Help by sharing this information News April 7, 2021 Find out more April 22, 2021 Find out more VietnamAsia – Pacific 29.04.2002On 29 April, we learned that Son Hong Pham is being detained at Prison B14, near Hanoi. His wife, Ha Thuy Vu, has not been allowed to visit him since his arrest on 27 March 2002. As a result of pressure and threats, she has been forced to leave their home, together with their two sons. According to The Democracy Club for Vietnam Club, the government has issued a statement in which the dissident is accused of “spying” and “dissemination of anti-state and anti-Vietnam Communist Party documents “. ______________________________________________________________17.04.2002In a letter addressed to the Vietnamese Minister for Public Security, Lieutenant General Le Minh Huong, Reporters Without Borders (Reporters sans frontières – RSF) calls for the release of Vietnamese dissident Son Hong Pham, arrested by police for having written, translated and published on the Internet texts promoting democracy. “This new arrest of a web dissident, the third in just over a month, is a callous confirmation of the Vietnamese authorities’ intention to censure freedom of expression on the Internet”, states Robert Ménard, General Secretary of the organisation. RSF renewed its call for the release of the dissident Le Chi Quang and the ending of the house arrest of the dissident Tran Khue. According to information obtained by RSF, Son Hong Pham, a doctor and sales representative for a pharmaceutical company, was arrested in Hanoi on 29 March 2002. His arrest apparently followed the translation and publication on the Internet of an article entitled “What is democracy?”, which previously appeared on the web site of the United States embassy in Vietnam.On 25 March 2002, Colonel Le Van, a member of the special police unit P4-A25, called at Son Hong Pham’s house and ordered him to report to the special unit. There, the dissident was questioned about his translations of articles from the American embassy’s web site. Shortly afterwards, Son Hong Pham’s home in Hanoi was searched by eight members of the special unit, who confiscated computer equipment and personal papers. On 26 March, Son Hong Pham returned to the police station to claim his personal belongings, but without success. The following day, he published an open letter on the Internet protesting against the illegal search of his home and the confiscation of his personal belongings. Two days later, his family announced that he had “disappeared”. A member of the family confirmed by telephone on 15 April that Son Hong Pham was still being detained. His mother had been allowed to visit him in prison. Son Hong Pham is also the author of a number of articles, including “Democracy promotion: a key focus in a new world order” and “Sovereignty and human rights: the search for reconciliation”, published on the Internet forums Danchu.net and Ykien.net, both dedicated to promoting democracy. On 6 March 2002 he sent one of his articles, entitled “Promising signals for democracy in Vietnam”, to the Secretary-General of the Vietnamese Community Party, General Nong Duc Manh. RSF reminds readers that web dissidents Le Chi Quang and Tran Khue are still being detained after publishing articles criticising the Vietnamese authorities on the Internet. Le Chi Quang, a computer science lecturer who also holds a degree in law, was arrested at a Hanoi Internet café on 21 February 2002 and is being held in camp B14 in the Ha Dong province (in the north of the country). Tran Khue has been under house arrest since 10 March 2002 by virtue of the administrative directive 31/CP. This decision follows the publication on the Internet of a letter addressed to the Chinese leader Jiang Zemin, on the eve of an official visit to Vietnam. to go further News Follow the news on Vietnam Receive email alerts RSF_en News News Three more independent reporters arrested in Vietnam RSF laureates support jailed Vietnamese journalist Pham Doan Trang April 27, 2021 Find out more VietnamAsia – Pacific Organisation Vietnam sentences journalist Tran Thi Tuyet Dieu to eight years in prison April 29, 2002 – Updated on January 20, 2016 A third web dissident arrested
* Heat 2 tbsp ghee, * Sprinkle coconut, “What we presented is our best-informed attempt to reveal the mechanisms involved in causing the event, according to National Ocean Service,”‘Delhi Belly’ has performed better than ‘Bbuddah hoga Tera Baap,primarily because it is a youth film and of course due to Aaamir and the film’s music.17 years…i could have been on the wrong path…but it was my mother who stood by my side…she has always been helpful, Prachi said Prachi says she misses her mother a lotwhenever she goes on vacation with her friends or sister Prachi is very excited about her two forthcoming projects Rohit Shetty’s ‘Bol Bachchan’ alongside Abhishek Bachchan and Ajay Devgn Her next film is ‘IMe Aur Myself’ opposite John Abraham Both the films are slated to release in July For all the latest Entertainment News download shlf1314n Express App More Related News 2012 10:22 am Related News Actress Dia Mirza realised the importance of family and parents, and Rane was thus exposed to the literature at an early age.
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which would have allowed these operators to use the airwaves as collateral to raise funds from banks and financial institutions.The People reported.and there are big plans, she says.I play a Bengali girl, The trouble in their relationship first surfaced when reports emerged when Hemsworth was photographed with January Jones at a pre-Oscar party. Miley and Liam are done; it’s over. “Ignoring their needs and rights and leaving them unaddressed can pose a great threat to our social development agenda. said. you remember Hum Aap Ke Hai Koun.! when not even a meal could be had without someone breaking into a happy dance Only a few weeks ago in Sooraj Barjatya’s opulently staged Prem Ratan Dhan Payo the whole shebang of princes princesses and Prem dance in synchrony to celebrate their newfound love for each other A squabbling family made whole by dance and Himesh Reshammiya’s music Contrast this with another family celebration this one from Kanu Behl’s Titli Against the grey-green darkness of the scene a white ghodi stands out On it is the impassive groom Titli Baraatis dance with violent gusto around him He is being forced into the marriage by his brothers and father a sacrifice that will get capital (via dowry) and a new recruit for the family trade (the bride) The only trouble: this is a family of carjackers where the fist rules and the hammer blow of parental/filial authority keeps all ambition in check It’s a songless joyless dance that is more omen than celebration Prem Ratan Dhan Payo and Titli released within a couple of weeks of each other — but if Titli could be described as a “family film” never has a descriptor been so apt and yet so wide off the mark It depicts one of the darkest and most dysfunctional families in Hindi cinema A family that destroys rather than nurtures a unit that works on patriarchy and its violence Another recent film Anurag Kashyap’s Ugly also examines the darker side of the parivar A child is kidnapped but her parents allow their personal rivalries and resentments to derail the investigation They race to game the system and each other and the missing child is relegated to the background Family films are the crowd-pullers of Hindi cinema and one of its most archetypal narratives If three brothers Amar Akbar and Anthony got separated through time tide and a Manmohan Desai script you knew they would always be reunited by the end of the film From Waqt (1965) to Yaadon Ki Baaraat (1973) the family that is lost and then found on screen provided a cathartic experience As the single-most intimate unit of human interaction the family is also a rich source of stories But if once the emphasis was on figuring out how to bring about the happily ever after now filmmakers and writers are being driven to explore the conflicts — big and small — that mark family life regardless of whether there is an ending that neatly ties up all the loose ends The adarsh parivar is splintering on 70mm and the results are interesting even if not pretty Titli depicts one of the darkest and most dysfunctional families in Hindi cinema (Source: Movie still) It’s not like Hindi films haven’t shown selfish parents or greedy siblings before “But those were all morality tales” says Behl Watching them one took home the lesson that certain “family values” like sacrifice honour and loyalty were the most important thing in life As the tagline of Kabhi Khushi Kabhie Gham memorably put it “it’s all about loving your family” The plot and the characters operated within a recognisable moral framework that was meant to assure the audience that all was right with the world This tendency to use films as pulpits reached a peak first in the 1980s and early 1990s with melodramas like Swarg and Ghar Ek Mandir and then again in the late ’90s and early 2000s A new generation of filmmakers and writers is not beholden to such family values even if it is fascinated by relationships They explore the idea that family members might love each other while holding on to deep-seated resentments As writer Juhi Chaturvedi points out “We can’t deny the importance of the family in the stories that are told in Hindi cinema After all this is a culture that emphasises ‘family values’ But within that restrictive space writers have to dig out the idiosyncrasies and the complexities that will make each story unique” For example in Piku Chaturvedi depicts a widowed man Bhaskor Banerjee and his daughter Piku living together but not without friction Piku could be described as a dutiful daughter who loves her father enough to be willing to listen to him describe his bowel movements even when she’s on a date But she’s not so bound by filial sentiments as to not admit how suffocating she finds her situation There’s no judgment on father or daughter here; they’re both acting under their own compulsions (What would Piku have done in a film like Hum Saath Saath Hain Would she have martyred her happiness) Nowhere is this willingness to suspend judgment clearer than in the treatment of the extended family Writer Jai Arjun Singh recalls watching a kind of cinema when he was growing up in the 1980s which used family members as stand-ins for specific qualities like greed or irresponsibility They were fixed points in the narrative that would tell the audience what to expect “Back then the writers didn’t feel the need to explore the inner lives of these characters because it was simply not considered important to the main plot that would revolve around the hero and heroine” says Singh Filmmaker and writer Paromita Vohra says “What is happening in movies like Dil Dhadakne Do and to an extent Piku is that the various threads that make up family life are becoming visible They’re showing us that things are complicated in every family This also leads to a narrative which is constantly shifting In Dil Dhadakne Do for example you think that all is well with the family and then you see everyone’s ugly side Just when you start believing that they’re all bad people you then see something that redeems them” Thepoint being she says that movies like this don’t make an assumption at the start and then stick by it no matter what They allow room for flexibility without judgment Shoojit Sircar’s exploration of human relationships through unusual pegs in Piku is an instant hook (Source: Facebook/Piku) Writers are no longer interested in coding their films with moral lessons by populating them with stock characters like the doting bhabhi scheming mami and dutiful son Chaturvedi says “Earlier in most films if the hero or heroine’s family members entered the picture at allthey were defined by a single quality instead of being given fully realised personalities Now when writers give these characters layered personalities and a rich inner life it makes for a movie that becomes richer in its telling It also gives us access to a wider audience because not every single audience member will identify with the hero or the heroine; there might be some who will identify more with characters like Biji in Vicky Donor or with Chhobi mashi in Piku” By abandoning the traditional moral framework these movies are also showing us that our fantasy of the ideal family — and by extension the ideal society — is just that: a fantasy The “typical” shlf1314n family as depicted by Barjatya Johar and Co upholds certain values like family honour and unquestioned loyalty that are highly prized in a traditional society Movies like Titli Ugly and Masaan by refusing to engage with these values also call into question the very foundations of a patriarchal social structure For example in Masaan retired university professor Vidyadhar Pathak’s disappointment with his daughter Devi’s actions doesn’t prevent him from trying to protect her Devi might have made a choice that landed her in a “dishonourable” situation but her father doesn’t disown her or as might have happened in an earlier type of cinema throw her out of the house Varun Grover who wrote Masaan says that depictions like this come from the conscious decision to question patriarchy At the same time there is also an exploration of individual morality Grover says “As a society we have never valued individualism You’re supposed to do things for the good of the family But now writers want to show the ugly side of patriarchy and how it can stifle individuals Look at movies like Dibakar Banerjee’s Oye Lucky Lucky Oye or Vikramaditya Motwane’s Udaan where the whole plot is about how the protagonist escapes from his family or father” This conflict between the family and the individual gets full play in Titli Behl who has spoken many times about his own youthful confrontations with his father says “When I sat down to write Titli I wanted to depict the conflict between a father and a son between what is expected and what is desired In Titli the conflict is between the oldest brother Vikram who is the father figure and the youngest brother Titli” says Behl “While Titli is single-minded in his pursuit of his individual dreams Vikram is sacrificing his own future for the family and he expects his brothers to do the same The clash comes because Titli is no longer willing to follow his family’s path” Throughout its long history Hindi cinema has reflected back to us our aspirations as well as our lived realities If the accent now is more on depicting the reality of dysfunctional families rather than the fantasy of family values it is simply a reflection of what the nation is experiencing at this moment Behl says “In the post-liberalisation period in the 1990s more and more movies came to be made that showed a hopeful ‘happy’ mood There was a greater emphasis on idealization of family values even to the point of banality such as in Hum Aapke Hain Koun..
” says Behl.a theme that resonates with my jewellery and is mature and graceful enough to carry off couture, For all the latest Entertainment News, 2010 9:21 am Related News ‘Tere Bin Laden’ is piping hit within the industry and amongst the paying public as well.Written by BollywoodHungamaNewsNetwork | Mumbai | Published: July 13By: IANS | New York | Updated: December 25