Press Release- Documentary film ‘Factories of Death and Despair”



Lucknow, 9 June.  A special screening and release function of ‘Factories of Death and Despair’ – the first documentary film presented by Arvind Memorial Trust was held here today at the UP Press Club.

The film, produced by the audio-visual division of the Trust Human Landscape Productions is focussed on frequent accidents and horrific working conditions in the thousands of factories in the national capital region. The film shows the sprawling industrial areas adjacent to the shining posh locales of national capital where workers still toil in conditions as horrible as 100 years ago. Millions of workers in order to survive work daily under the shadow of death. Safety precautions are thrown to the wind in pursuit of quick profits. Accidents happen, people are killed or maimed, but things go on unchanged behind a cold veil of silence.

The film also shows how a nexus of police, factory owners and politicians suppresses all mention of the deaths after an accident. It also reveals the flaws in compensation laws and how the workers and their families are denied fair compensation by corrupt union leaders, touts and labour officers.

Senior poet and filmmaker Naresh Saxena who presided over the function said while releasing the film that the subject of the film has become even more relevant in the backdrop of increasing industrial mishaps in the recent past. He said the audio-visual medium has become very important today to reach out to the vast masses and educate them about their rights.

The director of the film Charu Chandra Pathak shared his experiences while making the film. He said he plans to take this film to the industrial areas and workers colonies to show it to its real audiences.

On this occasion, Satyam of the Arvind Memorial Trust said that the Trust has organised its audio-visual division named Human Landscape Productions which will produce documentaries on the life and struggles of working people and common masses, mass movements and social-political issues and feature films. It has already completed the production of its first documentary film. The Trust plans to establish a fully equipped film editing and audio recording studio. The audiovisual division of the Trust is also working for audio-visual documentation of various social-political mass movements and important events. It is making a collection of world famous revolutionary and progressive films, arrange for their sub-titling and dubbing in Hindi and organise regular shows and discussions on them in different cities.

Well known poet Katyayani said that an alternative peoples media is the need of the hour and audio-visual and new media have become very important. This division of the Trust will also produce CDs and DVDs of revolutionary music and compositions. It will also organise workshops and trainings on various aspects of digital film technique and animation etc. All these projects are being implemented without taking any kind of institutional grants and solely on the basis of contributions collected from the public.

The cultural troupe of ‘Pratyush’ presented a song ‘Zindagi ne ek din kaha ki tum lado…’ at the start of the program. Age number of media persons, writers, intellectuals, social and cultural activists and students were present on this occasion. A discussion on  various aspects of the film followed the film show .

(Meenakshy)

Managing Trustee

Arvind Memorial Trust

 Phone: 8853093555/9936650658, Email: info@arvindtrust.org

———————————————————

विकास की चकाचौंध के पीछे मज़दूरों के जीवन के नारकीय सच को सामने लाती है ‘मौत और मायूसी के कारख़ाने’ 
औद्योगिक दुर्घटनाओं पर डॉक्युमेंट्री फिल्म का प्रथम प्रदर्शन
लखनऊ, 9 जून। अरविन्द स्मृति न्यास द्वारा प्रस्तुत पहली डॉक्युरमेंट्री फिल्म ‘मौत और मायूसी के कारख़ाने को आज यहाँ एक कार्यक्रम में जारी किया गया।
न्यास के दृश्य-श्रव्य प्रभाग ‘ह्यूमन लैंडस्केप प्रोडक्शन्स द्वारा निर्मित यह फिल्म राष्ट्रीय राजधानी क्षेत्र के कारख़ानों में आये दिन होने वाली दुर्घटनाओं और औद्योगिक मज़दूरों की नारकीय कार्य-स्थितियों पर केन्द्रित है। फिल्म दिखाती है कि किस तरह राजधानी के चमचमाते इलाक़ों के अगल-बगल ऐसे औद्योगिक क्षेत्र मौजूद हैं जहाँ मज़दूर आज भी सौ साल पहले जैसे हालात में काम कर रहे हैं। लाखों-लाख मज़दूर बस दो वक़्त की रोटी के लिए रोज़ मौत के साये में काम करते हैं। सुरक्षा इंतज़ामों को ताक पर धरकर काम कराने के कारण आये दिन दुर्घटनाएं होती रहती हैं और लोग मरते रहते हैं, मगर ख़ामोशी के एक सर्द पर्दे के पीछे सबकुछ यूँ ही चलता रहता है, बदस्तूर।
फिल्म में यह भी अत्यंत प्रभावशाली ढंग से दिखाया गया है कि किस तरह दुर्घटनाओं के बाद पुलिस, फैक्ट्री मालिक और राजनीतिज्ञों के गंठजोड़ से मौतों को दबा दिया जाता है। मज़दूर या उसके परिवार को दुर्घटना के मुआवज़े से भी वंचित रखने में श्रम कानूनों की खामियों और दलालों और भ्रष्ट अफसरों की तिकड़मों को भी इसमें उजागर किया गया है।
कार्यक्रम की अध्यक्षता कर रहे वरिष्ठ साहित्यकार श्री नरेश सक्सेना ने फिल्म जारी करते हुए कहा कि पिछले कुछ समय के दौरान बढ़ते औद्योगिक हादसों की पृष्ठभूमि में इस फिल्म की प्रासंगिकता और अधिक बढ़ गई है। उन्होंने कहा कि आज के दौर में व्यापक आबादी तक अपनी बात पहुंचाने और उन्हें अधिकारों के बारे में जागरूक बनाने में दृश्य-श्रव्य माध्यम की भूमिका काफी महत्वपूर्ण है और इस दिशा में यह परियोजना एक जरूरी कदम है।
इस अवसर पर फिल्म के निर्देशक चारु चन्द्र पाठक ने फिल्म बनाने के दौरान अपने अनुभवों को साझा करते हुए बताया कि औद्योगिक मज़दूरों के काम के हालात और नारकीय जीवन स्थितियों को नज़दीक से देखने के बाद उन्होंने तय किया कि ग्लैमर और शोहरत की फिल्मी दुनिया में जगह बनाने की कोशिश करने के बजाय वे इस कला का इस्तेमाल उन तबकों के जीवन को सच्चाई को सामने लाने में करेंगे जो इस देश के विकास की नींव होने के बावजूद मीडिया की नजरों से दूर हैं। उन्होंने बताया कि वे इस फिल्म को मज़दूर बस्तियों और कारखाना इलाकों में लेकर जाएंगे क्योंकि वही इसके असली दर्शक हैं।
अरविन्द स्मृति न्यास की ओर से सत्यम ने बताया कि न्यास ने मज़दूरों के जीवन और संघर्ष, आम जनजीवन, जनान्दोलनों और सामाजिक-राजनीतिक मुद्दों पर डॉक्युमेंट्री और फीचर फिल्मों के निर्माण के लिए अपना दृश्य-श्रव्य प्रभाग ‘ह्यूमन लैण्डस्केप प्रोडक्शन्स’ नाम से संगठित किया है। न्यास का दृश्य-श्रव्य प्रभाग विभिन्न जनान्दोलनों और महत्वपूर्ण घटनाओं के दृश्य-श्रव्य अभिलेखन (आडियो-विज़ुअल डाक्युमेण्टेशन) का काम भी कर रहा है। यह विश्वप्रसिद्ध क्रान्तिकारी, प्रगतिशील फ़िल्मों का संग्रह तैयार कर रहा है जिनकी उनकी हिन्दी में सबटाइटलिंग और डबिंग का प्रबन्ध किया जा रहा है। जल्दी ही अलग-अलग शहरों में ऐसी फिल्मों का नियमित प्रदर्शन एवं उन पर परिचर्चा आयोजित की जायेंगी।
कार्यक्रम का संचालन कर रही कात्यायनी ने बताया कि जनता का वैकल्पिक मीडिया खड़ा करना आज बेहद जरूरी है और आडियो-विजुअल माध्यम तथा इंटरनेट आदि का उपयोग इसमें बहुत महत्व रखते हैं। उन्होंने बताया कि न्यास का यह प्रभाग क्रान्तिकारी गीतों और संगीत रचनाओं की सीडी-डीवीडी भी तैयार करेगा। समय-समय पर इसके द्वारा डिजिटल फ़िल्म तकनीक के विभिन्न पक्षों और डाक्युमेंट्री निर्माण, एनिमेशन आदि पर कार्यशालाएँ भी आयोजित की जायेंगी। ये सभी काम किसी प्रकार के संस्थागत अनुदान लिए बिना जनता से जुटाए गए संसाधनों के बूते किए जा रहे हैं। इस वजह से इनमें देर भले ही हो लेकिन ये किसी दबाव से मुक्त होकर पूरे किए जाएंगे।
दिवंगत सामाजिक कार्यकर्ता एवं बुद्धिजीवी अरविन्द के चित्र पर उनकी जीवन साथी तथा अरविन्द स्मृति न्यास की मुख्य न्यासी मीनाक्षी द्वारा माल्यार्पण से कार्यक्रम की शुरुआत हुई। इस अवसर पर ‘प्रत्यूष की ओर से ‘जिन्दगी ने एक दिन कहा कि तुम लड़ो…’ गीत प्रस्तुत किया गया। कार्यक्रम में बड़ी संख्या में पत्रकारों, लेखकों, बुद्धिजीवियों, सामाजिक कार्यकर्ताओं, संस्कृति कर्मियों तथा छात्रों ने भाग लिया। फिल्म प्रदर्शन के बाद उसके विभिन्न पहलुओं पर दर्शकों के साथ चर्चा भी हुई।

(मीनाक्षी )
मुख्य न्यासी
अरविन्द स्मृति न्यास

फोनः 8853093555/9936650658 ईमेलः info@arvindtrust.org

 

Madhu Kishwar to script Ashutosh Gowariker’s next


mkishwar

April3, 2013,

Ashuthosh Gowarikar today chose an unlikely scriptwriter for his next film. The writer is none other than Madhu Kishwar whose name got viral due to her Modinama series. The details about the film are not yet known.

Madhu Kishwar, whose archaeological and paleontological evidence suggests her existence as a feminist, is reported to have impressed Gowarikar with her writing skills.  Gowarikar who is known for his tele serial like and never ending films hopes to end the financial draught his films experienced in the box office by partnering with Kishwar. He told us

” She is fantabulous! Look at the way she brings characters in her Modinama series. Who else can white wash a person (Modi) as beautifully as she does. She has perfectly forgotten that people have common sense, this is exactly the kind of the person we want in Bollywood.  Look at her characterization of people and the way she fits them to into the story, this is what we did in historical cinema like Jodha Akbar. She belongs to the same school of thought to where I belong. Nobody can last long till my movie is over, same with her articles too.”

He became further eloquent talking about her imagination

“The way she make conspiracy theories can even make Subramanian Swamy shame.  Look, she calls Togadia a congress agent, I don’t think even if one consume all the weed in the world, he will be able to think as great as her”

Madhu Kishwar agreed to the offer as the film doesn’t have any ‘ism’ in the title and it doesn’t have any left liberal mousetraps. Bollywood hopes the film will be a hit as Kishwar has got the perfect mix of misogynism and retrogressiveness recently. There have been unconfirmed reports that Ekta Kapoor wants to  televisionise Modinama and she is in discussion with Kishwar about adding a mother in law in to the plot to complete the masala.

Source- http://www.naklileaks.com

 

An Open Letter to Anurag Kashyap and his 12.12.12 project. #kractivism


121212

LATEST UPDATE CLICK HERE

IMPACT OF POSTING THIS LETTER HERE, MESSAGE FROM THE FILMMAKER– ‘KRACKTIVISM”

( Within 3 hours after putting this post- picture abhi baak hai dost :-P)

“Shilpa has been refunded the expenses she incurred on making the film and Showhouse’s Large Short Films has promised to give her copyright over her work soon subsequent to the circulation of the open letter. She is waiting for it in writing. She stands by the issues she raised and thanks everyone for the immense kind support” Thanks Kamayani this would not have been possible without you. You are really awesome!

I am a Mysore based woman filmmaker who was chosen by you to be part of the Mega Movies project 12.12.12 executed by Showhouse Entertainment’s Large Short Films Wing. I am writing this open letter because I think public discourse is important given that over the years you have come to occupy such an important space within what you call ‘independent cinema’.

Also no one from the company that you endorse, as well as you, thinks it is important to have a dialogue with me about unpaid wages, disrespect and unfair dismissal which has caused me tremendous amount of financial, emotional stress. There is also a much touted save indie cinema doing the rounds and what it fails to add to the discourse (not surprising going by the kind of signatories it claims) is what I want to talk about. Changing the look of how you produce cinema and being backed by big studio capital isn’t really independent. I think it is important to bring this into the public domain as the silences around working practices result in the perpetuation of exploitative systems and weed out filmmakers based on their class, caste, gender, religion and language.

It was absolutely no surprise when I saw that the list of 12 directors included no woman. So apparently out of 600 entries only I, the sole woman, made it to the shortlist and because I decided to speak up and not be quiet about how my film was going to tortured and beaten into becoming the kind of objects that you seem to grant your blessings to, 12.12.12 is now officially an all male production.

I bring your notice to this because the tone of the company with regard to objections I raised has been patronising, condescending and dismissive. Well meaning friends and critics will tell me that’s how it works, that’s the industry,
the industry that works on free labour, meant for those who have the money to afford the time to chase dreams. It’s not meant for women like me who have no big daddies or brothers or husbands supporting them. It isn’t meant for women
like me who choose to work in a language other than Hindi and it definitely isn’t meant for women like me who don’t know how to waddle along consenting to practices that make people like you and the companies you endorse just richer
on the back of such exploitative practices.

You sent me an email stipulating that I would not be in touch with any of the other 11 directors (an effective way I must say to curb dissent and this goes by the name of being collaborative!) The contract also stipulated that I would be paid once I handed over the film contrary to what the rules on the contest page initially stated wherein I was supposed to have been given the money before Ivmade the film. This I was informed after having worked a full month on the project. I did sign it and I take full responsibility for that sign because you were the carrot dangled to me, the one ruling the roost in the film festival circuit and of course the Indian public funding circuit, what seemed like the only way to make one’s film. And since you must have been paid handsomely to be the carrot, I only ask that you own up to the full responsibility of it and be accountable to the carrot desirers you create.

After insisting that I get paid at least half I went ahead, after funds were released, and borrowed money to complete it. I hand over the film and fulfil my contractual obligations and then am bullied into changing and reshooting it for a mistake made by Asmit Pathare (Project director not the 12th discovery – check the shortlist!) and Abhijit Das (the godfather of short films in the making). So I naturally said no. You must understand how difficult it is for a director to hurt their stories? It’s kind of like being okay with Abhijit Das (Creative head of Largeshortfilms) adding on a scene where Manoj Bajpai spouts Feminist Marxist dialogues in Gangs of Wasseypur and without telling you! Wouldn’t really fit with the ethos of the film no? Your company even told me that since I do not have the resources I cannot be involved in the reshoot. At such a juncture I asked you not to use my film if I was not being reimbursed and no, you go ahead and use it. The matchbox still from my film is still up on the company’s website.

In a country with absolutely zilch funding for independent films you exploit the hopes of thousands of aspirants. You reiterate a certain way of working which accommodates only a certain type of filmmaker. This in my world is called cheating, it’s called immoral and it’s called unfair. In your world all this is grey, this hijacking that you do of a space that has seen so much struggle and such amazing cinema, this hijacking of language – calling it collaborative when it’s more dictatorial, this hijacking of image, of new film waves, of new ways of working. One of the most exciting things about globalised capitalism’s current avatar (as Hardt and Negri will tell you) is that even though it creates systems like you it also provides for ruptures like me.

Before you come back with a reply to this I ask you to re‐look at emails that you sent me and words you relayed to me through the company about my filmmaking. Everything that I have said is backed by evidence (I know too well
how important that is) I know this open dissent will cost me. I’m not naïve not to understand as to how you rule visibilities around distribution and production but I will walk away knowing that I have spoken and that this is just the beginning not the end of the road for me. For those of you reading this I understand that within the larger framework of what we call injustice in this country this is nothing but when we start to look at continuums everything does matter and support for this would really help not just me but for all those who are engaged in changing the way images speak.

From the 12th director who so mysteriously disappeared
Shilpa Munikempanna
munikempannaproductions@gmail.com

contact- 9611843981

When going to the Movies was an art #Sundayreading #cinema


When going to the movies was an art
As Regal cinema enters its 80th year, here’s a look at the ‘theatre of firsts’
Yoshita Sengupta , Mumbai Mirror , Oct 27, 2012

It was a regular school day back in 1957 when a group of primary students of Rosary High School from Dockyard Road in Mazgaon made the trip to Colaba. It was to catch a screening of Alfred Hitchcock’s thriller Rope. The venue — Regal cinema.
One of the boys, then five, was hooked enough to spend the rest of his life making repeated trips. Rafique Bagdadi, now a noted film critic and one among Mumbai’s bestknown amateur historians, is brimming with stories of the glorious days. “Going to Regal was like going to Rome or another European city. Behind it was the Taj Mahal hotel. In front of it stood the majestic Cowasji Jehangir Public Hall, which is now the NGMA. The insides of the theatre were as dreamy as the set of Hollywood films screened here,” he says of the Art Deco architecture style that Regal shares with other South Mumbai cinemas like Liberty and Eros. Inaugurated on October 14, 1933 by Mumbai governor Sir Frederick Sykus, Regal was built by film exhibitor Framji Sidhwa and his friend KA Kooka. And it had quite a few firsts to its credit. Asia’s first centrally air-conditioned theatre, it was also the first to introduce Cinemascope and offer basement car parking to its patrons.

The reinforced concrete structure built at a lavish cost was conceived by Charles Stevens, son of famous 19th century English architect Fredrick Williams Stevens, while the interiors were designed by Czechoslovakian artist Karl Schara. Old-timers remember the sun ray Cubist motif in orange and jade green in the atrium.


For Deepak Rao, retired IPS officer and member of the Bombay Local History Society, Regal stands for an afternoon Arlem beer. While working at the Mumbai police headquarters across the road from the cinema, he’d hop over to its refreshment room that could house no more than six guests.
Regal’s historic value preceeds its construction, says Rao. “The lane behind Regal is not named Battery Street for nothing. The site at Apollo Bunder on which the cinema stands was owned by the British army, and was occupied by an old saluting battery. When viceroys and VIPs arrived, they were greeted with a gun salute. The British government decided to lease the property in 1926, which is when it was acquired by Mr Sidhwa and Mr Kooka of Globe Theatre Ltd.,” says the 62 year-old.


Sidhwa’s life, say documents, was as dramatic as the movies he screened. Born in 1883 in Tarapore, Gujarat, in a middle-class home, he moved to an orphanage in Parel before gaining admission to Bharda New High School, which stands right beside the theatre he would build in 1928 — Capitol at VT. The student of St Xavier’s College had to drop out due to thinning finances and move to Rangoon in 1903 to find a job. Starting out as a clerk in Singer, he later took up an insurance job.
It was in 1913 that he established a small syndicate and launched his film exhibition business in Rangoon. Two years later, Globe Theatre Ltd. was born.
Behram Contractor, in one of his essays, said going to the cinema was an art,” says Rao. And Regal played its part.
Baghdadi calls it an “experience” — South Bombay movie lovers would book tickets way in advance, dress up in finery and land up at the movies. “There was a soda fountain, a pantry for balcony audiences, and we’d dig into ice cream while musicians would perform live,” he shares.
Social worker, champion bridge player and MP Milind Deora’s mother Hema Deora’s memories of Regal stand testimony to Baghdadi’s description. As a 10 year-old in the early 1960s, Deora didn’t understand cinema, but that hardly mattered. “For me, the draw was the ice cream served in the cinema’s restaurant. The cup resembled a wine glass. It was a family affair. I’d wear my best dress, and we’d return home in a tonga,” Deora reminisces.

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