Rida Salman & Faizan Sheikh
BS MS 2B
Its an interesting way of conveying the history of cinema.
The blog is really informative, specially for the students who have just joined Media Sciences.
About Cine Fair 09: Fantastic Projects, Amazing Atmosphere, Great Event!
The best thing about this is that its the last day of our 2nd Semester ;)
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Maria Mumtaz
BS MS 2A
I think this is a very interactive and creative project. We can follow up on it even after we get over with the exhibition. Good job!
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Summaiya Noor Ali
BSMS 2B
So Very Kool! :D
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Rafay
BS MS 6
I think this would prove to be great source of info for HOC students they wnt have to go theorough the crPPY nd torn off notes usually give to us.
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Yousuf Zia Ali Naqvi
BSMS2A
An innovative initiative for using cinema as a tool of education. it will provide all suitable information to any cinemaniac. Wishing Farah and Raza All the best for this initiative. King Regards........!!!
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Mohammad Saqib
0615124
Innovative and creative, would have loved if pictures and videos may have been used.
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Very nice. i like teh sound track. A. Aziz
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Interesting blog =P Good work... Azmeena Rehmatullah
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l think it's an excellent website...full of info! Sirah Haq, Geo TV
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The concept was good and so was the effort, I think you guys have done a great job... And you need to be congratulated for that. Doing such effort atyour level i.e. learners, is a very good sign... This country is getting some very good professionals in the future. Best of luck!!!!!
Regards
M.Bilawal
Regards
Sunday, May 17, 2009
Saturday, May 16, 2009
The Inner Eye--Satyajit Ray
Satyajit Ray, standing 6'-4" tall, was a towering figure in the world of cinema. He studied at the university in Calcutta and later joined Shantiniketan, Rabindranath Tagore's university to study art. He began his career as a commercial artist (1943-56). He founded Calcutta's first film society in 1947 and made his first film, Pather Panchali (1955) while working at an advertising agency. Pather Panchali was an immediate success and won Grand Prix at the Cannes Festival. Pather Panchali with his Aparajito (1956, The Unvanquished) and Apur Sansar (1959, The World of Apu) are known as 'Apu Trilogy'. His later films include Jalsaghar (1958, The Music Room), Kanchenjunga (1962), Charulata (1964, The Lonely Wife), Ashanti Sanket (1973, Distant Thunder), The Chess Players (1977), The Home and The World (1984), Ganashatru (1989, Public Enemy), and Agantuk (1990, The Stranger).Ray also edited Sandesh, a children's magazine and wrote numerous fiction and nonfiction works. In 1992 he received an honorary Academy Award.
Ray's films create an authentic atmosphere through their unobtrusive camera work and lighting. While shooting Pather Panchali, he had to use a new cameraman, Subrata Mitra, who was a still photographer and had never handled a movie camera before. That was because all the professionals said that they could not shoot in rain and outdoors with continuously changing light.He had an intense dislike of "slick" light effects and became devoted to "bounce lighting", originally developed by his cinematographer -Subroto Mitra. Rejecting the methods of studio lighting then accepted world-over, Ray and Mitra evolved this lighting style which we take for granted today.Ray described it in an article - "Subroto, my cameraman, has evolved, elaborated and perfected a system of diffused lighting whereby natural daylight can be simulated to a remarkable degree. This results in a photographic style which is truthful, unobtrusive and modern. I have no doubt that for films in the realistic genre, this is a most admirable system." Mitra also operated the camera until Charulata when Ray himself decided to take over. Soon after that Ray and Mitra parted company and Mitra's assistant Soumendu Roy took over the lighting. The last film Mitra photographed for Ray was Nayak. (Unlike in Hollywood, in India almost all the cinematographers also operate the camera.)Since Charulata, Ray operated the camera himself. This was because he wanted "to know exactly at all times how a shot is going, not only in terms of acting, but of acting viewed from a chosen set-up which imposes a particular spatial relationship between the actors. This relationship may keep changing in the shot through movement of the actors, or of the camera, or both. Through the lens is the only position from which these changes can be precisely gauged.""The style of photography should grow out of the story, and the director should be aware of what he wants and be able to convey it in precise terms to the cameraman," he wrote. He believed that the director should be his own cameraman or at least be able to impose a visual approach on his cameraman. To him, there was no such thing as good photography per se. It was either right for a certain kind of film or wrong.He warned the over enthusiastic cinematographers, "It is dangerous for a cameraman to put forward creative suggestions unless he has the full emotional and visual sweep of the film in his head. If he does not, he should be content to do as the director tells him. Coutard is a good cameraman if only because he is willing to sacrifice his ego and submit to Godard, whose ideas, if unconventional, are at all times striking, and therefore worthy of respect."He used color very carefully. He preferred the colors to be closest to what he had used at the shoot. He chose the costumes and the décor very carefully and did not like the laboratory to do any color correctionsHis camera moves as per the needs of the situation, rather than out of any fixed notions of style. It is this conviction that makes the opening of Charulata so exceptional. The camera movements, use of zooms and close-ups correspond with the playful, restless and bored Charulata. Ray does not call attention to the camerawork; the cinematography acts on the mind as part of a complete form.
Ray's films create an authentic atmosphere through their unobtrusive camera work and lighting. While shooting Pather Panchali, he had to use a new cameraman, Subrata Mitra, who was a still photographer and had never handled a movie camera before. That was because all the professionals said that they could not shoot in rain and outdoors with continuously changing light.He had an intense dislike of "slick" light effects and became devoted to "bounce lighting", originally developed by his cinematographer -Subroto Mitra. Rejecting the methods of studio lighting then accepted world-over, Ray and Mitra evolved this lighting style which we take for granted today.Ray described it in an article - "Subroto, my cameraman, has evolved, elaborated and perfected a system of diffused lighting whereby natural daylight can be simulated to a remarkable degree. This results in a photographic style which is truthful, unobtrusive and modern. I have no doubt that for films in the realistic genre, this is a most admirable system." Mitra also operated the camera until Charulata when Ray himself decided to take over. Soon after that Ray and Mitra parted company and Mitra's assistant Soumendu Roy took over the lighting. The last film Mitra photographed for Ray was Nayak. (Unlike in Hollywood, in India almost all the cinematographers also operate the camera.)Since Charulata, Ray operated the camera himself. This was because he wanted "to know exactly at all times how a shot is going, not only in terms of acting, but of acting viewed from a chosen set-up which imposes a particular spatial relationship between the actors. This relationship may keep changing in the shot through movement of the actors, or of the camera, or both. Through the lens is the only position from which these changes can be precisely gauged.""The style of photography should grow out of the story, and the director should be aware of what he wants and be able to convey it in precise terms to the cameraman," he wrote. He believed that the director should be his own cameraman or at least be able to impose a visual approach on his cameraman. To him, there was no such thing as good photography per se. It was either right for a certain kind of film or wrong.He warned the over enthusiastic cinematographers, "It is dangerous for a cameraman to put forward creative suggestions unless he has the full emotional and visual sweep of the film in his head. If he does not, he should be content to do as the director tells him. Coutard is a good cameraman if only because he is willing to sacrifice his ego and submit to Godard, whose ideas, if unconventional, are at all times striking, and therefore worthy of respect."He used color very carefully. He preferred the colors to be closest to what he had used at the shoot. He chose the costumes and the décor very carefully and did not like the laboratory to do any color correctionsHis camera moves as per the needs of the situation, rather than out of any fixed notions of style. It is this conviction that makes the opening of Charulata so exceptional. The camera movements, use of zooms and close-ups correspond with the playful, restless and bored Charulata. Ray does not call attention to the camerawork; the cinematography acts on the mind as part of a complete form.
Khuda Ke Liye-
Khuda Kay Liye is a Pakistani Urdu language movie written, directed and produced by Shoaib Mansoor. It stars Shaan, Iman Ali and Fawad Khan as its main characters.
Three different people from different continents have problems that relate to on going issues and Islam.
Two brothers who are both singers, Mansoor (Shaan) & Sarmad (Fawad), become the best singers in Lahore. Sarmad becomes influenced by an Islamic activist. He begins to practice the extremist interpretation of Islam, grows a beard and goes against music, also putting pressure on his free-spirited family to comply. Those parties interpret certain verses of the Quran and Hadith (Islamic religious texts) to call for a ban on music and pictures.
In England, a girl Mary/Mariam (played by actor-model Iman Ali) is a westernized girl in love with a white person called Dave. Her hypocritical father disapproves, despite the fact that he is living with a British woman to whom he is not married. He tells Mary that they are going to Pakistan for a trip and that once they return she can marry Dave. This, however is a trap. While touring Afghanistan, he has her forcibly married to Sarmad, who is her cousin. Mary is then abandoned in Afghanistan.
Meanwhile, Mansoor goes to music school in Chicago. There, he meets a girl called Janie and instantly falls in love with her. She quits alcohol for him, and they eventually get married. After 9/11, FBI officers capture him when someone overhears a drunk man accusing Mansoor of being a terrorist. Subsequently, he is tortured for a year in custody just because of his Islamic background.
Meanwhile, Mary manages to run away, but is caught by Sarmad in the process. She is kept under strict supervision and due to this incident, Sarmad eventually consummates their marriage by force. She doesn't lose hope, managing to sneak a letter to Dave under the guise of writing to her father. Mansoor and Sarmad's parents finally come to her rescue under the protection of the British Government, but Mary, driven by vengeance, then takes her father and cousin to court in Pakistan. There, a wise Maulana (Naseeruddin Shah) explains to the court how Islam is being butchered in the name of war and hatred, bringing the religion forward in a believable and peaceful manner.
Traumatized by all the suffering he has seen and caused, Sarmad withdraws from the case. He also realizes the damage that he was made to do in the name of religion. Mary is now free, but decides to return to the village where she was kept prisoner, so she can educate the girls there. Meanwhile, Mansoor is still in U.S. custody after a year of torment; the last torture session having inflicted permanent brain damage. After a failed rehab attempt, he is deported and reunited with his family in Pakistan where, thanks to the hope of his family, he begins to slowly recover.
Reception and Implications
Khuda Kay Liye was released on July 20, 2007.
It is important to note that this is one of very few, if any, independent motion pictures to be released to a cinema-going Pakistani market. The general trend in local cinema revolves around formulaic song and dance numbers, reminiscent of Lollywood musicals. Independent films, or films that break this formula, are rare if not entirely absent.
Khuda Kay Liye was produced in conjunction with the film division of the popular TV network, Geo TV. The film is a joint venture of Pakistan, United Kingdom, and the United States.
The film opened to generally Positive Reviews . There was tremendous curiosity around the film. All the critics gave it a positive review. Presence of Big Names and Naseeruddin Shah resulted in a grand opening and the film turned out to be a huge commercial as well as critical success.
The movie was later realeased Internationally in UK , UAE , US and India generating critical reviews everywhere and was called a Hit in every country.
Team & Crew
Director, Writer & Producer: Shoaib Mansoor
Production Manager: Rizwaan Chowdhri
Production Designer: Rizwaan Chowdhri
Assistant Director: Rizwaan Chowdhri, Bilal, Ali J.,
Line Producer: Rizwaan Chowdhri, Adeel Hashmee
Awards and Accolades
Khuda Kay Liye is the second highest grossing film of Pakistan of all time with a gross of $3 million. Iman Ali makes her cinematic debut with this film, playing an Anglo-Pakistani. Shaan's wife is played by Austin Sayre. Ahmed Jahanzeb and Shuja Haider produced the film's soundtrack. The film has won the following awards since its release:
31st Cairo International Film Festival
Silver Pyramid Award for Best Picture
Roberto Rossellini Award (Italian film industry)
Best Film
Fukuoka Audience Award (Japan)
Best Film
Asian Festival of First Films
Swarovski Trophy for Best Cinematography
Lux Style Awards 2008
Best Film
Best Actor - Shaan
Best Actress - Iman Ali
Best Soundtrack
Three different people from different continents have problems that relate to on going issues and Islam.
Two brothers who are both singers, Mansoor (Shaan) & Sarmad (Fawad), become the best singers in Lahore. Sarmad becomes influenced by an Islamic activist. He begins to practice the extremist interpretation of Islam, grows a beard and goes against music, also putting pressure on his free-spirited family to comply. Those parties interpret certain verses of the Quran and Hadith (Islamic religious texts) to call for a ban on music and pictures.
In England, a girl Mary/Mariam (played by actor-model Iman Ali) is a westernized girl in love with a white person called Dave. Her hypocritical father disapproves, despite the fact that he is living with a British woman to whom he is not married. He tells Mary that they are going to Pakistan for a trip and that once they return she can marry Dave. This, however is a trap. While touring Afghanistan, he has her forcibly married to Sarmad, who is her cousin. Mary is then abandoned in Afghanistan.
Meanwhile, Mansoor goes to music school in Chicago. There, he meets a girl called Janie and instantly falls in love with her. She quits alcohol for him, and they eventually get married. After 9/11, FBI officers capture him when someone overhears a drunk man accusing Mansoor of being a terrorist. Subsequently, he is tortured for a year in custody just because of his Islamic background.
Meanwhile, Mary manages to run away, but is caught by Sarmad in the process. She is kept under strict supervision and due to this incident, Sarmad eventually consummates their marriage by force. She doesn't lose hope, managing to sneak a letter to Dave under the guise of writing to her father. Mansoor and Sarmad's parents finally come to her rescue under the protection of the British Government, but Mary, driven by vengeance, then takes her father and cousin to court in Pakistan. There, a wise Maulana (Naseeruddin Shah) explains to the court how Islam is being butchered in the name of war and hatred, bringing the religion forward in a believable and peaceful manner.
Traumatized by all the suffering he has seen and caused, Sarmad withdraws from the case. He also realizes the damage that he was made to do in the name of religion. Mary is now free, but decides to return to the village where she was kept prisoner, so she can educate the girls there. Meanwhile, Mansoor is still in U.S. custody after a year of torment; the last torture session having inflicted permanent brain damage. After a failed rehab attempt, he is deported and reunited with his family in Pakistan where, thanks to the hope of his family, he begins to slowly recover.
Reception and Implications
Khuda Kay Liye was released on July 20, 2007.
It is important to note that this is one of very few, if any, independent motion pictures to be released to a cinema-going Pakistani market. The general trend in local cinema revolves around formulaic song and dance numbers, reminiscent of Lollywood musicals. Independent films, or films that break this formula, are rare if not entirely absent.
Khuda Kay Liye was produced in conjunction with the film division of the popular TV network, Geo TV. The film is a joint venture of Pakistan, United Kingdom, and the United States.
The film opened to generally Positive Reviews . There was tremendous curiosity around the film. All the critics gave it a positive review. Presence of Big Names and Naseeruddin Shah resulted in a grand opening and the film turned out to be a huge commercial as well as critical success.
The movie was later realeased Internationally in UK , UAE , US and India generating critical reviews everywhere and was called a Hit in every country.
Team & Crew
Director, Writer & Producer: Shoaib Mansoor
Production Manager: Rizwaan Chowdhri
Production Designer: Rizwaan Chowdhri
Assistant Director: Rizwaan Chowdhri, Bilal, Ali J.,
Line Producer: Rizwaan Chowdhri, Adeel Hashmee
Awards and Accolades
Khuda Kay Liye is the second highest grossing film of Pakistan of all time with a gross of $3 million. Iman Ali makes her cinematic debut with this film, playing an Anglo-Pakistani. Shaan's wife is played by Austin Sayre. Ahmed Jahanzeb and Shuja Haider produced the film's soundtrack. The film has won the following awards since its release:
31st Cairo International Film Festival
Silver Pyramid Award for Best Picture
Roberto Rossellini Award (Italian film industry)
Best Film
Fukuoka Audience Award (Japan)
Best Film
Asian Festival of First Films
Swarovski Trophy for Best Cinematography
Lux Style Awards 2008
Best Film
Best Actor - Shaan
Best Actress - Iman Ali
Best Soundtrack
Celebrating Young Filmmakers!
Organized under the aegis of the KaraFilm Society, a grouping of committed young filmmakers, the KaraFilm Festival is a celebration of the moving image and of storytelling. Our goal is to promote an appreciation of the art and craft of filmmaking among a wide population as well as to encourage creativity and high standards among filmmakers. We hope that this will have a salutary effect on the development of the motion picture industry in Pakistan and elsewhere.
Many years ago, international film festivals in Karachi attracted large audiences and some of the best filmmakers in the world. Satyajit Ray, for example, was one of a host of world renowned directors screening films in Karachi in the 1960s.
With this festival we hope to create, once again, a space for alternative and independent cinema in Pakistan, where both experienced and new filmmakers can exhibit their creative endeavours and where work is recognized on the basis of merit. In addition, the festival also provides an excellent opportunity for filmmakers to meet and learn from each other.
The KaraFilm Society has been established to promote, develop, improve and protect film as an art form in Pakistan. It seeks to encourage creativity and quality in filmmaking, to promote alternative voices and lobby for the interests of filmmakers in general, and to educate audiences about film through exposure to world cinema. It also aims to create spaces for cultural expression and debate and to foster greater tolerance among different cultures and nationalities through increased exchange and interaction between filmmakers and other artists working in the visual medium. It strongly believes in the power of the visual media to interpret and influence society and in using that power to nurture a more vibrant, just and enlightened social environment.
The Society organizes the annual KaraFilm Festival - the Karachi International Film Festival; as well as various screenings, talks and workshops throughout the year.
The KaraFilm Society is registered as a not-for-profit, non-political, non-governmental body under the Societies Registration Act, XXI of 1860. Its Executive Committee consists of Mr. Hasan Zaidi, Ms. Mehreen Jabbar, Ms. Maheen Zia, Ms. Tahera Hasan, Ms. Tamkeen Zia, Ms. Mussarat Jabeen and Ms. Shabnam Jabbar.
Many years ago, international film festivals in Karachi attracted large audiences and some of the best filmmakers in the world. Satyajit Ray, for example, was one of a host of world renowned directors screening films in Karachi in the 1960s.
With this festival we hope to create, once again, a space for alternative and independent cinema in Pakistan, where both experienced and new filmmakers can exhibit their creative endeavours and where work is recognized on the basis of merit. In addition, the festival also provides an excellent opportunity for filmmakers to meet and learn from each other.
The KaraFilm Society has been established to promote, develop, improve and protect film as an art form in Pakistan. It seeks to encourage creativity and quality in filmmaking, to promote alternative voices and lobby for the interests of filmmakers in general, and to educate audiences about film through exposure to world cinema. It also aims to create spaces for cultural expression and debate and to foster greater tolerance among different cultures and nationalities through increased exchange and interaction between filmmakers and other artists working in the visual medium. It strongly believes in the power of the visual media to interpret and influence society and in using that power to nurture a more vibrant, just and enlightened social environment.
The Society organizes the annual KaraFilm Festival - the Karachi International Film Festival; as well as various screenings, talks and workshops throughout the year.
The KaraFilm Society is registered as a not-for-profit, non-political, non-governmental body under the Societies Registration Act, XXI of 1860. Its Executive Committee consists of Mr. Hasan Zaidi, Ms. Mehreen Jabbar, Ms. Maheen Zia, Ms. Tahera Hasan, Ms. Tamkeen Zia, Ms. Mussarat Jabeen and Ms. Shabnam Jabbar.
Aaina
In its prime days, Pakistan’s Urdu cinema has produced many big hit movies. The biggest blockbuster of the golden era was the movie Aina.
The movie title Aina is pronounced aaina and the english translation of the title is a mirror. This movie was so popular that it was shown in a Karachi Cinema for almost 8 consecutive years (400 consecutive weeks). The story of Aina is a formula love story but what made this movie special was the quality of direction as well as the superhit music of Robin Ghosh. The songs of this movie are still popoular.
The movie title Aina is pronounced aaina and the english translation of the title is a mirror. This movie was so popular that it was shown in a Karachi Cinema for almost 8 consecutive years (400 consecutive weeks). The story of Aina is a formula love story but what made this movie special was the quality of direction as well as the superhit music of Robin Ghosh. The songs of this movie are still popoular.
Perhaps one of the most popular songs of Aina is ‘rooThay ho tum’ by Nayyara Noor.
Release Date: March 18, 1977
Director: Nazr-ul-Islam
Writer: Bashir Niaz
Musician: Robin Ghosh
Song Writer: Tasleem Fazli, Akhtar Yousuf
Cameraman: Afzal Chaudhry
Producer: A.R. Shamsi
Stars: Nadeem, Shabnam, Qavi, Khalid Salim Mota, Zarqa, Bahar, Rehan, Parveen Bobby, Nimmo, Nena and Nasra.
It is said the movie was so popular that it was copied as a Bollywood movie with the name ‘Pyar jhukta nahi’.
Aina is the only Urdu movie which has won a record number of Nigar Awards. That record number is 12.
Following is the detail of 12 Nigar Awards which went to Aina team. Nigar Awards are Pakistan’s premier movie awards. Consider them Pakistani Oscar awards:
(1) Best Movie of the Year 1977: aina
(2) Best Director: Nazr-ul-Islam for aina
(3) Best Dialogs: Bashir Niaz for aina
(4) Best Actress: Shabnam in aina
(5) Best Actor: Nadeem in aina
(6) Best Supporting Actor: Rehan in aina
(7) Best Musician: Robin Ghosh for aina
(8) Best Song Writer: Tasleem Fazli (for aina movie song: ‘mujhay dil se na bhulana’)
(9) Best photography: Afzal Chaudhry in aina
(10) Best Singer: Mehdi Hassan (for aina theme song: ‘mujhay dil se na bhulana’)
(11) Best Upcoming Singer: Alamgir (for aina song: ‘bichReN ge na hum kabhi’)
(12) Special Award for Child Star: Shahzeb in aina
Director Nazr-ul-Islam made almost 50 movies in his career but Aina was by far his best production. A lot of hardwork went behind every scene. Outdoor shooting that went around Karachi was also considered a masterpiece for 1977 standards. In 1980s Aina was screened in China and proved very popular there too.
Another mega hit song of ‘aina’ sung by legendary Mehdi Hasan was ‘kabhi meiN sochta hooN’.
The Nigar Awards
The Nigar Awards, the official awards of Pakistani film industry, are the oldest awards to honour the show business personalities of Pakistan. The awards were first introduced in 1958 by Ilyas Rasheedi,[ the editor of weekly Nigar magazine, with a purpose to recognize the achievements of those who worked in the film industry. Since then, the awards are presented annually. During the 1990s the prominence of awards was eclipsed by the National Awards. However, over the years the awards have gradually regained their eminence as the premier movie awards of the country.
History
Ilyas Rashidi had acquired experience in the field of entertainment journalism through his association with his elder brother Umer Azad's daily newspaper Anjum, which had just shifted its offices from Delhi to Karachi after independence of Pakistan. Ilyas Rasheedi was inspired by the Indian film magazine 'Filmfare', so he purchased a children magazine Monthly Nigar from his friend Ibne Hassan Nigar, and publish it as Pakistan's first ever film weekly from Karachi.
The first award distribution ceremony was held on July 17th, 1958 at Lahore's Evernew Studios. The first Nigar award was given for the best movie Saath lakh, for the best director W.Z. Ahmed for the film Waada, for the best actor Santosh Kumar and for the best actress Sabiha Khanam.
The male artist who has received the highest number of Nigar awards is Nadeem, who had started his career in Chakori (1967), got his first award for the same movie as the best actor. The female artist who has received the highest number of Nigar awards is Shabnam, who had started her career in Urdu films in Akhri station (1965), got her first award for the same movie as the best supporting actress. The Melody Queen Noor Jahan got a total of 13 Nigar awards in her career. It is very interesting to note that she got her first Nigar Award for the best playback singer in 1960, after 3 years the awards started.
Arrangements
Instead of the usual practice of envelope opening, the award committee prints the names of the winners on the back of the invitation cards that are sent to all invitees. This removes the charm of the suspenseful moments to the attendees.
Despite of this, the award committee has strict rules of only considering the candidacy of those films and television shows that are nominated for the awards and their copies are provided by the film makers or distributors to the committee.
The awards are also known for their impartial assessment and unbiased attitude as compared with other high-level awards for the media. Another prominent factor of the awards is that, over the time, various categories from both television and film industry that have been included to cover such subsets as the Urdu, Punjabi and Pushto language films.
History
Ilyas Rashidi had acquired experience in the field of entertainment journalism through his association with his elder brother Umer Azad's daily newspaper Anjum, which had just shifted its offices from Delhi to Karachi after independence of Pakistan. Ilyas Rasheedi was inspired by the Indian film magazine 'Filmfare', so he purchased a children magazine Monthly Nigar from his friend Ibne Hassan Nigar, and publish it as Pakistan's first ever film weekly from Karachi.
The first award distribution ceremony was held on July 17th, 1958 at Lahore's Evernew Studios. The first Nigar award was given for the best movie Saath lakh, for the best director W.Z. Ahmed for the film Waada, for the best actor Santosh Kumar and for the best actress Sabiha Khanam.
The male artist who has received the highest number of Nigar awards is Nadeem, who had started his career in Chakori (1967), got his first award for the same movie as the best actor. The female artist who has received the highest number of Nigar awards is Shabnam, who had started her career in Urdu films in Akhri station (1965), got her first award for the same movie as the best supporting actress. The Melody Queen Noor Jahan got a total of 13 Nigar awards in her career. It is very interesting to note that she got her first Nigar Award for the best playback singer in 1960, after 3 years the awards started.
Arrangements
Instead of the usual practice of envelope opening, the award committee prints the names of the winners on the back of the invitation cards that are sent to all invitees. This removes the charm of the suspenseful moments to the attendees.
Despite of this, the award committee has strict rules of only considering the candidacy of those films and television shows that are nominated for the awards and their copies are provided by the film makers or distributors to the committee.
The awards are also known for their impartial assessment and unbiased attitude as compared with other high-level awards for the media. Another prominent factor of the awards is that, over the time, various categories from both television and film industry that have been included to cover such subsets as the Urdu, Punjabi and Pushto language films.
Teri Yaad
Teri Yaad is the first-ever feature film released in Pakistan after the partition of India on 7 August 1948, on Eid day. It was the first film released after the birth of Pakistan, but certainly not the first to be produced indigenously in the newly-found land.
The year 1947 saw the partition of India and the birth of the nation of Pakistan. During this time, the Indian film industry was segregated and the only film production centre left in Pakistan was the one at Lahore. While the industry was still reeling in its infancy, it was hard to work on film productions that had initiated before the partition as much of the filmmakers and actors working on projects had left for the newly-found country of India.
With much hardships faced, the new film industry was able to release its first feature film, Teri Yaad on 7 August 1948, premièring at the Parbhat Theatre in Lahore. It starred Asha Posley and Nasir Khan, brother of renowned Indian actor Dilip Kumar who had travelled off to India. With the film came playback soundtrack written and composed by Inayat Ali Nath. Produced by Dewan Sardari Lal's Dewan Pictures and directed by Daud Chand, the film stayed for a significant time on the celluloid screens in Lahore, Quetta and Dhaka.
The year 1947 saw the partition of India and the birth of the nation of Pakistan. During this time, the Indian film industry was segregated and the only film production centre left in Pakistan was the one at Lahore. While the industry was still reeling in its infancy, it was hard to work on film productions that had initiated before the partition as much of the filmmakers and actors working on projects had left for the newly-found country of India.
With much hardships faced, the new film industry was able to release its first feature film, Teri Yaad on 7 August 1948, premièring at the Parbhat Theatre in Lahore. It starred Asha Posley and Nasir Khan, brother of renowned Indian actor Dilip Kumar who had travelled off to India. With the film came playback soundtrack written and composed by Inayat Ali Nath. Produced by Dewan Sardari Lal's Dewan Pictures and directed by Daud Chand, the film stayed for a significant time on the celluloid screens in Lahore, Quetta and Dhaka.
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