HTC Magician

China Suppliers


www.theregister.co.uk/2005/02/08/review_htc_magician/. 

^ Teo, Melvin (10 November 2005). "O2 Xda II mini" (in English). CNET Asia. CBS Interactive. http://asia.cnet.com/reviews/mobilephones/0,39051199,39080441p,00.htm. Retrieved 1 January 2010. 

External links motorola bluetooth hs850

HTC Magician at XDA-Developers Wiki e2c

v  d  e hs850

Categories: Telecommunications stubs | HTC Corporation mobile phones | 2005 introductions | Windows Mobile Professional devices

Indian cuisine

China Suppliers


History and influences

As a land that has experienced extensive immigration and intermingling through many millennia, India's cuisine has benefited from numerous food influences. The diverse climate in the region, ranging from deep tropical to alpine, has also helped considerably broaden the set of ingredients readily available to the many schools of cookery in India. In many cases, food has become a marker of religious and social identity, with varying taboos and preferences (for instance, a segment of the Jain population will not consume any roots or subterranean vegetables; see Jain vegetarianism). One strong influence over Indian foods is the longstanding vegetarianism within sections of India's Hindu, Buddhist and Jain communities. People who follow a strict vegetarian diet make up 2042% of the population in India, while less than 30% are regular meat-eaters.

Masala dosa served in a restaurant in southern India. Indian cuisine is characterized by the widespread practice of vegetarianism across India's populace. divan beds

Around 7,000 BC, sesame, eggplant, and humped cattle had been domesticated in the Indus Valley. By 3000 BC, turmeric, cardamom, black pepper and mustard were harvested in India. Many recipes first emerged during the initial Vedic period, when India was still heavily forested and agriculture was complemented with game hunting and forest produce. In Vedic times, a normal diet consisted of fruit, vegetables, meat, grain, dairy products and honey. Over time, some segments of the population embraced vegetarianism, due to the ancient Hindu philosophy of ahimsa. This practice gained more popularity due to a cooperative climate where a variety of fruits, vegetables, and grains could easily be grown throughout the year. Buddhism, among several other beliefs and practices borrowed vegetarianism from Hinduism to embrace Ahimsa. A food classification system that categorised any item as sattva, rajas or tamas developed in Ayurveda. Each was deemed to have a powerful effect on the body and the mind. wicker chair

Later, invasions from Central Asia, Arabia, the Mughal empire,Persia, and elsewhere had a deep and fundamental effect on Indian cooking. Influence from traders such as the Arab and Portuguese diversified subcontinental tastes and meals. As with other cuisines, Indian cuisine has absorbed New World vegetables such as tomato, chilli, and potato, as staples. These are actually relatively recent additions. furniture resin wicker

Islamic rule introduced rich gravies, pilafs and non-vegetarian fare such as kebabs, resulting in Mughlai cuisine (Mughal in origin), as well as such fruits as apricots, melons, peaches, and plums. The Mughals were great patrons of cooking. Lavish dishes were prepared during the reigns of Jahangir and Shah Jahan. The Nizams of Hyderabad state meanwhile developed and perfected their own style of cooking with the most notable dish being the Biryani.

During this period the Portuguese and British introduced foods from the New World such as potatoes, tomatoes, squash, and chilies as well as cooking techniques like baking.

Elements

A typical assortment of spices and herbs used in Indian cuisine

The staples of Indian cuisine are rice, atta (whole wheat flour), and a variety of pulses, the most important of which are masoor (most often red lentil), chana (bengal gram), toor (pigeon pea or yellow gram), urad (black gram) and mung (green gram). Pulses may be used whole, dehusked, for example dhuli moong or dhuli urad, or split. Pulses are used extensively in the form of dal (split). Some of the pulses like chana and "Mung" are also processed into flour (besan).

Most Indian curries are cooked in vegetable oil. In North and West India, peanut oil has traditionally been most popular for cooking, while in Eastern India, mustard oil is more commonly used. In South India, coconut oil and Gingelly Oil is common. In recent decades, sunflower oil and soybean oil have gained popularity all over India. Hydrogenated vegetable oil, known as Vanaspati ghee, is also a popular cooking medium that replaces Desi ghee, clarified butter (the milk solids have been removed).

The most important/frequently used spices in Indian cuisine are chilli pepper, black mustard seed (rai), cumin (jeera), turmeric (haldi, manjal), fenugreek (methi), asafoetida (hing, perungayam), ginger (adrak, inji), coriander (dhania), and garlic (lassan, poondu). Popular spice mixes are garam masala, which is usually a powder of five or more dried spices, commonly including cardamom, cinnamon, and clove. Each region, and sometimes each individual chef, has a distinctive blend of garam masala. Goda masala is a popular sweet spice mix in Maharashtra. Some leaves are commonly used like tejpat (cassia leaf), coriander leaf, fenugreek leaf and mint leaf. The common use of curry leaves is typical of all South Indian cuisine. In sweet dishes, cardamom, saffron, nutmeg, and rose petal essences are seasoned.

Geographical varieties

Northern

See also: Punjabi cuisine, Mughlai cuisine, Cuisine of Kashmir, Awadhi cuisine, Cuisine of Uttar Pradesh, Rajasthani cuisine, Bhojpuri cuisine, Bihari cuisine, and Sindhi cuisine

Punjabi cuisine - Starting from the left, Gobi Aloo, Seekh Kehbab, and Beef Karahi

North Indian cuisine is distinguished by the proportionally high use of dairy products; milk, using the "tawa" (griddle) for baking flat breads like roti and paratha, and kulcha, main courses like tandoori chicken also cook in the tandoor. Other breads like puri and bhatoora, which are deep fried in oil, are also common. Goat and lamb meats are favored ingredients of many northern Indian recipes.

The samosa is a popular North Indian snack, and now commonly found in other parts of India, Central Asia, North America, Britain, Africa and the Middle East. A common variety is filled with boiled, fried, or mashed potato. Other fillings include minced meat, cheese (paneer), mushroom (khumbi), and chick pea.

The staple food of most of North India is a variety of lentils, vegetables, and roti (wheat based bread). The varieties used and the method of preparation can vary from place to place. Popular snacks, side-dishes and drinks include pakoda, bhujiya, chaat, kachori, imarti, several types of pickles (known as achar), murabba, sharbat, aam panna and aam papad. Popular sweets are known as mithai (means sweetmeat in Hindi), such as gulab jamun, jalebi, peda, petha, rewadi, gajak, bal mithai, singori, kulfi, falooda, khaja, ras malai, gulkand, and several varieties of laddu, barfi and halwa.

Some common North Indian foods such as the various kebabs and most of the meat dishes originated with Muslims incursions into the country. Considering their shared historic and cultural heritage, Pakistani cuisine and North Indian cuisine are very similar.

Eastern

See also: Assamese cuisine, Bengali cuisine, and Oriya cuisine

Nollen Sandesh, a popular sweet from West Bengal, India.

East Indian cuisine is famous for its desserts[citation needed], especially sweets such as rasagolla, chumchum, sandesh, rasabali, chhena poda, chhena gaja, chhena jalebi and kheeri. Many of the sweet dishes now popular in Northern India initially originated in the Bengal and Orissa regions. Apart from sweets, East India cuisine offers delights of posta (poppy seeds).

Traditional cuisines of Orissa, Bengal, and Assam are delicately spiced. General ingredients used in Oriya, Bengali, and Assamese curries are mustard seeds, cumin seeds, nigella, green chillies, cumin paste and the spice mix panch phoron or panch phutana. Mustard paste, curd, nuts, poppy seed paste and cashew paste are preferably cooked in mustard oil. Curries are classified into bata (paste), bhaja (fries), chochchoree (less spicy vapourized curries) and jhol (thin spicy curries).These are eaten with plain boiled rice or ghonto (spiced rice). Traditional breakfasts includes pantabhat or pakhaal, as well as cereals such as puffed rice or pressed rice, in milk, often with fruits. The cuisine of Bangladesh is very similar to eastern Indian cuisine, particularly that of West Bengal. Fish and shellfish are commonly consumed in the eastern part of India. The popular vegetable dishes of Orissa are Dalma and Santula. The most popular vegetable dish of Bengal is Sukto. Deep fried, shallow fried and mashed vegetables are also very popular. As in southern India, rice is the staple grain in Eastern India too. A regular meal consists of lentils, a primary non vegetarian side dish usually made of fish and a few other secondary side dishes made of vegetables.

Southern

Main article: South Indian cuisine

Idlis with coconut chutney, a well-known dish from southern India

South Indian cuisine is distinguished by a greater emphasis on rice as the staple grain, the ubiquity of sambar and rasam (also called chaaru/saaru and rasam), a variety of pickles, and the liberal use of coconut and particularly coconut oil and curry leaves. Curries called Kozhambu are also popular and are typically vegetable stews cooked with spices, tamarind and other ingredients. The dosa, poori, idli, vada, bonda and bajji are typical South Indian favorites. These are generally consumed as part of breakfast. Other popular dishes include Kesaribath, Upma/Uppittu, Bisibele Bath, Rice Bath, Tomato Bath, Pongal, Poori & Saagu, Pulao, Puliyogarai and Thengai Sadham. Hyderabadi biryani, a popular type of biryani, reflects the diversity of south Indian cuisine. South Indian cuisine obtains its distinct flavours by the use of tamarind, coconut, lentils, and a variety of vegetables.Udupi cuisine is a popular cuisine of South India.

Andhra, Chettinad, Tamil, Hyderabadi, Mangalorean, and Kerala cuisines each have distinct tastes and methods of cooking . In fact each of the South Indian states has a different way of preparing sambar; a connoisseur of South Indian food will very easily tell the difference between sambar from Kerala, sambar from Tamil cuisine, Sambaru from Karnataka and pappu chaaru in Andhra cuisine. Some popular dishes include the Biriyani, Ghee Rice with meat curry, seafood (prawns, mussels, mackerel) and paper thin Pathiris from Malabar area.

Western

See also: Goan cuisine, Maharashtrian cuisine, Saraswat cuisine, and Gujarati cuisine

Ragada in a pani puri, a popular snack from Mumbai.

Western Indian cuisine has three major regions: Gujarati, Maharashtrian and Goan. Maharashtrian cuisine has mainly two sections defined by the geographical sections. The coastal regions, geographically similar to Goa depend more on rice, coconut, and fish. The hilly regions of the Western Ghats and Deccan plateau regions use groundnut in place of coconut and depend more on jowar (sorghum) and bajra (millet) as staples. On various special occasions sweets like pooran poli, shrikhand, modak etc. are prepared. Maharashtrian fast food includes one of the most popular dishes called Pav Bhaji. It is becoming popular in Indian restaurants all around the world. Saraswat cuisine forms an important part of coastal Konkani Indian cuisine. Gujarati cuisine is predominantly vegetarian. Many Gujarati dishes have a hint of sweetness due to use of sugar or brown sugar or gur (also called as jaggery). Goan cuisine is influenced by the Portuguese colonization of Goa.

A vegetarian thali. Gujarati cuisine offers a wide range of vegetarian delicacies because Hinduism, practiced by majority of Gujarat's populace, encourages vegetarian diet.

North Eastern

See also: Naga cuisine, Sikkimese cuisine, and Tripuri cuisine

Assamese cooking is chiefly based on fish and rice. In Arunachal Pradesh, people here generally take non-vegetarian diets. Apong is famous local Arunachali drink made from rice and millet. Uti (lentil cooked with edible soda for flavor), hawwai jar (fermented soya beans), otonga (fermented fish), and ngari (dried fish) are some of the most popular delicacies in Manipuri cuisine. Ushoi (fresh bamboo shoots) is a unique fermented Manipuri dish. There is a variety of boiled and fermented type of dishes in Manipuri culture, although there is good variety of fried dishes also. The iromba is another popular fermented dish made from fish, vegetables and bamboo shoots.

Jadoh a spicy dish of rice and pork is one of the most popular dishes in the Indian state of Meghalaya. Kyat, a local brew made from rice, is an integral part of most local Meghalayan celebrations. Zu is a popular tea-based drink from Meghalaya. Sikkimese specialties include the Tibetan thupka and momos.

Popularity and influence outside India

Chicken tikka, a well-known dish across the globe, reflects the amalgamation of Indian cooking styles with those from Central Asia

Indian cuisine is one of the most popular cuisines across the globe. The cuisine is popular not only among the large Indian diaspora but also among the mainstream population of North America and Europe. In 2003, there were as many as 10,000 restaurants serving Indian cuisine in England and Wales alone. A survey held in 2007 revealed that more than 1,200 Indian food products have been introduced in the United States since 2000. According to Britain's Food Standards Agency, the Indian food industry in the United Kingdom is worth 3.2 billion, accounts for two-thirds of all eating out and serves about 2.5 million British customers every week.

Butter Chicken, also known as Murgh Makhani, is a popular dish in Western countries and Arab world

Apart from Europe and North America, Indian cuisine is popular in South East Asia too because of its strong historical influence on the region's local cuisines. Indian cuisine has had considerable influence on Malaysian cooking styles and also enjoys strong popularity in Singapore. Indian influence on Malay cuisine dates back to 19-century. Other cuisines which borrow Indian cooking styles include Vietnamese cuisine, Indonesian cuisine and Thai cuisine. The spread of vegetarianism in other parts of Asia is often credited to ancient Indian Buddhist practices. Indian cuisine is also fairly popular in the Arab world because of its similarity and influence on Arab cuisine.

The popularity of curry, which originated in India, across Asia has often led to the dish being labeled as the "pan-Asian" dish. Curry's international appeal has also been compared to that of pizza. Though the tandoor did not originate in India, Indian tandoori dishes, such as chicken tikka made with Indian ingredients, enjoy widespread popularity. Historically, Indian spices and herbs were one of the most sought after trade commodities. The spice trade between India and Europe led to the rise and dominance of Arab traders to such an extent that European explorers, such as Vasco da Gama and Christopher Columbus, set out to find new trade routes with India leading to the Age of Discovery.

Beverages

While masala tea (left) is a staple beverage across India, Indian filter coffee (right) is especially popular in southern India

See also: Indian wine

Tea is a staple beverage throughout India; the finest varieties are grown in Darjeeling and Assam. It is generally prepared as masala chai, wherein the tea leaves are boiled in a mix of water, spices such as cardamom, cloves, cinnamon, and ginger, and large quantities of milk to create a thick, sweet, milky concoction. Different varieties and flavors of tea are prepared to suit different tastes all over the country. Another popular beverage, coffee, is largely served in South India. One of the finest varieties of Coffea arabica is grown around Mysore, Karnataka, and is marketed under the trade name "Mysore Nuggets". Indian filter coffee, or kaapi, is also especially popular in South India. Other beverages include nimbu pani (lemonade), lassi, chaach, badam doodh (almond milk with nuts and cardamom), sharbat and coconut water. In Southern India there is a beverage served cold known as Panner Soda or Gholi Soda which is a mixture of carbonated water, rose water, and sugar. Another beverage from the South is rose milk, which is served cold.

India also has many indigenous alcoholic beverages, including palm wine, fenny and Indian beer. There's also bhang, prepared using cannabis, and typically consumed, especially in North India, during Holi and Vaisakhi. However the practice of drinking a specific beverage with a meal, or wine and food matching, is not traditional or common in India.

Although the above listed beverages are popular, people often prefer to consume drinking water with their food, because drinking water is considered to not overshadow the taste of the food. In fact it is customary to offer drinking water to guests before serving any hot or cold drinks.

Etiquette

In southern India, a well-rinsed banana leaf is used as a plate for hygiene purposes and its visual impact

Main article: Etiquette of Indian Dining

Several customs are associated with the manner of food consumption. Traditionally, meals are eaten while seated either on the floor or on very low stools or cushions. Food is most often eaten without cutlery, using instead the fingers of the right hand. Often roti ( general term for Indian flat breads) is used to scoop the curry without letting the curry touch the hands. Other etiquette include eating with one hand only preferably right hand and letting the food get to only the two phalanges of fingers.

Traditional serving styles vary from region to region in India. A universal aspect of presentation is the thali, a large plate with samplings of different regional dishes accompanied by raita, breads such as naan, puri, or roti, and rice. Most South Indian meals end with plain curd and Rice. In South India, a cleaned banana leaf and other leaf plates, which can be disposed of after the meals, are often used as a hygienic and environmentally friendly alternative to plates. Leaf plates are purposefully utilized for auspicious and festive occasions, but much less common otherwise.

However, these traditional ways of dining are being influenced by eating styles from other parts of the world. Amongst the middle class throughout India, spoons and forks are being adopted.

In south India, the usual lunch service is as follows: soup as an appetizer; a little rice with plain dhaal curry and ghee; rice mixed with a lean but spicy gravy (most commenly saambar for vegetarian meals or chicken/mutton/beef gravy) or any variety rice; rice mixed with thick and spicy gravy (commonly kulambu for vegetarian meals or gravy of a seafood (fish)); rice mixed with rasam (a dish in liquid form prepared with herbs and/or spices, tamarind paste, turmeric and/or tomato and/or dhaal); rice with curd (yoghurt); finally, a banana and beetle leaves/nuts (beeda). Pappad and pickles are served throughout.

See also

Wikibooks Cookbook has a recipe/module on

Cuisine of India

Wikimedia Commons has media related to: Cuisine of India

Indian bread

Cuisine of Pakistan

Curry

Spices

Multilingual list of Indian Vegetables

Marwari Bhojnalaya

Indian Chinese cuisine

References

^ Steward, the (pb) By Dias. Books.google.com. http://books.google.com/books?id=SRx9I2BqSpMC&pg=PA215&dq=indian+cuisine+diverse+most&lr=&as_brr=3&ei=kWvBSfziMpK8zATZtPHGBA&client=firefox-a#PPA215,M1. Retrieved 2009-06-23. 

^ Chandra, Sanjeev; Smita Chandra (Feb 07, 2008). "The story of desi cuisine: Timeless desi dishes". The Toronto Star. http://www.thestar.com/article/300969. 

^ "Indian food - Indian Cuisine -its history, origins and influences". Indianfoodsco.com. http://www.indianfoodsco.com/Classes/CulinayHistory.htm. Retrieved 2009-06-23. 

^ a b Louise Marie M. Cornillez (Spring 1999). "The History of the Spice Trade in India". http://www.english.emory.edu/Bahri/Spice_Trade.html. 

^ "Foreign Influences in Modern Indian Cooking". Mit.edu. 1998-01-20. http://www.mit.edu:8001/people/alycem/writing_indiancooking.html. Retrieved 2009-06-23. 

^ "History of Indian Food and Cooking". Inmamaskitchen.com. http://www.inmamaskitchen.com/Indian_Cooking/history_Indian_food_cooking.html. Retrieved 2009-06-23. 

^ a b "Bot generated title ->". Veg Voyages<!. http://www.vegvoyages.com/food.htm. Retrieved 2009-06-23. 

^ "Asia Food Features". Asiafood.org. http://www.asiafood.org/features_dietary_culture4.cfm. Retrieved 2009-06-23. 

^ Indian consumer patternsPDF (484 KB)

^ "Agri reform in India". http://www.ers.usda.gov/amberwaves/February04/Features/ElephantJogs.htm. 

^ "Diary and poultry sector growth in India". http://www.fao.org/WAIRDOCS/LEAD/X6170E/x6170e09.htm#TopOfPage. 

^ Diamond 1997, p. 100

^ "Curry, Spice & All Things Nice: Dawn of History". http://www.menumagazine.co.uk/book/dawnofhistory.html. 

^ Prakashanand Saraswati. The True History and the Religion of India. p. 70. http://books.google.com/books?id=IhLN2I9yTTkC&pg=PA70&lpg=PA70&dq=vedic+cuisine+dairy+products&source=web&ots=2T4IjnkKRc&sig=9_5wMoQ7tdRvZ4OW-f7WhQ-jLHk&hl=en&sa=X&oi=book_result&resnum=10&ct=result. 

^ "VEGETARIANISM IN INDIA". http://www.sscnet.ucla.edu/southasia/Culture/Cuisine/vegetar.html. 

^ Indo Vacations Team. "Cooking Courses in India". Indovacations.net. http://www.indovacations.net/english/Indian-Cookery.htm. Retrieved 2009-06-23. 

^ "Hyderabadi Biryani". Spice India Online. http://www.spiceindiaonline.com/hyderabadi_biryani. Retrieved 2009-06-23. 

^ a b c d e http://www.north-east-india.com/information/cuisines.html

^ a b http://www.surfindia.com/recipes/north-east-india-cuisine.html

^ "Indian food now attracts wider market.". http://www.accessmylibrary.com/coms2/summary_0286-19130531_ITM. 

^ SARITHA RAI (November 27, 2002). "An Indian Food Company Expands". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9D0CE0DA1638F934A15752C1A9649C8B63. 

^ "Professor says Indian eateries are experiencing a U.S. boom". University of North Texas News Service. October 13, 2003. http://web3.unt.edu/news/story.cfm?story=8673. 

^ Monica Bhide (January 24, 2007). "Tikka in No Time". Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2007/01/23/AR2007012300296_pf.html. 

^ "Food Standards Agency - Curry factfile". http://www.food.gov.uk/news/newsarchive/2003/nov/curryfacts. 

^ "Indian food gains popularity during Chinese New Year". February 20, 2007. http://www.hindustandainik.com/news/181_1933405,001100020009.htm. 

^ Viviane Then. "Go India: Curry, my love?". http://www.streetdirectory.com/restaurants/singapore/reviews/restaurant-Go_India-1000000999.php. 

^ "About Food in Malaysia". http://www.travellersworldwide.com/11-malaysia/11-malaysia-food.htm. 

^ Nancy Freeman. "Ethnic Cuisine: Indonesia". http://www.sallys-place.com/food/cuisines/indonesia.htm. 

^ "Thai Kitchen in East Lansing, MI". http://www.restaurantdb.net/restaurants/profile-103.html. 

^ Ann Kondo Corum. Ethnic Foods of Hawai'i. p. 174. http://books.google.com/books?id=RI9BPVDH8HsC&pg=PA174&lpg=PA174&dq=indian+arab+cuisine+influence+-restaurant+-recipes+-earthquake&source=web&ots=tB-g-vxs2A&sig=PdMjRcIkC1zqWYda9nNVyuAs0FI&hl=en&sa=X&oi=book_result&resnum=10&ct=result. 

^ K.S. Ramkumar (16 June 2006). "ndian Cuisine Is Popular as It Close to Arabic Food". Arab News. http://www.arabnews.com/?page=4&section=0&article=83892&d=16&m=6&y=2006&pix=world.jpg&category=World. 

^ "Meatless Monday: There's No Curry in India". http://www.meatlessmonday.com/site/PageServer?pagename=dyk_curry. 

^ Lizzie Collingham. "'Curry,'". The New York Times - Book Reviews. http://www.nytimes.com/2006/02/01/books/01grim.html. 

^ "Tandoori Village Restaurant Brisbane". AsiaRooms.com. http://www.asiarooms.com/travel-guide/australia/brisbane/what-where-to-eat/indian-restaurants-in-brisbane/tandoori-village-restaurant-brisbane.html. 

^ Candie Yoder. "Masala Chai". http://www.culinaryteas.com/Masala_Chai.html. 

^ M. Soundariya Preetha. "As coffee gets popular". http://www.hindu.com/2008/03/30/stories/2008033058640200.htm. 

Bibliography

Diamond, J (1997), Guns, Germs, and Steel: The Fates of Human Societies, W. W. Norton & Company, ISBN 0-393-03891-2 

External links

Indian cuisine at the Open Directory Project

v  d  e

Life in India

Arts and Entertainment  Caste  Cinema  Citizenship  Climate  Cuisine  Culture  Demographics  Economy  Education  Flag  Foreign Relations  Geography  Government  History  Holidays  Languages  Law  Police  Literacy  Military  Politics  Religion  Sports  Transport

v  d  e

Asian cuisine

Sovereign

states

Afghanistan  Armenia1  Azerbaijan1  Bahrain  Bangladesh  Bhutan  Brunei  Burma2  Cambodia  People's Republic of China  Cyprus1  East Timor3  Egypt4  Georgia4  India  Indonesia  Iran  Iraq  Israel  Japan  Jordan  Kazakhstan4  North Korea  South Korea  Kuwait  Kyrgyzstan  Laos  Lebanon  Malaysia  Maldives  Mongolia  Nepal  Oman  Pakistan  Philippines  Qatar  Russia4  Saudi Arabia  Singapore  Sri Lanka  Syria  Tajikistan  Republic of China5  Thailand  Turkey4  Turkmenistan  United Arab Emirates  Uzbekistan  Vietnam  Yemen

States with limited

recognition

Abkhazia1  Nagorno-Karabakh  Northern Cyprus  Palestine  South Ossetia1 

Dependencies,

autonomies,

other territories

Aceh  Adjara1  Akrotiri and Dhekelia  Altai  British Indian Ocean Territory  Buryatia  Christmas Island  Cocos (Keeling) Islands  Guangxi  Hong Kong  Inner Mongolia  Iraqi Kurdistan  Khakassia  Macau  Nakhchivan  Ningxia  Papua  Sakha Republic  Tibet  Tuva  West Papua  Xinjiang 

1 Sometimes included in Europe, depending on the border definitions.  2 Officially known as Myanmar.  3 Sometimes included in Oceania, and also known as Timor-Leste.  4 Transcontinental country.  5 Commonly known as Taiwan. 

v  d  e

Cuisine (List of cuisines)

Regional

Africa  Asia  Caribbean  Europe  Latin America  Mediterranean  Middle East  North America  Oceania  South Asia

Historical

Ancient Egyptian  Ancient Greek  Ancient Roman  Historical Chinese  Historical Indian  Medieval  Ottoman

Styles

Fast food  Fusion  Immigrant

Types of Food

Confectionery  Dairy products  Fruit  Herbs / Spices  Meat  Vegetable

Carbohydrate Staples

Bread  Cassava  Pasta  Potato  Quinoa  Rice  Sweet Potato  Yam

Types of Dish

Curry  Dip  Pizza  Salad  Sandwich  Sauce  Soup  Stew

Technical

Eating utensils  Food preparation utensils  Techniques  Weights and measures

See also

Kitchen  Meal (Breakfast  Lunch  Dinner)  Wikibooks:Cookbook

Categories: Indian cuisine | Vegetarian cuisineHidden categories: All articles with unsourced statements | Articles with unsourced statements from January 2010

Hyundai Stellar

China Suppliers


Technology

1985 Hyundai Stellar

1986 Hyundai Stellar with larger bumpers (Canada). suede car seats

1987 Hyundai Stellar CXL (Canada) air purifier ionizer

1989 GSL exported to Sri Lanka ionic purifier

The engine and transmission were licensed from Mitsubishi Motors. Engines available were 1.4 L (4G33) and 1.6 L (4G32) I4s until 1986 (same as the Hyundai Pony, using either a KM119 5-speed manual or a Borg-Warner 03-55L 3-speed automatic) and a 2.0 L engine for 1987. Trim levels included L (base), GL/CL, and GSL/CXL. The GSL/CXL featured power windows, locks and mirrors; remote fuel door, remote trunk, premium sound system, full instrumentation (speed, tach, fuel, water temp, volts, and oil pressure) and available air conditioning, a rather surprising list of features for the year and type of car. For 1987, the Stellar II (Or Stellar 2.0 in Canada) was refreshed. Changes included a 2-way catalytic converter, new instrument cluster, larger 2.0 L Mitsubishi 4G63 (SOHC 2xBBL, 8 valve) engine with a feedback carburetor, higher output alternator, larger headlights and restyled taillights. The front double wishbone suspension was changed to a MacPherson strut design, along with larger brake calipers, as well as a two-piece driveshaft. The Stellar had the option of riding on several types of aluminum alloy wheels, and was equipped standard with Michelin all-season tires (Canada). Also that year, an automatic transmission (Borg Warner 03-71) with overdrive was available as an option. The Stellar was not available in the United States due to strict emission standards there, but it was available in Canada and other countries. In addition, the Stellar was the only four-cylinder powered mainstream rear-wheel drive sedan, replacing the Toyota Corolla (which shifted to front-wheel drive) in 1984. The Stellar was replaced in Canada by the Hyundai Sonata for 1988. The Stellar (along with the Pony) would be Hyundai's last rear-wheel drive cars for North America until the 2009 Genesis.

Lineup

Prima (1983~1986)

TX (1983~1993)

FX (1983~1986)

GX (1987~1992)

GSL (1983~1986)

SL (1983~1986)

CXL (Canada Export Limited, 1984~1988)

Apex (1987~1991)

GXL (1987~1991)

Major specifications

Overall length: 4556 mm (179.3 in)

Overall width: 1716 mm (67.6 in)

Overall height: 1372 mm (54.0 in)

Wheelbase: 2579 mm (101.5 in)

Front track: 1445 mm (56.89 in)

Rear track: 1425 mm (56.10 in)

Curb weight: 1000 kg (2204 lb)

Gross weight: 1475 kg (3251 lb)

Wheel dimensions: 13 x 4.5 in or 13 x 5.5 in

Steering type: Rack and pinion

Front brakes: Disc

Rear brakes: Drum

See also

Hyundai Sonata

Wikimedia Commons has media related to: Hyundai Stellar

v  d  e

Hyundai, automobile timeline, 1960sresent

Type

1960s

1970s

1980s

1990s

2000s

2010s

8

9

0

1

2

3

4

5

6

7

8

9

0

1

2

3

4

5

6

7

8

9

0

1

2

3

4

5

6

7

8

9

0

1

2

3

4

5

6

7

8

9

0

1

2

3

City car

Atoz/Atos

Atos Prime/Santro Xing

i10

Subcompact

Click / Getz

i20

Pony

Pony II

Excel

Excel

Accent

Verna / Accent

Verna / Accent

Compact

Cortina

Cortina

Cortina

Cortina

Stellar

Elantra

Avante / Elantra

Avante XD / Elantra

Avante / Elantra / i30

Mid-size

Sonata

Sonata2 / Sonata3 / Sonata

EF Sonata / Sonata

NF Sonata / i40

YF Sonata / i40

Marcia

20M

Granada

Grandeur

Grandeur

Grandeur XG / XG

Grandeur / Azera

Full-size

Dynasty

Genesis

Equus / Centennial

Equus / Centennial

Coup

Scoupe

Tiburon/Coup

Tuscani / Tiburon / Coup

Sports

Genesis Coupe

Truck

Cortina

Pony

Pony II

Porter

Porter

Porter II

Libero

SUV

Galloper

Terracan

Crossover SUV

Santa Fe

Santa Fe

Veracruz

Tucson

Tucson / iX / ix35

Mini MPV

Santamo

Lavita / Matrix

Minivan

TrajetXG / Trajet

Entourage

H-1/Starex

Grand Starex/i800/H-1

v  d  e

Hyundai Motor Company

Atoz/Atos Visto/Atos Prime/Santro Pony Excel/Presto Accent/Pony/Excel/Verna Click/Getz/TB Dynasty Elantra Avante/Elantra Equus Scoupe Cortina Granada Stellar Sonata Marcia Tiburon/Coupe Tuscani/Tiburon/Coupe Grandeur Genesis Ford 20M Lavita/Matrix Tucson/JM Santa Fe Terracan Galloper Santamo Trajet Starex/H-1/Satellite Grace/H100/Satellite Porter/H100 Libero/H-1 HD 1000 Entourage Veracruz

Ford and Mercedes-Benz Based

D Series DK Series R Series O303 Benz Bus HD 160 HD 170

Mitsubishi Fuso Based

(Mitsubishi Fuso presents)

Mighty Chorus 4.5 to 5-ton truck 8 to 25-ton truck Aero City Aero RB Series FB Series DQ-7 Bison

Hyundai Based (Mitsubishi Fuso

& Bering Truck presents)

Mighty Mighty II e-Mighty Chorus County (e-County) 4.5 to 5 ton truck Super Truck Medium Mega Truck Aero Town (e-Aero Town) 8 to 25-ton truck Super Truck New Power Truck Aero City Global 900 Aero Universe Trago

Hyundai Motor Company Revenue: $000 billion USD (FY2004) Employees: 75,000 (as of March 31, 2009) Stock Mode: (kse 005380, lse HYUD)

Categories: Hyundai vehicles | Rear wheel drive vehicles | Vehicles introduced in 1983 | Mid-size cars | Sedans | 1980s automobilesHidden categories: Articles lacking sources from December 2009 | All articles lacking sources

Film editing

China Suppliers


Early experiments

Main article: Edwin S. Porter

Edwin S. Porter is generally thought to be the American filmmaker who first put film editing to use. Porter worked as an electrician before joining the film laboratory of Thomas Alva Edison in the late 1890s. Early films by Thomas Edison (whose company invented a motion camera and projector) and others were short films that were one long, static, locked-down shot. Motion in the shot was all that was necessary to amuse an audience, so the first films simply showed activity such as traffic moving on a city street. There was no story and no editing. Each film ran as long as there was film in the camera. When Edison's motion picture studio wanted to increase the length of the short films, Edison came to Porter. Porter made the breakthrough film Life of an American Fireman in 1903. The film was among the first that had a plot, action, and even a closeup of a hand pulling a fire alarm. stool softener

Other films were to follow. Porter's ground-breaking film, The Great Train Robbery is still shown in film schools today as an example of early editing form. It was produced in 1903 and was one of the first examples of dynamic, action editing (the piecing together scenes shot at different times and places and for emotional impact unavailable in a static long shot). Being one of the first film hyphenates (film director, editor and engineer) Porter also invented and utilized some of the very first (albeit primitive) special effects such as double exposures, miniatures and split-screens. krill oil

Porter discovered important aspects of motion picture language: that the screen image does not need to show a complete person from head to toe and that splicing together two shots creates in the viewer's mind a contextual relationship. These were the key discoveries that made all non-live or non live-on-videotape narrative motion pictures and television possiblehat shots (in this case whole scenes since each shot is a complete scene) can be photographed widely different locations over a period of time (hours, days or even months) and combined into a narrative whole. That is, The Great Train Robbery contains scenes shot on sets of a telegraph station, a railroad car interior, and a dance hall, with outdoor scenes at a railroad water tower, on the train itself, at a point along the track, and in the woods. But when the robbers leave the telegraph station interior (set) and emerge at the water tower, the audience believes they went immediately from one to the other. Or that when they climb on the train in one shot and enter the baggage car (a set) in the next, the audience believes they are on the same train. agave nectar

Sometime around 1918, Russian director Lev Kuleshov did an experiment that proves this point. (See Kuleshov Experiment) He took an old film clip of a head shot of a noted Russian actor and intercut the shot with a shot of a bowl of soup, then with a child playing with a teddy bear, then with a shot an elderly woman in a casket. When he showed the film to people they praised the actor's actinghe hunger in his face when he saw the soup, the delight in the child, and the grief when looking at the dead woman. Of course, the shot of the actor was years before the other shots and he never "saw" any of the items. The simple act of juxtaposing the shots in a sequence made the relationship.

History of film editing technology

The original editing machine: an upright Moviola.

Steenbeck film editing machine rollers

Before the widespread use of non-linear editing systems, the initial editing of all films was done with a positive copy of the film negative called a film workprint (cutting copy in UK) by physically cutting and pasting together pieces of film, using a splicer and threading the film on a machine with a viewer such as a Moviola, or "flatbed" machine such as a K.-E.-M. or Steenbeck. Today, most films are edited digitally (on systems such as Avid or Final Cut Pro) and bypass the film positive workprint altogether. In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original.

When the film workprint had been cut to a satisfactory state, it was then used to make an edit decision list (EDL). The negative cutter referred to this list while processing the negative, splitting the shots into rolls, which were then contact printed to produce the final film print or answer print. Today, production companies have the option of bypassing negative cutting altogether. With the advent of digital intermediate ("DI"), the physical negative does not necessarily need to be physically cut and hot spliced together; rather the negative is optically scanned into computer(s) and a cut list is conformed by a DI editor.

Post-production

Editor's cut

Main article: Editor's cut

See also: Rough cut

See also: Offline editing

See also: Online editing

There are several editing stages and the editor's cut is the first. An editor's cut (sometimes referred to as the "Assembly edit" or "Rough cut") is normally the first pass of what the final film will be when it reaches picture lock. The film editor usually starts working while principal photography starts. Likely, prior to cutting, the editor and director will have seen and/or discussed "dailies" (raw footage shot each day) as shooting progresses. Screening dailies gives the editor a ballpark idea of the director's intentions. Because it is the first pass, the editor's cut might be longer than the final film. The editor continues to refine the cut while shooting continues, and often the entire editing process goes on for many months and sometimes more than a year, depending on the film.

Director's cut

Main article: Director's cut

When shooting is finished, the director can then turn his full attention to collaborating with the editor and further refining the cut of the film. This is the time that is set aside where the film editor's first cut is molded to fit the director's vision. In the United States, under DGA rules, directors receive a minimum of ten weeks after completion of principal photography to prepare their first cut.

While collaborating on what is referred to as the "director's cut", the director and the editor go over the entire movie with a fine-tooth comb; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes, missing shots or even missing segments which might require that new scenes be filmed. Because of this time working closely and collaborating - a period that is normally far longer, and far more intimately involved, than the entire production and filming - most directors and editors form a unique artistic bond.

Final cut

Main article: Final cut privilege

Often after the director has had his chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company and/or movie studio. There have been several conflicts in the past between the director and the studio, sometimes leading to the use of the "Alan Smithee" credit signifying when a director no longer wants to be associated with the final release.

Emotional versus Physical continuity

Continuity is a film term that suggest that a series of shots should be physically continuous, as if the camera simply changed angles in the course of a single event. For instance, if in one shot a beer glass is empty, it should not be full in the next shot. Live coverage of a sporting event would be an example of footage that is very continuous. Since the live operators are cutting from one live feed to another, the physical action of the shots matches very closely. Many people regard inconsistencies in continuity as mistakes, and often the editor is blamed. In film, however, continuity is very nearly last on a film editor's list of important things to maintain.

Technically, continuity is the responsibility of the script supervisor and film director, who are together responsible for preserving continuity and preventing errors from take to take and shot to shot. The script supervisor, who sits next to the director during shooting, keeps the physical continuity of the edit in mind as shots are set up. He is the editor's watchman. If shots are taken out of sequence, as is often the case, he will be alert to make sure that beer glass is in the appropriate state. The editor utilizes the script supervisor's notes during post-production to log and keep track of the vast amounts of footage and takes that a director might shoot.

However, to most editors what is more important than continuity is the editing of emotional and storytelling aspects of any given film - something that is much more abstract and harder to judge. (Which is why films often take much longer to edit than to shoot.) Emotional continuity, and the clarity of storytelling always take precedence over "technicalities". In fact, very often something that is physically discontinuous will be completely unnoticeable if the emotional rhythm of the scene "feels" right. If you were to slow down scenes from many of your favorite movies, you could easily find many minuscule physical differences from one cut to the next, which are completely hidden by the course of the emotional events.

However, if a continuity error is glaring enough (as in the case of the beer glass), and the edit is emotionally necessary, the editor may try to order a visual effect to fix the problem. Such an effect is not "cheating" or unnecessary. As a rule, anything that distracts from the storytelling is worthy of elimination.

A good example of a continuity error is in the film Braveheart with Mel Gibson. In one of the battle scenes you see William Wallace (Mel Gibson) and his army of Scottish rebels charging into battle with the English. At one moment, you see him with no weapon. Then you see him with his claymore in hand. Then again he has no weapon. Then a pick axe. And when he finally closes in on the enemy, you see him draw his claymore from his back. This often goes unnoticed by audiences and it does not cause any real problems. The whole idea of this scene is to show the rebels fiercely charging into battle, and this small error in no way harms that idea.

Methods of montage

In motion picture terminology, a montage (from the French for "putting together" or "assembly") is a film editing technique.

There are at least three senses of the term:

In French film practice, "montage" has its literal French meaning (assembly, installation) and simply identifies editing.

In Soviet filmmaking of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone.

In classical Hollywood cinema, a "montage sequence" is a short segment in a film in which narrative information is presented in a condensed fashion. This is the most common meaning among laymen.

Soviet montage

Main article: Soviet montage theory

Lev Kuleshov was among the very first to theorize about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema that which could be duplicated in no other medium is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot-by-shot) the building (film) is erected. His often-cited Kuleshov Experiment established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context.

Although, strictly speaking, U.S. film director D.W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing mastering cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well. Griffith's work in the teens was highly regarded by Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing.

Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks.

Montage sequence

Main article: Montage sequence

A montage sequence consists of a series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being conveyed. Classic examples are the training montages in Sylvester Stallone's Rocky series of movies..

Continuity editing

Main article: continuity editing

What became known as the popular 'classical Hollywood' style of editing was developed by early European and American directors, in particular D.W. Griffith in his films such as The Birth of a Nation and Intolerance. The classical style ensures temporal and spatial continuity as a way of advancing narrative, using such techniques as the 180 degree rule, Establishing shot, and Shot reverse shot.

v  d  e

Continuity editing topics

180 degree rule  30 degree rule  Axial cut  Cross-cutting  Cutaway  Cutting on action  Establishing shot  Eyeline match  Insert  L cut  Long take  Shot reverse shot

Alternatives to continuity editing (Non-Traditional or Experimental)

Early Russian filmmakers such as Lev Kuleshov further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage.

Alternatives to traditional editing were also the folly of early surrealist and dada filmmakers such as Luis Buuel (director of the 1929 Un Chien Andalou) and Ren Clair (director of 1924's Entr'acte which starred famous dada artists Marcel Duchamp and Man Ray). Both filmmakers, Clair and Buuel, experimented with editing techniques long before what is referred to as "MTV style" editing.

The French New Wave filmmakers such as Jean Luc Godard and Franois Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed the limits of editing technique during the late 1950s and throughout the 1970s. French New Wave films and the non-narrative films of the 1960s used a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. Like its dada and surrealist predecessors, French New Wave editing often drew attention to itself by its lack of continuity, its demystifying self-reflexive nature (reminding the audience that they were watching a film), and by the overt use of jump cuts or the insertion of material not often related to any narrative.

Editing techniques

Stanley Kubrick noted that the editing process is the one phase of production that is truly unique to motion pictures. Every other aspect of film making originated in a different medium than film (photography, art direction, writing, sound recording), but editing is the one process that is unique to film. Kubrick was quoted as saying: "I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit."

Edward Dmytryk stipulates seven "rules of cutting" that a good editor should follow:

"Rule 1: Never make a cut without a positive reason."

"Rule 2: When undecided about the exact frame to cut on, cut long rather than short."

"Rule 3: Whenever possible cut 'in movement'."

"Rule 4: The 'fresh' is preferable to the 'stale'."

"Rule 5: All scenes should begin and end with continuing action."

"Rule 6: Cut for proper values rather than proper 'matches'."

"Rule 7: Substance firsthen form."

According to Walter Murch, when it comes to film editing, there are six main criteria for evaluating a cut or deciding where to cut. They are (in order of importance, most important first):

Emotion Does the cut reflect what the editor believes the audience should be feeling at that moment?

Story Does the cut advance the story?

Rhythm Does the cut occur "at a moment that is rhythmically interesting and 'right'" (Murch, 18)?

Eye-trace Does the cut pay respect to "the location and movement of the audience's focus of interest within the frame" (Murch, 18)?

Two-dimensional plane of the screen Does the cut respect the 180 degree rule?

Three-dimensional space of action Is the cut true to the physical/spatial relationships within the diegesis?

Murch assigned notional percentage values to each of the criteria. Emotion, with 51%, outweighed the combined value of all the other criteria.

References

Bibliography

Dmytryk, Edward (1984). On Film Editing: An Introduction to the Art of Film Construction. Focal Press, Boston.

Knight, Arthur (1957). The Liveliest Art. Mentor Books. New American Library.

Notes

^ Arthur Knight (1957). p. 25.

^ Arthur Knight (1957). pp. 72-73.

^ Walker, Alexander, Stanley Kubrick Directs, New York: Harcourt Brace Jovanovich, 1972.

^ Dmytryk, Edward, On Film Editing, New York

^ Dmytryk, p.23

^ Dmytryk, p.27

^ Dmytryk, p.37

^ Dmytryk, p.38

^ Dmytryk, p.44

^ Dmytryk, p.145

Further reading

Morales, Morante, Luis Fernando (2000). Teora y Prctica de la Edicin en video. Universidad de San Martin de Porres, Lima, Per

Murch, Walter (2001). In the Blink of an Eye: a Perspective on Film Editing. Silman-James Press. 2d rev. ed.. ISBN 1-879505-62-2

See also

180 degree rule

30 degree rule

A Roll (Footage)

B Roll

Cinematic techniques

Clapperboard

Compositing (Keying)

Cut

Axial cut

Cross-cutting

Fast cutting

Jump cut

Long take

Match cut

Slow cutting

Cutaway

Edit decision list (EDL)

Film transition

Dissolve

L cut (split edit)

Wipe

Filmmaking

Kuleshov Effect

List of film-related topics

Motion Picture Editors Guild (MPEG)

Motion picture terminology

Moviola

Re-edited film

Scene

Sequence

Shot

Establishing shot

Insert

Master shot

Point of view shot

Shot reverse shot

Video editing

Wikibooks

Wikibooks has more on the topic of

Film editing

Mewa Film User's Guide

Movie Making Manual

Wikiversity

Wikiversity has learning materials about Film editing

Portal:Filmmaking

External links

The Art of the Guillotine

v  d  e

Film crew

Pre-production

and filmmaking

Film producer  Unit production manager  Production coordinator  Line producer  Film director  Assistant director  Casting director  Screenwriter  Production assistant  Script supervisor  Script coordinator   Location manager

Production

design

Production designer

Art

Art director  Scenic design  Illustrator

Sets

Set decorator

Hair and make-up

Make-up artist  Barber

Wardrobe

Costume designer

Props

Props master

Special effects

Special effects supervisor  Visual effects supervisor  Matte painter

Photography

Cinematographer/Director of photography

Camera

Camera operator  Focus puller  Clapper loader  Steadicam

Lighting

Gaffer  Best boy (electrical)  Lighting technician

Grip

Key grip  Best boy (grip)  Dolly grip  Grip

Sound

Director of audiography/Sound designer/Supervising Sound Editor

Production sound

Production sound mixer  Boom operator  Utility sound technician

Sound editing

Dialogue editor  Sound editor  Foley artist

Music

Sound editor  Re-recording mixer  Music supervisor  Composer

Post-production

Editorial

Film editor

Laboratory

Colorist

Visual effects

Visual effects editor  Compositor  Animator

v  d  e

World cinema

Africa

Burkina Faso  Egypt  Kenya  Morocco  Niger  Nigeria  Senegal  Somalia  South Africa  Tunisia

Americas

Latin America

Argentina  Brazil  Chile  Colombia  Cuba  Mexico  Paraguay  Peru  Puerto Rico  Uruguay

Northern America

Canada (Quebec)  United States

Asia

East Asia

China  Hong Kong  Japan  Korea  Mongolia  Taiwan

South Asia

Afghanistan  Bangladesh (Bengal)  India (Andhra Pradesh  Assam  Bollywood  Karnataka  Kerala  Marathi  Orissa  Punjab  Tamil Nadu  West Bengal)  Nepal  Pakistan (Karachi  Lahore  Peshawar)  Sri Lanka (Jallywood)

Southeast Asia

Burma  Cambodia  Indonesia  Malaysia  Philippines  Singapore  Thailand  Vietnam

West Asia

Armenia  Azerbaijan  Cyprus  Georgia  Iran  Iraq  Israel  Jordan  Lebanon  Palestine  Saudi Arabia  Syria  Tajikistan  Turkey  U.A.E.

Europe

Albania  Austria  Belgium  Bosnia and Herzegovina  Bulgaria  Croatia  Czech Republic  Denmark  Estonia  Faroe Islands  Finland  France  Germany  Greece  Hungary  Iceland  Ireland  Italy  Latvia  Lithuania  Luxembourg  Macedonia  Moldova  Montenegro  Netherlands  Norway  Poland  Portugal  Romania  Russia (Russian Empire   Soviet Union)  Serbia  Slovakia  Spain  Sweden  Switzerland  Ukraine  United Kingdom (Scotland  Wales)  Yugoslavia

Oceania

Australia  Fiji  New Zealand

Categories: Film editing | Film and video technology | Film crew | Film making | Film production | Film techniquesHidden categories: All articles with unsourced statements | Articles with unsourced statements from November 2009

Traditional crafts of Assam

China Suppliers




Assam has maintained a rich tradition of various traditional crafts for more than two thousand years. Presently, Cane and bamboo craft, bell metal and brass craft, silk and cotton weaving, toy and mask making, pottery and terracotta work, wood craft, jewellery making, musical instruments making, etc are remained as major traditions. Historically, Assam also excelled in making boats, traditional guns and gunpowder, colours and paints, articles of lac, traditional building materials, utilities from iron, etc.

Cane and bamboo craft provide the most commonly used utilities in daily life, ranging from household utilities, weaving accessories, fishing accessories, furniture, musical instruments to building construction materials. Traditional utilities and symbolic articles made from bell metal and brass are found in every Assamese household. The Xorai and bota have been in use for centuries to offer gifts to respected persons and are two prominent symbolic elements. Hajo and Sarthebari / Xorthebaary are the most important centres of traditional bell-metal and brass crafts. Assam is the home of several types of silks, the most prominent and prestigious being Muga, the natural golden silk is exclusive only to Assam. Apart from Muga, there are other two varieties called Pat, a creamy-bright-silver coloured silk and Eri, a variety used for manufacturing warm clothes for winter. Apart from Sualkuchi / Xualkuchi, the centre for the traditional silk industry, in almost every parts of the Brahmaputra Valley, rural households produce silk and silk garments with excellent embroidery designs. Moreover, various ethno-cultural groups in Assam make different types of cotton garments with unique embroidery designs and wonderful colour combinations. nursery decoration

Moreover, Assam possesses unique crafts of toy and mask making mostly concentrated in the Vaishnav Monasteries, pottery and terracotta work in lower Assam districts and wood craft, iron craft, jewellery, etc in many places across the region. stocking holders

See also advent wreath

Assam silk

Gamosa

Mekhela chador

Xorai

Categories: Culture of Assam

Hive management

China Suppliers


For honey production

The dependent factors for honey production are the duration and timing of the honey flow in a certain area. Duration and timing of a honey flow may vary widely depending on local predominant climates, weather during the honey flow and the nectar sources in the area. Good honey production sites are the far northern latitudes. In the summer, as days grow longer, bees can fly and forage for longer hours increasing the production. Migrating beekeepers also take advantage of local bloom of agricultural plants or wild flowers and trees. In mountainous regions a beekeeper may migrate up the mountain as the spring and summer bloom progresses.

It has been shown, that a larger bee colony will produce relatively more honey. Therefore the early buildup and spring feeding and subsequent prevention of swarming are of high priority. Several different methods such as the Demaree method, Checkerboarding and opening up the brood nest have been advocated to prevent swarming. stool softener

Techniques to maximize extracted honey production krill oil

Once a good location for an apiary is selected, techniques under the control of a beekeeper for maximizing extracted honey production depend mostly on maximizing the number of foraging bees at the peak time of the honey flow. Techniques may include interrupting brood production right before the main honey flow to free up nurse bees for foraging. A main objective is to prevent swarming. agave nectar

Techniques to maximize comb honey production

Comb honey production requires many of the same techniques that are required for the production of extracted honey. In addition, the colony must be very strong and have comb building traits. Honeycomb for direct consumption as comb honey is always created the same year it is harvested.

Honey combs may also be harvested by crushing the comb and squeezing out the honey. This is the lowest cost method of producing honey. Keepers of the low-cost top-bar hives use this technique to harvest honey. The technique may also be used for the frames of Langstroth hives. The so called cut comb are sections of sealed honey comb that are cut out of the frame. If the cut comb is to be consumed not crushed only the purest beeswax foundation may be used.

Techniques for maximizing Ross rounds and cassette production

Killion Method

Juniper Hill Method

Crowding

Shock Shook Method

For pollination

see pollination management

Techniques for maximizing agricultural crops pollination

see:

Pollinator decline

Pesticide toxicity to bees

Buzz pollination

For queen breeding

Techniques to maximize open mating

Techniques to maximize open mating of virgin queens center around having drones of a desired parentage saturate a queen mating yard.

Techniques to maximize artificial insemination

Artificial insemination of honeybee queens is a process used for very selective breeding of honeybee races. In the open mating of queens the source of drones cannot be fully controlled. In artificial inseminaton the source of drone sperm can be fully controlled and be more predictively selected than in open breeding.

For pollen production

Pollen is one of the byproducts of the hive. Pollen collection is usually not the main management objective. Pollen is collected by installing a pollen trap at the entrance of the bee hive. There are varying designs for pollen traps. The pollen trap makes access to the hive harder for the foraging bees. In the process of climbing through the pollen trap wires some pollen is loosened from the bee's pollen basket and falls into a collection container. Varying recommendations describe leaving the pollen trap on for a few days or for more extended periods. Pollen collection works best in an area with various pollen sources throughout the year. Fresh pollen can be frozen or dried. It is used for human consumption or fed back to the colony in early spring to speed up brood production.

For propolis production

Propolis is another byproduct of the bee hive. Certain races of bees are more prone to using propolis. Propolis can be collected on special plastic propolis screens. The tendency of the bees is to use propolis as a glue to seal openings that are too small for a bee to crawl through. A propolis screen is usually put in place of an inner cover. It has small openings that are propolized by the bees. The propolis screen can be frozen which hardens the propolis. Once the propolis is frozen it can be easily knocked off and collected. Bee races that propolize heavily are usually not desirable as it makes other hive manipulation more difficult. There is only a limited market for propolis.

For beeswax production

Beeswax may be a major product or a minor byproduct. The management technique that yields the highest amount of wax per hive is the top-bar hive. During the harvest of the honey from top-bar hives the whole honey comb is removed and crushed to extract the honey.

The commercial honey producers use Langstroth hive frames. The honey extraction process yields beeswax from the uncapping process. The highest quality beeswax is almost white. Lower quality beeswax from older cappings or comb is yellow or brown. Beeswax should be rendered and filtered before it is sold.

The least amount of beeswax that can be used as such, is produced in Ross rounds or cassette type comb honey production. Wax and honey are not separated and are consumed together.

Tha ability and tendency to build wax comb differs between the honeybee races. It also differs between colonies. A newly hived swarm produces wax and builds comb very quickly.

For royal jelly production

The production of royal jelly is most dependent on the proper genetics of the queen. Queens and drones are selectively bred to increase the production of royal jelly. A good yield per hive is 5 kg per year.

For apitoxin production

Bee venom (apitoxin) is obtained by stimulating the bee with an electrical current that incite them to sting, releasing a drop of poison onto a glass slide. The crystallized venom can be collected and processed. In order to get 1 gram of dry venom, it is necessary to collect the apitoxin of 10,000 to 15,000 bees.

Sources

Breyer & Cia Ltd. Brazil, accessed 05/2005

Apifarma, Obtaining methods Uruguay accessed 05/2005

For bee brood production

Bee brood as such is generally not a commercial commodity. However, bee brood is edible, and is used as a food in Asia and Africa.

Source

The Food Insects Newsletter Vol.3 Number 3, November 1990

For the production of nucs

Hive management techniques to multiply colonies use the bees natural tendency to swarm by simulating a swarm. Nucs are bought and sold usually in the spring time. The advantage to packaged bees is that the bees are on established frames with a laying queen and developing brood. A fast developing nuc can be transferred to a full hive box and may produce honey in the same year.

Walk-away split

In a walk-away split, frames with eggs and worker bees are removed and the bees will create a queen cell out of a suitable egg. Once the queen hatches, successfully mates and returns to the hive, the hive will be queenright.

Cut down split

For bee package production

Packaged bees with a caged queen are usually shipped in the spring from regions of mild winter climates to areas that have more severe winters.

Categories: BeekeepingHidden categories: Articles lacking sources from June 2009 | All articles lacking sources

Chris Prelitz

China Suppliers


Early life

Chris was born in 1956 in Memphis, Tennessee, the oldest of 6 siblings. Son of Paul Philip Prelitz, an ocean and aerospace engineer and a mother of Native American descent.

Prelitz holds a Bachelor of Arts from California State University, Fullerton, and is a graduate of Duke University's Environmental Leadership program. suede car seats

His design-build firm Prelitz + Partners developed projects ranging from off-grid solar communities to the first solar-powered LEED certified auto dealership in the U.S. for Mercedes Benz. air purifier ionizer

Advocacy ionic purifier

Prelitz chairs the City of Laguna Beach Environmental Committee and has served on environmental advisory boards at city, state, and national levels. In the early 1980s, he served on the board of Directors of the Eos Institute, publishers of Earthword, the first American journal on sustainability.

In 1992, when Prelitz discovered that burning rice straw was the number one cause of air pollution in California, he collaborated with 2 colleagues to form the non-profit CASBA (California Straw Builders Assoc.) that found a sustainable use for the straw as a high performance building system. CASBA funds fire, moisture, seismic and load testings that have furthered the adoption of strawbale construction and eventually saw the California Building Code and Department of Energy embrace Straw-bale construction.

Prelitz was the sustainability consultant for the City of Lancaster's award winning Interpretive Center (The Elyze Clifford Interpretive Center), the first publicly funded strawbale structure in the U.S.

Selected Projects

Guest host of The Discovery Channel's Greenovate July 10, 2008 Real estate investor and professional green consultant, Chris Prelitz, is determined to show people the light. He has purchased a 1600 square-foot, two bedroom, two bathroom house in Laguna Woods, California for $460,000 and plans to not only transform it into a model solar-powered home, but also flip it for a profit. However, it's not long before Chris encounters resistance from the local home owners association and he begins to realize that his green vision may require a lot more "green" than he had anticipated.

Mercedes Benz, Az. Sustainability Consultant 2007 First LEED Silver Rated Auto Dealership in U.S. Solar p.v. shade structure will provide up to 35 percent of the electrical power during off-peak hours and any surplus power would be sold back to the electric company. Waste water and storm runoff will be reused in landscape irrigation.

Tesco Corp. 2007, Fresh and Easy Markets - U.S.

City of Lancaster, CA - Prime Desert Interpretive Center | Construction Photos

La Posada Hotel Winslow, AZ

Publications

Green Made Easy: The Everyday Guide for Transitioning to a Green Lifestyle (2009)

Interview, Interview with Chris Prelitz By Terence Loose, August 2008

Interview, Solar Home Lets in the Sun By Kelly Garrison, The Orange County Register, March, 2007.

Interview, Home, Green Home Riviera Magazine 2006, By Kersten Wehde, Photos by Geoff Ragatz

Featured Expert, Citizenre REnU

References

^ http://newleafamerica.com

^ http://www.bizjournals.com/sanfrancisco/blog/2009/06/sf_biz_times_honors_greenest_and_cleanest_tech_that_is.html

^

External links

New Leaf America

Hay House Radio

Chris Prelitz official website

Interview with Chris Prelitz, 2008

Solar Home Lets in the Sun, 2007

Home, Green Home, 2006

The Discovery Channel: Greenovate

Meet the Greenovate Hosts: Chris Prelitz

Five Super Solar Products: Chris Prelitz

Categories: 1956 births | Living peopleHidden categories: Articles with a promotional tone from June 2009 | All articles with a promotional tone | Wikipedia articles with possible conflicts of interest | Articles needing cleanup from June 2009 | Wikipedia external links cleanup | Articles with hCards

Madhubala

China Suppliers


en.wikipedia.org/wiki/Madhubala) (Her death)

Madhubala (Devnagari: ) (14 February 1933 - 23 February 1969) was a popular Hindi movie actress. She starred in several successful movies in the 1950s and early 1960s, many of which have attained a classic status. With her contemporaries Nargis and Meena Kumari, she is widely regarded as one of the most talented Hindi movie actresses.

Contents laminator pouch

1 Early life laminating pouches

2 Early career candy wrapper

3 Serious illness

4 Hollywood Interest

5 Madhubala as a Star

6 Personal Life and Controversial Court Case

7 Mughal-e-Azam and later work

8 Final years and death

9 Madhubala the icon

10 Trivia

11 Filmography

12 References

13 External links

//

Early life

Madhubala was born as Mumtaz Begum Jehan Dehlavi in New Delhi, India on 14 February 1933 in a Muslim family. She was the fifth child among eleven children of a conservative Pathan couple.

After Madhubala's father Ataullah Khan lost his job at the Imperial Tobacco Company in Peshawer, the family endured many hardships, including the deaths of four of Madhubala's sisters and her two brothers. In search of a better life for his impoverished family, her father relocated his family to Mumbai. Young Mumtaz entered the movie industry at the age of nine.

Early career

Mumtaz first movie Basant (1942) was a box-office success. She played in it as the daughter of the popular actress Mumtaz Shanti. She went on to act in several movies as a child artist. Actress Devika Rani was impressed by her performances and potential and advised her to assume the name Madhubala. Madhubala soon garnered reputation as a reliable professional performer. By the time she entered adolescence, she was being groomed for lead roles.

Her first break came when producer Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). She was fourteen when she was given a lead role. The film was not a commercial success, but her performance was received well.

During the next two years, she blossomed into a captivating beauty. After her lead role in Bombay Talkies production Mahal in 1949, Madhubala attained immense popularity. Through her skilful performance, she had upstaged her seasoned co-star Ashok Kumar in that movie. She was sixteen then. The movie and the song Aayega Aanewala in it heralded the arrival of two new superstars: Madhubala and playback singer Lata Mangeshkar.

Serious illness

Madhubala was found to have a heart problem after she coughed up blood in 1950. She was discovered to have been born with a ventricular septal defect, commonly known as a "hole in the heart". At the time, heart surgery was not widely available.

Madhubala hid her illness from the movie industry for many years, but one incident was widely reported by the media in 1954: She was filming in Madras for S.S. Vassan's Bahut Din Huwe when she vomited blood on the set. Vassan and his wife took care of her until she was well again. She continued to work and established herself as an A-grade star.

Madhubala's family was extremely protective of her because of her health problem. When filming at the studios, she would eat only home-prepared food and drink water only from a specific well in order to minimize risks of infection. But her condition took its toll and she died in 1969 at age 36. For most of the 1950s, Madhubala performed successfully despite her illnesss.

Hollywood Interest

In the early 1950s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August 1952 issue, Madhubala was featured in an extensive article with a full page photo. The piece was entitled: The Biggest Star in the World (And She's Not in Beverly Hills). It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans.

During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala. A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career.

Madhubala as a Star

Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised. Something she later expressed regret over.

She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu (1954) being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation. Assuming she would command her market price (one of the highest), Bimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress.

As a star, Madhubala did ascend to the top of the industry. Her co-stars at the time were the most popular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala also appeared alongside many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan (Amar), Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi (Mahal) and K. Asif (Mughal-e-Azam) . She also ventured into production and made the film Naata (1955) which she also acted in.

During the 1950s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time. She was the archetypal lady fair in the popular swashbuckler, Badal (1951) and was next seen as an uninhibitted village belle in Tarana (1951). She was convincing as the traditional ideal of Indian womanhood in Sangdil (1952) and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr. & Mrs. '55 (1955). In 1956 she had success in historical costume dramas such as Shirin-Farhad and Raj-Hath. Equally successful in contemporary characterizations, she was memorable in a double role in the social film Kal Hamara Hai (1959). Madhubala played the cigarette smoking dancer Bella, and her more conventional saintly sister Madhu.

Suddenly in the mid-1950s her films, even major ones like Mehboob Khan's Amar (1954), fared so badly commercially that she was labelled "Box Office Poison". She turned her career around in 1958, with a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld. She made a big impact with a daring (for the time) Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, Aye Meherebaan, dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day. Howrah Bridge was followed by Phagun opposite Bharat Bhushan, Kalapani opposite Dev Anand, the perennial hit Chalti Ka Naam Gaadi opposite her husband-to-be, Kishore Kumar and Barsaat Ki Raat (1960), opposite Bharat Bhushan again.

In 1960, she consolidated these successes, and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-e-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India.

Personal Life and Controversial Court Case

Madhubala had a long affair with actor and frequent co-star Dilip Kumar. They first met on the sets of Jwar Bhata (1944), and worked together again in the film Har Singaar (1949) which was never completed or released. It was two years later during the filming of, Tarana (1951), that their off-screen relationship began. They also became a popular romantic screen team appearing in a total of four films together.

Madhubala was known for keeping a low profile, never making public appearances (with the exception of the premiere for the film Bahut Din Huwe in 1954) and she rarely gave interviews. Film media often speculated over her personal life and romantic liaisons and Dilip Kumar was repeatedly mentioned. These rumours were confirmed with a bold and rare public appearance during their courtship in 1955. Madhubala was escorted by Dilip Kumar for the premier of his film Insaniyat (1955), a film with which she had no other association. Though this may have been another gesture of gratitude to the producer and director S. S. Vasan, who had cared for her earlier when she had taken ill during the filming of Bahut Din Huwe (1954), this appearance was significant for another reason. By attending the premiere officially escorted by Dilip Kumar, they publicly acknowledged their relationship.

Madhubala's romance with Kumar lasted five years, between 1951 and 1956. Their association was ended following a highly controversial and widely publicized court case. B.R. Chopra, the director of the film Madhubala and Dilip Kumar were currently starring in, Naya Daur (1957), wanted the unit to travel to Bhopal for an extended outdoor shooting. Ataullah Khan objected and even claimed that the entire Bhopal schedule was a ruse to give Dilip Kumar the opportunity to romance his daughter. Finally, Chopra sued Madhubala for the cash advance she received from him for a film she now had no intention of completing. He also replaced her with South Indian actress Vyjayanthimala. Madhubala obediently supported her father despite her commitment to Dilip Kumar. Kumar testified against Madhubala and Ataullah Khan in favor of the director B.R. Chopra in open court. The case was lost by Madhubala and her father amid much negative publicity. Up until that point Madhubala had worked hard to gain a reputation as a reliable and professional performer with much good will in the industry. Her image was badly damaged after this episode. Madhubala and Dilip Kumar were effectively separated from that point on.

When rediff news spoke to her sister Madhur Bhushan, her account of the story was:

The reason Madhubala broke up with Dilip Kumar was B R Chopra's film Naya Daur, not my father. Madhubala had shot a part of the film when the makers decided to go for an outdoor shoot to Gwalior. The place was known for dacoits, so my father asked them to change the location. They disagreed because they wanted a hilly terrain. So my father asked her to quit the film. He was ready to pay the deficit. Chopra asked Dilip Kumar for help. Dilipsaab and Madhubala were engaged then. Dilipsaab tried to mediate but Madhubala refused to disobey her father. Chopra's production filed a case against her, which went on for a year. But this did not spoil their relationship. Dilipsaab told her to forget movies and get married to him. She said she would marry him, provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life. She loved Dilipsaab till the day she died.

She met her husband, actor and playback singer, Kishore Kumar during the filming of Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). At the time he was married to the Bengali singer and actress Ruma Guha Thakurta . After his divorce, because Kishore Kumar was Hindu and Madhubala Muslim, they had a civil wedding ceremony in 1960. His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kumar household. They remained married but under great strain for the remainder of Madhubala's life.

Mughal-e-Azam and later work

It was the film Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali. Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. Whether it was posing as a veiled statue in suffocating make-up for hours under the sweltering studio lights or being shackled with heavy chains. From 1951 through to 1959 Madhubala invested her best efforts into Mughal-e-Azam. Post 1956 and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star. This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death.

On 5 August 1960, Mughal-e-Azam released and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema (inflation adjusted). Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award. However she did not win, losing out to Bina Rai for her performance in the film Ghunghat (1960). In Khatija Akbar's biography on Madhubala (see reference section), Dilip Kumar paid tribute to her talent: "Had she lived, and had she selected her films with more care, she would have been far superior to her contemporaries. Apart from being very versatile and an excellent artiste, she had a warm and cheerful nature. God had gifted her with so many things..."

In 1960, Madhubala hit the peak of her career and popularity with the release of back-to-back blockbusters Mughal-e-Azam and Barsaat Ki Raat. She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress. At this point Madhubala became so ill that she could not accept any new films or even complete her existing assignments. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so robust and full of life and energy. She was always laughing and enjoyed her work. One could never conceive she was seriously ill. Then one day out of the blue she just disappeared...".

She did have intermittent releases in the early 60s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964), even performed above average at the box-office. However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. They suffer from compromised editing and in some cases the use of "doubles" in an attempt to patch in scenes that Madhubala was unable to shoot. Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971, two years after her death. Incidentally, apart from some Technicolor sequences in Mughal-e-Azam, Jwala is the only time Madhubala appeared in a colour film.

Final years and death

In 1960, Madhubala sought treatment in London as her condition deteriorated . Complicated heart surgery was in its infancy and offered her some hope of a cure. After an examination the doctors there refused to operate, convinced her chances of surviving the procedure were minimal. Their advice was that she should rest and avoid overexertion, and predicted that she could live for another year. Knowing her death was imminent, Madhubala returned to India, but defied the predictions by living for another 9 years.

In 1966, with a slight improvement in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalak. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, within a few days of filming, her frail health caused her to collapse and the film remained incomplete and unreleased.

When acting was clearly no longer an option, Madhubala turned her attention to film making. In 1969 she was set to make her directorial debut with a film named Farz aur Ishq. However the film was never made, as during the pre production stages, Madhubala finally succumbed to her illness and died on 23 February 1969, shortly after her 36th birthday. She was buried at Santa Cruz cemetery with her diaryby her family and husband Kishore Kumar. Madhubala's tomb at the Juhu/Santa Cruz Muslim cemetery was beautifully carved in pure marble and bore ayats from the Koran as well as verses dedicated to her. The tomb was demolished in 2010 to make space for new bodies.

Madhubala the icon

In her short life, Madhubala made over 70 films. In all three biographies and numerous articles published on her, she has been compared with Marilyn Monroe and has a similarly iconic position in Indian film history. Perhaps because she died before being relegated to supporting or character roles, to this day Madhubala remains one of the most enduring and celebrated legends of Indian cinema. Her continuing appeal to film fans was underlined in a 1990 poll conducted by Movie magazine. Madhubala was voted the most popular vintage Hindi actress of all time, garnering 58% of the votes, and out ranking contemporary legendary actresses Meena Kumari, Nargis, and Nutan. More recently in rediff.com's International Women's Day 2007 special (see external links), Madhubala was ranked second in their top ten list of "Bollywood's best actresses.Ever" According to the feature, the actresses that made the final list were ranked on "...acting skills, glamour, box office appeal, versatility and icon status -- and the fact that each of them became a figurehead for Bollywood, ushering in a new wave of cinema..."

Her films are widely seen on Television and DVD transfers of most of Madhubala's work have enabled a resurgence of her fan base. Dozens of clips and fan made montage tributes from her films have been uploaded and can be seen on the popular video websites like YouTube. No other vintage Hindi actress has such a large presence on the video sharing site. In India, street traders and shops sell her Black & White posters and publicity shots alongside the current film stars of Hindi Cinema.

In 2004 a digitally colorized version of Mughal-e-Azam was released and, 35 years after her death, the film and Madhubala became a success with cinema audiences all over again.

In the past decade, several biographies and magazine articles have been issued on Madhubala, revealing previously unknown details of her private life and career. Consequently in 2007, a Hindi film Khoya Khoya Chand was produced starring Shiney Ahuja and Soha Ali Khan - the plot included some events loosely based on the life of Madhubala and other vintage film personalities.

In 2008 a commemorative postage stamp featuring Madhubala was issued. The stamp was produced by India Post in a limited edition presentation pack which featured images of the actress. It was launched by veteran actors Nimmi and Manoj Kumar in a glittering ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress to be honoured in this manner is Nargis Dutt.

The popular actress and sex symbol of the 1970s Zeenat Aman is often acknowledged as the prototype of the modern and westernized Hindi film heroine. Yet it is often overlooked that Madhubala was seen portraying westernized and even vamp like characters back in the 1950s. A bold image for a Hindi film heroine to portray in an age when demure and self sacrificing ideals of Indian womanhood were the order of the day. As such it is Madhubala's (and to some degree, her contemporary Nargis ) pioneering influence on modern Hindi actresses that is prevalent today.

Trivia

When Madhubala was an infant, an esteemed Muslim spiritual man predicted that she would earn fame and fortune, but would lead an unhappy life and die at a young age.[citation needed]

Filmaker Mohan Sinha taught Madhubala to drive a car when she was only 12 years old.

She was an avid fan of Hollywood and after learning to speak fluent English, frequently watched American movies on her home projector.

When nervous she suffered from uncontrolled outbursts of giggles and laughter which sometimes antagonised co-stars and directors.

When Guru Dutt first announced his classic film Pyaasa (1957) it was with Madhubala and Nargis in the feminine lead roles. The parts were eventually played by Mala Sinha and Waheeda Rehman who both became stars with the film.

With the exception of Geeta Dutt in Mr. & Mrs. '55 (1955), most of Madhubala's memorable songs were dubbed by Lata Mangeshkar or Asha Bhosle. Madhubala proved lucky for both. The songs from Mahal picturised on Madhubala in 1949 were some of Lata's earliest successes; nine years later, Asha's vocals for the actress in four 1958 films established her as a major playback singer, rivaling her own sister, Lata.

Madhubala's sister Chanchal was also an actress and bore a striking resemblance to her famous sibling. She appeared in Nazneen (1951), Naata (1955), Mahalon Ka Khwab (1960) and Jhumroo (1961) alongside Madhubala. She also played prominent roles in Mehboob Khan's Mother India (1957) and Raj Kapoor's Jis Desh Men Ganga Behti Hai (1960)

Filmography

Movie

Year

Basant

1942

Mumtaz Mahal

1944

Dhanna Bhagat

1945

Rajputani

1946

Pujari

1946

Phoolwari

1946

Saat Samundaron Ki Mallika

1947

Mere Bhagwan

1947

Khubsoorat Duniya

1947

Dil-Ki-Rani Sweet-Heart

1947

Chittor Vijay

1947

Neel Kamal

1947

Parai Aag

1948

Lal Dupatta

1948

Desh Sewa

1948

Amar Prem

1948

Sipahiya

1949

Singaar

1949

Paras

1949

Neki Aur Badi

1949

Mahal

1949

Imtihaan

1949

Dulari

1949

Daulat

1949

Apradhi

1949

Pardes

1950

Nishana

1950

Nirala

1950

Madhubala

1950

Hanste Aansoo

1950

Beqasoor

1950

Tarana

1951

Saiyan

1951

Nazneen

1951

Nadaan

1951

Khazana

1951

Badal

1951

Aaram

1951

Saqi

1952

Sangdil

1952

Rail Ka Dibba

1953

Armaan

1953

Bahut Din Huye

1954

Amar

1954

Teerandaz

1955

Naqab

1955

Naata

1955

Mr. & Mrs. '55

1955

Shirin Farhad

1956

Raj Hath

1956

Dhake Ki Malmal

1956

Yahudi Ki Ladki

1957

Gateway of India

1957

Ek Saal

1957

Police

1958

Phagun

1958

Kalapani

1958

Howrah Bridge

1958

Chalti Ka Naam Gaadi

1958

Baghi Sipahi

1958

Kal Hamara Hai

1959

Insaan Jaag Utha

1959

Do Ustad

1959

Mehlon Ke Khwab

1960

Jaali Note

1960

Barsaat Ki Raat

1960

Mughal-e-Azam

1960

Passport

1961

Jhumroo

1961

Boy Friend

1961

Half Ticket

1962

Sharabi

1964

Jwala

1971

References

^ a b http://specials.rediff.com/movies/2008/mar/25sd1.htm

^ a b http://www.upperstall.com/people/madhubala

^ http://www.madhubalano1.20m.com/profile.html

^ http://www.chakpak.com/celebrity/madhubala/biography/8959

^ http://www.madhubalano1.20m.com/marriage.html

^ Last days

^ "Rafi, Madhubala don't rest in peace here". The Times of India. 11 February 2010. http://timesofindia.indiatimes.com/city/mumbai/Rafi-Madhubala-dont-rest-in-peace-here/articleshow/5558345.cms. Retrieved 2010-02-14. 

Books & Film Journals:

Akbar, Khatija. Mahubala: Her Life, Her Films (English). New Delhi: UBS Publishers' Distributors, 1997. ISBN 8174761535.

Deep, Mohan. Madhubala: Mystery and Mystique, Magna Publishing Co. Ltd.

Raheja, Dinesh. The Hundred Luminaries of Hindi Cinema, India Book House Publishers.

Reuben, Bunny. Follywood Flashback, Indus publishers

Bhattacharya, Rinki . Bimal Roy: A man of silence, South Asia Books

Rajadhyaksha, Ashish and Willemen, Paul. The Encyclopedia of Indian Cinema, Fitzroy Dearborn Publishers.

Cort, David. THEATRE ARTS Magazine, Issue Date: August 1952; Vol. XXXVI No. 8.

External links

Madhubala: Women's day special rediff.com

Madhubala: A sweet Seduction rediff.com

Madhubala at the Internet Movie Database

Categories: 1933 births | 1969 deaths | Pashtun people | People from Delhi | Indian actors | Indian film actors | Indian Muslims | Hindi film actorsHidden categories: All articles with unsourced statements | Articles with unsourced statements from August 2009