Sharmeen :-
Sharmeen Obaid Chinoy was born in Karachi in 1978. She did her early schooling at the Convent of Jesus and Mary , and subsequently went on to study at
Karachi Grammar School . Later she studied mass communications at Stanford University in the US, where she received her bachelor's degree in economics and government from Smith College in 2002. She returned to Pakistan and launched her career as a filmmaker with her first film Terror's Children for The New York Times. In 2003 and 2004 she made two award-winning films while a graduate student at Stanford University . Her most notable films includes, the animated adventure 3 Bahadur (2015), the musical journey Song of Lahore (2015) and the two Academy Award-winning films, the documentary Saving Face (2012) and the biographical
A Girl in the River: The Price of Forgiveness (2016). Her visual contributions have earned her numerous awards, including two Academy Awards in the Best Short Subject in 2012 and 2016 and two Emmy Awards in the same category in 2010 and 2011.
Obaid-Chinoy has also won six Emmy Awards, including two of which are in the International Emmy Award for Current Affairs Documentary category for the films, the terrorist drama Pakistan's Taliban Generation and the documentary Saving Face (2012) Throughout her career, she has made many records, her Academy Award win for Saving Face made her the first Pakistani to win an Academy Award, and she is one of only eleven female directors who have ever won an Oscar for a non-fiction film. She is also the first non-American to win the Livingston Award for Young Journalists. The 2015 animated adventure 3 Bahadur made her the first Pakistani to make a computer-animated feature-length film. In 2017, Obaid-Chinoy became the first artist to co-chair the World Economic Forum .
A Girl in the River: The Price of Forgiveness
About this movie
:- ‘A Girl in the River: The Price of Forgiveness’ is a 2015’s documentary film by Sharmeen Obaid – Chinoy bout honor killings in Pakistan. The documentary follows the story of a nineteen – year – old girl, who survives an honor killing attempt by her Father and uncle. The protagonist has a solid stance on not forgiving her attackers; however, the public pressures her into forgiving. By doing that, the attackers are free and can return home. The regime of honor is unforgiving: women on whom suspicion has fallen are not given an opportunity to defend themselves, and family members have no socially acceptable alternative but by attacking the woman.
Arvind Adiga
:- Aravind Adiga was born in Madras (now Chennai ) on 23 October 1974 to Dr. K. Madhava Adiga and Usha Adiga, both of whom hailed from Mangalore . His paternal grandfather was the late K. Suryanarayana Adiga , former chairman of Karnataka Bank , and a maternal great-grandfather, U. Rama Rao , a popular medical practitioner and Congress politician from Madras.
Adiga grew up in Mangalore and studied at Canara High School , then at St. Aloysius College , where he completed his SSLC in 1990 and secured the first place in his state in SSLC (his elder brother, Anand, had placed second in SSLC and first in PUC in the state).
After emigrating to Sydney , Australia, with his family, Aravind studied at James Ruse Agricultural High School . He later studied English literature at
Columbia College of Columbia University , in New York city, under Simon Schama and graduated as
salutatorian in 1997. He also studied at
Magdalen College, Oxford , where one of his tutors was Hermione Lee .
The wite Tiger
:- Balram Halwai narrates his life in a letter, written in seven consecutive nights and addressed to the
Chinese Premier , Wen Jiabao . In his letter, Balram explains how he, the son of a rickshaw puller, escaped a life of servitude to become a successful businessman, describing himself as an entrepreneur.
Balram was born in the rural village of Laxmangarh , where he lived with his grandmother, parents, brother and extended family. He is a smart child but is forced to leave school in order to help pay for his cousin's
dowry and begins to work in a teashop with his brother in Dhanbad. While working there he begins to learn about India's government and economy from the customers' conversations. Balram describes himself as a bad servant but a good listener and decides to become a driver.
After learning how to drive, Balram finds a job driving Ashok, the son of one of Laxmangarh's landlords. He takes over the job of the main driver, from a small car to a heavy-luxury described Honda City. He stops sending money back to his family and disrespects his grandmother during a trip back to his village. Balram moves to New Delhi with Ashok and his wife Pinky Madam. Throughout their time in Delhi, Balram is exposed to extensive corruption, especially in the government. In Delhi, the contrast between the poor and the wealthy is made even more evident by their proximity to one another.
One night Pinky Madam takes the wheel from Balram, while drunk, hits something in the road and drives away; we are left to assume that she has killed a child. Ashok's family puts pressure on Balram to confess that he had been driving alone. Ashok becomes increasingly involved in bribing government officials for the benefit of the family coal business. Balram then decides that killing Ashok will be the only way to escape India's Rooster Coop . After bludgeoning Ashok with a bottle and stealing a large bribe, Balram moves to Bangalore , where he bribes the police in order to help start his own taxi business. Interestingly, Ashok too is portrayed to be trapped in the metaphorical Rooster Coop: his family controls what he does and society dictates how he acts. Just like Ashok, Balram pays off a family whose son one of his taxi drivers hit and killed. Balram explains that his own family was almost certainly killed by Ashok's relatives as retribution for his murder. At the end of the novel, Balram rationalizes his actions and considers that his freedom is worth the lives of his family and of Ashok. And thus ends the letter to Jiabao, letting the reader think of the dark humour of the tale, as well as the idea of life as a trap introduced by the writer.
Here we see that sharmeen and Arvind Adiga both the try to put their Nations darker side to the world by their work but we find that the white world or the Supremacy world always like that type of thing that the Asian countries Dark Side whenever present they feel very good thing and they always try to appreciate this type of literature your movie and other also more stop that type of literary work I get success in their awards and other ceremonies we can find that the our writers which there describe our darker side then they get price but whenever they present our Nation's Goodside that work cannot notice bye white world.
The second thing was that if they are portrayed our writers or movie makers presenting our culture or our Nation's darker side to the world for the give a message that how the Nations are so narrowness and daker we can see it but it's give a wrong message to the world .
It is harmful for our Nations progress or its restriction for our economic growth and it's give an image that the Asian countries are very poor and the. Prove by our writers and movie makers that's why sometime our governments try to stop that type of movies and literary work to publish which describe our Nation's as a bed that right to bend this thing.
At the end we can say that the Portrait of nation as a bad or bad side of the culture it is good thing or it is our freedom of speech we can use it but we can also see that which where we live we have to respect our Nation and our Nation's culture and we have to do both the thing but I'm committed that not harmful for our Nations reputation also we have to see this
Sharmeen Obaid Chinoy was born in Karachi in 1978. She did her early schooling at the Convent of Jesus and Mary , and subsequently went on to study at
Karachi Grammar School . Later she studied mass communications at Stanford University in the US, where she received her bachelor's degree in economics and government from Smith College in 2002. She returned to Pakistan and launched her career as a filmmaker with her first film Terror's Children for The New York Times. In 2003 and 2004 she made two award-winning films while a graduate student at Stanford University . Her most notable films includes, the animated adventure 3 Bahadur (2015), the musical journey Song of Lahore (2015) and the two Academy Award-winning films, the documentary Saving Face (2012) and the biographical
A Girl in the River: The Price of Forgiveness (2016). Her visual contributions have earned her numerous awards, including two Academy Awards in the Best Short Subject in 2012 and 2016 and two Emmy Awards in the same category in 2010 and 2011.
Obaid-Chinoy has also won six Emmy Awards, including two of which are in the International Emmy Award for Current Affairs Documentary category for the films, the terrorist drama Pakistan's Taliban Generation and the documentary Saving Face (2012) Throughout her career, she has made many records, her Academy Award win for Saving Face made her the first Pakistani to win an Academy Award, and she is one of only eleven female directors who have ever won an Oscar for a non-fiction film. She is also the first non-American to win the Livingston Award for Young Journalists. The 2015 animated adventure 3 Bahadur made her the first Pakistani to make a computer-animated feature-length film. In 2017, Obaid-Chinoy became the first artist to co-chair the World Economic Forum .
A Girl in the River: The Price of Forgiveness
About this movie
:- ‘A Girl in the River: The Price of Forgiveness’ is a 2015’s documentary film by Sharmeen Obaid – Chinoy bout honor killings in Pakistan. The documentary follows the story of a nineteen – year – old girl, who survives an honor killing attempt by her Father and uncle. The protagonist has a solid stance on not forgiving her attackers; however, the public pressures her into forgiving. By doing that, the attackers are free and can return home. The regime of honor is unforgiving: women on whom suspicion has fallen are not given an opportunity to defend themselves, and family members have no socially acceptable alternative but by attacking the woman.
Arvind Adiga
:- Aravind Adiga was born in Madras (now Chennai ) on 23 October 1974 to Dr. K. Madhava Adiga and Usha Adiga, both of whom hailed from Mangalore . His paternal grandfather was the late K. Suryanarayana Adiga , former chairman of Karnataka Bank , and a maternal great-grandfather, U. Rama Rao , a popular medical practitioner and Congress politician from Madras.
Adiga grew up in Mangalore and studied at Canara High School , then at St. Aloysius College , where he completed his SSLC in 1990 and secured the first place in his state in SSLC (his elder brother, Anand, had placed second in SSLC and first in PUC in the state).
After emigrating to Sydney , Australia, with his family, Aravind studied at James Ruse Agricultural High School . He later studied English literature at
Columbia College of Columbia University , in New York city, under Simon Schama and graduated as
salutatorian in 1997. He also studied at
Magdalen College, Oxford , where one of his tutors was Hermione Lee .
The wite Tiger
:- Balram Halwai narrates his life in a letter, written in seven consecutive nights and addressed to the
Chinese Premier , Wen Jiabao . In his letter, Balram explains how he, the son of a rickshaw puller, escaped a life of servitude to become a successful businessman, describing himself as an entrepreneur.
Balram was born in the rural village of Laxmangarh , where he lived with his grandmother, parents, brother and extended family. He is a smart child but is forced to leave school in order to help pay for his cousin's
After learning how to drive, Balram finds a job driving Ashok, the son of one of Laxmangarh's landlords. He takes over the job of the main driver, from a small car to a heavy-luxury described Honda City. He stops sending money back to his family and disrespects his grandmother during a trip back to his village. Balram moves to New Delhi with Ashok and his wife Pinky Madam. Throughout their time in Delhi, Balram is exposed to extensive corruption, especially in the government. In Delhi, the contrast between the poor and the wealthy is made even more evident by their proximity to one another.
One night Pinky Madam takes the wheel from Balram, while drunk, hits something in the road and drives away; we are left to assume that she has killed a child. Ashok's family puts pressure on Balram to confess that he had been driving alone. Ashok becomes increasingly involved in bribing government officials for the benefit of the family coal business. Balram then decides that killing Ashok will be the only way to escape India's Rooster Coop . After bludgeoning Ashok with a bottle and stealing a large bribe, Balram moves to Bangalore , where he bribes the police in order to help start his own taxi business. Interestingly, Ashok too is portrayed to be trapped in the metaphorical Rooster Coop: his family controls what he does and society dictates how he acts. Just like Ashok, Balram pays off a family whose son one of his taxi drivers hit and killed. Balram explains that his own family was almost certainly killed by Ashok's relatives as retribution for his murder. At the end of the novel, Balram rationalizes his actions and considers that his freedom is worth the lives of his family and of Ashok. And thus ends the letter to Jiabao, letting the reader think of the dark humour of the tale, as well as the idea of life as a trap introduced by the writer.
Here we see that sharmeen and Arvind Adiga both the try to put their Nations darker side to the world by their work but we find that the white world or the Supremacy world always like that type of thing that the Asian countries Dark Side whenever present they feel very good thing and they always try to appreciate this type of literature your movie and other also more stop that type of literary work I get success in their awards and other ceremonies we can find that the our writers which there describe our darker side then they get price but whenever they present our Nation's Goodside that work cannot notice bye white world.
The second thing was that if they are portrayed our writers or movie makers presenting our culture or our Nation's darker side to the world for the give a message that how the Nations are so narrowness and daker we can see it but it's give a wrong message to the world .
It is harmful for our Nations progress or its restriction for our economic growth and it's give an image that the Asian countries are very poor and the. Prove by our writers and movie makers that's why sometime our governments try to stop that type of movies and literary work to publish which describe our Nation's as a bed that right to bend this thing.
At the end we can say that the Portrait of nation as a bad or bad side of the culture it is good thing or it is our freedom of speech we can use it but we can also see that which where we live we have to respect our Nation and our Nation's culture and we have to do both the thing but I'm committed that not harmful for our Nations reputation also we have to see this
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