India's first live action animation hybrid film is? ?->(Show Answer!)

1. India's first live action animation hybrid film is?

Answer: Faaby (1993)

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MCQ-> Read the following information and answer the questions given below it. For selection of films produced before December 2007 for the national film festival of India, following criteria are given. 1. The film must be submitted to the National Film Development Corporation (NFDC) by 31.10.2007. 2. The production cost of the film should not exceed Rupees Five crores. 3. The director of the film should have passed a three year course either from the Film and Television Institute of India (FTII) or from Satyajit Ray Film & Television Institute. 4. The length of the film should not exceed 150 minutes. 5. The film must have been approved by the film censor board of India. 6. However, if the film fulfils all the above criteria except (a) criteria 2 above, it must be sent to the finance secretary (b) criteria 3 above, the director has done at least a one year course from FTII or Satyajit Ray Film & Television Institute, the film is kept as a stand-bye On the basis of above information and information provided below, decide the course of action in each case. No further information is available. You are not to assume anything. Mark answer: I.if the film is to be selected II.if the film is not to be selected III.if the film should be sent to the finance secretary IV.if the film should be kept as a stand-bye V.if the data given about the film are not adequate to make a decision.Film Dainandini was produced at the cost of Rupees 2.5 crore. It was submitted to the NFDC on 29th September 2007. The director of the film Govind Chadha passed a 3-year course from FTII. Length of film was 120 minutes and has been approved by the censor board of India.
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MCQ-> The narrative of Dersu Uzala is divided into two major sections, set in 1902, and 1907, that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the film opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon one another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’s recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back father even than 1910 to discover who he was. But this narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialised, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vacuum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalise him and his example, as Dersu passes from history into myth. We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that isbeing built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, lookinguncomfortable and disoriented. A man passing in a wagon asks him what he is doing, and the explorersays he is looking for a grave. The driver replies that no one has died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu had died. It is his grave for which the explorer searches. His passing symbolises the new order, the development that now surrounds Arseniev. The explorer says he buried his friend three years ago next to huge cedar and fir trees, but now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile of bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a woman hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmurs desolately, ‘Dersu’. The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’s meeting with Dersu and their friendship. Kurosawa defines the world of the film initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the film celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and in human vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appears, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appear animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity to Dersu and their friendship. It makes him a fit pupil for the hunter.How is Kurosawa able to show the erosion of Dersu’s way of life?
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MCQ-> Study the following information carefully and answer the questions given below : Seven persons – M, N, O, P, Q, R and S – live on separate floors of a sevenstoreyed building, but not necessarily in the same order. The ground floor of the building is numbered 1, the floor above it 2 and so on until the topmost floor is numbered 7. Each person likes diffemt cartoon characters, viz, Chipmnuk, Flinstone, Jetson, Popeye, Scooby Doo, Simpson and Tweety, but not necessarily in the same order. The person who likes Popeye lives on floor numbered 4. Only two persons live between P and the one who likes Popeye. M does not live on the lowermost floor. M lives on any odd numbered floor below the one who likes Popeye. S lives on an even numbered floor but neither immediately above nor immediately below the floor of M. Only two persons live between M and the person who likes Tweety. Only one person lives between N and R. R lives on an even numbered floor and does not like Popeye. Only three persons live between the persons who like Chipmnuk and Jetson respectively. The person who likes Chipmnuk live on any floor above the N’s floor. The person who likes Chipmanuk does not live on the topmost floor. O does not like Chipmnuk or Jet-son. The person who likes Scooby Doo lives on the floor immediately above the floor of the perosn who likes Simpson.How many persons live between the floors on which S and P live ?
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MCQ-> Study the following information and answer the questions given below: Nine friends – P, Q, R, S, T, U, V, W and X — live on nine different floors of a building but not necessarily in the same order. The lower most floor of the building is numbered one, the one above that is numbered two and so on till the topmost floor is numbered nine. Only two persons live below the floor on which V lives. Only one person lives between V and P. W lives on an odd numbered floor but not on floor number 7. Only two persons live between W and Q. X does not live on the topmost floor. P does not live on the lowermost floor. S lives immediately below R but R does not live on top most floor. Neither R nor T live on floor number 6. U lives immediately above P.How many persons live between the floors on which P and S live?
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MCQ-> Directions : Read the following information carefully and answer the questions which follow. A, B, C, D, E and F live on different floors in the same building having six floors numbered one to six (the ground floor is numbered one, the floor above it is numbered two, and so on, and the topmost floor is numbered 6). A lives on an even-numbered floor. There are two floors between the floors on which D and F live. F lives on a floor above D's floor. D does not live on the floor numbered two. B does not live on an odd-numbered floor. C does not live on any of the floors below F's floor. E does not live on a floor immediately above or immediately below the floor on which B lives.Who among the following live on the floors exactly between D and F?
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