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Subrat SaurabhAuthor of Kuch Woh PalThe author has been in public relations, journalism and film writings for over three decades. As a member of the Indian Broadcasting Services (IBS), he worked with Doordarshan in various capacities and finally as a Consultant with AIR. After his academic and professional studies, he was trained at the Film and Television Institute of India, Pune, in TV Production and Management besides doing courses in Journalism, Public Relations and Script Writing. Before he joined the government, he worked with national airlines in public relations, later switched over to writing and directing short films. Read More...
The author has been in public relations, journalism and film writings for over three decades. As a member of the Indian Broadcasting Services (IBS), he worked with Doordarshan in various capacities and finally as a Consultant with AIR. After his academic and professional studies, he was trained at the Film and Television Institute of India, Pune, in TV Production and Management besides doing courses in Journalism, Public Relations and Script Writing. Before he joined the government, he worked with national airlines in public relations, later switched over to writing and directing short films. He continued to contribute to magazines and some tabloids besides producing and directing short films. The stint in Prasar Bharati, mostly with Doordarshan, helped him understand the imperatives of public broadcasting in a growing society. He got enamoured with its ranged delivery and objectives of preserving culture, traditions, folk, information and music, which became topics of interest. With over three hundred articles on various subjects, this is his first book on the subject, which he has observed well.
Read Less...Achievements
The book is an exposition of life behind the glamour. It speaks on the pains the artist undergoes to create his image and more to retain the intellection. The stories are based on personal interactions that could never become public. Even if some plots trickled out it failed to arouse concern and empathy. These anecdotes underline various phases of Hindi cinema and despite all its technical superiority, it could not shrug off the system that demeans artists on
The book is an exposition of life behind the glamour. It speaks on the pains the artist undergoes to create his image and more to retain the intellection. The stories are based on personal interactions that could never become public. Even if some plots trickled out it failed to arouse concern and empathy. These anecdotes underline various phases of Hindi cinema and despite all its technical superiority, it could not shrug off the system that demeans artists once they are not patronized or engaged. It has references to individuals, film families and some unsaid instances that built the concept of the book. A major portion of the book is devoted to the second rung of artists or character artists, whose contributions howsoever prodigious and impressionable have often been ignored. Cinema pandered more to the star system than its realities.
A character artist remains in focus till he is there. Many names that enthused the box office charts are long erased. Rightly everything that glitters is not glamour. The book quotes instances of sham camaraderie in the film world that in reality is ruthless and operates without remorse. Yet, it continues to attract and absorb new talent and that is the peculiarity of show business.
I had the opportunity to work with the author, Vinod Kapoor, at both Doordarshan and All India Radio (AIR). His writings always carried clarity of opinion. The book is not a history of broadcasting but gently touches the contours of that chequered march of broadcasting though in an interesting manner.
The author has written with flowing interest, subjects like the controversy about language, the way dramas gained prominence, the scene at t
I had the opportunity to work with the author, Vinod Kapoor, at both Doordarshan and All India Radio (AIR). His writings always carried clarity of opinion. The book is not a history of broadcasting but gently touches the contours of that chequered march of broadcasting though in an interesting manner.
The author has written with flowing interest, subjects like the controversy about language, the way dramas gained prominence, the scene at the AIR during the Mahatma Gandhi assassination and also when the nation attained freedom. There are references to how AIR helped Hindi cinema grow and provide a stream of artists it nurtured. He recapitulates the contributions of some known broadcasters with anecdotal references that shaped the medium.
He has strongly expressed his displeasure on denying functional freedom to the professionals, which Prasar Bharati Act had promised. He has not minced expressions in excoriating the non-professionals take charge, which, in reality, brought the downfall of Public Broadcasting. There are points where he could not restrain his anguish but that went with reason and mood. Broadcasting is a very vast subject and one cannot cover every aspect of it. Yet, the author has made a valiant attempt.
The author has flair for writing and done some of the chapters with extra zest like his essays titled Zest for Music, Voices That Ring or The Mentors. This reminded me of his research on certain individuals, which showcases the enormity of broadcasting. There is amplified mention of veteran actors Jahanara Kajjan, Achla Sachdev, Om Prakash and film composers, Roshan and Ravi, who represented the entire gamut of artists who scored big later.
LD Mandloi
Former Director General
Doordarshan and AIR
I had the opportunity to work with the author, Vinod Kapoor, at both Doordarshan and All India Radio (AIR). His writings always carried clarity of opinion. The book is not a history of broadcasting but gently touches the contours of that chequered march of broadcasting though in an interesting manner.
The author has written with flowing interest, subjects like the controversy about language, the way dramas gained prominence, the scene at t
I had the opportunity to work with the author, Vinod Kapoor, at both Doordarshan and All India Radio (AIR). His writings always carried clarity of opinion. The book is not a history of broadcasting but gently touches the contours of that chequered march of broadcasting though in an interesting manner.
The author has written with flowing interest, subjects like the controversy about language, the way dramas gained prominence, the scene at the AIR during the Mahatma Gandhi assassination and also when the nation attained freedom. There are references to how AIR helped Hindi cinema grow and provide a stream of artists it nurtured. He recapitulates the contributions of some known broadcasters with anecdotal references that shaped the medium.
He has strongly expressed his displeasure on denying functional freedom to the professionals, which Prasar Bharati Act had promised. He has not minced expressions in excoriating the non-professionals take charge, which, in reality, brought the downfall of Public Broadcasting. There are points where he could not restrain his anguish but that went with reason and mood. Broadcasting is a very vast subject and one cannot cover every aspect of it. Yet, the author has made a valiant attempt.
The author has flair for writing and done some of the chapters with extra zest like his essays titled Zest for Music, Voices That Ring or The Mentors. This reminded me of his research on certain individuals, which showcases the enormity of broadcasting. There is amplified mention of veteran actors Jahanara Kajjan, Achla Sachdev, Om Prakash and film composers, Roshan and Ravi, who represented the entire gamut of artists who scored big later.
LD Mandloi
Former Director General
Doordarshan and AIR
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