Kerala"s first Film Hero ? ?->(Show Answer!)

1. Kerala"s first Film Hero ?

Answer: A.K. Aroor

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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-> Read the following passage carefully and answer the questions given at the end.The movement to expel the Austrians from Italy and unite Italy under a republican government had been gaining momentum while Garibaldi was away. There was a growing clamour, not just from Giuseppe Mazzini's republicans, but from moderates as well, for a General capable of leading Italy to independence. Even the King of Piedmont, for whom Garibaldi was still an outlaw under sentence of death, subscribed to an appeal for a sword for the returning hero. Meanwhile, the 'year of revolutions', 1848, had occurred in which Louis Philippe had been toppled from the French throne. In Austria, an uprising triggered off insurrections in Venice and Milan, and the Austrian garrisons were forced out. The King of Piedmont, Charles Albert ordered his troops to occupy these cities. There had also been insurrections in Sicily, causing the King Ferdinand II, to grant major constitutional freedoms in 1849, prompting both the Pope and Charles Albert to grant further concessions.Meanwhile, largely ignorant of these developments, Garibaldi was approaching Italy at a leisurely pace, arriving at Nice on 23 June 1848 to a tumultuous reception. The hero declared himself willing to fight and lay down his life for Charles Albert, who he now regarded as a bastion of Italian nationalism.Mazzini and the republicans were horrified, regarding this as outright betrayal: did it reflect Garibaldi's innate simple-mindedness, his patriotism in the war against Austria, or was it part of a deal with the monarchy? Charles Albert had pardoned Garibaldi, but to outward appearances he was still very wary of the General and the Italian Legion he had amassed of 150 'brigands'. The two men met near Mantua, and the King appeared to dislike him instantly. He suggested that Garibaldi's men should join his army and that Garibaldi should go to Venice and captain a ship as a privateer against the Austrians.Garibaldi, meanwhile, met his former hero Mazzini for the first time, and again the encounter was frosty. Seemingly rebuffed on all sides, Garibaldi considered going to Sicily to fight King Ferdinand II of Naples, but changed his mind when the Milanese offered him the post of General - something they badly needed when Charles Albert's Piedmontese army was defeated at Custoza by the Austrians. With around 1,000 men, Garibaldi marched into the mountains at Varese, commenting bitterly: 'The King of Sardinia may have a crown that he holds on to by dint of misdeeds and cowardice, but my comrades and I do not wish to hold on to our lives by shameful actions'.The King of Piedmont offered an armistice to the Austrians and all the gains in northern Italy were lost again. Garibaldi returned to Nice and then across to Genoa, where he learned that, in September 1848, Ferdinand II had bombed Messina as a prelude to invasion - an atrocity which caused him to be dubbed 'King Bomba'. Reaching Livorno he was diverted yet again and set off across the Italian peninsula with 350 men to come to Venice's assistance, but on the way, in Bologna, he learned that the Pope had taken refuge with King Bomba. Garibaldi promptly altered course southwards towards Rome where he was greeted once again as a hero. Rome proclaimed itself a Republic. Garibaldi's Legion had swollen to nearly 1,300 men, and the Grand Duke of Tuscany fled Florence before the advancing republican force.However, the Austrians marched southwards to place the Grand Duke of Tuscany back on his throne. Prince Louis Napoleon of France despatched an army of 7,000 men under General Charles Oudinot to the port of Civitavecchia to seize the city. Garibaldi was appointed as a General to defend Rome.The republicans had around 9,000 men, and Garibaldi was given control of more than 4,000 to defend the Janiculum Hill, which was crucial to the defence of Rome, as it commanded the city over the Tiber. Some 5,000 well-equipped French troops arrived on 30 April 1849 at Porta Cavallegeri in the old walls of Rome, but tailed to get through, and were attacked from behind by Garibaldi, who led a baton charge and was grazed by a bullet slightly on his side. The French lost 500 dead and wounded, along with some 350 prisoners, to the Italians, 200 dead and wounded. It was a famous victory, wildly celebrated by the Romans into the night, and the French signed a tactical truce.However, other armies were on the march: Bomba's 12,500-strong Neapolitan army was approaching from the south, while the Austrians had attacked Bologna in the north. Garibaldi too, a force out of Rome and engaged in a flanking movement across the Neapolitan army's rear at Castelli Romani; the Neapolitans attacked and were driven off leaving 50 dead. Garibaldi accompanied the Roman General, Piero Roselli, in an attack on the retreating Neapolitan army. Foolishly leading a patrol of his men right out in front of his forces, he tried to stop a group of his cavalry retreating and fell under their horses, with the enemy slashing at him with their sabres. He was rescued by his legionnaires, narrowly having avoided being killed, but Roselli had missed the chance to encircle the Neapolitan army.Garibaldi boldly wanted to carry the fight down into the Kingdom of Naples, but Mazzini, who by now was effectively in charge of Rome, ordered him back to the capital to face the danger of Austrian attack from the north. In fact, it was the French who arrived on the outskirts of Rome first, with an army now reinforced by 30,000. Mazzini realized that Rome could not resist and ordered a symbolic stand within the city itself, rather than surrender, for the purposes of international propaganda and to keep the struggle alive, whatever the cost. On 3 June the French arrived in force and seized the strategic country house, Villa Pamphili.Garibaldi rallied his forces and fought feverishly to retake the villa up narrow and steep city streets, capturing it, then losing it again. By the end of the day, the sides had 1,000 dead between them. Garibaldi once again had been in the thick of the fray, giving orders to his troops and - fighting, it was said, like a lion. Although beaten 'off for the moment, the French imposed a siege in the morning, starving the city of provisions and bombarding its beautiful centre.On 30 June the French attacked again in force, while Garibaldi, at the head of his troops, fought back ferociously. But there was no prospect of holding the French off indefinitely, and Garibaldi, decided to take his men out of the city to continue resistance in the mountains. Mazzini fled to Britain while Garibaldi remained to fight for the cause. He had just 4,000 men, divided into two legions, and faced some 17,000 Austrians and Tuscans in the north, 30,000 Neapolitans and Spanish in the south, and 40,000 French in the west. He was being directly pursued by 8,000 French and was approaching Neapolitan and Spanish divisions of some 18,000 men. He stood no chance whatever. The rugged hill country was ideal, however, for his style of irregular guerrilla warfare, and he manoeuvred skilfully, marching and counter-marching in different directions, confounding his pursuers before finally aiming for Arezzo in the north. But his men were deserting in droves and local people were hostile to his army: he was soon reduced to 1500 men who struggled across the high mountain passes to San Marino where he found temporary. refuge.The Austrians, now approaching, demanded that he go into exile in America. He was determined to fight on and urged the ill and pregnant Anita, his wife, to stay behind in San Marino, but she would not hear of it. The pair set off with 200 loyal soldiers along the mountain tracks to the Adriatic coast, from where Garibaldi intended to embark for Venice which was still valiantly holding out against the Austrians. They embarked aboard 13 fishing boats and managed to sail to within 50 miles of the Venetian lagoon before being spotted by an Austrian flotilla and fired upon.Only two of Garibaldi's boats escaped. He carried Anita through the shallows to a beach and they moved further inland. The ailing Anita was placed in a cart and they reached a farmhouse, where she died. Her husband broke down into inconsolable wailing and she was buried in a shallow grave near the farmhouse, but was transferred to a churchyard a few days later. Garibaldi had no time to lose; he and his faithful companion Leggero escaped across the Po towards Ravenna.At last Garibaldi was persuaded to abandon his insane attempts to reach Venice by sea and to return along less guarded routes on the perilous mountain paths across the Apennines towards the western coast of Italy. He visited his family in Nice for an emotional reunion with his mother and his three children - but lacked the courage to tell them what had happened to their mother.Find the correct statement:
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MCQ->Statements: All film stars are playback singers. All film directors are film stars. Conclusions: All film directors are playback singers. Some film stars are film directors.

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MCQ-> Answer the questions based on the following information. A word arrangement machine, when given a particular input, rearranges it following a particular rule. Following is the illustration of the input and the steps of arrangement: Input: She was interested in doing art film Step 1: art she was interested in doing film Step 2: art was she interested in doing film Step 3: art was in she interested doing film Step 4: art was in film she interested doing Step 5: art was in film doing she interested Step 5 is the last step of the given input. Now study the logic and rules followed in the above steps, find out appropriate step for the question given below for the given input.Which of the following will be the last step for the input given below? Input: he is going out to search air...