bhaiyya bhaiyya
on the whole, bhaiyya bhaiyya does provide a few chuckles, but nothing substantial .
johny antony’s bhaiyya bhaiyya is an entertainer that unfolds in the backdrop of kerala’s migrant labourer population .
bhaiyya bhaiyya is a romance - comedy entertainer directed by johny antony, movie features hit combo kunchako boban and biju menon in the lead role. bhaiyya bhaiyya plots the life style and field work of bengali workers in kerala .
telugu heroine nisha aggarwal plays the lady love of kunchako boban in bhaiyya bhaiyya, whereas vinutha lal for biju menon .
bhaiyya bhaiyya is produced by laisamma pottur under the banner of nobel andre productions. story, script, and dialogues are penned by benny p nayarambalam .
rate of change of focus of the plot of the movie bhaiyya bhaiyya is directly proportional to blink of your eyes. yes i am saying this because the film does not have a specific goal. constructed with all the compartments of almost all the benny p nairambalam movies, bhaiyya bhaiyya is a flawed attempt from director johny antony to get back into the business. except for those witty dialogues, bhaiyya bhaiyya just goes on and on without a destination .
movie potrays the love shared between two brothers (biju menon and kunchako boban). they are from a well sound family. innocent plays there father role in bhaiyya bhaiyya. the movie tells us a clear lesson that true love has no boundaries .
bhaiyya bhaiyya official trailer malayalam 2014 (bhayya bhayya) starring kunchako boban, biju menon, nisha aggarwal and vinutha lal. directed by johny antony produced by laisamma pottoore written by benny p nayarambalam music vidyasagar cinematography vinod illampaly edited by ranjan abraham lyrics murugan kattakada santhosh varma rithu sen officially addicted to social media @ urltoken
bhaiyya bhaiyya is a disappointing film that fails to utilize the hit combo of kunchako boban and biju menon. you may not want to leave the hall while watching it, but you may wonder what happened inside the hall after watching it. the rating is 2 / 5. the “switch off logic” disclaimer is a must for this movie .
khiladi bhaiyya song from khiladi 786. this song is sung by vineet singh, aman trikha, yashraj kapil, alam gir khan & rajdeep chatterjee. this son… | pinteres…
in bhaiyya bhaiyya biju menon plays the role of a bengali who came to kerala as a little boy, while kunchacko boban, with whom he has struck up a hit partnership on screen, dons the role of bengali babu. the latter is an agent who brings labourers from bengal to kerala. “innocent stars as bengali babu’s father. it was he who brought biju menon’s character to kerala, ” says johny. benny p. nayarambalam has written the script. “i was an associate director of kunjikkoonnan, the screenplay of which was written by benny. he had promised to write a script for me at the time, but each of us ended up being busy with other projects. then, two years ago, we decided to team up and that was how bhaiyya bhaiyya was born, ” says the director .
you cannot miss them in kerala these days – migrant labourers from bengal and other northern states who have come to the state in search of greener pastures. director johny antony focusses on their lives in his new film bhaiyya bhaiyya. “the film is an entertainer with an accent on humour. it’s not an attempt to address migrant labourer issues in kerala, ” stresses johny, the director of films such as cid moosa and thappana .
marandi, a former national vice - president of bjp and union minister, besides being the first chief minister of jharkhand, was critical of nda government 's performance when arjun munda was reappointed as chief minister in 2005 after his removal from the top post. in 2006, he floated jvm - p with five sitting bjp mlas ravindra rai, vishnu bhaiyya, kunti devi, manohar tekriwal and pradeep yadav throwing their weight behind him. barring pradeep yadav, all left marandi after jvm - p 's debacle in 2009 lok sabha elections. while rai and devi went back to bjp, bhaiyya and tekriwal joined jmm. only devi and bhaiyya could win their their seats this time .
he says the film is aimed at family audiences. “a large part of the film was shot in bengal, with artistes from bengali cinema and theatre. ” another highlight of the film is the music by vidyasagar. “i have been working with him since my debut film cid moosa and we share a great working relationship, ” he says. vinod illampally has cranked the camera. bhaiyya bhaiyya also marks the malayalam debut of nisha agarwal, sister of actress kajal. the film also stars makarand deshpande, shammi thilakan, salim kumar and suraj venjaramoodu .
bhaiyya my brother malayalam full hd movie on indian films, featuring ram charan, allu arjun, shruti haasan, kajal aggarwal and amy jackson. dubbed from yevadu telugu movie. bhaiyya my brother movie also stars brahmanandam, sai kumar, rahul dev, jayasudha, kota srinivasa rao. directed by vamsi paidipally, music composed by devi sri prasad and produced by k manju. click here to watch: eecha malayalam full hd movie - urltoken businessman malayalam full movie - urltoken indian films is an exclusive destination for telugu, tamil, hindi, malayalam, kannada full length movies on youtube. indian films is your free shop for hd movies across all genres. browse no further, subscribe to indian films for a wonderful movie experience! like us on facebook for more updates - urltoken follow us on twitter for more updates - urltoken watch all your favourite movies here. also subscribe to urltoken for full movies. happy watching !
the film muzaffarnagar baaqi hai has been in the news recently, and not always for the right reasons, having attracted disruptive and abusive protest at some screenings. following a day of counter - protest in which the film was screened all over the country, a friend teaching in a delhi university college suggested screening it in her college, only to be told by the student representative that it would “cause trouble” (“bawwal mach jayega ma’am! ! ”). she asked what that meant and if he had seen the film, and he simply said, “nahin, bhaiyya logon ne kaha hai ki woh film bahut buri hai” (no, but our elder brothers have said it’s a bad film) .
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in an atmosphere where political self - censoring comes as easily to the current generation of students as scouring the net for “blocked content” we present below two readings of the reception of the film, the first ruminating on whether the film addresses the complexities of communal mobilisation adequately; and the second inquiring in the context of social media and particularly facebook, what constitutes the ‘liking’ of an image or idea. the idea of posting these comments is as much to give space to these arguments as it is to make a larger point that the ‘sickular left’ voices that are presumably behind the film love discussion, critique and disagreement. that to my mind is the way forward, not pre - empting the always - already hurt sentiments of the bhaiyya log whosoever they may be .
by casting kunchacko boban and biju menon (a pairing with proven track record), as if that is enough to guarantee success .
the film written by benny p nayarambalam follows the formulaic path trodden by its two heroes in the past. biju menon is once again a dim - witted but sturdy bengali fellow who can take on any opposition single - handedly reminding us of marykkundoru kunjaadu (2010) that came out of the pen of the same writer. kunchacko boban too has very similar role as the one played by dileep in marykkundoru kunjaadu where he takes advantage of menon' s physical strength to settle scores with his adversaries. here boban makes him do the work while he himself enjoys playing angry birds on his phone .
there are efforts to make social comments here and there but they are subdued by the laughter that ensues them. for example, the film begins with an ambulance ride from kerala to bengal, carrying the mortal remains of a labourer who had worked in a construction site and boban starts narrating the back story sitting in the passenger seat, while the ambulance is driven by menon. everything that happens in the story can be guessed beforehand as if we have seen this before and now we are watching it all for the second time .
menon provides impetus to humour by mispronouncing malayalam words. he has the responsibility of carrying the thrills by fighting streetwise goons. boban has to support him through out. innocent, who has lost his mental balance due the loss in his business of supplying labourers for construction sites, is supposed to be funny. suraj venjaramoodu, as a typical malayalee worker who desires to be paid wages without really working, does get a couple of interesting lines. tezni khan as the loud sex worker goes unintentionally overboard. vijayaraghavan and shammi thilakan as the father - son politicians are the villains of the piece but, they lack the sharpness to make any impact .
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sporadically bringing out a laughter or two, this is a film that very rarely engages us emotionally and which fundamentally falls apart at the seams .
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benny p nayarambalam is one scriptwriter who has a particular ability to tell stories mixed with quality humour. he has managed to make many films with simple stories to greater hits, mainly due to soaking them in lighter vein. his one latest attempt for this onam is ‘bhaiya bhaiya’ directed by johny antony. a movie which tells a relatively fresh story in the backdrop of migrant workers, the movie has plenty of ordinary jokes planted in a relatively fresher narratives .
the movie is told as a monologue by babumon (kunchakko boban), who is currently travelling to bengal with the dead body of a migrant worker. in the driver seat of the ambulance is babulal chatterji (biju menon) affectionately called ‘bhaiya’ by babumon. since the arrival of babulal to their home at the age of ten, both of them has grown together just as brothers, taking intense care of each other. also travelling with them is angel (nisha agarwal), who is eloping from her house to get married to her childhood friend babumon. another tamil migrant worker shanthi (vinuthalal) has alighted the vehicle so that she can save her money for travelling to her home town near salem. adding to them is soman, a construction worker from kerala who is taking it as a chance to see bengal. how they happens to be together in this eventful journey forms the rest of the story .
though the basic tale by benny p nayarambalam is not that elaborate, it has elements that could have worked pretty well. added to that the return of comedy artists like suraj venjaramoodu and salimkumar. but apart from the wits that makes you laugh at intervals, the movie doesn’t offer much to carry home. it seems to have been directed in a lighter mode, not taking anything seriously enough. so the maoists’ in the tale to the ‘planned filmy fights’ in the climax doesn’t make sense and the necessary impact. had it been treated more wisely, the movie could have got scenes like those in the league of ‘ramjirao speaking’. the coincidences galore in the climax also doesn’t work well for the movie .
the actors in the fray has not much to do, though biju menon impresses with his one liners and carry on his fine chemistry with kunchakko boban who is another cakewalk role. suraj manages to crack some wits but salim kumar appear totally lacklustre. vinutha lal as shanthi and nisha agarwal as angel does their parts as per demand, though they have nothing too demanding to do. vijayaraghavan and shammi thilakan are in their usual roles while sudheer impresses as the goonda leader .
in the technical sides vinod illampilly’s shots are fine and adds to the quality of the movie while ranjan abraham has also evenly paced the narratives. the three songs by vidyasagar are good of which the first couple are sure to take a place in the hit charts .
if you are in the mindset to watch a fun movie without giving any big thinking or asking for logic, ‘bhaiya bhaiya ‘ has some that may fill your time. evenly paced and filled with comedies, this light hearted film entertains in parts. had it been directed with a little more care, ‘bhaiya bhaya’ could have worked relatively well. as of now it may not be a painful onetime watch .
, it will be a crime even to compare the two films. while the former is a sheer delight to watch, the kunchacko boban? biju menon comedy is a colossal bore .
? bengali? babu (kunchacko boban) is a supplier of labourers, while the other babu (biju menon) is a bengali by birth. the two have grown up together and share a bond of brotherhood that is quintessential for masala movies .
a series of events follow and actually it is a tough ask to recollect it in order, by the time the end titles start rolling. a baddie, who yells his dialogue at top volume, comes at times. then a corrupt politician and his son, who is forced to marry a prostitute is there. the heroines and the hullabaloo that ensue don? t help things either .
after a while, all the important characters are on a trip to kolkata .
with a script that is shaky from the word go, director johny antony is on a weak ground here. the film has perhaps been churned up to make use of the popularity of kunchacko boban and biju menon as a pair. but of all the things, you need a credible storyline and script to make it all engaging, right ?
kunchacko boban sleepwalks through the role and so does biju menon. the latter tries in vain to come up with a new style of dialogue delivery to evoke laughs, maybe like ordinary. among the heroines, nisha aggarwal seems to have no acting bones whatsoever and vinuda lal makes only a limited impression .
have just mixed melodrama, crass comedy, song n dance routines and some action sequences, without a proper recipe. just like what happens in cooking, they end up making a tasteless dish. try this one at your own risk please .
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a malayalam comedy about togetherness and brotherhood, portraying the importance to a group of people whom we refer to as' bengali babus' in our social life. babumon (kunchacko boban) and... see full summary »
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a malayalam comedy about togetherness and brotherhood, portraying the importance to a group of people whom we refer to as' bengali babus' in our social life. babumon (kunchacko boban) and bengali babu (biju menon) have a peculiar relation which dates back to the day the elder one among the two, came to kerala. the film revolves around a journey to bengal carrying the mortal remains of a laborer .
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babu and babu are brothers (not by blood). the elder babu (biju menon) was adopted by younger babu’s father from bengal. both babu’s are very much attached to one another. younger babu is a labor supplier and the movie basically focuses on the journey of these brothers to bengal for a purpose .
by this bengali babu title, i expected some elements in the film that are related to the recent development in our state were too many bengalis are coming here for labor. but except for the job title of the character played by kunchako boban, there isn’t anything in the film that has any contemporary relevance. the script is a disjoint canvas where benny p nairambalam has written unbaked scenes taken from his own filmography. the romance reminded me of marykkundoru kunjaadu and sound thoma. rest of the sequences was also somewhat familiar through many films we have seen in the past. some scenes still doesn’t make any sense. and those climax chaos made me laugh at many points but if i rethink why those scenes were there? i have no idea !
on screen kunchako boban is okay as the younger babu. senior babu played by biju menon was funny but that was kind of a used out idea (again sound thoma reference). nisha agarwal’s dubbing and facial expressions had no connection. somewhat a better role for vinutha lal compared to her till date films. dracula fame sudheer may get more chances after this film. suraj and salim kumar were nice. nice performances from shammy thilakan, vijayaraghavan and thesni khan. a lot of irrelevant characters are there in film .
johny antony doesn’t show any improvement in his making. a large portion of the movie is dull and the humorous section is isolated from the film. the script would have been a hit if the same actors presented it in any award shows or television comedy skits. disappointing music and satisfactory cinematography. bgms were really poor .
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allu arjun (as sathya) is left fighting for his life after rahul dev and gang kill his girlfriend (kajal aggarwal). sathya is saved by a miraculous face transplant surgery and he returns to take his revenge. the face belongs to a guy called charan (ram charan) and his past catches up with sathya. how the new sathya (ram charan) deals with both the enemies of sathya and charan is the rest of this action packed movie .
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muzaffarnagar baaqi hai is no longer a mere documentary film. it is a powerful political symbol against the sectarian social engineering, manufacturing of communal tensions and state sponsored violence that litter the path of the bharatiya janata party’s (bjp) recent political ascendancy. the film’s success lies in rubbishing the development sans communalism claim of the new - age hindutva. it is a film that will compel those who have chosen to accept the above - mentioned claim, particularly young voters with weak memories of the post - godhra gujarat carnage (2002), to rethink their positions. the film also cautions those who have used the claim as a cover to express their hindutva sympathies more freely than ever .
thorough in its portrayal of the anatomy of the violence, the film highlights the essentially manufactured nature of the muzaffarnagar “riot”. three pillars of indian democracy – election - oriented political parties, administration, and media – had converged on muzaffarnagar with sinister intentions, the film points out. it is sensitive to the way communalism translates itself into existing tensions around caste and gender and in turn reconfigures them. the pathetic effects of sectarian violence on the lives of existing communities – their men, women, children and elderly – are granted the attention that they deserve .
despite the thorough reading of that anatomy, however, some questions linger. one can hardly disagree with the director nakul singh sahwney’s key observation: shrewd strategic manipulation has been central to the outbreak of the violence and to the upswing in the bjp’s political fortunes. but are people innately so passive and readily susceptible to political manipulation? what were the long - term processes within the village communities of muzaffarnagar that made them susceptible to communal provocation? how did a union as powerful as the bharatiya kisan union fall prey to communal polarization? or was the famed communal unity of the sugarcane farmers of the region indeed so fragile ?
the film excels in the anatomy of the communal violence as it happened but tells us little about the long - term trends that made such violence possible. trends that perhaps escaped our eyes, until they suddenly boiled over in the form of massive communal polarization all over the country over the last two years. why did the bjp’s machinations coincide with the samajwadi party (sp) and even the bahujan samaj party (bsp) turning their back, even if temporarily, on the muslims who have served them so well electorally? were these political miscalculations? or did an already - rising tide of hindutva put them on the back - foot ?
politics, after all, is more often about drawing on existing social tendencies and enhancing them, rather than creating new tendencies. the hindu right has stolen a march over secular forces in identifying the social currents that could be potentially receptive to hindutva and have repackaged hindutva accordingly. could these currents have been given non - sectarian, democratic directions ?
as the secular camp basked in the glory of defeating the bjp during the days of united progressive alliance – i & ii, the rashtriya swayamsevak sangh quietly expanded its operations to new social and cultural terrains all over the country. it has, over the last decade, seemingly done enough to produce hindutva as an identity that is flexible yet stable; suited to fulfil a diverse set of cultural roles. it can, at one and the same time, provide an identity to a socially uprooted and globally mobile work - force, rally the unemployed rural youth for corporate - championed industrialization, hold out the promise of social recognition for economically upwardly mobile lower castes, and reinvigorate the missionary zeal of the hindu fundamentalist. what were the currents in muzaffarnagar that lent themselves so readily to hindutva ?
striking an affirmative note, muzaffarnagar baaqi hai implicitly suggests possible antidotes to sectarian politics instead of limiting itself to an expose. but in this case too, some questions linger. the film laments the way the class unity of the peasants has been fractured by divisions along religious lines, and in turn posits class unity and humanist ideals as potential unifiers. is religious faith – that inseparable element of life in south asia – then necessarily divisive? do the vast traditions that pass by the name of “religion” have no democratic potential whatsoever? is there nothing that can be mobilized from within them to counter hindutva? the paltry presence of secular forces within the domain of faith gives the communal forces a free hand to convert faith into sectarian ideology. unless we integrate questions such as these into our anatomy of communalism, the deep - rooted causes of the massive communal polarization of our times will probably not come to the fore. neither will the roads towards democratic futures .
for the past one month various images related to the protest screenings of the documentary film ‘ muzzafarnagar baaqi hai ’ by nakul singh sawhney are being circulated on facebook after the screening of the film was interrupted by members of the akhil bhartiya vidyarthi parishad (abvp) at kirorimal college (kmc) in delhi university. some of the images floated on my ‘newsfeed’ as well but i didn’t know what to like and share in these images. i began to ask myself; what do i like here? or to be more precise what would my liking the image signify? would it seem that i like the event that took place in muzzafarnagar or would it present me as liking the event that took place in kirorimal college? do i like the fact that the image expresses concern or symbolizes the resistance against what happened in kmc? it took me time to like or share the images and in the next few pages i have tried to communicate the way through which i got there .
one functionality that i don’t like on facebook is that the timeline and the newsfeed is delimited or restricted by the size and borders of the screen, in fact it’s a problem of ‘virtual reality’ in general; whatever we view and read is carried out within a frame. the problem stares right into my face on facebook as i scroll down on my for moments of virtual life that i might have missed but most often the internet connection is too bad and it takes too much time to load. however, even when the connection is better, the virtual life or the timeline is not available to us all at once. virtual life in this way is mimetic of actual life, the only difference being that in virtual life i can scroll down for ‘old stories’ and scroll up for “new stories” but in actual life though we reflect back upon things and plan ahead as well, there is no readymade availability of old and new stories. the facebook timeline traces our life back to the time we were born. the birth is symbolized through a plain graphic faceless image of a child in nappies. if i consider myself and people of mine and older generations then we can say that, for all good and bad reasons, our birth was not an event which generated ‘likes’ and ‘shares’ on facebook but the kids who were born after 4th february, 2004 and most of whom were ‘shot’ into the virtual life as soon as they ‘came out’ into the real life by their parents, siblings or relatives who opened facebook accounts for them. it is a common practice to have parents opening accounts or posting pictures of their young ones or opening full pages dedicated to them. thus for these kids the virtual timeline mimics and can be a record of the actual timeline of their life because every event in actual life is marked by a ‘post’ or an ‘image’ on the screen. thus, the virtual replicates the actual; it becomes an identical twin of the life we choose to believe as ‘actual’ and not the virtual, without even realising that most of the time we are moving as a blue dot on gps, traversing the two dimensional space of a screen, taking a right here and a left there or circulating as an image of ourselves or our activities on facebook, switching between screens, ‘liked’ here and ‘shared’ there or not being viewed at all because the ‘timeline’ is delimited by the frame for the screen .
the question that emerges then is; how does this delimitation affect our virtual life, which is most often the life we live. according to data, if facebook were a nation it would be the third largest in the world. it reflects the extent of the virtual life. however, more than being a problem of the frame and the consequent delimitation, the problem is of the speed at which the timeline is filled with posts or the speed with which circulation of images happens in the virtual world. these speeds are too huge and so is the corresponding flow of stories, then what is left for us to ‘like’, ‘share’, ‘comment’ or act upon in general is what we see right in front of the eyes that which grabs and somehow holds our attention, that which has voyeuristic potential .
i have been paying close attention to my ‘timeline’ for quite some time now particularly in the time post bjp’s victory in the general election and have been, called a ‘facebook activist’ at times, so are my other friends who share posts which are critical or informative of the state and society in its oppressive and coercive avatars. i spent time thinking about it and realized that the discourse which builds around the statement i. e. “facebook activism” misses or rather highlights some very important points. first of all, the division between ‘user’ and the ‘activist’ here doesn’t stand when every ‘like’ and ‘share’ is telling of the person that you are or the way you present your ‘self’ in the virtual world. infact, according to a study the “likes” on facebook can predict personal attributes such as “political leaning, age, gender and sexual orientation” (ehrenberg 2013). in this light “social networking sites provide different possibilities for both revelation and concealment of aspects of personhood and social reality” (dalsgaard 2008). so essentially we are all users here who present themselves in different ways on the screen like goffman argues for a “presentation of self in the everyday life” (goffman 1959) and like we have activists in the world outside the screen we have them here in the virtual world as well. ‘facebook activist’ becomes then one of the different modes of presenting our being. in other words, while presenting our ‘self’ in the virtual world we behave quite similar to the way we do in actual life. we maintain and cultivate an image which we hold as ideal .
there are times when i am sitting in the library and some interesting thought strikes me, i type it down and put it up on facebook for a simple reason that it’s convenient and there are not many people who would want to listen to me otherwise, so the best way to convey a message and have someone listening to you is through facebook or other social media. some of my friends who are not or choose not to be loud and vocal about their political standpoints are very straightforward or make it clear through their ‘activity log’ on facebook. thus a facebook account more than a presenting of our self becomes an extension of our actual self. we mould it according to our needs and ‘usage’ which is reflected in the stuff we share. someone may choose to share or like a photo of a god for fear of some warning about bad luck and disease that may befall if it is not shared or liked and someone may share articles and news expressing concern about a social issue or the sad political scenario. the range is indeed baffling like it is in actual life .
i keep sharing news pieces and articles related to state sponsored violence in kashmir or anywhere else and i noticed that there are people who ‘like’ these posts, similarly one can see people even liking gory images of violence e. g. the recent image of the muslim man who was stripped naked in mangalore. most of the time i try to look for people who have liked the image and if i know that person then i rest assured that what is being liked is not the image but perhaps a ‘concern’ for something which affects that person. but if i don’t know the person then it’s quite confusing sometimes. we like an image of violence on facebook whereas the same image generates repulsion in actual life e. g. the image of the man with folded hands and tears in his eyes during the gujarat riots shakes and stirs us up and infact has a destabilizing effect but if the same picture is put up on facebook it will generate likes and shares. this is telling of the behavioral changes that a technological object, facebook in this case, can produce or create. firmly supported by an ‘economy of likes’, where images are circulated at high speeds the violent image gets normalized and becomes one more among the many that are already there .
in my opinion what facebook along with the images that are circulated does is that alongwith ‘cathexis’, where one invests energy and emotion into an object, it also triggers a process of ‘de - cathexis’ where that energy and emotion is lost in the flow images which momentarily stare at you through the screen and then disappear into the unknown under the borders of the screen. in other words the banality of violence as it exists in actual life is also reproduced in the virtual through the circulation of images .
in this light the recent images of the “protest screenings of the movie muzaffarnagar baaqi hai ” proved to be very innovative as they gave a way which circumscribed the logic behind liking images on facebook to a certain extent and infact made an attempt to escape the schema. the images of the protest screenings were not out of the usual or full of awe, these simply showed people sitting and watching the movie on a screen. it is simply image of an event where moving images are displayed on a screen. but it attains immense symbolic value and produces a series of likes and shares on facebook because it expresses concern about the event at kirorimal college. it becomes a signifier of protest and rallies people around it. it sets itself apart from so many other images because here the image in itself becomes a mark of protest and holds testimony to the fact that freedom of speech was violated in the event in kmc and also claims back that freedom. so a like on this image can’t be confusing, here you are indeed ‘liking’ the event, unlike my kashmir news stories .
thus, both the event at kmc and the multiple private screenings afterwards are reproduced and relived on screen as well. the image can’t escape a fleeting life because the screen is delimited and scrolling down is a task but because of the inherent symbolic value of the image it need not be a particular image that has to be found by scrolling down, with every screening in actual life there is an image up on facebook which repeats the same message. thus the image lives and sustains by repetition and not by a voyeuristic logic of facebook. but what is missed, if not lost in this series of repetitions is the ‘event’ i. e. ‘muzzafarnagar’ itself. it lives as a remnant symbolized by the distant screen in the image, the screen which holds testimony to the event. it continues to be “baaqi” in a chain of circulation of images where the screen which is its signifier slides under the signifier of the event that took place in kmc. perhaps we also need to realize that it is time to shift focus from the event to the event because facebook or social media might have made conveying a message easier but as far as conveying the meaning is concerned that has been complicated further .
dalsgaard, steffen. “the presentation of self in virtual life and its role in the us elections. ” anthropology today, dec 2008: 8 - 12 .
ehrenberg, rachel. “what a facebook ‘like’ reveals. ” science news, 2013: 14 .
goffman, erving. the presentation of self in everyday life. new york: garden city, 1959 .
no matter how the hindutva elements percolate into the life - fabric of muzzaffarnagar, the secular resistance…baaqi hai (remains). even if pseudo - secular forces show apathy proactivism…baaqi hai. if proactive elements are rounded up and jailed, the idea of communal harmony…. baaqi hai. if harmony and the notion of co - existence is threatened, mobilisation of people …baaaqi hai. if nothing works…struggle baaqi hai… .
xmuzzafarnagar is every where with varying intensities. muzzafarnager is a replica of a socio - political system where every policy supersedes logic and the economic system rests on this superstructure .
striking thoughts about what activism and extending support means in social networking sites. sns in itself remains incapable of mobilizing minds if its not followed by an action in the world outside. a kind of complimentary formations should unfold .
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after staying in the shadow of bjp for nearly three years, former jharkhand chief minister babulal marandi today emerged as the biggest winner of assembly elections as his newly - floated jharkhand vikas morcha won 10 seats .
ranchi: after staying in the shadow of bjp for nearly three years, former jharkhand chief minister babulal marandi today emerged as the biggest winner of assembly elections as his newly - floated jharkhand vikas morcha (prajatantric) won 10 seats .
i stand by my principles... i have been saying congress - jvm - p will emerge as the single largest alliance ,
marandi told newsmen .
congress had tied up with jvm (p) for the elections and the party bettered its showing, moving from nine seats in 2005 to 14 this time .
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bhaiyya bhaiyya ( theatrical name : bhayya bhayya ) is a 2014 malayalam-language comedy film directed by johny antony and scripted by benny p. nayarambalam starring kunchacko boban and biju menon in lead roles . the film also features nisha agarwal ( in her debut malayalam film ) , vinutha lal , innocent , suraj venjarammood , salim kumar and vijayaraghavan in other important roles . it features music by vidyasagar and cinematography by vinod illampally and was largely shot at kottayam , tamil nadu and kolkata . produced by laisamma pottoore under nobel andre production , bhaiyya bhaiyya released on 5 september 2014 . 
bhaiyya bhaiyya (theatrical name: bhayya bhayya) is a 2014 malayalam-language comedy film directed by johny antony and scripted by benny p. nayarambalam starring kunchacko boban and biju menon in lead roles. the film also features nisha agarwal (in her debut malayalam film), vinutha lal, innocent, suraj venjarammood, salim kumar and vijayaraghavan in other important roles. it features music by vidyasagar and cinematography by vinod illampally and was largely shot at kottayam, tamil nadu and kolkata. produced by laisamma pottoore under nobel andre production, bhaiyya bhaiyya released on 5 september 2014.
bhaiyya bhaiyya (theatrical name: bhayya bhayya) is a 2014 malayalam-language comedy film directed by johny antony and scripted by benny p. nayarambalam starring kunchacko boban and biju menon in lead roles. the film also features nisha agarwal (in her debut malayalam film), vinutha lal, innocent, suraj venjarammood, salim kumar and vijayaraghavan in other important roles. it features music by vidyasagar and cinematography by vinod illampally and was largely shot at kottayam, tamil nadu and kolkata. produced by laisamma pottoore under nobel andre production, bhaiyya bhaiyya released on 5 september 2014.