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Papers presented at the International Conference on "South-East-East Asia and India: Historical Interconnections in Art, Architecture and Culture of Laos, Thailand, Cambodia and Vietnam" held during 18-29 January 2012 at BPS Women University, Khanpur Kalan, organized by Centre for Indic-Asian Studies

कव्हर -- विषय-सूची -- संकेताक्षरों की सूची -- प्राक्कथन -- संपादक एवं योगदानकर्ताओंका परिचय -- भाग A अवधारणाएं -- 1 शीत युद्ध और इससे परे -- 2 राष्ट्र-राज्य प्रणाली: राष्ट्रीय शक्ति, सत्ता एवं सामूहिकसुरक्षा के बीच संतुलन -- 3 राष्ट्रीय ह ित की भूमि का -- 4 कूटनीति : प्रकृति , स्वरूप एवं प्रा संगिकता -- 5 उपनि वेशवाद एवं नव-उपनि वेशवाद:वि -उपनि वेशीकरण के प्रभाव -- 6 नि रस्त्रीकरण, शस्त्र नि यंत्रण तथा परमाणु प्रसार -- भाग B सिद्धांत -- 7 उदारवाद -- 8 यथार्थवाद -- 9 मार्क्सवाद -- 10 स्त्री-अधिकारवाद -- 11 अंतर्राष्ट्रीय संबंधों मेंउत्तर-आधुनि कतावाद और रचनावाद -- भाग C विचार-विषय -- 12 वैश्वीकरण: अर्थ एवं आयाम -- 13 संयुक्त राष्ट्र: परिवर्तनशील भूमि का -- 14 मानवाधिकार और अंतर्राष्ट्रीय राजनीति -- 15 आतंकवाद -- 16 विकास एवं सुरक्षा: बदलते प्रति मान -- 17 क्षेत्रवाद और वैश्विक राजनीति -- 18 यूरोप-कें द्रीयतावाद और IR सिद्धां त:दक्षिणी दुनि या के संदर्श -- भाग D भारत की वि देश नीति एवं द् विपक्षीय संबंध -- 19 भारत की वि देश नीति एवंद्विपक्षीय संबंधों के मूल निर्धा रक -- जाहिरात पान १ -- जाहिरात पान 2 -- जाहिरात पान 3 -- जाहिरात पान 4.

Transcript of papers, presented at two days international seminar titled 'Vartamāna Vaiśvika Paridr̥śya meṃ Mahātmā Gān̐dhī kī Prāṃsagikatā' (Relevance of Mahatma Gandhi in Present Global Perspective) organised by L.S.M. Government Post Graduate College, Pithorāgarh, India, during 17-18 November 2019

This essay offers a succinct but comprehensive overview of Icelandic cinema from its early 20th-century emergence to the present day. Split into two parts, the first half focusses on filmmaking in Iceland prior to the founding of the Icelandic Film Fund in 1978, which was to establish a continuous local film production for the first time. Prior to that filmmaking in Iceland boiled down to the occasional efforts of local amateurs, albeit often quite skilled ones, and professional filmmakers visiting from abroad. Indeed, the few silent feature films made in the country all stemmed from foreign filmmakers adapting Icelandic literature and taking advantage of its photogenic landscapes. The first Icelandic feature was not made until 1948 and although immensely popular, like those that followed in its wake, the national audience was simply too small to sustain filmmaking without financial support. Although this changed fundamentally with the Icelandic Film Fund, which instigated contemporary Icelandic cinema and the subject of the essay's second half, the Fund's support proved insufficient as the novelty of Icelandic cinema began to wear off at the local box office in the late 1980s. The rescue came from outside sources, in the form of nordic and European film funds, whose support was to transnationalize Icelandic cinema in terms of not only financing and production but also themes and subject material. These changes are most apparent in Icelandic cinema of the 1990s which also began to garner interest at the international film festival circuit. In the first decade of the twenty first century, however, American genre cinema began to replace the European art film as the typical model for Icelandic filmmakers. Hollywood itself also began to show extensive interest in Icelandic landscapes for its runaway productions, as did many other foreign film crews. In this way Icelandic cinema is increasingly characterized by not only national and transnational elements but also international ones.