredictability of the moment. Attractions of the early cinema. The first film that I am going to analyze is directed by the Lumiere brothers, which interpret cinema as the transcription of real unstaged life, opposing to Melies who saw cinema as invention, artifice, illusion, fantasy.

Around this 50 seconds film there are different myths, some of which say that in the first showing of the movie, a lot of the spectators screamed, thinking that the train is going to hit them, and some of them even left the room, because of the illusion of the train moving towards them. This myth is why nowadays people tend to think of the early audience as naive, but at the same time, they forget to take in consideration other aspects, like the transformation which is occurring in front of their eyes, the idea of change and also the historical and social background.

The primary object of most early films seems to be the personal space, which is invaded on a certain level. By triggering stress or fear, or choosing real-life danger objects like trains and other vehicles, the personal space is invaded and bodily reactions are being triggered, which is the main purpose of the cinema of attractions, by engaging the viewer in the exhibition. In 1986, Maxim Gorky writes a review of the Lumiere programme, and he uses words like ‘straight at you’, ‘shield’, ‘will reach you’, which, once again, shows the physical reaction that people had. Nevertheless, one must not confuse this with a complete illusion.

People did not actually believe that the train will physically hurt them, but they were allowing themselves to enjoy the thrill of the cinematic magic. If we were to take a clear example of the details which change this perspective of a credulous audience, the exhibition of The Black Diamond Express is one of the strongest ones, as the movie had a presenter, described as a ‘terrorist mood setter’ which introduced the audience in a dramatic atmosphere, by describing the images of a locomotive rushing into the camera as an unique moment in history, in which it will come towards them with its dreadful ‘iron throat’.

This puts the danger that people believed to be in, in a new light, showing that their emotions and anxiety were influenced by the atmosphere created, together with the novelty of this type of entertainment. This type of delay, the suspension, the wait for an already announced unusual thing to be happening accentuate its impact over the image perceived by the crowd. Locomotives, trains and generally moving objects were preferred by directors, as they easily created a sensation of fear, which could also represent a sensual reaction, as we saw earlier, viewers running out of the movie theater.

This experience could nowadays be compared to that of a roller coaster, described by Gunning as ‘sensations of acceleration and falling with a security guaranteed by the modern industrial technology’, which in my opinion precisely describes people’s experience from 100 years ago as well, as they were well aware of the fact that it was just an illusion, but that didn’t mean they were refusing to be drawn in the experience, especially considering its innovation.

Another aspect of the cinema of attraction is confrontation, which holds the viewer and makes it impossible for him to lose himself into absorption, like before in other arts like painting or sculpture: ‘attractions address the viewer directly, soliciting attention and curiosity through acts of display’. This type of art ask for an immediate response from the audience, as the images are moving, evolving- a living screen. ‘Unlike psychological narrative, the cinema of attractions does not allow for elaborate development, only a limited amount of delay is really possible’. TG, p122) It is exactly this newness that makes it exciting, as it instantly produces a show with a high impact, offering sensational thrills through powerful images in motion, without the traditional narrative structure. In this type of cinema, the spectator identifies himself with the camera more than a character and his confrontation with the film is rather unmediated by the story. Hence, seeing this exhibitionist style as a precursor for the later narrative structures would show a misunderstanding of its value. Another iconic film for the cinema of attractions is Un homme de tetes, 1895.

I have chosen to discuss this film because of its director, which most of the time is put in contrast with the Lumiere brothers, because of their different styles. The first one uses editing and multi shots, while the Lumiere brothers show nature caught on camera, in a single shot. Still, both styles have the same essence, that of the act of display, the pleasure of the spectacle. One aspect that one can definitely notice in Melies’ film is the presence of a showman/monstrator whose role is to present the film to the audience, a mediator between the crowd and the experience itself.

As Gunning states, ‘The showman rather than the film themselves gives the program an overarching structure, and the key role of the exhibition showman underscores the act of monstration than founds the cinema of attractions. ’( TG, p. 122) As an example, Melies, who was a performer himself, during the movie which lasts less than two minutes, gesticulates with his hands towards himself and the heads, in a way directing the public’s attention to the main points, the heads, which are part of his magic trick. This, once again, puts the spectator in an external position, making him aware of the act of looking.

This does not distance him, but, on the contrary, makes him part of the whole show, emphasizing the realism and the interactivity of the cinema. The tricks found in his films represent the typical burst of attraction, when there is a transformation of an object into something else: ‘In its double nature, its transformation of still image into moving illusions, it expresses an attitude in which astonishment and knowledge perform a vertiginous dance, and pleasure derives from the energy released by the play between the shock caused by this illusion of danger and delight in its pure illusion’. (TG, p. 29) One more time, it is emphasized that the audience knew how to make the difference between reality and illusion, and that movement is what cinematography promised, while still experiencing sensational thrills and feeding their hunger of consuming the world through images. From the examples above, we can see Tom Gunning’s idea of cinema of attraction come to life, and the way in which it dominated the first decade of early cinema, through the first silent movies and their exhibitionist characteristics. Their ability to show something without a narrative structure has fulfilled the audience’s visual curiosity of thrills, danger nd magic, while drawing them in the film, creating strong bodily sensation. Therefore, cinema of attractions is a primary response to people’s wish of seeing a spectacle apart than storytelling, in which their body is engaged rather than the mind through a succession of instants.

References

1. Tom Gunning: An Aesthetics of Astonishment: Early Film and the (In)Credulous Spectator
2. The Cinema of Attractions Reloaded, edited by Wanda Strauven, Amsterdam University Press, Amsterdam 2006
3. Tom Gunning -Attractions: How They Came into the world
4. Encyclopedia of early cinema, edited by Richard Abel, Routledge 270 Madison Avenue, New York, USA
5. http://scan. net. au/scan/journal/display. php? journal_id=109
6. http://www. scribd. com/doc/65086032/Tom-Gunning-Primitive-Cinema
7. Tom Gunning, The Cinema of Attraction(s): early Film, Its Spectator and the Avant-Garde
8. Un homme de tetes’ (Georges Melies, 1898)
9. L’arrivee d’un train a la Ciotat (Auguste and Louis Lumiere,1895).
10. Tom Gunning, ‘An Aesthetic of Astonishment: Early Film and the (ln)Credulous Spectator’ (pg. 121)

Nowadays People consume film differently as compared to the previous decade. The advancement of the digital technology and availability of high-speed internet has played a prominent role in the way people consume film. People can watch a movie anywhere in the world provided there is access to the internet connectivity.

Moreover, the development of technology in mobile devices such as mobile phones, tablets, iPods, and laptops has enabled persons to access the internet anywhere they are, and thus they can use mobile applications, for instance, YouTube to view movies at anyplace for example in a car while they are traveling (Aveyard, 2016).

However, film production in theatres is still significant to create awareness among its consumers, provide reliability and as a way of making income. Most people prefer watching movies on their technological devices rather than going to a cinema because it is cheaper and easily accessible. The feature film is a movie that runs for more than 40 minutes and considered the sole of a show.

The feature film has been on the market for over a hundred years and sold as a unique audiovisual. And associated with theatre that is, it is watched in cinemas, however, due to the advancement in technology watching the film takes place outside the theatre. As such no distinction is seen while compared to the other audiovisual films.

Distributors and online content providers put an effort in ensuring that these films are categorized differently for example in show max and iTunes. Additionally, the television series run for more than ten hours and can be entirely viewed for some days in episodes. An episode is part of a series whereby the series is watched for some minutes and then stopped and continued another day. A television series may contain up to twelve episodes or even more.

The introduction of the video cassette recorder (VCR) in 1980 in the market, motivated watching of films outside theatres. The television broadcast showed movies before 1980. However, the advertisement of the VCR surrounded household as the leading practice for watching movies. The VCR was cheap and suitable with the existing technology. VCR provided a way of watching a film without timing and avoiding the annoying television advertisements.

However, the adaptation of VCR in homes resulted in affecting the education of the family members. The scholar could watch a movie at any time and forsake analyzing academic materials. Additionally, the feature film set is in a tremendous location and offers quality visualization of the characters as compared to a television movie which is of low quality and uses sound to capture the viewer attention.

Practice theory conducted by Jones (2013) tried to explain the perception of viewers at cinemas and home. Jones realized that watching a movie at home with the family members provided a sense of relaxation and gratification to the children and the couples. Therefore, films viewing help to maintain and develop a close bond between individuals and the need for an individual to dedicate time to the family agreement. Consequently, there is a need to address non-theatre movies and its audience due to its social-cultural impact.

Reference

• Aveyard, K. (2016). Film consumption in the 21st century: engaging with non-theatrical viewing. Media International Australia, 160(1), 140-149.

Researcher draws his study on the topic of effects on the youth of GCUF because in the view of researcher it is the major social problem of a society that the youth of society is in immature hands. The cinema -or the 7th art as referred by some- has had a major impact on young ages for decades now. As in teenage hood individuals find themselves at a predicament, having to foster their personality and cultivate their thinking and their interests, cinema constitutes a vital influence. Through movies, people are able to assess situations, discriminate the “good” and the “bad”. As Aristotle said, via the ancient Greek theatre, the audience has the opportunity to watch imaginary situations, commiserate with the protagonists and worry about his own destiny. For instance, in “Helen” of Euripides, Helen is forced to stay away from the husband Menelaus.

Thus, the viewers develop worries that this might append to them as well. In this way, “oiktos” (pity) and “phobos” (fear) emerge and the theyis rendered an educational experience for the individuals. Like so, nowadays, cinema portrays a very educational role, as youth can learn to think, to be opinionated. Nevertheless, sometimes, the cinema can have bad influence, especially with the excessive amount of violence and nudity. Therefore, it is in our interest to protect and preserve the value of good cinema and stop this epidemic of violence, fighting and by all means, pornographic industry, for the sake of
youngsters. I hope I gave you an insight of the on teenagers.

INTRODUCTION

Movies definitely impact the youth. Young people who have not had ample time to develop the brain capacity to evaluate the actual consequences of their actions.

Kids will copy what they see, without being able to consider what the risk is. Remember the movie The Program? I believe it showed some young people lying down on the center line of a road – and a bunch of incidents happened in real life after that, and of course, to much more negative results.

There are many incidents of learning new lingo from movies. I would say that Clueless gave us more slang / catch phrases than anything else in recent memory. “Whatever” “as if” “I’m out tie” to name a few. They created a way of speaking that filtered through the youth of the nation and actually stuck for quite awhile. I still hear these phrases off and on today.

And then I could always bring up the horrifying rise in teen sexual activity. Pretty much every movie out there portrays fornication as normal and expected behavior. But … the movies don’t show the reality of what happens in the lives of those involved after the fact. There are so many more teen pregnancies and ruined lives today than there were in the 50’s when couples slept in twin beds on TV. 🙂 Sex is all around us, and the message is clear, “if you’re not sleeping around with lots of people, there’s something wrong with you” and we’re seeing the ruined lives to prove that message is getting into their heads. There are also some effects of cinemas on the people especially on the youth of GCUF. It affects the studies, morality, ethics and the cultural innovation of the university youth.

Key terms: cinema, obscenity, immorality, Lessing of ethics, studies

Cinema: cinema is that place where people have to go to watch movies on the big screen. The history of cinema is too old. Cinema has its own importance in the society. Every new movie must release in the cinema and people go there to watch that movie.

Obscenity: obscenity means the absence of ethics, absence of the idea of sin and virtue where to show off his/her body is not being understand wrongly.

Immorality: morals and ethics have too much importance in the society especially n Pakistani society which is based on Islam. As we are Muslim and it is our duty to make sure this that our children and the upcoming generation teaches the morals how to become a useful Pakistani and become good Muslim.

Lessing of ethics: ethics teach us how to present you in the society. You can say it the pathway to the Jinnah in the ideology of Islam. It teaches us how to speak, how to learn, what is the ideology of sin and virtue? And each and every thing which is taught to us by Holy Prophet (S.A.W. W)

Studies: studies are the knowledge which we gain from any institution. Studies main objective in the modern society is to get a good job. But the effects of cinema industry on the youth of Pakistan is leaving very bad impression and getting them far away from studies that’s why the student of GCUF are not concentrating on the studies.

Hypothesis no. 1: it seems that cinemas are the reason of obscenity, immorality and lessen of ethics on the youth of Pakistan.

Hypothesis no. 2: leaves strong effects on the immature minds of the youth.

Hypothesis no. 3: it has said that the reason of the low attendance of the students in classes is also because of the nearby cinema of the university.

Hypothesis no. 4: the trend of the bunking from the classes is also due to the nearby cinema of the GC University and often student found there watching movies.

Research Questions

Q1: Cinemas are leaving very bad impression on the youth of university.

Q2: Are cinemas spreading the western culture in the university youth?

Q3: Are cinemas are the reason of the bad grades of the students and this is also the reason those students do not pay much attention towards their studies.

Q4: It has shown that cinemas are involved in producing obscenity in the youth.

Q5: Many crimes such as burglary, murder, mobile phone snatching and fights among university students are the reason of the movies.