| Drishti | |
|---|---|
| File:Dhrishti.jpg DVD cover for Drishti. |
|
| Directed by | Govind Nihalani |
| Produced by | Udbhav Productions |
| Written by | Govind Nihalani Shashi Deshpande |
| Starring | Dimple Kapadia Shekhar Kapur Irrfan Khan Mita Vasisht |
| Music by | Kishori Amonkar |
| Cinematography | Govind Nihalani |
| Editing by | Deepak Segal |
| Release date(s) | 31 August 1990  |
| Running time | 171 min |
| Country | India |
| Language | Hindi |
Drishti is a 1990 Hindi film directed by Govind Nihalani, and stars Dimple Kapadia , Shekhar Kapur and Irrfan Khan. The film is one of the rare film to have music direction by noted classical singer, Kishori Amonkar.
It won the National Film Award for Best Feature Film in Hindi for 1990.
Contents |
Plot [link]
Sandhya (Dimple Kapadia) and Nikhil (Shekhar Kapur) are a happily married, urban, professional couple. Coming from middle class families, both of them have risen in their professional life by virtue of merit and hard work. On their eighth wedding anniversary one of their friends brings along his nephew Rahul (Irrfan Khan) who is a classical singer. Sandhya develops an attraction and has an affair with him. She confides in her friend Prabha, but does not tell Nikhil about it. After a couple of months, the affair ends. After about a year, Nikhil falls in love with Vrinda, his assistant in the lab. He tells Sandhya about it and leaves her. Sandhya is shattered and they part. Four years after the divorce they meet again, and Sandhya mentions to Nikhil about her affair with Rahul.[1]
Cast [link]
- Dimple Kapadia - Sandhya
- Shekhar Kapur - Nikhil
- Irrfan Khan - Rahul
- Mita Vasisht - Prabha
- Vijay Kashyap - Ramesh
- Neena Gupta - Revati
- Navneet Nishan - Gita
Soundtrack [link]
| Track # | Song | Singer(s) | Duration |
| 1 | Bajat Ghan Mridung | Kishori Amonkar | 4:45 |
| 2 | Ek Hi Sang Hote I | Kishori Amonkar | 5:24 |
| 3 | Ek Hi Sang Hote II | Kishori Amonkar | 4:31 |
| 4 | Megha Jhar Jhar Barsat Re | Kishori Amonkar | 5:03 |
Awards [link]
- National Film Award for Best Feature Film in Hindi
- Bengal Film Journalists' Association Awards , Best Actress for Dimple Kapadia
- Bengal Film Journalists' Association Awards , Best Supporting Actress for Mita Vasisht
References [link]
External links [link]
- Drishti at the Internet Movie Database
| Awards | ||
|---|---|---|
| Preceded by Chandni |
National Film Award for Best Feature Film in Hindi 1990 |
Succeeded by Dharavi |
|
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https://wn.com/Drishti_(film)
Drishti (yoga)
Drishti (IPA: [ dɽʂʈi ]; Sanskrit: दृष्टि; IAST:dṛṣṭi), or focused gaze, is a means for developing concentrated intention. It relates to the fifth limb of yoga (pratyahara) concerning sense withdrawal, as well as the sixth limb dharana relating to concentration.
Description
Each yoga āsana is associated with a particular dṛṣṭi. There are nine dṛṣṭis (when you count both Pārśva Dṛṣṭi's, left and right sides, as one).:
Angusthamadhye
For Aṅguṣṭhamadhye dṛṣṭi (IPA: [ ɐɳɡuʂʈʰɐmɐdʰjeː ]; Sanskrit: अङ्गूष्ठमध्ये ; meaning "to the middle of the thumb" the practitioner looks to the thumb.
Examples of asanas which employ Aṅguṣṭhamadhyai as their dṛṣṭi can be found in the Sūrya Namaskāra vinyasas; Ūrdhva Vṛkṣāsana, Utkaṭāsana, and Vīrabhadrāsana I use Aṅguṣṭhamadhye as their dṛṣṭi.
Bhrumadhye
The Bhrūmadhye dṛṣṭi (IPA: [ bʰɽuːmɐdʰjeː ]; Sanskrit: भ्रूमध्ये; meaning "to the middle of the eyebrows/brow") has the gaze set at the "third eye", which is right between the eyebrows. In order to do this, the eyes are closed half way. This purportedly stimulates the olfactory and optic nerves, consequently awakening the autonomic and central nervous systems. It sooths the cranial nerves and aids concentration, and helps awaken kundalini sakihi. It is advised that caution be taken as prolonged or incorrect practice may cause problems for the eye muscles or nervous system. Initial practice is often done for only minutes at a time, but is gradually increased to up to ten minute intervals.
Film (Iranian magazine)
Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.
References
External links
Film (film)
Film is a 1965 film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a forty-leaf shooting script followed thereafter. It was filmed in New York in July 1964.
Beckett’s original choice for the lead – referred to only as “O” – was Charlie Chaplin, but his script never reached him. Both Beckett and the director Alan Schneider were interested in Zero Mostel and Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a "Hollywood epic." Beckett then suggested Buster Keaton. Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with "a handsome fee for less than three weeks' work."James Karen, who was to have a small part in the film, also encouraged Schneider to contact Keaton.
The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States. The script printed in Collected Shorter Plays of Samuel Beckett (Faber and Faber, 1984) states:
Lubrication theory
In fluid dynamics, lubrication theory describes the flow of fluids (liquids or gases) in a geometry in which one dimension is significantly smaller than the others. An example is the flow above air hockey tables, where the thickness of the air layer beneath the puck is much smaller than the dimensions of the puck itself.
Internal flows are those where the fluid is fully bounded. Internal flow lubrication theory has many industrial applications because of its role in the design of fluid bearings. Here a key goal of lubrication theory is to determine the pressure distribution in the fluid volume, and hence the forces on the bearing components. The working fluid in this case is often termed a lubricant.
Free film lubrication theory is concerned with the case in which one of the surfaces containing the fluid is a free surface. In that case the position of the free surface is itself unknown, and one goal of lubrication theory is then to determine this. Surface tension may then be significant, or even dominant. Issues of wetting and dewetting then arise. For very thin films (thickness less than one micrometre), additional intermolecular forces, such as Van der Waals forces or disjoining forces, may become significant.
