The year in which the film”Raja Harishcandra”was made: ?->(Show Answer!)

1. The year in which the film”Raja Harishcandra”was made:

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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->The year in which the film”Raja Harishcandra”was made:....

MCQ-> Based on the information answer the questions which follow.A consultant to Department of Commerce. Government of Bianca has suggested 30 products which have high export potential. Dora an entrepreneur and prospective exporter notices that these products can be grouped in three ways- Machine made goods, Handmade goods and Intermediate goods. Among these 30 products some products are both machine made and intermediate goods but not handmade goods. Few products have a combination of handmade and machine made goods but not intermediate goods. Some products are handmade and intermediate goods but not machine made goods. Further it is seen that handmade-machine made goods are I less than machine made-intermediate goods. Similarly the total number of handmade-intermediate goods is I less than machine made-intermediate goods. There are just 4 products common across all product groups i.e. machine made-handmade- intermediate goods. Apart from this the number of only handmade goods is same as only machine made goods but less than only intermediate goods. Each product group/combination has at least one product. Dora prefers to export machine made goods and avoid hand made goods. She finds out that only handmade goods are twice the machine made-intermediate goods and the number of only intermediate goods is an even number. Whereas her close friend Sara prefers to export intermediate goods followed by only handmade goods.Sara and Dora prefer to export as many common products as possible in order to understand the regulatory conditions. Keeping their preferences intact, what is the maximum number of common products which can be exported by both of them?
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MCQ-> Read the following passage carefully and answer the question given below it Certain words/phrases have printed in bold to help you locate them while answering some of the question.Once upon a time there lived a vicious king Raja Shankara short-tempered and temperamental “God I am” he said to his image as he started into the mirror everyday many times a day He was obsessed with himself He loved no one but himself He was blinded towards the injustice in his kingdom because he had little time for his subjects He wasted most of his time in pouring milk and honey over himself Interruption in his possessed life was dealt with stern reprimanding and sometimes on petty issues he would behead his servants Provoked by his evil advisor Twishar he went on with his self-indulged life unaware of the plot his very devoted advisor was planning.A plot to dethrone the king rule the kingdom with his wicked ways only to harness wealth and the reputation of a King. One morning the king was on his usual morning horseback rounds but returned to the palace with an intense look on his face.He locked himself inside his palatial room only to unlock it at sundown.Just as the doors cracked open and Raja Shankara emerged from it his wife rushed to embrace him. She feared a damaging incident had occurred. The King spoke seldom that day and awoke the next day to make a proclamation to his servants and subjects.The whole kingdom feared what was in store for them from their angry King.But to their surprise he said to all gathered.”From now on I will be a different kings.A softer and a patient king. True to his words from that day on the king had truly turned on a new leaf he cleaned out the corruption and injustice in a tender manner with punishments aimed to renew the person from within. One fine day his evil advisor gathered courage to ask the reason for his paradigm shift And the king answered.When I went on horseback that morning a month ago, I noticed a dog brutally chasing a cat,The cat managed to sneak into a hole only after the dog bit her leg,maiming her for life.Not far the barked at a farmer who picked up a sharp stone and hit it straight in the dog’s eye.Bleeding profusely the dog yelped in pain.As the farmer walked on he slipped on the edge of the road and broke his head. All this happened in a matter of minutes before me and then I realized that evil begets evil.I thought about it deeply and was ready to give up my worldly life for the betterment of my subjects I wanted to give up evil in me as I did not want evil to encounter me. Sniggering away the immoral advisor thought what a perfect time it was to dethrone the king because the Raja had grown kind hearted and patient and would not endeavour a combat.Thinking how he would plan his attack he stumbled over a step that took him hurling down the remaining steps bringing his stop with a crash He howled in pain only to discover he had broken the bones in both his legs.How can Raja Shankara be described before his transformation ? (A)He was unjust (B)He was preoccupied with himself (C)He was cruel....