#horror story in hindi annabelle

[bestbuddiesstoriestv]

भूतिया गुड़िया Part 8 - Horror Kahaniya | Hindi Scary Stories | Haunted Stories | Horror Movies

Video Link: https://youtu.be/CdEGVEFGqoY

Story-

आपने अब तक देखा कि कैसे रुद्रा अपनी समझदारी और साधु बाबा की मदद से भूतिया गुडिया को राजन की बाकी शरीर से बाहर निकाल कर उसे एक लकड़ी के डिब्बे में बंद करके नदी में फेंक देते हैं। अब देखिए आगे एक मछुआरे नदी में मछलियां पकड़ने के लिए जाल डालता है जिसमें फंसकर वह लकड़ी का डिब्बा भी उसके जाल के साथ बाहर आ जाता है। मछुआरे जैसे ही जाल खाली करता ये तो वो डिब्बा उसके हाथों में आ जाता है।

आगे की पूरी कहानी जानने के लिए वीडियो को देखे

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✿The following video contains some horror elements suitable for a mature audience.

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[bloom2003]

April 4th week.

Hey, everyone. I am back with my 4th-week blog for media studies. I learned really good and interesting topics. So, let us start with our 1st topic this week.

The first thing we did was storytelling. Where we were told to draft a story, where ma'am gave us a table for the genre, settings, characters, objects.

Where purvi my friend gave me the combination of the genre action, setting as forest, character as a businessman, and object a piano. I have to draft a story based on these 4. My story was: there was a businessman who had a big multi-million company. He uses to earn a lot... But he was tired of working and didn’t have peace in his life. So, he handles all his work to his manager and leaves for a nice holiday. He decides to go to a forest for tracking and peace. now, in the middle of the forest, he found an abundant village where people use to live once, but now there was no sign of life left everything was either burnet or been broken intently. He saw a weird looking piano kept between the village. He goes near the piano and imagines the who may have used the piano, someone must have played it for his love, kids must have learned it, must anything before that crises. He felt bad for the villagers who died. He moves away from that piano and changes his way towards the city, but suddenly he hears some footsteps behind him. As he looks behind there were two men following him. he stops and calls them and ask why are u stalking me? They said if u don’t let us pay $20,000, we will kill you. He began arguing with them the entered into a fight. Where one of the men punches him on the head. He faints and when he opened his eyes after a few hours he was found naked outside of his own house.

                      Technological and Convergence.

The term convergence means combining different forms of media in order to make a single form of media. Example: the mobile phone.

There are two types of convergence:

1. media convergence.

2. technological convergence.

The phrase technological stands for, a single device doing the job of several devices.

Technological convergence is the tendency that as technology changes, the different technological system evolved towards performing a similar task.

                                      INDIAN CINEMA HISTORY.

Q. How did cinema start in India?

Ans. Beginning of the Talkies. The first ever talkie 'Alam Ara' by Ardeshir Irani was screened in Bombay in 1931. It was the first sound film in India. The release of Alam Ara started a new era in the history of Indian cinema.

Movie name: RAJA HARISHCHANDRA.

 By: DABASHEB PHALKE.

A first silent feature film made in India.

Year:1913

Movie name: ALAM ARA.

By: ARDESHIR IRANI.

A first Indian sound film.

year:1931

Movie name: KISAN KANYA.

By: ARDESHIR IRANI

A first color film of Indian cinema.

year: 1937

Movie name: MY DEAR KUTTICHATHAN.

Later dubbed in Hindi as CHHOTA CHETAN.

Year: 1992.

Movie name: ROADSIDE ROMEO.

Writer/ director: JUGAL HANSRAJ.

A first Indian 3D animated film.

Year: 2008

Movie name: DHOOM 3

By: YASH RAJ FILMS.

A first Imax film in India.

Year:2013.

Next in the row is GENRE AND SUB GENRE’S.

A film genre is identifiable types, categories, classification or groups of film that have similar techniques or convention such as contents, structure, theme, mood, plot, setting, props, styles, situation, period, narrative events and motives. 

                                                Sub - Genere

Sub-genres are identifiable subclasses within the larger film genre, with there own distinctive subject matter, style, formula, icon graphics, etc.         

                                                Primary film genre

Romance, horror, comedy, drama, action, mystery, sci-fi, epic, crime, war, musical.

POSTER ANALYSIS.

We analyzed Annabelle’s poster. Where we have to interpret on the color, font, and character present on the poster.

Now we were taught about four stages of production.

The three main stages of production are:

Pre-production: Planning, scripting & storyboarding, etc. 

Production: The actual shooting/recording. 

Post-production: Everything between production and creating the final master copy.

                                                     story arc.

A story arc is an extended or continuing storyline in episodic storytelling media such as television, comic books, comic strips, board games, video games, and films with each episode following a dramatic arc. On a television program, for example, the story would unfold over many episodes.

Transformation: completely changed.

Growth: character overcome something mentally (positive).

Fall: character turns from good to bad.

                                                  8 characters.

HERO- PROTAGONIST.

HELPER- WHO ADIS PROTAGONIST.

DISPATCHER- SENDS TO REPAIR.

DONOR- PROVIDE SOMETHING.

PRINCESS/ HEROINE- NEED RESCUE.

VILLAN- CAUSE DISRUPTION.

FALES HERO- APPEAR TO BE GOOD.

PRINCESS FATHER- REWARD’S HERO.

                              TODOROV NARRATOLOGY.

Here I am done with this week's blog. There is much more to come in next week.

[kartiavelino]

Netflix horror series creator can’t speak his show’s language

“GHOUL” is India’s second series to premiere on Netflix. It’s set in a dystopian future by which the nation is dominated by an authoritarian authorities — with officers in a secret army detention heart interrogating a terrorist who won’t be fully human. The series — starring Radhika Apte, who starred in India’s first Netflix series, “Sacred Video games” — was created by Patrick Graham and produced by horrormeister Jason Blum (“Get Out,” “The Purge”). We requested Graham about making the scary three-part Hindu series and dealing with a language barrier. The place did the thought for “Ghoul” come from? It sounds silly to say it, nevertheless it’s true: I used to be doing analysis about torture in trendy warfare and through that point had a nightmare about being in a detention heart the place a terrifying prisoner was introduced in who freaked out the guards in addition to the opposite prisoners. I awakened and wrote down the thought as a result of it appeared like a cool story —although on the time I didn’t know precisely what was so scary in regards to the prisoner. I believed it could be enjoyable to analysis an Arabic, folkloric monster, which is the place I come across the parable of the “Ghul,” which had so many cool traits about it that I immediately realized it could be an amazing match for the essential define of the story. You’re the solely Western author/ director within the Hindi movie business. Does that offer you a singular storytelling perspective? I got here right here in 2010 to work with a pal from London Movie College and scope out what alternatives the Hindi movie business needed to provide. After a few years of writing on spec and making an attempt to flog scripts, I ultimately started working freelance on TV commercials earlier than managing to pitch “Ghoul” to Phantom Movies. I feel that any foreigner in a special tradition may have their very own distinctive takes on the place to have moved to and this would possibly enable for some novel approaches to storytelling. Having grown up on Western cinema, inherently I most likely have a barely totally different cinematic language, which I hope audiences right here discover authentic and fascinating. Nevertheless it must be stated that as a result of I’ve grown professionally throughout the Hindi movie and tv business I do think about myself to be an Indian filmmaker — and I’m pleased with that truth. What was the largest problem of creating “Ghoul”? Sadly I nonetheless don’t speak Hindi so I had to verify I had individuals round me on set who might monitor the supply of the strains from the actors and provides me suggestions about intonation and supply, and many others. We ready for the language barrier and I feel we comprehensively overcame it. We had been taking pictures in a darkish underground basement for 30 days, so the environment might get just a little oppressive at occasions — and, as a result of uncooked sewage was flowing beneath us, just a little smelly. Are you hoping “Ghoul” will attraction extra to an American viewers or an Indian viewers? I’d hope it should attraction equally to each however for various causes. There’s a hole out there for the Indian audiences in the case of horror. Indian audiences flock to see “Annabelle Creation,” “It” and the “Conjuring” movies — however aside from a couple of notable exceptions, there isn’t that a lot homegrown horror or style tales to get their tooth into. Alternatively, after all I’m a Westerner, so I do need my story to be common sufficient that it may be a worthy addition to the horror style within the West. [embedded content] Share this: https://nypost.com/2018/08/30/netflix-horror-series-creator-cant-speak-his-shows-language/ The post Netflix horror series creator can’t speak his show’s language appeared first on My style by Kartia. https://www.kartiavelino.com/2018/08/netflix-horror-series-creator-cant-speak-his-shows-language.html