Top 10 graphic design institutes in Kolkata
Graphic design is an essential part of any business or creative endeavor. Kolkata is a hub for art and creativity, and there are many institutes that offer courses in graphic design. 99graphics design institute is one of the leading institutes in Kolkata that offers courses in graphic design. In this article, we will take a look at the top 10 graphic design institutes in Kolkata.
1. 99graphics design institute:
99graphics design institute is a premier institute that offers a range of courses in design, including graphic design. The institute has a team of experienced professionals who teach the latest techniques and software in graphic design. They offer a comprehensive curriculum that covers all aspects of graphic design, including typography, layout, color theory, branding, and more.
2. Arena Animation:
Arena Animation is a well-known name in the education industry, and they offer courses in various fields, including graphic design. The institute has a team of experienced trainers who provide practical training to the students, and they also offer placement assistance.
3. WLCI College:
WLCI College is a renowned name in the education industry, and they offer courses in various fields, including graphic design. The institute has a team of experienced trainers who provide hands-on training to the students, and they also offer placement assistance.
4. St. Xavier’s College:
St. Xavier’s College is one of the most prestigious colleges in Kolkata, and they offer a Bachelor’s degree in Multimedia and Animation. The course covers various aspects of graphic design, including typography, illustration, and more.
5. MAAC:
MAAC is a popular institute that offers courses in animation, VFX, and graphic design. The institute has a team of experienced trainers who provide practical training to the students, and they also offer placement assistance.
6. George Telegraph Training Institute:
George Telegraph Training Institute is a leading institute that offers courses in graphic design, web design, and more. The institute has a team of experienced trainers who provide hands-on training to the students, and they also offer placement assistance.
7. NSHM Knowledge Campus:
NSHM Knowledge Campus is a well-known name in the education industry, and they offer courses in various fields, including graphic design. The institute has a team of experienced trainers who provide practical training to the students, and they also offer placement assistance.
8. W3 Web School:
W3 Web School is a leading institute that offers courses in web design and development, digital marketing, and graphic design. The institute has a team of experienced trainers who provide hands-on training to the students, and they also offer placement assistance.
9. Image Creative Education:
Image Creative Education is a popular institute that offers courses in graphic design, animation, and more. The institute has a team of experienced trainers who provide practical training to the students, and they also offer placement assistance.
10. Indian Institute of Digital Art and Animation:
Indian Institute of Digital Art and Animation is a leading institute that offers courses in graphic design, animation, and VFX. The institute has a team of experienced trainers who provide hands-on training to the students, and they also offer placement assistance.
Conclusion:
Kolkata has a vibrant art and design culture, and there are many institutes that offer courses in graphic design. The top 10 institutes mentioned above are some of the best in the city and offer comprehensive courses in graphic design. Each of these institutes has a team of experienced trainers who provide practical training to the students, and they also offer placement assistance. If you are looking to start a career in graphic design, these institutes are a great place to start.To learn more visit us - https://99eedu.com/graphic-design-institutes/
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Star Trek: Facets of Filmmaking
As it turns out, before Star Trek was fully realized in the form we know today, the show was originally not going to be about Kirk and the Enterprise at all. In fact, it was going to be about a ship called the S.S. Yorktown, captained by a man named Robert April, on a mission to explore the Milky Way galaxy. The original concept, still named Star Trek and set in the 23rd century, was loosely based on the Horatio Hornblower novels, and took inspiration from The Voyage of the Space Beagle, the Marathon series and the 1956 film Forbidden Planet.
By the year 1964, when this idea began to take shape, Gene Roddenberry, creator of Star Trek was an experienced writer for western television shows, and was well accustomed to (at the time) television’s favorite and most popular genre. By 1964, however, Roddenberry was tired of the shootouts, and wanted to do something different, something with a little more depth to it.
Still, Roddenberry knew what the executives, and the public, was used to. As a result, the first draft of this new Star Trek idea was generalized as a sort of ‘Wagon Train to the Stars’, a formulaic type of show where every episode was a standalone adventure in the continuous exploration of the final frontier: space.
As Roddenberry wrote the draft, a few things changed. Gone was Robert April, replaced by Captain Christopher Pike, who would be portrayed by Jefferey Hunter, and the rest of the crew. The name of the ship changed too, to the more familiar Enterprise. As these changes came about, so too did the true nature of Roddenberry’s dream show: both an adventure story, and a thought-provoking morality tale.
Armed with his script, Roddenberry brought Star Trek to Desilu Productions, (a rather large television production company headed and half-formed by Lucille Ball herself) and met with director of production Herbert F. Solow. Solow saw promise in the concept, and signed a three-year development contract with Roddenberry.
Star Trek moved into the next stage of development. Further drafts were drawn up and the idea that would later become the episode The Cage was revised, until it was shown to CBS as part of the ‘First Look’ deal with Desilu productions. CBS wasn’t impressed with the show, declining to purchase it. They had another ‘space show’ in development that seemed too similar, a show that would become Lost in Space.
However, another company became interested: NBC. In May of 1964, Grant Tinker, the head of the West Coast programming department, commissioned the pilot that would become The Cage (which would later be reworked into the episode The Menagerie). After it was completed, NBC turned it down, claiming that it was ‘too cerebral’, but although this was a mild defeat, Star Trek wasn’t beaten. NBC still showed interest in the concept, and made the highly unusual decision to commission a second pilot: the episode that would become Where No Man Has Gone Before.
With this came quite a few changes.
Christopher Pike was scrapped as a character, as was the vast majority of other cast members. Only the character of Spock, as portrayed by Leonard Nimoy, was kept, and of the other cast members, only Majel Barrett stayed, demoted from playing the second-in-command (scrapped due to the unthinkable notion of a woman Commander) to the ship’s nurse, Christine Chapel. With this new pilot came an onslaught of new, more familiar names and faces: William Shatner as Captain Kirk, Chief Engineer Lieutenant Commander Scott played by James Doohan, and Lieutenant Sulu, (originally a physicist in the first episode, but a helmsman afterwards) played by George Takei.
This pilot passed with flying colors, and with that, NBC added Star Trek to their fall lineup for 1966.
Still, there were changes to be made. In this first pilot, the ship’s doctor was Mark Piper, played by Paul Fix. Dr. Leonard McCoy, played by DeForest Kelley, would join the cast when principal filming for the first season began. Also joining the cast was Nichelle Nichols, playing Lieutenant Uhura, and Grace Lee Whitney as Yeoman Rand. (Whitney would depart halfway through the first season, after being on the receiving end of sexual assault from one of the executives of the show, but would later appear in the film series beginning in the 1970s.)
Besides Where No Man Has Gone Before, NBC ordered 15 episodes to start off the show. The first episode of Star Trek, The Man Trap, aired at 8:30 PM on Thursday, September 8th of 1966 as part of NBC’s ‘sneak preview’ time slot, received with mixed feelings. While some papers and reviewers genuinely liked the new show, (such as The Philadelphia Inquirer and the San Francisco Chronicle) others, such as The Boston Globe and The New York Times didn’t. Variety described the show as ‘an incredible and dreary mess of confusion and complexities’, and predicted that it would fail.
Fighting for position against reruns of previous shows, despite the critics’ warnings, Star Trek won a time slot, and began with decent ratings. However, it didn’t last long. By the end of the first season, Star Trek was sitting at 52nd out of 94 programs.
Star Trek was sinking, fast.
But even then, it wasn’t without its supporters.
The editor of Galaxy Science Fiction, Frederik Pohl, offered up his amazement that Star Trek’s consistency remained good, with no drop in quality after its Tricon winning early episodes. He expressed his fear that the show would be cancelled due to its low ratings, and pleaded with audiences to help save Star Trek, writing letters to prevent its cancellation.
At this time, the only thing that was keeping the show on the air in the first place was the demographics it was reaching. NBC had become interested in the demographics of the shows it was producing in the early 1960s, and by 1967, was using that as part of the decision making as to which shows got dropped.
And something about Star Trek’s demographics interested NBC very much: it had managed to attract ‘quality’ audiences: high income, high educated people (primarily males).
As a result, NBC ordered ten more episodes for the first season, and ordered a second in March of 1967. The network then changed Star Trek’s timeslot, moving it to 8:30 on Friday nights, a timeslot that seemed doomed for failure among the audience that Star Trek had gathered.
The next season, things didn’t seem to be getting any better. It was at this point that the show added on Walter Koenig as Ensign Chekov (as George Takei was working on The Green Berets and was not as available for shooting), although some might have wondered why they would have bothered. The show’s ratings were still dropping. William Shatner, expecting the show to be cancelled, began to prepare for other projects.
Again, the demographics saved the day.
Roddenberry’s initial concept of adventure alongside morality tales intrigued the audiences Star Trek had attracted. The show had values, values that had to be applied to every situation. The show was sincere, and serious in its exploration of issues like racism, war and peace, human rights, technology, class warfare, and imperialism, far different in tone and content than the other chief sci-fi show at the time: Lost in Space. As a result, the show generated a more interested fanbase, perhaps the first true ‘fanbase’ of any franchise in history. In the end, it was they who saved Star Trek.
By the end of the first season, NBC had received well over 29,000 fan letters. During the second season, Roddenberry began a campaign to persuade fans to write in to NBC, to support the show and save the program. Between December of 1967 and March of 1968, NCB had received nearly 116,000 letters from people who did not want to see Star Trek cancelled. Science fiction conventions, magazines, and newspaper columnists encouraged readers to save what was called ‘the best science-fiction show on the air’.
The fans didn’t stop with letters. Over 200 students of the California Institute of Technology marched to NBC’s studio in Burbank to protest the cancellation of Star Trek in January of 1968, carrying signs that said things like ‘Vulcan Power’. They weren’t alone; other groups of students of MIT and Berkeley did the same thing in New York City and San Francisco.
Interestingly, the letters that NBC received were not of the typical ‘fan mail’ quality.
“Much of the mail came from doctors, scientists, teachers, and other professional people, and was for the most part literate–and written on good stationery. And if there is anything a network wants almost as much as a high Nielsen ratings, it is the prestige of a show that appeals to the upper middle class and high-brow audiences.” (Lowry, Cynthia (January 17, 1968). “One Network Goes ‘Unconventional’”. Nashua Telegraph. Associated Press. p. 13)
“The show, according to the 6,000 letters it draws a week (more than any other in television), is watched by scientists, museum curators, psychiatrists, doctors, university professors, and other highbrows. The Smithsonian Institution asked for a print of the show for its archives, the only show so honored.” (Scott, Vernon (February 7, 1968). “Letters Can Save 'Star Trek’”. The Press-Courier. Oxnard, California. United Press International. p. 17.)
After the episode The Omega Glory, on March 1st, 1968, the announcement came:
“And now an announcement of interest to all viewers of Star Trek. We are pleased to tell you that Star Trek will continue to be seen on NBC Television. We know you will be looking forward to seeing the weekly adventure in space on Star Trek.” (“Letters For 'Star Trek’ Hit 114,667”. The Modesto Bee. April 14, 1968. p. 26.)
If this was intended to stop the letter writing campaign, it was a dismal failure. A comparable number of letters came in to NBC following this announcement, full of thanks for renewing the show for the third season.
In March of 1968, NBC moved Star Trek to another time slot: 10:00 PM on Fridays, an even worse shot than before. To make matters worse, it was only being seen by 181 out of 210 of NBC’s affiliates. Roddenberry fought the network to move it to a better time, but he was denied. Exhausted, Roddenberry quit working on production of Star Trek, remaining executive producer in name only. The running of the show went to Fred Freiberger, who was with the show as it stood on its last, shaky, legs.
And it was on its last legs.
Star Trek season three was a dying breath, the death-rattle of a show that was being intentionally destroyed by its own network.
To quote Nichelle Nichols:
“While NBC paid lip service to expanding Star Trek’s audience, it [now] slashed our production budget until it was actually 10% lower than it had been in our first season … This is why in the third season you saw fewer outdoor location shots, for example. Top writers, top guest stars, top anything you needed was harder to come by. Thus, Star Trek’s demise became a self-fulfilling prophecy. And I can assure you, that is exactly as it was meant to be.”
It showed.
While I hesitate to call season three of Star Trek a mess, it is difficult to deny that the show was definitely struggling. Episodes dropped in quality, characters became more exaggerated and less ‘true’. Star Trek stopped filming in January of 1969, and after a total run of 79 episodes, the show was cancelled.
As a newspaper columnist advised:
“You Star Trek fans have fought the “good fight,” but the show has been cancelled and there’s nothing to be done now.”
Rather incongruous with the image of the pop-culture giant we know it as today, wouldn’t you think?
So what happened?
As it turns out, Star Trek had enough episodes (thanks to the third season) to enter syndication. Desilu Productions, which at that point had become Paramount, licensed the syndication rights in order to turn a profit, and reruns of Star Trek began airing in late 1969.
In syndication, Star Trek became a cult classic, finding a larger audience on reruns than it had during its original run. The show, which was airing in the afternoons and early evenings, was attracting a young demographic, and, ironically, Star Trek became known as ‘the show that wouldn’t die’. By 1970, Star Trek was boosting Paramount’s ratings, and becoming extremely popular. In January of 1972, over 3,000 fans attended the first Star Trek convention in New York City, kicking off a previously unheard-of trend of organized fan gatherings where they could buy merchandise, meet cast and crew, and screen episodes of the show. These people, coming to be known as ‘trekkies’, took pride in their knowledge and extreme love for this series, which was becoming renowned for being a smart, heartfelt science fiction show that had been cancelled too early.
17 years after Star Trek was cancelled and started reruns, Star Trek became the most popular syndicated show of all time. By 1987, Paramount was bringing in $1 million per episode, and by 1994, reruns were still airing in over 90% of the United States of America.
The rest is history.
It has been over fifty years since Gene Roddenberry’s vision of a wagon train to the stars first took flight, and it was a hard battle fought to get as far as it did. Never before had a show garnered the support and devoted love from a fanbase, never had it inspired such huge leaps and bounds in television and fandom alike. Never had a television show meant so much to so many, and continued to do so well past its end.
For a show that struggled through a third season, it seems incredible that Star Trek still holds the weight that it does today. The show that wouldn’t die gained new life beyond the grave, still capturing people’s attention decades after it was cancelled, growing to become one of the best known and best loved television shows ever made.
Against all odds, Star Trek lives on, remaining one of the greatest television shows of all time, for very good reason.
Join me for one last article as next time we take one last look at Star Trek in our Final Thoughts. If you have any thoughts, questions, suggestions, recommendations, or just want to say hi, don’t forget to leave an ask! Thank you all so much for reading, and I hope to see you in the next article.
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Nellie Bly, was a real Phileas Fogg, and the first undercover investigative journalist .... Read more below
Born 156 years ago, today 5th May 1864, Elizabeth Cochran Seaman, better known by her pen name Nellie Bly, was an American journalist, industrialist, inventor, and charity worker who was widely known for her record-breaking trip around the world in 72 days, in emulation of Jules Verne's fictional character Phileas Fogg, and an exposé in which she worked undercover to report on a mental institution from within. She was a pioneer in her field, and launched a new kind of investigative journalism
In 1880, Cochrane's mother moved her family to Pittsburgh. A newspaper column entitled "What Girls Are Good For" in the Pittsburgh Dispatch that reported that girls were principally for birthing children and keeping house prompted Elizabeth to write a response under the pseudonym "Lonely Orphan Girl". The editor, George Madden, was impressed with her passion and ran an advertisement asking the author to identify herself. When Cochrane introduced herself to the editor, he offered her the opportunity to write a piece for the newspaper, again under the pseudonym "Lonely Orphan Girl"] Her first article for the Dispatch, entitled "The Girl Puzzle", was about how divorce affected women. In it, she argued for reform of divorce laws. Madden was impressed again and offered her a full-time job. It was customary for women who were newspaper writers at that time to use pen names. The editor chose "Nellie Bly", after the African-American title character in the popular song "Nelly Bly" by Stephen Foster.
Bly left the Pittsburgh Dispatch in 1887 for New York City. Penniless after four months, she talked her way into the offices of Joseph Pulitzer's newspaper the New York World, and took an undercover assignment for which she agreed to feign insanity to investigate reports of brutality and neglect at the Women's Lunatic Asylum on Blackwell's Island.
It was not an easy task for Bly to be admitted to the Asylum: She first decided to check herself into a boarding house called Temporary Homes for Females. She stayed up all night to give herself the wide-eyed look of a disturbed woman, and began making accusations that the other boarders were insane. Bly told the assistant matron "There are so many crazy people about, and one can never tell what they will do." She refused to go to bed, and eventually scared so many of the other boarders that the police were called to take her to the nearby courthouse. Once examined by a police officer, a judge, and a doctor, Bly was taken to Blackwell's Island.
Committed to the asylum, Bly experienced the deplorable conditions firsthand. After ten days, the asylum released Bly at The World's behest. Her report, later published in book form as Ten Days in a Mad-House, caused a sensation, prompted the asylum to implement reforms, and brought her lasting fame.
Biographer Brooke Kroeger argues:
Her two-part series in October 1887 was a sensation, effectively launching the decade of “stunt” or “detective” reporting, a clear precursor to investigative journalism and one of Joseph Pulitzer’s innovations that helped give “New Journalism” of the 1880s and 1890s its moniker.
In 1888 Bly suggested to her editor at the New York World that she take a trip around the world, attempting to turn the fictional Around the World in Eighty Days (1873) into fact for the first time. A year later, at 9:40 a.m. on November 14, 1889, and with two days' notice, she boarded the Augusta Victoria, a steamer of the Hamburg America Line, and began her 40,070 kilometer journey.
She took with her the dress she was wearing, a sturdy overcoat, several changes of underwear, and a small travel bag carrying her toiletry essentials. She carried most of her money (£200 in English bank notes and gold, as well as some American currency) in a bag tied around her neck
During her travels around the world, Bly went through England, France (where she met Jules Verne in Amiens), Brindisi, the Suez Canal, Colombo (Ceylon), the Straits Settlements of Penang and Singapore, Hong Kong, and Japan. The development of efficient submarine cable networks and the electric telegraph allowed Bly to send short progress reports, although longer dispatches had to travel by regular post and thus were often delayed by several weeks.
Bly traveled using steamships and the existing railroad systems, which caused occasional setbacks, particularly on the Asian leg of her race. During these stops, she visited a leper colony in China and, in Singapore, she bought a monkey.
Just over seventy-two days after her departure from Hoboken, Bly was back in New York. She had circumnavigated the globe, traveling alone for almost the entire journey. Bly's journey was a world record, although it was bettered a few months later by George Francis Train, whose first circumnavigation in 1870 possibly had been the inspiration for Verne's novel. Train completed the journey in 67 days, and on his third trip in 1892 in 60 days.
In 1895, Bly married millionaire manufacturer Robert Seaman. Bly was 31 and Seaman was 73 when they married. Due to her husband's failing health, she left journalism and succeeded her husband as head of the Iron Clad Manufacturing Co., which made steel containers such as milk cans and boilers. In 1904, Seaman died.
According to biographer Brooke Kroeger:
She ran her company as a model of social welfare, replete with health benefits and recreational facilities. But Bly was hopeless at understanding the financial aspects of her business and ultimately lost everything. Unscrupulous employees bilked the firm of hundreds of thousands of dollars, troubles compounded by a protracted and costly bankruptcy litigation.
Bly died of pneumonia at St. Mark's Hospital in New York City in 1922 at age 57
This is my colourised version of a photograph taken in 1890 when Nellie was 26
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