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Amar Chitra Katha | |
---|---|
Publication information | |
Publisher | Amar Chitra Katha Pvt. Ltd. |
Publication date | 1967 |
No. of issues | 1029 |
Creative team | |
Written by | Various |
Artist(s) | Various |
Amar Chitra Katha (ACK, 'Immortal Picture Stories') , the flagship brand, was founded in 1967 and is a household name in India.
- 2Criticism
Creation and creators[edit]
The comic series was started by Anant Pai in an attempt to teach Indian children about their cultural heritage. He was shocked that Indian students could answer questions on Greek and Roman mythology, but were ignorant of their own history, mythology and folklore. It so happened that a quiz contest aired on Doordarshan in February 1967, in which participants could easily answer questions pertaining to Greek mythology, but were unable to reply to the question 'In the Ramayana, who was Rama's mother?'.[1][2]
The above is an oft-told story of how ACK was founded beginning with 'Uncle Pai', in Mumbai in 1967. However, Outlook magazinehas this article about the genesis of this popular comic series: The idea and proposal for Amar Chitra Katha was made by a Bangalore book salesman called G.K. Ananthram which led to the first Amar Chitra Katha comics being produced in 1965—in Kannada, not English. 'The English ACK titles begin from number eleven because the first ten were in Kannada,' clarifies Ananthram. To Ananthram's satisfaction, the 1965 Kannada ACK venture was a great commercial success which led to Mirchandani in the head office in Mumbai pursuing the Amar Chitra Katha idea in English diligently. 'They brought in Anant Pai' says Ananthram. 'And he built a wonderful team and a great brand.'[3]By the late 1970s, it was selling 5 million copies a year and had a peak circulation of about 700,000 a month. India Book House started to bring out at least one comic book a month by 1975, and sometimes as many as three. While Pai initially wrote the first few stories himself, he soon hired a core team of writers and editors, which included Subba Rao, Luis Fernandes and Kamala Chandrakant, who were responsible for the attempt at authenticity and balanced portrayal of history in comic books that became the hallmark of Amar Chitra Katha. [4] Writers like Margie Sastry, Debrani Mitra and C.R Sharma also joined the creative team of Amar Chitra Katha, with Anant Pai taking on the role of editor and co-writer on most scripts. The notable illustrators were Ram Waeerkar, who illustrated the very first issue of Amar Chitra Katha, Krishna, Dilip Kadam, C. M. Vitankar, Sanjeev Waeerkar, Souren Roy, C.D Rane, Ashok Dongre, V.B. Halbe, Jeffrey Fowler, Pratap Mullick and Yusuf Lien aka Yusuf Bangalorewala.[5]
Criticism[edit]
American scholar Jeremy Stoll has noted that, “As the earliest indigenous comic books in India, the Amar Chitra Katha series set a strong precedent, one which has dictated comics content and style for decades since.” On the other hand, he noted the series’ promotion of “nationalism,” and lamented that “as the most widely published and read Indian comics, books from this series are the ones that most scholars [of Indian comics] have focused upon, to the detriment of understanding the wider context of India’s comics, storytelling, and visual cultures.”[6]
Criticism of the Amar Chitra Katha comics has largely centered around two core issues: the anti-communist ideology and the portrayal of minorities.[7][8] Controversies around religious and cultural portrayals were prominent, as well[7] and the series has been widely associated with themes of Hindu nationalism.[9]
Women were almost always portrayed in a domestic context and portrayals were hyper-sexualised.[7] The apparent glorification of Sati across a series of story-lines were highly controversial, too.[7] Acclaimed book critic Nilanjana Roy notes many stories of the series to reflect and reinforce the patriarchal stereotypes prevalent in mainstream Indian ethos.[10]
Many of the stories promoted Brahmanical superiority and were told from the point of view of brave nationalist Hindu warriors.[7] Communal and casteist overtones were commonplace, ranging from uncritical presentation of Hindu mythological events and vilification of Muslim rulers as invading marauders to presenting villains in a physically unattractive manner, reflecting prevalent Aryan standards and associating morality with the caste hierarchy.[11][7]
[12][13][14][15][16][17][18][19][20][21][22][23][24][25][26][27][28][29][30]
The stories have often been criticised as distorted depictions of history, with characters being seen simplistically as 'good' and 'bad' – brave Hindu kings and Muslim 'outsiders', and so on.[31] The publisher has released an all new series focusing on personalities belonging from the Muslim community like Razia sultan, Bacha Khan, renowned ornithologist Salim Ali and more.[11][32] Also, the aim is often to create a hagiography and a lesson in character-building at the expense of authenticity and historical truth.[33] Another criticism is that comic books, by their very nature, do not reflect the richness and complexity of the oral tradition of Indian mythology in which multiple versions of a story can co-exist simultaneously.[34] The editors are now paying due effort in understanding different version of the mythological stories and accommodating them into regional language versions too. The new editions have been released featuring regional folktales and local heroes reflecting regional diversity of the country like Lachit Borphukan, the Assamese leader who fought the Mughals. The editors have tried to pay close attention to the changing sensitivities of the people and trying to accommodate the diversity of story telling by giving equal importance to regional versions and accommodating them in regional language version.[32]
Response[edit]
The producers and writers did not initially respond to the criticisms, as valid enough for they argued that a historical story ought be presented without any factual distortion.[7]
However, alongside these portrayals of light-browns, dark-brown skinned heroes like Ram, Krishna are among the most prominent titles covered in Amar Chitra Katha. Also, dark skinned servants and subservient women have been swapped for a more neutral skin tone and women who are active influencers in the stories like Ahilyabai Holkar.[32]
References in popular culture[edit]
In Anurag Kashyap's controversial Hindi film Gulaal, an anti-casteist character Rananjay Singh Ransa expresses his disillusionment with his Rajput roots by saying that: 'मैं अमर चित्र कथा में नहीं जीना चाहता !' – I don't want to spend my life in Amar Chitra Katha.
Films[edit]
The following films were produced by Amar Chitra Katha under ACK Animation Studios banner
Year | Film | Director | Notes |
---|---|---|---|
2011 | Tripura – The Three Cities of Maya | Chetan Sharma | TV Movie Co-produced with Animagic |
2012 | Sons of Ram | Kushal Ruia | Co-produced with Maya Digital Studios and Cartoon Network India |
See also[edit]
- List of Amar Chitra Katha comics for a comprehensive listing of all titles released till date.
References[edit]
- ^Now, Amar Chitra Katha gets even younger Vijay Singh, TNN, The Times of India, 16 October 2009.
- ^The World of Amar Chitra KathaMedia and the Transformation of Religion in South Asia, by Lawrence A Babb, Susan S. Wadley. Motilal Banarsidass Publ., 1998. ISBN81-208-1453-3. Chapt. 4, p. 76-86.
- ^A Pandit Had A Dream ... Outlook India Magazine, 21 March 2011. Retrieved 17 September 2011
- ^ Rao, Aruna (2001). 'From Self-Knowledge to Super Heroes: The Story of Indian Comics'. In John A. Lent (ed.). Illustrating Asia: Comics, Humor Magazines, and Picture Books. University of Hawaii Press. p. 37–63. ISBN978-0-8248-2471-6. Retrieved 17 April 2012.
- ^For a short biography of Anant Pai, Kamala Chandrakant, Subba Rao, Margie Sastry, Ram Waeerkar, Pratap Mulick, see Norbert Barth, 'India Book House and Amar Chitra Katha (1970–2002)', Wuerzburg 2008, p.47-59.
- ^Jeremy Stoll, “A Creator's History of the Comics Medium in India,” International Journal of Comic Art 15(1), 1–28 (1, 3).
- ^ abcdefgRao, Aruna (2001). 'From Self-Knowledge to Super Heroes: The Story of Indian Comics'. In John A. Lent (ed.). Illustrating Asia: Comics, Humor Magazines, and Picture Books. University of Hawaii Press. p. 37–63. ISBN978-0-8248-2471-6. Retrieved 17 April 2012.
- ^Kumar, Rahul (21 August 2019). 'A Brief History of Hindi Comics in India: Amar Chitra Katha, Raj Comics and the Internet'. Sahapedia. Retrieved 9 November 2019.
- ^Subramaniam, Banu (2019). Holy Science: The Biopolitics of Hindu Nationalism. Seattle: University of Washington Press. pp. 3–4. ISBN9780295745589. JSTORj.ctvh1dn27.
- ^Roy, Nilanjana S. (2 March 2011). 'Uncle Pai and the Amar Chitra Katha universe'. Business Standard.
- ^ abBenegal, Gautam (10 June 2007). 'The undying world of Amar Chitra Katha'. DNA. Retrieved 16 January 2019.
- ^Pritchett, Frances W. (1995). 'The World of Amar Chitra Katha'. In Babb, Lawrence A.; Wadley, Susan S. (eds.). Media and the Transformation of Religion in South Asia. University of Pennsylvania Press. pp. 76–106. doi:10.9783/9781512800180. ISBN978-1-5128-0018-0.
- ^Hawley, John Stratton (1995). 'The Saints Subdued: Domestic Virtue and National Integration in Amar Chitra Katha'. In Babb, Lawrence A.; Wadley, Susan S. (eds.). Media and the Transformation of Religion in South Asia. University of Pennsylvania Press. pp. 76–106. doi:10.9783/9781512800180. ISBN978-1-5128-0018-0.
- ^McLain, Karline (2009). India's Immortal Comic Books: Gods, Kings, and Other Heroes. Indiana University Press. ISBN9780253220523.
- ^Chandra, Nandini. 'Market Life of Amar Chitra Katha.' Seminar 453 (May 1997): 25–30.
- ^Barth, Norbert (12 July 2007). India Book House und die Comic-Serie Amar Chitra Katha : (1970–2002) [India Book House and the Comics Series Amar Chitra Katha: (1970–2002)] (PDF) (Thesis). University of Würzburg.
- ^McLain, Karline (February 2007). 'Who Shot the Mahatma? Representing Gandhian Politics in Indian Comic Books'. South Asia Research. 27 (1): 57–77. doi:10.1177/026272800602700104. ISSN0262-7280.
- ^Srinivas, Deepa (2010). Sculpting the Middle Class : History, Masculinity and the Amar Chitra Katha. Routledge. doi:10.4324/9780203136041. ISBN9780203136041.
- ^Adajania, Nancy (10–16 April 1993). 'Myth and Supermyth'. The Illustrated Weekly of India. pp. 34–35.
- ^lent, John A. (Spring 2004). 'India's Amar Chitra Katha: 'Fictionalized' History or the Real Story?'. International Journal of Comic Art. 6 (1): 56–76.
- ^Amin, Shaan (30 December 2017). 'The Dark Side of the Comics That Redefined Hinduism'. The Atlantic. Retrieved 9 November 2019.
- ^Rao, Aruna (1999). 'Goddess/Demon, Warrior/Victim: Women in Indian Comics'. In Lent, John A. (ed.). Themes and Issues in Asian Cartooning: Cute, Cheap, Mad, and Sexy. Bowling Green State University Popular Press. pp. 165–181. ISBN9780879727796.
- ^Mannur, Anita; Rao, Sandhya; Sircar, Sanjay (2000). 'The Controversial Amar Chitra Katha Comic Books'. Bookbird: A Journal of International Children's Literature. 38 (4): 32–36.
- ^Mclain, Karline (2009). 'Gods, kings and local Telugu guys: Competing visions of the heroic in Indian comic books'. Popular Culture in a Globalised India. Routledge. doi:10.4324/9780203884065-25 (inactive 1 December 2019). ISBN9780203884065.
- ^Sreenivasan, Ramya (2007). The Many Lives of a Rajput Queen: Heroic Pasts in India, c. 1500-1900. University of Washington Press. ISBN9780295987323. JSTORj.ctvcwn22m.
- ^McLain, Karline (2014). ''The Gandhi Story': An Official Indian Comic Book History of the Mahatma'. International Journal of Hindu Studies. 18 (3): 291–325. doi:10.1007/s11407-014-9161-y. ISSN1022-4556. JSTOR24713652.
- ^Nayar, Pramod K. (14 June 2006). Reading Culture: Theory, Praxis, Politics. SAGE. ISBN9780761934745.
- ^Khanduri, Ritu G. (22 December 2010). 'Comicology: comic books as culture in India'. Journal of Graphic Novels and Comics. 1 (2): 171–191. doi:10.1080/21504857.2010.528641. ISSN2150-4857.
- ^Austin, Sara (3 April 2014). 'Sita, Surpanakha and Kaikeyi as political bodies: representations of female sexuality in idealised culture'. Journal of Graphic Novels and Comics. 5 (2): 125–136. doi:10.1080/21504857.2013.842181. ISSN2150-4857.
- ^Krishnamurti, Sailaja (5 November 2019). 'Weaving the story, pulling at the strings: Hindu mythology and feminist critique in two graphic novels by South Asian women'. South Asian Popular Culture. 0: 1–19. doi:10.1080/14746689.2019.1669429. ISSN1474-6689.
- ^Desai, Chetan (Spring 2003). 'The Krishna Conspiracy'. International Journal of Comic Art. 5 (1): 325–333.
- ^ abcDavid, Priti (16 December 2017). 'And now, a dapper Ravana: Amar Chitra Katha undergoes makeover'. The Hindu. ISSN0971-751X. Retrieved 16 January 2019.
- ^John Stratton Hawley (1 January 1998). 'The Saints Subdued: Domestic Virtue and National Integration in Amar Chitra Katha'. In Lawrence A Babb & Susan S. Wadley (ed.). Media and the Transformation of Religion in South Asia. Motilal Banarsidass. pp. 107–. ISBN978-81-208-1453-0. Retrieved 17 April 2012.
- ^Steven E. Lindquist (1 October 2011). Religion and Identity in South Asia and Beyond: Essays in Honor of Patrick Olivelle. Anthem Press. pp. 385–. ISBN978-0-85728-790-8. Retrieved 17 April 2012.
Further reading[edit]
- Love revives Indian comics After a break of 4 years, Amar Chitra Katha launches a new title on Mother Teresa: Little Acts of Love, on 26 August 2010, to celebrate the Mother's 100th birth anniversary.
External links[edit]
- 'PVC – stories of 21 fearless soldiers'.Highest Gallantry Award
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Amar_Chitra_Katha&oldid=932632321'
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