Bharatpedia - User contributions [en]

Tejas (musician)

2026-05-06T11:25:10Z

FWQGina861152045:

{{Short description|Indian singer-songwriter}}
{{Other uses|Tejas (disambiguation)}}
{{Use Indian English|date=June 2024}}
{{Use dmy dates|date=August 2025}}
{{Infobox person
| name = Tejas
| image = Tejas live in Bengaluru 2023.png
| caption = Tejas performing in 2023
| birth_name = Tejas Menon
| birth_date = {{Birth year and age|1989}}
| birth_place = [[Hyderabad]], [[Andhra Pradesh]], [[India]]
| occupation = {{hlist|Singer|songwriter|guitarist|record producer}}
| years_active = 2011–present
| module = {{Infobox musical artist
| embed = yes
| background = solo_singer
| instruments = {{hlist|Vocals|guitar|}}
| genre = {{hlist|Pop|rock|R&B|electronica|indie}}
| label = Independent
| current_member_of = Geek Fruit
| website = {{URL|musicbytejas.com}}
}}
}}

'''Tejas Menon''', better known by his stage name '''Tejas''', is an Indian singer-songwriter and guitarist from [[Mumbai]], [[India]]. He has released two studio albums – ''Make It Happen'' (2017) and ''Outlast'' (2021). "Make It Happen" reached No. 1 on the Indian Pop Charts on iTunes upon its release,<ref>{{cite web|last1=Barve |first1=Rohit |title=All About the 'Outlast' Singer & Indie Artist Tejas|url=https://indigomusic.com/pop-cultures/whats-up-pop-news/all-about-the-outlast-singer-tejas|website=indigomusic|date=8 June 2021|access-date=20 June 2024}}</ref> while "Outlast" was featured among the top 10 Best Indian albums of 2021 by [[Rolling Stone|Rolling Stone Magazine]].<ref>{{cite web|title=10 Best Indian Albums of 2021|url=https://rollingstoneindia.com/10-best-indian-albums-of-2021/|website=Rolling Stone India|date=27 December 2021|access-date=20 June 2024}}</ref> Tejas gained nationwide fame for his contributions to the soundtrack of the Netflix film [[The Archies (film)|The Archies]] (2023) by Zoya Akhtar.<ref>{{cite web|title=Live music has the ultimate power, shares Tejas|url=https://timesofindia.indiatimes.com/entertainment/kannada/music/live-music-has-the-ultimate-power-shares-tejas/articleshow/106578570.cms?from=mdr|website=Times of India|date=6 January 2024|access-date=20 June 2024}}</ref>

He has performed extensively across the country, headlining sold-out shows at major venues and music festivals such as [[Lollapalooza|Lollapalooza India]], [[NH7 Weekender]], [[Kala Ghoda Arts Festival]], [[VH1|VH1 Supersonic]], among others. He has also shared the stage with notable artists like [[Lucy Rose]], [[Damien Rice]]<ref>{{cite web|title=Tejas 'Some Kind of Nothing' Tour - Bengaluru|url=https://bangalore.explocity.com/events-in-bangalore/tejas-some-kind-of-nothing-tour-bengaluru/|website=Explocity}}</ref>, [[Westlife]]<ref>{{cite web|title=Live music has the ultimate power, shares Tejas|url=https://timesofindia.indiatimes.com/entertainment/kannada/music/live-music-has-the-ultimate-power-shares-tejas/articleshow/106578570.cms|website=Times of India|date=6 January 2024|access-date=20 June 2024}}}}</ref>, and [[John Mayer]]<ref>{{cite web|title=John Mayer brings intimacy and soul to his India debut|url=https://timesofindia.indiatimes.com/entertainment/english/music/news/john-mayer-brings-intimacy-and-soul-to-his-india-debut/articleshow/128278589.cms|website=Times of India|date=13 February 2026}}</ref> during their India tours.

==Early life==
Tejas was born in [[Hyderabad]], [[Andhra Pradesh]], India. His father hails from [[Palakkad]], while his mother is from [[Thalassery]]. He has one older brother. Following his birth, his family relocated to [[Dubai]], where he spent his formative years. Tejas later moved to India after completing high school, residing with his cousins. He holds a degree in economics from Nowrosjee Wadia College, Pune, and a master's degree in Media and Communication from Symbiosis Institute of Media and Communication, Pune.<ref>{{cite web|title=Tejas in the right groove|url=https://www.deccanchronicle.com/entertainment/music/120816/tejas-in-the-right-groove.html|website=Deccan Chronicle|date=12 August 2016|access-date=24 June 2024}}</ref> Apart from his academic pursuits, he joined Radio One at 19 and worked there for three years, immersing himself in the Indian indie music scene.{{fact|date=August 2025}}

During this period, he began writing and composing songs. Influenced by artists such as Gowri Jayakumar, Something Relevant, Them Clones, [[Indus Creed]], and [[Blackstratblues]], who were independently releasing music, along with the emergence of the NH7 Weekender music festival in [[Pune]], Tejas ventured into showcasing his own music online and performing live shows around Pune.{{fact|date=August 2025}}

==Career==
===Early career, ''Small Victories'', ''Make It Happen'' (2013–2019)===
After completing his master's degree, Tejas made the decision to shift to [[Mumbai]] and leave Pune. The initial days were a struggle for him in Mumbai, and that's where he started to write his first EP named ''"Small Victories"'', which was released in 2014. His then-manager, Krish Makhija, made videos of Tejas, which brought him fame and later secured him shows such as [[Ragasthan|Ragasthan Music Festival]], the Vans New Wave Festival, Kala Ghoda Arts Festival, and Escape Festival Ladakh.<ref>{{cite web|title=The Alter Egos Of Indie Musicians Who Pursue Multiple Creative Disciplines|url=https://homegrown.co.in/homegrown-explore/the-alter-egos-of-indie-musicians-who-pursue-multiple-creative-disciplines|website=Homegrown|date=8 June 2021|access-date=24 June 2024}}</ref>

He also founded and runs ''Geek Fruit'' in 2015, which is a community for Indian pop-culture geeks and enthusiasts. The podcast now has over 300 episodes and is one of the first-ever pop-culture podcasts to come from India. He now performs at Comic-Con across India and hosts events like ‘Super Scary Awesome,’ their annual Halloween Party, along with co-founders Jishnu Guha and Dinkar Dwivedi.<ref>{{cite web|title=Making It Happen: An Interview with Tejas|url=https://topfiverecords.in/2019/06/12/making-it-happen-an-interview-with-tejas-menon/|website=Top Five Records|date=12 June 2019|access-date=24 June 2024}}</ref>

Tejas released his first studio album ''“Make It Happen”'' in 2017 which went to No. 1 on the Indian Pop Charts on iTunes on its release.<ref>{{cite web|title=Tejas|url=https://beehy.pe/tejas-make-happen-india/|website=beehype|date=19 October 2017|access-date=24 June 2024}}</ref>

===''Outlast'' (2020–2022)===
In the COVID-era of 2020, Tejas released three singles, namely ''“Lead”'',<ref>{{cite web|title=Indie musician Tejas on releasing his new single 'Lead' in the lockdown phase|url=https://www.thehindu.com/entertainment/music/indie-musician-tejas-on-releasing-his-new-single-lead-in-the-lockdown-phase-and-why-tejas-feels-this-is-he-calls-the-a-time-for-musicians-should-expand-their-role-in-society-and-cultivate-a-new-kind-of-audience/article31876048.ece|website=The Hindu|date=20 June 2020|access-date=24 June 2024}}</ref> ''“The Bombay Doors”'',<ref>{{cite web|title=Tejas Returns With A Vivid And Confident Album|url=https://www.rsjonline.com/reviews/tejas-returns-with-a-vivid-and-confident-album.html|website=Rock Street Journal|date=7 June 2020|access-date=24 June 2024}}</ref> and a remastered version of ''“Ruby.”'' Ruby happens to be a song from his first EP, Small Victories,<ref>{{cite web|title=Musician Tejas talks about his new single Lead, the upcoming album Outlast, and his love for pop culture|url=https://www.indulgexpress.com/culture/music/2020/Jun/04/musician-tejas-talks-about-his-new-single-lead-the-upcoming-album-outlast-and-his-love-for-pop-cul-25453.html|website=Indian Express Indulge|date=5 June 2020|access-date=24 June 2024}}</ref> while Lead and The Bombay Doors were collectively released in Tejas’ second album, ''Outlast'', which was released in 2021.<ref>{{cite web|title=The album by Tejas is going to outlive and 'Outlast' your monsoon favourites: Score Indie Reviews|url=https://highonscore.com/tejas-outlast-score-indie-reviews/|website=High On Score|date=14 June 2021|access-date=24 June 2024}}</ref> Longtime bandmates Jehangir Jehangir and Adil Kurwa worked alongside Tejas for the album at Island City Studios, Mumbai.<ref>{{cite web|title=Tejas Proves He's In It For The Long Haul With His Contemporary-Pop LP 'Outlast'|url=https://theindianmusicdiaries.com/tejas-proves-hes-in-it-for-the-long-haul-with-his-contemporary-pop-lp-outlast/|website=The Indian Music Diaries|date=7 June 2021|access-date=24 June 2024}}</ref> Even before the pandemic hit, Tejas had been active on social media, spreading his music. Along with Dinkar Dwivedi, he released a 12-minute YouTube video named "Conference Call: The Musicall!" It's a parody-drama video on YouTube that stresses the corporate world and the online work-from-home system.<ref>{{cite web|title=A Sound New World|url=https://openthemagazine.com/art-culture/music/a-sound-new-world/|website=Open The Magazine|date=19 June 2020|access-date=24 June 2024}}</ref>

===''The Archies'' – present (2023 – present)===
Tejas released a single named ''“Some Kind Of Nothing”'' in 2023.<ref>{{cite web|title=The 15 Best Indian Singles of 2023|url=https://rollingstoneindia.com/best-indian-indie-songs-2023-dot-taba-chake-mali-aditi-ramesh/|website=Rolling Stone India|date=26 December 2023|access-date=24 June 2024}}</ref> Along with that, Tejas performed at the debut edition of [[Lollapalooza|Lollapalooza India]] . Additionally, Tejas embarked on an India tour in 2023. One major highlight of the year was his contribution to "[[The Archies (film)|The Archies]]," a 2023 teen musical comedy film directed by [[Zoya Akhtar]], which garnered immense popularity among audiences. The film features an extraordinary soundtrack composed by renowned musicians [[Shankar–Ehsaan–Loy]], Ankur Tewari, The Islanders, and [[Aditi Saigal|Aditi “Dot.” Saigal]].<ref>{{cite web|title=Tejas: The Rising Musical Star of Bollywood, From The Archies to Stardom!|url=https://jay-ho.com/tejas-the-rising-musical-star-of-bollywood-from-archies/|website=Jay-Ho|date=16 December 2023|access-date=24 June 2024}}</ref> Tejas, with his incredible vocal range and versatility, lent his voice to most of the tracks in the movie.

==Musical style and influences==
Tejas’ lyrics are inspired by events from his own life and stories from his journey to find his identity. Though he admits that he started off by writing about love and girls, he seems to have found his true spirit in writing about things that are deeply rooted in his own experiences. His unique music and sounds have blended several genres into his own signature brand of pop.

Tejas considers [[KT Tunstall]] and [[Sara Bareilles]] as his influences in writing songs. He also cites [[John Mayer]], [[The Police]], [[Matchbox Twenty]], [[Michael Jackson]], [[Blackstratblues]], and others as his inspirations. Apart from this, Tejas takes great influence from science fiction, adventure books, films, and musical theater.<ref>{{cite web|title=Up, close and personal with Tejas|url=https://www.redbull.com/in-en/up-close-and-personal-with-tejas-menon|website=Red Bull|date=17 October 2016|access-date=24 June 2024}}</ref>

==Band members==
'''Current members'''
* Tejas – lead vocals and guitars (2011–present)
* Adil Kurwa – backing vocals and bassist (2014–present)
* Jehangir Jehangir – drummer (2014–present)

'''Other touring musicians'''
* Rohan Rajadhyaksha - keyboards/synthesizer (2018 - present)
* Mallika Barot – Vocals (2019–present)
* Aria Nanji – Vocals, guitar and mandolin (2022–present)
* Sharad Rao – Guitar and backing vocals (2022–present)

==Discography==
'''Studio albums'''
* ''Outlast'' (2021)
* ''Make It Happen'' (2017)

'''EPs'''
* ''Small Victories'' (2014)

'''Singles'''
* ''What Comes After'' (2025)
* ''Va Va Voom'' (From "[[The Archies (film)|The Archies]]") (2023)
* ''Sunoh'' (From "[[The Archies (film)|The Archies]]") (2023)
* ''If I Could Fly'' (2023)
* ''Some Kind Of Nothing'' (2023)
* ''As I'm Getting Older'' (2022)
* ''Down and Out'' (2021)
* ''Ruby'' (Remastered) (2020)
* ''The Bombay Doors'' (2020)
* ''Lead'' (2020)
* ''River'' (2019)
* ''Make It Happen'' (2017)
* ''Evidence'' (2015)

==References==
{{reflist}}

== External links ==
* {{Official website|https://www.musicbytejas.com/}}

[[Category:1989 births]]
[[Category:Living people]]
[[Category:21st-century Indian composers]]
[[Category:21st-century Indian male musicians]]
[[Category:21st-century Indian singers]]
[[Category:Indian male pop singers]]
[[Category:Indian male singers]]
[[Category:Indian male songwriters]]
[[Category:Indian guitarists]]
[[Category:Indian rock guitarists]]
[[Category:Indian rock singers]]
[[Category:Singers from Mumbai]]

Mughal successor states

2026-04-29T18:43:13Z

FWQGina861152045: new initial details needs work

{{Short description|Regional Indian polities that emerged from Mughal imperial fragmentation, c. 1707–1857}}
{{Use dmy dates|date=April 2026}}
{{Use Indian English|date=April 2026}}
{{Infobox
| name = Mughal successor states
| image = [[File:India1765and1805b.jpg|frameless|upright=1.2|alt=Comparative map of the Indian subcontinent in 1765 and 1805 showing the Mughal successor states]]
| caption = The Indian subcontinent c. 1765 (left) and 1805 (right), showing the territorial extent of the Mughal successor states and their contraction under British expansion.
| label1 = Period
| data1 = c. 1707 – 1857 ([[Hyderabad State|Hyderabad]] survived as a [[princely state]] to 1948)
| label2 = Location
| data2 = [[Indian subcontinent]]
| label3 = Preceded by
| data3 = [[Mughal Empire]]
| label4 = Succeeded by
| data4 = [[Company rule in India]] [[British Raj]] [[Durrani Empire]]
| label5 = Core states
| data5 = [[Nawabs of Bengal|Bengal]] · [[Nawab of Awadh|Awadh]] · [[Hyderabad State|Hyderabad]] · [[Carnatic Sultanate|Arcot]] · [[Rohilkhand]] · [[Farrukhabad]] · [[Bhopal State|Bhopal]] · [[Rampur State|Rampur]]
| label6 = Rival and post-Mughal polities
| data6 = [[Maratha Empire|Marathas]] · [[Sikh Empire|Sikhs]] · [[Jat people|Jats of Bharatpur]] · [[Durrani Empire|Durrani Punjab]] · [[Kingdom of Mysore|Mysore]] · [[East India Company]]
| label7 = Administrative languages
| data7 = [[Persian language|Persian]], [[Urdu]], regional vernaculars
| label8 = Inherited institutions
| data8 = [[Mansabdar]]i · [[Jagirdar]]i · [[Zabt]] · [[Dahsala system|Dahsala]]
}}

{{History of South Asia}}

The '''Mughal successor states''' were the regional polities that emerged in the [[Indian subcontinent]] during the first half of the 18th century as the administrative and military authority of the [[Mughal Empire]] disintegrated after the 1707 death of [[Aurangzeb]].{{sfn|Richards|1993|pp=308}} Conventionally dated from Aurangzeb's death to the consolidation of [[Company rule in India|British paramountcy]] by the middle of the 19th century,{{sfn|Bayly|1988|pp=7–8}} the term denotes the semi-autonomous provincial governments that converted their [[subah]]s into hereditary holdings while continuing, at least in form, to acknowledge the [[Mughal emperor|emperor]] at [[Delhi]]: the [[Nawabs of Bengal]], the [[Nawab of Awadh|Nawabs of Awadh]], the [[Nizam of Hyderabad|Nizams of Hyderabad]], and the [[Carnatic Sultanate|Nawabs of Arcot]].{{sfn|Alam|1986|pp=3–11}} Broader scholarly usage extends the category to contemporaneous polities that rose from Mughal fragmentation without recognising its authority, including the [[Maratha Empire]], the [[Sikh Empire|Sikh misls and empire]], the [[Jat people|Jats]] of [[Bharatpur State|Bharatpur]], the [[Durrani Empire|Durrani]] governors of the [[Punjab region|Punjab]], and the [[Kingdom of Mysore]] under [[Haidar Ali]] and [[Tipu Sultan]].{{sfn|Bayly|1988|pp=1–10}}{{sfn|Bayly|1983|pp=360}}

The states emerged from converging pressures. The [[Jagirdari crisis|crisis of the Mughal ''jagirdari'' system]], in which the pool of revenue-bearing assignments proved unable to sustain the empire's swelling body of office-holders, eroded the patronage arrangements that had tied provincial governors to the imperial centre.{{sfn|Ali|1966|pp=76}}{{sfn|Alam|1986|pp=64–74}} Expansion of the [[Maratha Empire|Marathas]] into northern India diverted Mughal resources, and the [[Nader Shah's invasion of the Mughal Empire|Persian invasion of 1739]] under [[Nader Shah]], culminating in the sack of Delhi and the seizure of the imperial treasury, broke the prestige of Mughal arms.{{sfn|Sarkar|1950a|pp=22}} Provincial governors, responding to these pressures, converted their ''subahs'' into hereditary holdings: [[Murshid Quli Khan]] in Bengal from 1717, [[Saadat Ali Khan I]] in Awadh from 1722, and [[Nizam-ul-Mulk, Asaf Jah I]] in the Deccan from 1724.{{sfn|Richards|1993|pp=205}} Historians have described this process in terms of both structural decline, associated with the [[Aligarh school of historians|Aligarh school]] of [[Irfan Habib]], [[Satish Chandra]], and [[M. Athar Ali]], and regional opportunity, elaborated by [[Muzaffar Alam]], [[Chris Bayly|C. A. Bayly]], and [[Sanjay Subrahmanyam]]; most recent treatments accept both framings as complementary.{{sfn|Alam|1986|pp=4–10}}{{sfn|Bayly|1988|pp=7–16}}

The core Mughal successor states were Bengal under the [[Nawabs of Bengal]] (from [[Murshid Quli Khan]], 1717), Awadh under the [[Nawab of Awadh|Nawabs of Awadh]] (from [[Saadat Ali Khan I|Saadat Khan]], 1722), [[Hyderabad State|Hyderabad]] under the [[Nizam of Hyderabad|Nizams]] (from [[Nizam-ul-Mulk, Asaf Jah I|Asaf Jah I]], 1724), and the [[Carnatic Sultanate|Carnatic]] under the [[Nawab of Arcot|Nawabs of Arcot]] (from 1710).{{sfn|Richards|1993|pp=294}} Smaller Nawabi polities, including [[Rohilkhand]] under the [[Rohilla]] [[Afghans]], [[Farrukhabad]] under the [[Nawabs of Farrukhabad|Bangash Nawabs]], [[Bhopal State|Bhopal]] under a [[Bhopal State|Yusufzai]] dynasty, and [[Rampur State|Rampur]] formed on the ruins of Rohilkhand after the [[First Rohilla War|Rohilla War]] of 1774, are typically included in the same category.{{sfn|Alam|1986|pp=285}}{{sfn|Bayly|1983|pp=33}} Scholars including Bayly, Alam, and [[André Wink]] extend the concept to polities that emerged from the fragmentation of Mughal sovereignty without acknowledging it: the [[Maratha Empire|Maratha Confederacy]], whose expansion under [[Baji Rao I]] and [[Madhavrao I|Madhavrao]] reshaped the [[Deccan Plateau]] and northern India; the [[Sikh Misl|Sikh misls]] and, after 1799, the [[Sikh Empire]] of [[Ranjit Singh]]; the [[Jat people|Jats]] of [[Bharatpur State|Bharatpur]] under [[Suraj Mal]]; the [[Durrani Empire|Durrani]] governors installed in the [[Punjab region|Punjab]] after the invasions of [[Ahmad Shah Durrani]]; and the [[Kingdom of Mysore]] under [[Haidar Ali]] and his son [[Tipu Sultan]].{{sfn|Gordon|1993|pp=134}}{{sfn|Wink|1986|pp=23–54}}{{sfn|Bayly|1988|pp=35–44}} A minority argument treats the [[East India Company]] itself, after its acquisition of the ''[[diwani]]'' of Bengal in 1765, as the terminal Mughal successor.{{sfn|Marshall|1987|pp=105}}

The successor states occupy a central place in the "[[Decline of the Mughal Empire|eighteenth-century debate]]" in South Asian historiography, in which earlier accounts of systemic Mughal decline, articulated by [[Jadunath Sarkar]] and developed by the Aligarh school, have been contested by revisionist arguments emphasising regional dynamism, commercial continuity, and the persistence of Mughal administrative forms in provincial settings.{{sfn|Alam|1986|pp=1–16}}{{citation needed|date=April 2026}}{{sfn|Marshall|1987|pp=64}} [[Karen Leonard]]'s "[[Great Firm theory of the decline of the Mughal Empire|Great Firm theory]]" located the empire's fiscal collapse in the withdrawal of indigenous banking houses from imperial financing, and subsequent work by [[Dirk H. A. Kolff|Dirk Kolff]], [[Sanjay Subrahmanyam]], and [[David Washbrook]] has situated the successor states within wider changes in the Indian political economy, military labour market, and long-distance trade.{{sfn|Leonard|1979|p=151}}{{sfn|Leonard|1979|pp=16}} The states also provided the political stage for British territorial expansion: [[East India Company]] victories at [[Battle of Plassey|Plassey]] (1757) and [[Battle of Buxar|Buxar]] (1764) brought [[Bengal Subah|Bengal]] under Company control,{{sfn|Marshall|1987|pp=70–92}} the [[subsidiary alliance|Subsidiary Alliance]] system inaugurated by [[Richard Wellesley, 1st Marquess Wellesley|Lord Wellesley]] from 1798 absorbed [[Hyderabad State|Hyderabad]], [[Awadh]], and the [[Maratha Empire|Maratha]] principalities,{{sfn|Bayly|1988|pp=79–105}} and direct annexations, including those under the [[Doctrine of Lapse]] and the 1856 annexation of [[Awadh]], closed the era for most states.{{sfn|Barnett|1980|pp=260}} Only [[Hyderabad State|Hyderabad]], as a [[princely state]], survived to the [[Political integration of India|Indian accession of 1948]].{{sfn|Leonard|1978|pp=23–49}}

== Background: the Mughal collapse ==

=== Political and fiscal crisis ===

{{Main|Jagirdari crisis}}

By the final decades of the reign of Aurangzeb (died 1707), the administrative architecture of the Mughal Empire had come under sustained strain from his protracted wars in the Deccan, which kept the imperial army in the field for nearly three decades and drained the treasury while consolidating only limited territorial gains against the [[Maratha Empire|Marathas]] and the Deccan sultanates.{{sfn|Richards|1993|pp=215–224}}{{sfn|Sarkar|1950a|pp=22}} Expansion of the ruling nobility (the ''[[umarā]]'') outpaced the supply of productive ''[[jagir]]s'' (revenue assignments supporting military ranks), producing what later historians called the "jagirdari crisis": a structural mismatch between the number of officers entitled to income-bearing assignments and the capacity of existing territories to sustain them, with falling ''jama'' (assessed revenue) and rising ''be-jagiri'' ("without assignment") waiting-lists pressing against the empire's fiscal base.{{sfn|Ali|1966|pp=80}}{{sfn|Alam|1986|pp=28}}

[[Satish Chandra]] traced the resulting factional conflict within the nobility, as [[Irani (Mughal nobility)|Irani]] and [[Turan|Turani]] blocs contested influence at the court of Aurangzeb's successors [[Bahadur Shah I]] (1707–1712), [[Jahandar Shah]] (1712–1713), and [[Farrukhsiyar]] (1713–1719).{{sfn|Chandra|2002|pp=70}} The execution of Farrukhsiyar by the [[Sayyid brothers]] in 1719 and the intrigues surrounding the accession of [[Muhammad Shah]] (1719–1748) marked what John F. Richards described as the definitive loss of effective central control, with ''mansabdars'' increasingly unable to collect their assignments and imperial orders routinely ignored in the provinces.{{sfn|Richards|1993|pp=84}}{{sfn|Alam|1986|pp=28}}

=== Nadir Shah's invasion and the 1739 sack of Delhi ===

{{Main|Nader Shah's invasion of the Mughal Empire}}

The fragility of the post-Aurangzeb order was demonstrated dramatically by the [[Nader Shah's invasion of the Mughal Empire|invasion of 1738–1739]] led by the [[Afsharid dynasty|Afsharid]] ruler of [[Iran]], [[Nader Shah]]. After sacking [[Kabul]] and [[Lahore]], the Persian army annihilated the Mughal force at the [[Battle of Karnal]] on 24 February 1739, capturing Emperor Muhammad Shah and proceeding to occupy [[Delhi]].{{sfn|Barnett|1980|pp=55}} A riot in the city prompted a three-day massacre in which contemporary estimates placed the dead in the tens of thousands, and the ensuing sack saw the Persian army carry away the imperial treasury, including the [[Peacock Throne]] and the [[Koh-i-Noor]] diamond, along with indemnities calculated by Sarkar at some seventy crore rupees.{{sfn|Sarkar|1950a|pp=24}} [[Muzaffar Alam]] has argued that the invasion did not cause the empire's fragmentation so much as expose a collapse already well advanced, but its demonstration effect was decisive: the inability of the imperial army to defend the capital ended any plausible claim that the Mughal state retained a monopoly of legitimate force across its former territories.{{sfn|Alam|1986|pp=46}}

Further incursions by [[Ahmad Shah Durrani]] between 1748 and 1761, culminating in the [[Third Battle of Panipat]] in January 1761 at which the Durrani army shattered the Maratha forces that had by then assumed much of the imperial role in north India, reinforced the pattern of successive external blows against an enfeebled centre.{{sfn|Gordon|1993|pp=151–156}}{{sfn|Bayly|1988|pp=30–35}}

=== Regional autonomy under nominal sovereignty ===

Amid these pressures, provincial governors and administrators converted their offices into hereditary positions while continuing to render formal obeisance to the Mughal emperor. [[Murshid Quli Khan]], ''diwan'' of [[Bengal Subah|Bengal]], consolidated control over its revenues from 1700 and was functionally independent by 1717, when [[Farrukhsiyar]] formally conferred on him the ''subahdari'' of Bengal; his son-in-law [[Shuja-ud-Din Muhammad Khan]] and subsequent successors transmitted the office within the family.{{sfn|Marshall|1987|pp=47–51}} In [[Awadh]], [[Saadat Ali Khan I|Saadat Khan]], appointed ''subahdar'' in 1722, and his successors [[Safdar Jang]] and [[Shuja-ud-Daula]] passed the office within the family while retaining Mughal titles and continuing to remit tribute.{{sfn|Alam|1986|pp=309}}{{sfn|Barnett|1980|pp=47}} [[Nizam-ul-Mulk, Asaf Jah I]], a senior Mughal noble who had served as ''wazir'' in the 1720s, abandoned the imperial court in 1724 after defeating his rival Mubariz Khan at the [[Battle of Shakar Kheda]] and established an independent power in the [[Deccan]] that continued as the [[Hyderabad State|state of Hyderabad]] until 1948.{{sfn|Richards|1993|pp=275–281}}{{sfn|Alam|1986|pp=266}}

In each case, the formal assertion of continued loyalty to the Mughal emperor, reflected in coinage, the reading of the [[khutba]] in the emperor's name, and the continued use of Mughal titles, coexisted with the de facto transfer of revenue collection, appointment of officers, and military decision-making to the provincial capital.{{sfn|Alam|1986|pp=331}}{{sfn|Bayly|1988|pp=12–16}}

== Emergence and characteristics ==

=== Nominal acknowledgment of the emperor ===

The successor states almost uniformly continued to acknowledge the Mughal emperor as a source of legitimation even as the substance of power passed to provincial rulers. Coinage was struck in the emperor's name; the ''[[khutba]]'' in Friday congregational prayers invoked him; diplomatic correspondence was framed in the idiom of Mughal service; and formal ''[[farman]]s'' of investiture, however perfunctory, continued to be issued from [[Delhi]].{{sfn|Bayly|1988|pp=12–16}}{{sfn|Alam|1986|pp=66}} As [[Chris Bayly|C. A. Bayly]] observed, this persistence of the Mughal frame of reference reflected the emperor's residual symbolic utility: provincial rulers competed for [[Mansabdar|mansab]] ranks and imperial honours that strengthened their standing among local élites, and the Mughal court, even after 1739, retained enough prestige to confer rather than merely record legitimacy.{{sfn|Bayly|1988|pp=12–44}} The fiction was exposed only occasionally, as when [[Robert Clive|Clive]] returned the ''[[diwani]]'' of Bengal to the emperor [[Shah Alam II]] in the 1765 [[Treaty of Allahabad]] and then collected it through Company hands, an act that marked the emperor's final conversion into a nominal sovereign whose writ ran only in and around Delhi.{{sfn|Marshall|1987|pp=80–92}}

=== Continuity of Mughal institutions ===

{{Main|Zabt}}
{{Main|Dahsala system}}

Successor states inherited and adapted the administrative apparatus of the empire. The [[mansabdar|''mansabdari'']] hierarchy, the chief Mughal device for grading military-administrative officers, continued in modified form at most provincial courts, with the largest successor states issuing their own ranks and titles.{{sfn|Ali|1966|pp=35}}{{sfn|Richards|1993|pp=63–75}} The ''[[jagir]]'' system of revenue assignment persisted, although the balance between ''ba-jagir'' (assigned) and ''khalisa'' (directly administered) lands shifted in favour of the latter as rulers sought more reliable income streams.{{sfn|Alam|1986|pp=74–87}} The ''[[zabt]]'' method of revenue assessment, part of the [[Mughal fiscal system]], formalised under [[Akbar]] and his finance minister [[Raja Todar Mal]], remained the default framework in the Gangetic provinces, though the [[Dahsala system|''dahsala'']] ten-year averaged-yield calculations were replaced in many regions by annual negotiation between revenue-farmers and the state.{{sfn|Richards|1993|pp=81–93}}{{sfn|Richards|1993|pp=102}}

In Bengal, Murshid Quli Khan undertook a substantial overhaul of the revenue system beginning in 1717, replacing many smaller Hindu ''zamindars'' with larger, more consolidated holdings whose revenue obligations were backed by the credit of the [[Jagat Seth family|Jagat Seth]] banking house; [[P. J. Marshall|Peter J. Marshall]] has argued that this reorganisation produced one of the most stable revenue administrations in eighteenth-century India, generating surpluses that subsequently underwrote British Bengal's expansion.{{sfn|Marshall|1987|pp=47–69}} In Hyderabad, Nizam-ul-Mulk preserved intact the Mughal pattern of ''parganas'' and ''sarkars'' while superimposing a more personal structure of ''jagirs'' granted to his immediate followers.{{sfn|Leonard|1978|pp=53}}

=== New revenue arrangements ===

Alongside these continuities, the successor states developed distinctive revenue arrangements that departed from Mughal precedent. Revenue-farming (''[[ijara]]''), marginal in the Akbari revenue theory but increasingly important under Aurangzeb, became the standard practice across most successor states, with short-term contracts sold at auction to the highest bidder.{{sfn|Alam|1986|pp=87–118}}{{sfn|Bayly|1983|pp=10–35}} The ''[[amil]]s'' (revenue collectors) and ''[[chaudhuri]]s'' of the Mughal countryside were joined or replaced by a new class of revenue entrepreneurs drawn from Hindu service communities, [[Khatri]], [[Kayastha]], [[Jain]], and [[Marwari people|Marwari]] merchant families, whose credit and local networks underpinned the cash-settlement systems of the successor states.{{sfn|Bayly|1983|pp=35–74}}{{sfn|Leonard|1978|pp=343}}

This shift produced what Bayly and [[Sanjay Subrahmanyam|Subrahmanyam]] later called "portfolio capitalists": merchant-administrators operating across revenue, commerce, and finance who tied the successor states into the commercial expansion of the 18th century and provided the infrastructure through which European trading companies would eventually extend their influence.{{sfn|Bayly|1983|pp=47–150}}

== Core successor states ==


{{Multiple image
| align = center
| direction = horizontal
| width = 150
| image1 = Murshid Quli Khan, Nawab of Bengal.jpg
| caption1 = [[Murshid Quli Khan]] (Bengal)
| image2 = Asaf Jah I.jpg
| caption2 = [[Nizam-ul-Mulk, Asaf Jah I|Asaf Jah I]] (Hyderabad)
| image3 = Peshwa Baji Rao I riding horse.jpg
| caption3 = [[Baji Rao I]] (Maratha Peshwa)
| image4 = Ranjit Singh.jpg
| caption4 = [[Ranjit Singh]] (Sikh Empire)
}}

=== Bengal ===

The [[Bengal Subah|Bengal]] successor state was established by [[Murshid Quli Khan]], an Iranian Shia ''diwan'' appointed by [[Aurangzeb]] in 1700 to reform the province's revenue administration, who assumed the ''subahdari'' alongside it from 1717.{{sfn|Marshall|1987|pp=47–51}} Murshid Quli transferred the provincial capital from [[Dhaka]] to [[Murshidabad]], which he founded and named after himself, and consolidated revenue collection by replacing smaller ''[[zamindar]]s'' with larger, more consolidated holdings whose obligations were underwritten by the [[Jagat Seth family|Jagat Seth]] banking house.{{sfn|Marshall|1987|pp=65}} The state passed after his death in 1727 to his son-in-law [[Shuja-ud-Din Muhammad Khan]] (r. 1727–1739), and then by armed seizure to [[Alivardi Khan]] (r. 1740–1756), a former official who had risen in Bihar.{{sfn|Marshall|1987|pp=105}}

Alivardi's reign was dominated by [[Maratha invasions of Bengal|Maratha raids]] launched from [[Nagpur]] under [[Raghuji I|Raghuji I Bhonsle]] from 1741 to 1751, which devastated western Bengal and ultimately forced the cession of [[Orissa]] and the payment of annual ''[[chauth]]'' to the Marathas.{{sfn|Gordon|1993|pp=124–135}}{{sfn|Marshall|1987|pp=67–70}} Despite these losses, Bengal remained the wealthiest of the successor states: [[P. J. Marshall|Peter J. Marshall]] estimated its annual revenue at the mid-century at roughly three ''[[crore]]s'' of [[rupee]]s, far in excess of any other Indian province.{{sfn|Marshall|1987|pp=55–60}}

Alivardi's grandson and successor [[Siraj ud-Daulah]] (r. 1756–1757) attempted to reassert the state's authority over the fortified [[East India Company|English East India Company]] settlement at [[Kolkata|Calcutta]], seizing the town in June 1756 in an episode that included the controversial [[Black Hole of Calcutta]].{{sfn|Marshall|1987|pp=70–80}} The Company retook Calcutta under [[Robert Clive]] in January 1757; at the [[Battle of Plassey]] on 23 June 1757, Clive's forces, in collusion with a conspiracy of Bengal officers and merchants led by [[Mir Jafar]] and the Jagat Seths, defeated Siraj-ud-Daulah, whose army stood largely aside in the decisive engagement.{{sfn|Marshall|1987|pp=73–82}} Mir Jafar was installed as ''nawab'' but deposed in 1760 in favour of [[Mir Qasim]]; Mir Qasim's attempt to reduce Company interference in Bengal's internal trade led to renewed war and, at the [[Battle of Buxar]] on 22 October 1764, the defeat of a combined Mughal–Awadh–Bengal force by Company troops under [[Hector Munro, 8th laird of Novar|Hector Munro]].{{sfn|Marshall|1987|pp=83–92}}

On 12 August 1765, under the terms of the [[Treaty of Allahabad]], Emperor [[Shah Alam II]] granted the company the ''[[diwani]]'' of Bengal, Bihar, and Orissa (the right to collect revenue) while the ''nizamat'' (judicial and military functions) remained nominally with a Mughal-appointed ''nawab''.{{sfn|Marshall|1987|pp=90–95}} This "dual government" left Bengal as the earliest Mughal successor state absorbed in practice into European rule; formal transfer of the ''nizamat'' followed in 1772, and the ''nawabi'' was reduced to a pensioned dignity.{{sfn|Marshall|1987|pp=95–120}}

=== Awadh ===

[[Awadh]] under its [[Nawab of Awadh|Nawabs]] was the most durable of the core north Indian successor states, surviving as a nominally sovereign polity until 1856 and providing the dynastic model that [[Muzaffar Alam]] placed at the centre of his revisionist account of the eighteenth century.{{sfn|Alam|1986|pp=301}}{{sfn|Barnett|1980|pp=264}} [[Saadat Ali Khan I|Saadat Khan Burhan-ul-Mulk]], a [[Nishapur]]i [[Iran]]ian noble, was appointed ''subahdar'' of Awadh in 1722 and consolidated his authority over the region's ''zamindars'' during the 1720s through a combination of campaigning against recalcitrant ''[[taluqdar]]s'' and rapprochement with pliable Hindu service communities, particularly [[Kayastha]] revenue officers and [[Bhumihar]] landholders.{{sfn|Alam|1986|pp=119–150}}

Saadat Khan's successor [[Safdar Jang]] (r. 1739–1754) combined the Awadh ''subahdari'' with the Mughal ''[[Vizier|wazir]]ship'' between 1748 and 1753, briefly concentrating imperial and provincial authority in one hand before factional conflict at Delhi forced his withdrawal to [[Faizabad]].{{sfn|Alam|1986|pp=309}} Under [[Shuja-ud-Daula]] (r. 1754–1775), Awadh reached its territorial extent, absorbing the [[Rohilkhand]] territories after the [[First Rohilla War]] of 1774 with British assistance.{{sfn|Barnett|1980|pp=66}} Shuja's alliance with the fugitive emperor Shah Alam II and the deposed Bengal ''nawab'' Mir Qasim had earlier led him to the disastrous [[Battle of Buxar]] in 1764; by the terms of the [[Treaty of Allahabad]], Awadh retained its territory but accepted Company military support and financial obligations that Richard Barnett described as the first version of a subsidiary arrangement.{{sfn|Barnett|1980|pp=46–74}}

Shuja's son [[Asaf-ud-Daula]] (r. 1775–1797) moved the capital from Faizabad to [[Lucknow]] in 1775, where the court sponsored a distinctive [[Lucknowi]] literary and architectural florescence centred on the [[Bara Imambara]] and associated complexes.{{sfn|Barnett|1980|pp=129}} Under his successors [[Wazir Ali Khan|Wazir Ali]] and [[Saadat Ali Khan II]], Awadh accepted a formal [[subsidiary alliance]] with the Company in 1801, ceding the western half of the kingdom ([[Rohilkhand]] and the [[Lower Doab]]) in lieu of subsidy payments for a Company-officered [[sepoy]] force.{{sfn|Barnett|1980|pp=175–226}}{{sfn|Bayly|1988|pp=79–105}} The residual kingdom was annexed outright in February 1856 by the Company under Governor-General [[Lord Dalhousie|Dalhousie]], on grounds of misgovernment, and its last ''[[Nawab of Oudh|nawab]]'' [[Wajid Ali Shah]] deposed to [[Kolkata|Calcutta]]; the annexation was a proximate trigger of the [[Indian Rebellion of 1857]].{{sfn|Metcalf|1994|pp=55}}{{sfn|Bayly|1988|pp=170–193}}

=== Hyderabad ===

[[Hyderabad State|Hyderabad]] was established by [[Nizam-ul-Mulk, Asaf Jah I]] (Mir Qamaruddin Khan), a senior [[Turan]]i noble who had served as Mughal ''wazir'' in 1722 before abandoning Delhi in 1724 to return to the [[Deccan]], where he had previously served as ''subahdar''.{{sfn|Richards|1993|pp=298}}{{sfn|Leonard|1978|pp=54}} After defeating his rival Mubariz Khan at the [[Battle of Shakar Kheda]] in October 1724 and eluding an imperial attempt to recall him, Asaf Jah consolidated a domain that at its maximum extent stretched from the [[Narmada River|Narmada]] to the [[Tungabhadra]] and included most of what is now the [[Telugu languages|Telugu]]-speaking country and parts of [[Karnataka]] and [[Maharashtra]].{{sfn|Richards|1993|pp=298}} The state remained nominally subordinate to the Mughal emperor throughout the 18th century, receiving its ''[[farman]]s'' of investiture and striking coin in the emperor's name into the 1850s, a pattern that [[Karen Leonard]] used as one of her central examples of the persistence of Mughal symbolic forms under radically altered political conditions.{{sfn|Leonard|1978|pp=48}}

After Asaf Jah's death in 1748 the state entered a prolonged succession crisis, during which [[French Indies Company|French]] and later British support played a decisive role in determining the succession. [[Nizam Ali Khan, Asaf Jah II]] (r. 1762–1803) stabilised the state and, under pressure from expanding [[Maratha Empire|Maratha]] power and the emergent [[Kingdom of Mysore|Mysore]] of [[Haidar Ali]] and [[Tipu Sultan]], accepted a formal [[subsidiary alliance]] with the East India Company in 1798 during [[Richard Wellesley, 1st Marquess Wellesley|Wellesley's]] governor-generalship.{{sfn|Bayly|1988|pp=79–105}}{{sfn|Leonard|1978|pp=83}} In exchange for Company-officered sepoy regiments stationed at Hyderabad, the Nizam ceded the [[Rayalaseema]] districts in 1800 and agreed to conduct foreign relations only through the company.{{sfn|Bayly|1988|pp=79–90}}

Hyderabad's accommodation with the Company preserved it from outright annexation. Under [[Sikander Jah, Asaf Jah III|Asaf Jah III]] and his successors, the state survived the upheavals of 1857 on the British side, and continued as the largest [[princely state]] of the [[British Raj]], an arrangement whose social history Leonard reconstructed through the careers of the Hyderabadi [[Kayastha]] administrative service. Hyderabad's formal independence ended only with the [[Annexation of Hyderabad|Indian military action of September 1948]] and its integration into the [[Dominion of India]].{{sfn|Leonard|1978|pp=275–293}}

=== Arcot (Carnatic) ===

The [[Carnatic Sultanate|Carnatic]] under the [[Nawab of Arcot|Nawabs of Arcot]] originated as a sub-''subahdari'' under Hyderabad, created in 1710 when [[Saadatullah Khan I]] was installed at [[Arcot]] to administer the Mughal Deccan's southeastern districts.{{sfn|Richards|1993|pp=275–281}} The Nawabs became effectively independent from Hyderabad during the Deccan succession disputes of the 1740s, in which they played a central role as European-backed contestants. The [[Carnatic Wars]] of 1746–1763 between the French and British East India Companies were in large measure a contest over the Arcot succession, with the British candidate [[Muhammad Ali Khan Wallajah]] emerging successful after the [[Siege of Arcot]] of 1751 (defended by [[Robert Clive]]) and his final defeat of the French-backed claimant in the [[Third Carnatic War]].{{sfn|Marshall|1987|pp=93}}{{citation needed|date=April 2026}}

Muhammad Ali Wallajah (r. 1749–1795) accumulated very large debts to Company merchants and private creditors to finance these wars, and the resulting "[[Nabob|Nabobs of Arcot]]" scandal became a recurrent subject of parliamentary controversy in London during the 1770s and 1780s.{{sfn|Marshall|1987|pp=99}}{{sfn|Bayly|1988|pp=79–90}} The Nawab's financial dependence on the Company progressively transferred effective administration of the Carnatic to the [[Madras Presidency|Madras Council]]. The [[Carnatic Sultanate]] was annexed outright in 1801 under the treaty arrangements following the death of its last effective nawab [[Umdat ul-Umara]] and the [[Fourth Anglo-Mysore War]] that had established Company supremacy in the south.{{sfn|Bayly|1988|pp=100–105}}

{| class="wikitable sortable" style="margin:1em auto; text-align:left; font-size:95%;"
|+ Core Mughal successor states
! State !! Founding ruler !! Year of effective independence !! Capital !! Final absorption
|-
| [[Bengal Subah|Bengal]] || [[Murshid Quli Khan]] || 1717 || [[Murshidabad]] || ''Diwani'' to Company 1765; ''nizamat'' 1772
|-
| [[Awadh]] || [[Saadat Ali Khan I|Saadat Khan]] || 1722 || [[Faizabad]], [[Lucknow]] (from 1775) || Subsidiary alliance 1801; annexed 1856
|-
| [[Hyderabad State|Hyderabad]] || [[Nizam-ul-Mulk, Asaf Jah I|Asaf Jah I]] || 1724 || [[Aurangabad, Maharashtra|Aurangabad]], [[Hyderabad, India|Hyderabad]] (from 1763) || Subsidiary alliance 1798; princely state to 1948
|-
| [[Carnatic Sultanate|Arcot]] || [[Saadatullah Khan I]] || 1710 || [[Arcot]] || Annexed 1801
|-
| [[Rohilkhand]] || Ali Mohammed Khan || c. 1720 || [[Aonla, Uttar Pradesh|Aonla]], [[Bareilly]] || Annexed by Awadh 1774
|-
| [[Farrukhabad]] || [[Muhammad Khan Bangash]] || 1713 || [[Farrukhabad]] || Subsidiary alliance 1801; princely state
|-
| [[Bhopal State|Bhopal]] || Dost Mohammad Khan || c. 1723 || [[Bhopal]] || Subsidiary alliance 1818; princely state to 1949
|-
| [[Rampur State|Rampur]] || [[Faizullah Khan]] || 1774 || [[Rampur, Uttar Pradesh|Rampur]] || Subsidiary alliance 1794; princely state to 1949
|}

=== Secondary core: Rohilkhand, Farrukhabad, Bhopal, Rampur ===

Alongside the four major Nawabi states, several smaller Mughal successor polities emerged in northern and central India during the mid-18th century. [[Rohilkhand]], in the ''[[doab]]'' between the [[Ganges]] and the foothills, was formed by [[Afghan people|Afghan]] (Rohilla) military entrepreneurs who entered imperial service from the late 17th century, under leaders including Ali Mohammed Khan and [[Hafiz Rahmat Khan Barech|Hafiz Rahmat Khan]].{{sfn|Bayly|1983|pp=33}}{{sfn|Barnett|1980|pp=78}} The state's effective independence was ended by the [[First Rohilla War]] of 1774, in which [[Awadh]] with Company military assistance annexed most of Rohilkhand; a remnant continued as the [[Rampur State]] under [[Faizullah Khan]] from 1774.{{sfn|Barnett|1980|pp=66}}

[[Farrukhabad]], in the upper [[Doab]], was founded in 1713 by [[Muhammad Khan Bangash]], an Afghan ''mansabdar'' of [[Bangash]] origin; the [[Nawabs of Farrukhabad|Bangash Nawabs]] maintained a compact territory through the 18th century and accepted Company suzerainty in 1801.{{sfn|Bayly|1983|pp=104}} [[Bhopal State|Bhopal]], in central India, was established by the Afghan soldier-of-fortune Dost Mohammad Khan around 1723 on a small territory carved from the decaying administration of [[Malwa]], and, like Hyderabad, survived as a [[princely state]] through the colonial period.{{sfn|Bayly|1988|pp=35–44}} [[Rampur State|Rampur]], as noted, emerged from the truncation of Rohilkhand in 1774 and remained a Rohilla-ruled princely state under British paramountcy until 1949.{{sfn|Bayly|1983|pp=78}}

== Rival and post-Mughal polities ==

=== Maratha Confederacy ===

The [[Maratha Empire|Maratha Confederacy]] was not a Mughal successor state in the formal sense of inheriting a ''subahdari'', but it occupies a central place in almost all accounts of the 18th-century political landscape. Founded by [[Shivaji]] in the 1670s as a regional kingdom in the western Deccan, the Maratha state was reorganised after 1714 under a succession of [[Peshwa]]s ([[Brahmin]] hereditary chief ministers) into a loose [[confederation]] whose constituent houses, chief among them the [[Bhonsle]] of [[Nagpur]], the [[Holkar]] of [[Indore State|Indore]], the [[Scindia|Scindia of Gwalior]], and the [[Gaekwad]] of [[Baroda State|Baroda]], expanded Maratha influence across western and northern India during the first half of the century.{{sfn|Gordon|1993|pp=91–156}} The Marathas collected ''[[chauth]]'' (one quarter of revenue) and ''[[sardeshmukhi]]'' (an additional tenth) from a band of territories extending from [[Orissa]] in the east to [[Gujarat]] in the west and [[Delhi]] in the north; [[André Wink]] described this as a system of tributary overlordship operating alongside rather than replacing the Mughal framework.{{sfn|Wink|1986|pp=23–82}}

Maratha expansion reached its high-water mark under [[Madhavrao I]] (r. 1761–1772), who recovered from the catastrophic defeat at the [[Third Battle of Panipat]] of 14 January 1761, at which [[Ahmad Shah Durrani]]'s forces annihilated the Maratha army under [[Sadashivrao Bhau]].{{sfn|Gordon|1993|pp=172}} The subsequent defeats in the [[Anglo-Maratha Wars|three Anglo-Maratha wars]] between 1775 and 1818 ended with Company absorption of the Peshwa's territories in 1818 and the reduction of the surviving Maratha houses to subsidiary allies.{{sfn|Bayly|1988|pp=105–125}}

=== Sikh Misls and the Sikh Empire ===

{{Main|Sikh Empire}}

In the [[Punjab region|Punjab]], the [[Sikh]] community, mobilised militarily against Mughal persecution from the late 17th century under the later [[Sikh Gurus|gurus]] and their successor [[Banda Singh Bahadur]], consolidated from the 1720s into a confederation of twelve [[Sikh Misl|''misls'' (independent warrior-bands)]] that controlled the country between the [[Sutlej]] and the [[Indus]].{{sfn|Bayly|1988|pp=35–44}} Between 1799 and 1801 the ''misl'' leader [[Ranjit Singh]] of the [[Sukerchakia Misl]] unified most of the Punjabi ''misls'' under his own authority, founding the [[Sikh Empire]] with [[Lahore]] as its capital.{{sfn|Bayly|1988|pp=35–44}}

Ranjit Singh's state combined a large modern army (the [[Sikh Khalsa Army|Khalsa Army]], trained by European officers including [[Jean-François Allard]] and [[Paolo Avitabile]]) with the continued use of [[Persian language|Persian]] as an administrative language and the retention of many Mughal revenue and administrative forms.{{sfn|Bayly|1988|pp=35–44}} After Ranjit Singh's death in 1839 the Sikh state fractured into factional war, and was defeated and annexed by the Company in the [[First Anglo-Sikh War|First]] (1845–1846) and [[Second Anglo-Sikh War]]s (1848–1849).{{sfn|Bayly|1988|pp=155–170}}

=== Jats of Bharatpur ===

The [[Jat people|Jat]] chieftainship of [[Bharatpur State|Bharatpur]] was consolidated in the 1720s by [[Churaman]] and [[Badan Singh]], and reached its height under [[Suraj Mal]] (r. 1755–1763), who exploited the disintegrating Mughal authority to occupy [[Agra Fort|Agra]] in 1761 and briefly to hold [[Delhi]].{{sfn|Gordon|1993|pp=138–145}}{{citation needed|date=April 2026}} Bharatpur accepted Company subsidiary alliance terms in 1803, retained its ruling house through the colonial period, and acceded to the [[Dominion of India]] in 1948.{{sfn|Bayly|1988|pp=105–125}}

=== Durrani Punjab ===

Between 1752 and 1765 the [[Durrani Empire]] of [[Ahmad Shah Durrani]] claimed and intermittently administered the [[Punjab region|Punjab]] through appointed governors, incorporating the province into an Afghan-centred polity that stretched from [[Khorasan]] to the [[Doab|Ganges-Jamuna Doab]].{{sfn|Gordon|1993|pp=151–156}} Durrani sovereignty in the Punjab was progressively displaced during the 1760s by Sikh ''misl'' expansion; by 1799 the Durrani position had been extinguished east of the [[Jhelum River|Jhelum]], and Ranjit Singh's Sikh Empire absorbed the former Durrani districts over the following two decades.{{sfn|Bayly|1988|pp=35–44}}

=== Mysore under Haidar Ali and Tipu Sultan ===

The [[Kingdom of Mysore]], under the [[Wadiyar dynasty]] since the 16th century, was effectively taken over after 1761 by the military entrepreneur [[Haidar Ali]], and from 1782 by his son [[Tipu Sultan]].{{sfn|Bayly|1988|pp=50–60}} Under Haidar and Tipu, Mysore built a disciplined infantry army along European lines, developed an extensive state-controlled commerce and sericulture, and fought the [[Anglo-Mysore Wars|four Anglo-Mysore Wars]] (1767–1769, 1780–1784, 1790–1792, 1799).{{sfn|Bayly|1988|pp=50–79}}

Tipu, who corresponded with [[Revolutionary France]] and styled himself [[Padishah]], was killed defending [[Srirangapatna]] in the Fourth Anglo-Mysore War on 4 May 1799. The Wadiyar dynasty was restored as a Company subsidiary ally on reduced territory; the former Mysorean ports and the [[Kanara|Kanara coast]] were absorbed directly into Company India.{{sfn|Bayly|1988|pp=79–105}}

=== Company rule and the Bengal Presidency ===

A minority scholarly position, most closely associated with [[P. J. Marshall]], treats the [[East India Company]] itself as the terminal Mughal successor after its acquisition of the ''diwani'' of Bengal in 1765. On this reading, the Company inherited, modified, and ultimately replaced the Mughal administrative apparatus in Bengal rather than overturning it in any single stroke, collecting revenue in the emperor's name until 1835 and retaining the ''nawabi'' of Bengal as a pensioned fiction.{{sfn|Marshall|1987|pp=70–120}}{{sfn|Bayly|1988|pp=79–105}} The argument is reinforced by the persistence of Mughal administrative language, record-keeping, and personnel in the [[Bengal Presidency]] through the first half of the 19th century, and by the central place occupied by the Mughal emperor's formal legitimation in Company diplomacy until the abolition of the ''diwani'' fiction in 1835.{{sfn|Bayly|1988|pp=105–125}}{{citation needed|date=April 2026}}

== Historiography ==

=== The eighteenth-century decline debate ===

{{Main|Decline of the Mughal Empire}}

Until the 1970s, accounts of the Mughal successor states were dominated by a narrative of systemic decline whose classic formulation was [[Jadunath Sarkar]]'s four-volume ''Fall of the Mughal Empire'' (1932–1950).{{sfn|Sarkar|1950a|pp=1–22}} For Sarkar and his contemporaries, the 18th century represented a "dark age" of political fragmentation, economic contraction, and cultural stagnation, from which the subcontinent was rescued only by the establishment of British rule. Subsequent work in the [[Aligarh school of historians|Aligarh tradition]], notably [[M. Athar Ali]]'s ''The Mughal Nobility under Aurangzeb'' (1966), [[Satish Chandra]]'s ''Parties and Politics at the Mughal Court'' (1959), and [[Irfan Habib]]'s ''The Agrarian System of Mughal India'' (1963), refined this decline narrative by locating its origin in structural contradictions: specifically, an over-extraction of agricultural surplus (the [[Agrarian crisis of the Mughal Empire|agrarian crisis]]) and a [[Jagirdari crisis|''jagirdari'' crisis]] produced by the mismatch between a growing nobility and a fixed revenue base.{{sfn|Ali|1966|pp=18}}{{sfn|Chandra|2002|pp=1–44}}

From the late 1970s, a revisionist historiography, drawing on regional archives and anthropological methods, contested this narrative. [[Muzaffar Alam]]'s ''The Crisis of Empire in Mughal North India'' (1986), focused on [[Awadh]] and the [[Punjab region|Punjab]], treated the 18th century as a period of "crisis and opportunity" in which the disruption of central authority enabled the consolidation of stable, commercially dynamic regional states.{{sfn|Alam|1986|pp=1–16}} [[Chris Bayly|C. A. Bayly]]'s ''Rulers, Townsmen and Bazaars'' (1983) and ''Indian Society and the Making of the British Empire'' (1988) extended this argument across northern India, emphasising the continuity of commercial networks and the emergence of a stable "portfolio capitalist" mercantile elite that spanned the transition from Mughal to Company rule.{{sfn|Bayly|1983|pp=359}}{{sfn|Bayly|1988|pp=7–35}} The revisionist case was further developed by regional specialists including [[P. J. Marshall]] (Bengal), Richard Barnett (Awadh), [[Karen Leonard]] (Hyderabad), and [[Kumkum Chatterjee]] (Bihar).{{sfn|Marshall|1987|pp=164}}{{sfn|Leonard|1978|pp=362}}{{sfn|Leonard|1978|pp=15}}

=== Historiography of the successor states ===

The revisionist historiography of the successor states has advanced through several complementary theses.{{Quote box
|quote = The eighteenth century was not the dark age of earlier historiography but a period of intense regional experimentation in state-building and commerce, within a framework that remained, formally and often substantively, Mughal.
|author = [[C. A. Bayly]]
|source = ''Indian Society and the Making of the British Empire'' (1988)
|align = right
|width = 30em
|bgcolor = #F9F9F9
}}[[Karen Leonard]]'s "[[Great Firm theory of the decline of the Mughal Empire|Great Firm theory]]", first stated in her 1979 article in ''[[Comparative Studies in Society and History]]'', located the fiscal collapse of the Mughal state in the progressive withdrawal of indigenous banking houses, chief among them the Jagat Seth firm of Bengal and the bankers of [[Mathura]] and [[Bikaner]], from imperial financing over the late 17th and early 18th centuries.{{sfn|Leonard|1979|pp=16}}{{refn|name=paywall|group=note|The Leonard 1979 article is paywalled on Cambridge Core; the argument is developed at book length in Leonard's ''Social History of an Indian Caste: The Kayasths of Hyderabad'' (1978), available in open access on the Internet Archive.}} On Leonard's account, the re-allocation of banking credit toward successor-state administrations and, eventually, toward the East India Company, preceded and enabled the political fragmentation conventionally taken as the explanation. The argument drew criticism from Aligarh historians for displacing the primary cause of decline from the agrarian to the financial sector, but has been substantially adopted by subsequent scholarship on 18th-century Indian political economy.{{sfn|Bayly|1983|pp=35–74}}

[[Dirk Kolff]]'s ''Naukar, Rajput and Sepoy'' (1990) provided a complementary reframing of the military history of the period. Kolff argued that 18th-century north India was characterised by an active military labour market in which [[Rajput]] and other peasant-soldier populations moved between employment under Mughal, successor-state, Maratha, and eventually British armies; the successor states, on this reading, competed for a common pool of military talent that was progressively monopolised by the company's better-capitalised sepoy battalions.{{sfn|Kolff|1990|pp=1–71}} [[André Wink]]'s ''Land and Sovereignty in India'' (1986) developed a parallel argument for the Maratha state, framing ''sarkar'' relations in terms of ''[[Fitna (word)|fitna]]'' (a layered and contestable concept of sovereignty) rather than fixed territorial rule, and situating the Marathas within a wider "politics of succession" that the Mughal framework had long accommodated.{{sfn|Wink|1986|pp=23–54}}

Recent scholarship has moved beyond the decline-versus-dynamism opposition. [[Sanjay Subrahmanyam]]'s [[Connected history|connected-history]] work, with Bayly in "Portfolio Capitalists and the Political Economy of Early Modern India" (1988) and separately, has reframed the successor states within Eurasian-scale circuits of trade, fiscal innovation, and state-building.{{sfn|Subrahmanyam|Bayly|1988|pp=401–424}}{{refn|name=paywall-sb|group=note|The Subrahmanyam and Bayly article is paywalled on SAGE; its central argument is developed at greater length in Bayly's ''Rulers, Townsmen and Bazaars'' (1983), chapters 2–4.}} [[David Washbrook]]'s work on south India has questioned whether regional dynamism amounted to "progress" in any substantial economic sense, arguing for more attention to social differentiation and agrarian distress within the successor-state framework.{{sfn|Washbrook|1988|pp=26}}{{refn|name=paywall-w|group=note|The Washbrook article is paywalled on Cambridge Core.}} [[Thomas R. Metcalf|Metcalf]] and other imperial-ideology historians have analysed how the company's own self-presentation as the Mughal successor shaped the racial and political categories of the 19th-century [[British Raj|Raj]].{{sfn|Metcalf|1994|pp=1–65}}

== Political economy and governance patterns ==

=== Administrative continuity ===

The most consistent feature of the successor states across regions was the preservation, with local adaptation, of the Mughal administrative grid. The ''[[subah]]–[[Sarkar (administrative division)|sarkar]]–[[pargana]]'' structure of territorial subdivision, the ''[[mansabdar|mansab]]'' system of military-administrative ranking (in modified form), the ''[[jagir]]'' system of revenue assignment, and the ''[[zabt]]'' method of revenue assessment remained in continuous use.{{sfn|Alam|1986|pp=228}}{{sfn|Richards|1993|pp=63–93}} Record-keeping conventions, including the use of [[Persian language|Persian]] as the administrative language, survived unbroken into the 19th century, only gradually displaced after the [[English Education Act 1835|1835 replacement of Persian]] by English and the vernaculars as the official languages of the [[British Raj]].{{sfn|Bayly|1988|pp=105–125}}{{sfn|Leonard|1978|pp=342}}

The successor states also shared a pattern of administrative recruitment. The senior revenue and financial officers of Bengal, Awadh, and Hyderabad were drawn disproportionately from [[Iran]]ian and [[Turan]]i nobility in the first generation and increasingly, by the mid-18th century, from [[Kayastha]], [[Khatri]], [[Brahmin]], and [[Bhumihar]] service communities whose skills in Persian record-keeping and local revenue knowledge were essential to the working of the provincial state.{{sfn|Alam|1986|pp=223}}{{sfn|Leonard|1978|pp=53–118}}

=== Fiscal fragmentation and the Great Firm ===

The financial infrastructure that underpinned the successor states rested on a network of indigenous banking houses whose role [[Karen Leonard|Leonard]] placed at the centre of her analysis. The [[Jagat Seth family|Jagat Seth]] firm in Bengal, the [[Oswal]] and [[Marwari people|Marwari]] banking families in Rajasthan, and the ''shroffs'' of [[Gujarat]] and the [[Deccan]] provided the credit that enabled revenue-farming, ''[[hundi]]'' (bill of exchange) remittances between provinces, and the financing of military campaigns.{{sfn|Leonard|1979|pp=151–167}}{{sfn|Bayly|1983|pp=319}} The successor-state fiscal architecture was therefore not a diminished version of Mughal centralisation but a different pattern: more monetised, more dependent on private banking, and more exposed to credit conditions in the major commercial centres.{{sfn|Bayly|1983|pp=351}}

The Great Firm thesis argued that the progressive migration of banking credit away from the Mughal centre, first toward [[Murshidabad]] and the Deccan successor-state administrations and then, after 1750, toward the East India Company's [[Fort William, West Bengal|Fort William]] establishment in Bengal, both signalled and accelerated the political transition. Banking houses moved credit to where they expected stable repayment; their judgments about relative risk ratified and entrenched the redistribution of political power.{{sfn|Leonard|1979|pp=16}}{{sfn|Bayly|1983|pp=142}}

=== Military labour and the shift to sepoy armies ===

The 18th century saw an expansion and reorganisation of India's military labour market, a transformation [[Dirk H. A. Kolff|Kolff]] documented through court records, army pay registers, and chronicles of Rajput and Afghan recruitment.{{sfn|Kolff|1990|pp=80}} Successor-state armies drew on a large pool of mobile peasant soldiers whose employment shifted between Mughal, regional, and eventually Company employers. The [[sepoy]] battalions developed by the French and British East India Companies from the 1740s were not a radical departure but a further evolution of Indian military practice, adopting European drill, artillery, and uniform pay while recruiting from the same labour pool as the Marathas, Awadh, and Hyderabad.{{sfn|Kolff|1990|pp=213}}

The company's advantage was partly fiscal, partly organisational. Better access to Bengali revenue after 1757 funded regular pay and standardised equipment at a scale that successor states could match only during periods of peak prosperity; and Company officers combined the new drill with ruthlessly applied contract enforcement, reducing the traditional Indian soldier's ability to negotiate terms and change employer.{{sfn|Washbrook|1988|pp=19}}{{citation needed|date=April 2026}} By the end of the 18th century, the absorption of successor-state militaries into the company's subsidiary alliance system had converted most of the subcontinent's military manpower into Company-officered sepoys, an outcome that Kolff read as the decisive structural change of the period.{{sfn|Kolff|1990|pp=210}}

== British intervention and absorption ==

British territorial expansion across the 18th and early 19th centuries proceeded state by state and treaty by treaty, rather than as a single conquest. [[East India Company]] acquisition of Bengal through [[Battle of Plassey|Plassey]] (1757), [[Battle of Buxar|Buxar]] (1764), and the [[Treaty of Allahabad]] (1765) provided the revenue base for all subsequent expansion; the [[Carnatic Wars]] of 1746–1763 established Company dominance in the south at the expense of both the French and the Nawab of Arcot.{{sfn|Marshall|1987|pp=105}}{{sfn|Bayly|1988|pp=79–105}}

Under Governor-General [[Warren Hastings]] (1773–1785) and later [[Richard Wellesley, 1st Marquess Wellesley|Lord Wellesley]] (1798–1805), the Company moved from commercial and revenue-based interaction to formal treaty relations with the remaining successor states. The [[subsidiary alliance|Subsidiary Alliance]] system, inaugurated by Wellesley in 1798, conditioned peace with a successor state on that state's maintenance, at its own expense, of Company-officered sepoy forces stationed on its territory, and on the conduct of foreign relations only through the Company Resident.{{sfn|Bayly|1988|pp=79–105}} Hyderabad accepted the first subsidiary alliance in 1798, Awadh in 1801, the [[Peshwa]] in 1802, and Bharatpur and other smaller states by 1803.{{sfn|Bayly|1988|pp=79–105}}

Formal annexations followed along three overlapping lines. First, territorial cessions in lieu of subsidy payments: Awadh ceded the [[Lower Doab]] and [[Rohilkhand]] in 1801, the Nizam ceded [[Rayalaseema]] in 1800, Mysore's coastal districts were taken after the [[Fourth Anglo-Mysore War]] of 1799. Second, direct military absorption: the [[Anglo-Maratha Wars|three Anglo-Maratha Wars]] ended Maratha independence in 1818, and the [[First Anglo-Sikh War|First]] (1845–1846) and [[Second Anglo-Sikh War|Second]] (1848–1849) Anglo-Sikh Wars extinguished the Sikh Empire. Third, annexations on doctrinal grounds: the [[Doctrine of Lapse]] applied from 1848 by Governor-General [[Lord Dalhousie|Dalhousie]] annexed [[Satara State|Satara]] (1848), [[Jaitpur]], [[Sambalpur]], [[Jhansi]] (1853), and [[Nagpur kingdom|Nagpur]] (1854) on the grounds that their rulers had died without natural heirs; the annexation of [[Awadh]] in February 1856 proceeded on the separate ground of alleged misgovernment, and, together with the other Dalhousie annexations, became a proximate trigger of the [[Indian Rebellion of 1857]].{{sfn|Metcalf|1994|pp=43–65}}{{sfn|Bayly|1988|pp=170–193}}

The suppression of the Rebellion and the formal replacement of the company by the [[British Raj|Crown]] in 1858 brought the era of the Mughal successor states to a legal close. The Mughal emperor [[Bahadur Shah Zafar]] was deposed and exiled; the remaining successor states were partly annexed and partly reconstituted as [[princely state]]s under direct British paramountcy.{{sfn|Metcalf|1994|pp=168}}

{| class="wikitable sortable" style="margin:1em auto; text-align:left; font-size:95%;"
|+ Subsidiary alliances and annexations of the successor states
! State !! Subsidiary alliance !! Territorial cession !! Final absorption !! Instrument
|-
| Bengal || n/a || n/a || 1772 || ''Diwani'' 1765, ''nizamat'' 1772
|-
| Hyderabad || 1798 || 1800 ([[Rayalaseema]]) || survived to 1948 || Princely-state status
|-
| Awadh || 1801 || 1801 ([[Lower Doab]]) || 1856 || Annexation (misgovernment)
|-
| Arcot (Carnatic) || n/a || n/a || 1801 || Annexation
|-
| Peshwa (Maratha) || 1802 ([[Treaty of Bassein (1802)|Treaty of Bassein]]) || 1803, 1818 || 1818 || [[Third Anglo-Maratha War]]
|-
| Mysore (Wadiyar restoration) || 1799 || 1799 (Kanara) || Restored 1881 || Princely-state status
|-
| Sikh Empire || n/a || 1846 || 1849 || [[Second Anglo-Sikh War]]
|-
| Satara || n/a || 1848 || 1848 || [[Doctrine of Lapse]]
|-
| Jhansi || n/a || 1853 || 1853 || Doctrine of Lapse
|-
| Nagpur || n/a || 1854 || 1854 || Doctrine of Lapse
|}

== Legacy ==

The surviving successor states, including [[Hyderabad State|Hyderabad]], [[Rampur State|Rampur]], [[Bhopal State|Bhopal]], and the post-1818 Maratha houses ([[Indore State|Indore]], [[Gwalior State|Gwalior]], [[Baroda State|Baroda]]), continued as [[princely state]]s under the British Raj. At [[Indian independence movement|Indian independence]] in 1947 they acceded to either the [[Dominion of India]] or the [[Dominion of Pakistan]] in a process completed by 1948, the last holdout being Hyderabad, which was integrated into India by [[Annexation of Hyderabad|military action in September 1948]].{{sfn|Leonard|1978|pp=275–293}}{{sfn|Bayly|1988|pp=193–230}}

The successor-state period left an enduring imprint on South Asian culture and institutions. The [[Lucknow]]i and [[Murshidabad]]i literary, musical, and architectural schools of the 18th and early 19th centuries, and the parallel developments at [[Hyderabad, India|Hyderabad]], [[Farrukhabad]], [[Rampur, Uttar Pradesh|Rampur]], and [[Bhopal]], elaborated Mughal cultural forms outside of the atrophied imperial court at Delhi and have been described as the principal continuation of the Mughal cultural tradition in its final century.{{sfn|Bayly|1988|pp=35–79}} The administrative Persian and [[Urdu]] of the successor states fed directly into the [[Indo-Persian]] literary and scholarly worlds of the 19th century and, through them, into [[Urdu literature]] and the political discourse of the emerging Indian nationalist movement.{{sfn|Leonard|1978|pp=225}}

Historiographically, the re-evaluation of the successor states since the 1970s has been central to broader revisions of the South Asian 18th century. Their study has informed theoretical debates about [[early modern]] state-formation, the relationship between commercial expansion and political fragmentation, the nature of colonialism as an historical process, and the long-term place of the Mughal legacy in modern South Asia.{{sfn|Bayly|1988|pp=7–35}}{{sfn|Alam|1986|pp=32}}{{sfn|Subrahmanyam|Bayly|1988|pp=401–424}}{{refn|name=paywall-sb|group=note}}

== See also ==
* [[Mughal Empire]]
* [[Decline of the Mughal Empire]]
* [[Jagirdari crisis]]
* [[Company rule in India]]

== Notes ==
{{Reflist|group=note}}

== References ==
{{Reflist}}

== Sources ==
{{refbegin|30em}}
* {{cite book |last=Alam |first=Muzaffar |author-link=Muzaffar Alam |title=The Crisis of Empire in Mughal North India: Awadh and the Punjab, 1707–1748 |publisher=[[Oxford University Press]] |location=Delhi |year=1986 |isbn=978-0-19-563464-4 |url=https://archive.org/details/crisisofempirein0000muza |ref={{harvid|Alam|1986}}}}
* {{cite book |last=Ali |first=M. Athar |author-link=M. Athar Ali |title=The Mughal Nobility under Aurangzeb |publisher=[[Oxford University Press]] |location=Delhi |year=1966 |orig-date=Asia Publishing House 1966; revised OUP edition 1997 |isbn=978-0-19-565099-6 |url=https://archive.org/details/mughalnobilityun0000atha |ref={{harvid|Ali|1966}}}}
* {{cite book |last=Barnett |first=Richard B. |title=North India Between Empires: Awadh, the Mughals, and the British, 1720–1801 |publisher=[[University of California Press]] |location=Berkeley |year=1980 |isbn=978-0-520-04137-2 |url=https://archive.org/details/northindiabetwee0000barn |ref={{harvid|Barnett|1980}}}}
* {{cite book |last=Bayly |first=C. A. |author-link=C. A. Bayly |title=Rulers, Townsmen and Bazaars: North Indian Society in the Age of British Expansion, 1770–1870 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1983 |isbn=978-0-521-31054-1 |url=https://archive.org/details/rulerstownsmenba0000bayl |ref={{harvid|Bayly|1983}}}}
* {{cite book |last=Bayly |first=C. A. |title=Indian Society and the Making of the British Empire |series=The New Cambridge History of India |volume=II.1 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1988 |isbn=978-0-521-38650-8 |url=https://archive.org/details/indiansocietymak0000bayl |ref={{harvid|Bayly|1988}}}}
* {{cite book |last=Chandra |first=Satish |author-link=Satish Chandra |title=Parties and Politics at the Mughal Court, 1707–1740 |publisher=[[Oxford University Press]] |location=Delhi |year=2002 |orig-date=People's Publishing House 1959 |isbn=978-0-19-565444-4 |url=https://archive.org/details/partiespoliticsa0000chan |ref={{harvid|Chandra|2002}}}}
* {{cite book |last=Chatterjee |first=Kumkum |title=Merchants, Politics, and Society in Early Modern India: Bihar, 1733–1820 |publisher=[[Brill Publishers|Brill]] |location=Leiden |year=1996 |isbn=978-90-04-10637-2 |ref={{harvid|Chatterjee|1996}}}} 
* {{cite book |last=Faruqui |first=Munis D. |title=The Princes of the Mughal Empire, 1504–1719 |publisher=[[Cambridge University Press]] |location=New York |year=2012 |isbn=978-1-107-02217-1 |url=https://archive.org/details/princesofmughale0000faru |ref={{harvid|Faruqui|2012}}}}
* {{cite book |last=Gordon |first=Stewart |title=The Marathas 1600–1818 |series=The New Cambridge History of India |volume=II.4 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1993 |isbn=978-0-521-26883-7 |url=https://archive.org/details/marathas160018180000gord |ref={{harvid|Gordon|1993}}}}
* {{cite book |last=Kolff |first=Dirk H. A. |title=Naukar, Rajput and Sepoy: The Ethnohistory of the Military Labour Market in Hindustan, 1450–1850 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1990 |isbn=978-0-521-38132-9 |url=https://archive.org/details/naukarrajputsepo0000kolf |ref={{harvid|Kolff|1990}}}}
* {{cite book |last=Leonard |first=Karen |author-link=Karen Leonard (anthropologist) |title=Social History of an Indian Caste: The Kayasths of Hyderabad |publisher=[[University of California Press]] |location=Berkeley |year=1978 |isbn=978-0-520-03109-0 |url=https://archive.org/details/socialhistoryofi0000leon |ref={{harvid|Leonard|1978}}}}
* {{cite journal |last=Leonard |first=Karen |title=The 'Great Firm' Theory of the Decline of the Mughal Empire |journal=[[Comparative Studies in Society and History]] |volume=21 |issue=2 |year=1979 |pages=151–167 |doi=10.1017/S0010417500012810 |ref={{harvid|Leonard|1979}}}} 
* {{cite book |last=Marshall |first=P. J. |author-link=P. J. Marshall |title=Bengal: The British Bridgehead, Eastern India 1740–1828 |series=The New Cambridge History of India |volume=II.2 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1987 |isbn=978-0-521-25330-7 |url=https://archive.org/details/Volume02-The-New-Cambridge-History-of-India |ref={{harvid|Marshall|1987}}}}
* {{cite book |last=Metcalf |first=Thomas R. |author-link=Thomas R. Metcalf |title=Ideologies of the Raj |series=The New Cambridge History of India |volume=III.4 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1994 |isbn=978-0-521-39547-8 |url=https://archive.org/details/ideologiesofraj0000metc_e9v4 |ref={{harvid|Metcalf|1994}}}}
* {{cite book |last=Richards |first=John F. |author-link=John F. Richards |title=The Mughal Empire |series=The New Cambridge History of India |volume=I.5 |publisher=[[Cambridge University Press]] |location=Cambridge |year=1993 |isbn=978-0-521-56603-2 |url=https://archive.org/details/mughalempire0000rich |ref={{harvid|Richards|1993}}}}
* {{cite book |last=Sarkar |first=Jadunath |author-link=Jadunath Sarkar |title=Fall of the Mughal Empire, Volume I: 1739–1754 |publisher=M. C. Sarkar & Sons |location=Calcutta |year=1950 |orig-date=First edition 1932 |url=https://archive.org/details/in.ernet.dli.2015.511649 |ref={{harvid|Sarkar|1950a}}}}
* {{cite journal |last1=Subrahmanyam |first1=Sanjay |author-link1=Sanjay Subrahmanyam |last2=Bayly |first2=C. A. |title=Portfolio Capitalists and the Political Economy of Early Modern India |journal=[[Indian Economic and Social History Review]] |volume=25 |issue=4 |year=1988 |pages=401–424 |doi=10.1177/001946468802500401 |ref={{harvid|Subrahmanyam|Bayly|1988}}}} 
* {{cite journal |last=Washbrook |first=David |title=Progress and Problems: South Asian Economic and Social History c.1720–1860 |journal=[[Modern Asian Studies]] |volume=22 |issue=1 |year=1988 |pages=57–96 |doi=10.1017/S0026749X00009288 |ref={{harvid|Washbrook|1988}}}} 
* {{cite book |last=Wink |first=André |author-link=André Wink |title=Land and Sovereignty in India: Agrarian Society and Politics under the Eighteenth-Century Maratha Svarajya |publisher=[[Cambridge University Press]] |location=Cambridge |year=1986 |isbn=978-0-521-30824-1 |url=https://archive.org/details/landsovereigntyi0000wink |ref={{harvid|Wink|1986}}}}
{{refend}}

=== Primary sources ===
{{refbegin|30em}}
* {{cite book |last=Abu'l-Fazl |author-link=Abu'l-Fazl ibn Mubarak |translator-last=Blochmann |translator-first=H. |title=The Ain-i-Akbari, Volume I |publisher=Asiatic Society of Bengal |location=Calcutta |year=1873 |url=https://archive.org/details/in.ernet.dli.2015.32526}}
* {{cite book |last=Abu'l-Fazl |translator-last=Jarrett |translator-first=H. S. |title=The Ain-i-Akbari, Volumes II and III |publisher=Asiatic Society of Bengal |location=Calcutta |year=1894 |url=https://archive.org/details/in.ernet.dli.2015.46757}}
* {{cite book |last=Ghulam Husain Salim |translator-last=Salam |translator-first=Abdus |title=Riyazu-s-Salatin: A History of Bengal |publisher=Asiatic Society of Bengal |location=Calcutta |year=1902 |url=https://archive.org/details/riyazussalatinhi00saliuoft}}
* {{cite book |last=Tabatabai |first=Ghulam Husain |author-link=Ghulam Husain Tabatabai |translator-last=Briggs |translator-first=John |title=Siyar-ul-Mutaqherin: A History of the Mahomedan Power in India during the Last Century |publisher=Oriental Translation Fund |location=London |year=1832 |url=https://archive.org/details/siyarulmutakher00briggoog}}
{{refend}}

== Further reading ==
* {{cite book |last=Alavi |first=Seema |title=The Eighteenth Century in India |publisher=Oxford University Press |location=Delhi |year=2002 |isbn=978-0-19-565640-0}}
* {{cite book |last=Fisher |first=Michael H. |title=A Clash of Cultures: Awadh, the British, and the Mughals |publisher=Manohar |location=Delhi |year=1987 |isbn=978-81-85054-39-1}}
* {{cite book |editor-last=Marshall |editor-first=P. J. |title=The Eighteenth Century in Indian History: Evolution or Revolution? |publisher=Oxford University Press |location=Delhi |year=2003 |isbn=978-0-19-566362-0}}

== External links ==
* [https://dsal.uchicago.edu/reference/schwartzberg/ Schwartzberg, ''A Historical Atlas of South Asia''] — University of Chicago DSAL, digital public-access edition including plates of the successor-state period
* [https://archive.org/details/imperialgazettee04grea ''The Imperial Gazetteer of India'', Oxford: Clarendon Press, 1907–1909] — volume-by-volume entries on the successor states and their British-era princely successors

{{Mughal Empire}}
{{India topics}}
{{Authority control}}

[[Category:Mughal Empire]]
[[Category:Former countries in South Asia]]
[[Category:Former monarchies of Asia]]
[[Category:18th century in India]]
[[Category:19th century in India]]
[[Category:History of India by period]]
[[Category:Early modern history of India]]
[[Category:Successor states]]

Ghuduwala

2026-04-26T08:49:09Z

FWQGina861152045:

{{Short description|Village in Faridkot District, Punjab, India}}
{{Use dmy dates|date=May 2025}}
{{Use Indian English|date=May 2025}}
{{Infobox settlement
| name = Ghuduwala
| native_name = ਘੁੱਦੂਵਾਲਾ
| native_name_lang = pa
| other_name =
| nickname =
| settlement_type = Village
| image_skyline =
| image_alt =
| image_caption =
| pushpin_map = India Punjab#India
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in Punjab, India
| coordinates = {{coord|30.697914042738148|N|74.55369461856061|E|display=inline,title}}
| subdivision_type =
| subdivision_name = {{flag|India}}
| subdivision_type1 =
| subdivision_name1 = [[Punjab, India|Punjab]]
| subdivision_type2 =
| subdivision_name2 =
| established_title =
| established_date =
| founder =
| named_for =
| government_type = Sarpanch
| governing_body = Gram panchayat
| leader_title = [[Sarpanch]]
| leader_name =
| unit_pref =
| area_footnotes =
| area_rank =
| area_total_ha = 522
| elevation_footnotes =
| elevation_m =
| population_total = 1042
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Punjabi language|Punjabi]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 151212
| area_code_type = Telephone code
| area_code = +91-
| registration_plate =
| blank1_name_sec1 = Nearest cities
| blank1_info_sec1 = Sadiq, Jand Sahib
| blank1_name_sec2 =
| blank1_info_sec2 =
| blank2_name_sec2 =
| blank2_info_sec2 =
| website =
| footnotes =
}}
'''Ghuduwala''' ([[Punjabi language|Punjabi]]: ਘੁੱਦੂਵਾਲਾ) is a village in [[Faridkot, Punjab|Faridkot]] district of [[Punjab, India]].<ref>{{Cite web |title=Ghuduwala · Punjab 151212, India |url=https://www.google.com/maps/place/Ghuduwala,+Punjab+151212/@30.6980524,74.5478796,16z/data=!3m1!4b1!4m6!3m5!1s0x3919df86d9be1a2f:0xe01e78029777e9fb!8m2!3d30.69926!4d74.5536515!16s/g/1tjwg3qv?entry=ttu&g_ep=EgoyMDI1MDQyMC4wIKXMDSoASAFQAw== |access-date=2025-04-27 |website=Ghuduwala · Punjab 151212, India |language=en}}</ref> It is located right between [[Firozpur|Ferozepur]], [[Sri Muktsar Sahib]], [[Faridkot, Punjab|Faridkot]], and [[Jand Sahib]]. The village falls in Faridkot tehsil.

== Demographics ==
The population of this village is 1042 of which 555 are males while 487 females as per population census of 2011.<ref>{{Cite web |title=Ghuduwala Village Population - Faridkot - Faridkot, Punjab |url=https://www.census2011.co.in/data/village/35495-ghuduwala-punjab.html |access-date=2025-04-27 |website=www.census2011.co.in}}</ref> The nearest post office to this village is Jand Sahib 2 km away, pin code is 151212.<ref>{{Cite web |title=Pin Code: GURUDWARA JAND SAHIB, FARIDKOT, PUNJAB, India, Pincode.net.in |url=https://pincode.net.in/PUNJAB/FARIDKOT/G/GURUDWARA_JAND_SAHIB |access-date=2025-04-27 |website=pincode.net.in}}</ref> The total geographical area of village is 522 Hectares/5.22 km2.<ref>{{Cite web |title=Ghuduwala (42) village in Faridkot taluka, Faridkot, Punjab, India |url=https://vill.co.in/punjab/faridkot/faridkot-045002420/ghuduwala-42-002420354950/ |access-date=2025-04-27 |website=vill.co.in |language=en}}</ref>
{| class="wikitable"
!District
!Post Office
!Pin Code
!Population
!Area
!Nearby
!Police Station
|-
|Faridkot
|[[Gurudwara Jand Sahib|Jand Sahib]]
|151212
|1,042<ref name="auto">{{Cite web |title=Ghuduwala Village Population - Faridkot - Faridkot, Punjab |url=https://censusindia.gov.in/nada/index.php/catalog/44012 |access-date=2023-11-12 |website=www.census2011.co.in}}</ref><ref>{{Cite web |title=Visualizations {{!}} Government of India |url=https://censusindia.gov.in/census.website/data/data-visualizations/PopulationSearch_PCA_Indicators |access-date=2023-11-18 |website=censusindia.gov.in}}</ref>
|500 Hectare
|[[Sadiq (town)|Sadiq]], [[Jand Sahib]]
|Police Station Sadiq (3 km away)
|}

== Educational Institutes ==

* SBRS College for Women<ref>{{Cite web |title=SBRS College |url=https://www.sbrscollege.com/ |access-date=2025-05-18 |language=en-US}}</ref>
* SBRS Pub Sen. Sec. School, Ghuduwala.<ref>{{Cite web |title=S.B.R.S PUB SEN SEC SCH GHUDUWALA - Ghudu Wala District Faridkot (Punjab) |url=https://schools.org.in/faridkot/03130105605/s-b-r-s-pub-sen-sec-sch-ghuduwala.html |access-date=2025-05-18 |website=schools.org.in}}</ref>
* PST Memorial Public School
* Govt. Primary School, Ghuduwala<ref>{{Cite web |title=GPS GHDU WALA - Ghudu Wala District Faridkot (Punjab) |url=https://schools.org.in/faridkot/03130105601/gps-ghdu-wala.html#google_vignette |access-date=2025-05-18 |website=schools.org.in}}</ref>

== References ==

[[Category:Villages in Faridkot district]]
<references />{{PunjabIN-geo-stub}}{{Faridkot district}}

Marriage in Galo culture

2026-04-25T13:30:15Z

FWQGina861152045: new a pg more to come - done

{{Multiple issues|1=
{{essay-like|date=December 2016}}
{{More sources needed|date=August 2025}}
}}

The [[Galo People]], a [[scheduled tribe]] in [[Arunachal Pradesh]], India, have their own marriage traditions.

==Background==
Arunachal Pradesh is in the [[northeast India]], with an area of 83743 km2. It is the largest state area-wise in the region, with 17 districts, 26 major tribes, and more than 100 sub-tribes. The Galo originate from the [[Abotani]] and are part of the [[Tani people]], a group which also includes the [[Adi people|Adi]], [[Apatani people|Apatani]], [[Nyishi people|Nyishi]], [[Tagin people|Tagin]], and [[Mising people|Mising]]. The Galo are one of the largest communities within the Tani people.

==History==
In earlier days, the parents of a boy used to search a girl from a good family and they would meet the girl's parents with domesticated animal meat and express their marriage proposal. If the girl's parent accepted the proposal and as per the traditional and customary practices, the bridegroom's parents would bring cow and [[gayal|mithun]] meat, local wine and beads as first gifts and visit the bride's parents. Then the family members and elders of the community would discuss the [[bride price]], given to the bride's family by the parents of the bridegroom. The bride price differs according to the status of the person, and primarily consists of the semi-domesticated mithun.<ref>{{Cite news |date=2016-02-02 |title=In Arunachal Pradesh, ‘mithun’ replaces cow as animal of socio-political significance |url=https://www.india.com/news/india/in-arunachal-pradesh-mithun-replaces-cow-as-animal-of-socio-political-significance-911720/ |archive-url=https://web.archive.org/web/20160203124452/https://www.india.com/news/india/in-arunachal-pradesh-mithun-replaces-cow-as-animal-of-socio-political-significance-911720/ |archive-date=2016-02-03 |access-date=2026-04-25 |work=India.com |language=en-EN}}</ref> The bridegroom's side must give at least two mithuns and two cows to the bride's parents. Those with more wealth could afford to give between 10 and 20 mithuns.

==Practices==
The marriage practices depend on the situation and decision of both the parties. In many cases, the recognition of the girl as a wife is done by bringing the girl into the boy's parents home. Then in the presence of the family and community elders, the traditional practice called {{lang|adl|layap}}, a simple ceremony with the sacrifice of hen and a small feast.<ref>{{Cite news |date=2019-08-19 |title=Traditional Layap performed {{!}} Arunachal Observer |url=https://arunachalobserver.org/2019/08/20/traditional-layap-performed/ |archive-url=https://web.archive.org/web/20260425131249/https://arunachalobserver.org/2019/08/20/traditional-layap-performed/ |archive-date=2026-04-25 |access-date=2026-04-25 |work=Arunachal Observer |language=en-US}}</ref> Traditional costly beads are given to the girl as a token of acceptance into the family of the boy and with a small feather of hen tied in girl's hair so that the community recognized her as married women now. From that day, the girl sleep with the boy and is recognized a legal wife. The newly wed will keep this for a month or long as per wish. The both boy and girl can stay together as married couple after all this traditions performed.<ref>{{Cite news |title=Discovering the fascinating culture of the Galo tribe in Arunachal Pradesh {{!}} - The Times of India |url=https://timesofindia.indiatimes.com/life-style/travel/discovering-the-fascinating-culture-of-the-galo-tribe-in-arunachal-pradesh/articleshow/119553469.cms |archive-url=https://web.archive.org/web/20250401135728/https://timesofindia.indiatimes.com/life-style/travel/discovering-the-fascinating-culture-of-the-galo-tribe-in-arunachal-pradesh/articleshow/119553469.cms |archive-date=2025-04-01 |access-date=2026-04-25 |work=The Times of India |language=en}}</ref>

The main ceremony centers on the sacrifice of mithun (called {{lang|adl|togu panam}} or {{lang|adl|nyida}}), which can be done at a later time as is convenient for both parties. In some other case, the event occurs before the couple stay together as husband wife.<ref>{{Cite web |last=Team |first=Editorial |date=2025-01-21 |title=The Unique Tradition of the Galo Tribe Where Dowry to the Bride is Paid: Arunachal Pradesh |url=https://www.theculturegully.in/post/the-unique-tradition-of-the-galo-tribe-where-dowry-to-the-bride-is-paid-arunachal-pradesh |access-date=2026-04-25 |website=The Culture Gully |language=en}}</ref> Between five and 70 mithun might be sacrificed during this one-day ceremony by the boy's parents as an honor to both the families. The number of the mithun sacrificed depends on the capacity of the family. During the event, relatives, friends and leaders are invited. The bride's family bring costly beads and metals plates for the boy's family. In the evening of their arrival to the bridegroom's house, this exchange of gifts (costly metal plates and money in cash) is done after discussion. The bride's party also decides the number of mithun they are going to have and accordingly, they paid for the mithun price day before the sacrificed. Both the parties take their share and divide the mithun meat among the invited guests related to the bridegroom's family, friends and village community.

Celebratory performances, including songs, dances, and folk stories, are given by the bridegroom's family and community. The bride's side give the performers some amount of money as a token of love or as gifts. Children and youth from both sides also participate. During the wedding ceremony, locally made wine ({{langx|adl|apong}}) is given free of cost to the guests. The ceremony lasts for three days, after which the bride's family, relatives, and guests will return home. The bride will stay in the bridegroom's home until some rituals are performed.

== Divorce ==
If a man wants to divorce his wife, he must pay some amount, though not fixed, to the woman. After a divorce, the woman will take with her the costly beads and metal plates given by her parents and relatives during the marriage ceremony as her share of movable property.<ref>{{Cite web |title=A CONTEXTUAL ANALYSIS OF THE GALO TRIBE’S CUSTOMARY LAWS IN ARUNACHAL PRADESH WITH SPECIAL REFERENCE ON MARRIAGE AND DIVORCE |url=https://ijirl.com/wp-content/uploads/2022/11/A-CONTEXTUAL-ANALYSIS-OF-THE-GALO-TRIBES-CUSTOMARY-LAWS-IN-ARUNACHAL-PRADESH-WITH-SPECIAL-REFERENCE-ON-MARRIAGE-AND-DIVORCE..pdf |archive-url=https://web.archive.org/web/20260425132549/https://ijirl.com/wp-content/uploads/2022/11/A-CONTEXTUAL-ANALYSIS-OF-THE-GALO-TRIBES-CUSTOMARY-LAWS-IN-ARUNACHAL-PRADESH-WITH-SPECIAL-REFERENCE-ON-MARRIAGE-AND-DIVORCE..pdf |archive-date=2026-04-25 |access-date=2026-04-25 |website=ijirl.com |publisher=Indian Journal of Integrated Research in Law}}</ref>

==References==
{{Reflist}}

==External links==
*http://www.indiantravelportal.com/arunachal-pradesh/tribes/tribes-arunachal-pradesh.html {{Webarchive|url=https://web.archive.org/web/20161121234302/http://www.indiantravelportal.com/arunachal-pradesh/tribes/tribes-arunachal-pradesh.html |date=2016-11-21 }}

[[Category:Marriage in India]]
[[Category:Marriage by culture|Galo]]

Scott College, Sadra

2026-04-22T21:56:04Z

FWQGina861152045: added info - done

{{Short description|Defunct school in Sadra}}
{{Use dmy dates|date=February 2025}}
{{Infobox school
| name =
| city = [[Sadra, Gandhinagar]]
| state = [[Gujarat]]
| country = [[India]]
| fundingtype = [[Private School|Private]]
| established = 16 December 1887
| closed = {{circa|1934}}
| gender = [[Single-sex education|Boys]]
}}
{{Use India English|date=February 2025}}

'''Scott College''' was a [[Private school|private]] [[boarding school]] located in [[Sadra, Gandhinagar|Sadra]], [[Gujarat]], [[India]].

==History==
In 1885, Colonel W. Scott, the then Political Agent of [[Mahi Kantha Agency|Mahi Kantha]], who was dissatisfied with the quality of education being provided at the taluqdari school, proposed to the rulers, chiefs, and nobles of the agency to donate towards building a school at [[Sadra, Gandhinagar|Sadra]] for the education of their sons, on the lines of an [[Public school (United Kingdom)|English public school]].<ref>{{Cite book |last=Kellogg |first=Day Otis |url=https://www.google.com/books/edition/The_Encyclopaedia_Britannica/Om_5Wfn_CUMC |title=The Encyclopaedia Britannica: Latest Edition. A Dictionary of Arts, Sciences and General Literature |last2=Baynes |first2=Thomas Spencer |last3=Smith |first3=William Robertson |date=1902 |publisher=Little, Brown |pages=468 |language=en}}</ref><ref name=":0">{{Cite book |last=Master |first=Framroz Sorabji |url=http://archive.org/details/mahikanthadirect00mast |title=The Mahi Kantha directory |date=1922 |publisher=Rajkot : [s.n.] |others=University of California Libraries |pages=54, 97–98}}</ref> Generously responding to his call, they contributed a sum of nearly Rs. 75,000, of which Rs. 30,000 was invested in Government Promissory Notes to form the nucleus of an endowment fund for the school, and the remainder was used to construct the building.<ref name=":0" /> In appreciation of Scott, who had been instrumental in founding the school, and at the request of the rulers, chiefs, and nobles of the agency to the [[British government of India|Government of India]], the school was named after him.<ref name=":0" /> The foundation stone of the school building was laid by Scott himself on 6 November 1886, and the completed building, which was to be opened by the [[Governor of Bombay]], was, due to the Governor's unavailability, opened by J. B. Richey, a member of the [[Bombay Legislative Council|Bombay Council]], on 16 December 1887.<ref name=":0" />

It was amalgamated with the [[Rajkumar College, Rajkot]], in 1934.<ref>{{Cite book |url=http://archive.org/details/the-sphere-1930-1964 |title=The Sphere 1930-1964 |pages=434}}</ref><ref>{{Cite book |url=https://www.google.com/books/edition/The_Feudatory_and_zemindari_India/9ggnAQAAIAAJ |title=The Feudatory and zemindari India |date=1937 |pages=128 |language=en}}</ref>

==Alumni==
The following are some of the school's alumni.
{| class="wikitable"
|+
!Name
!Father Name
!State/Esate
!Note(s)
!Reference
|-
|Viramji
|Kanji
|Deodar
|
| rowspan="7" |<ref>{{Cite book |last=Not Available |url=http://archive.org/details/in.ernet.dli.2015.34582 |title=Memoranda On The Indian States 1930 |date=1933 |pages=194, 260, 262–266}}</ref>
|-
|Keshrisinghji
|
|[[Ambliara State|Ambliara]]
|
|-
|Fatehsinhji
|
|[[Ghodasar]]
|
|-
|Fatehsinhji
|
|[[Khadal State|Khadal]]
|
|-
|Fatehsinhji
|
|[[Pethapur State|Pethapur]]
|
|-
|Shivsinhji
|
|[[Punadra]]
|
|-
|Prithisinhji
|
|Sudasna
|
|-
|Hamirsinhji
|
|[[Vijaynagar State|Vijaynagar]]
|
| rowspan="2" |<ref>{{Cite book |last=Not Available |url=http://archive.org/details/in.ernet.dli.2015.81042 |title=List Of Ruling Princes And Chiefs In Political Relations |date=1931 |pages=30, 35}}</ref>
|-
|Ajitsinhji
|
|[[Punadra]]
|
|-
|Bapusinhji
|
|Vasna
|
| rowspan="3" |<ref>{{Cite book |last=Peters |first=Thos |url=http://archive.org/details/dli.ernet.1808 |title=Who's Who In India Burma Amp Ceylon (1939) |date=1939 |pages=56, 94 |publisher=The Sun Publishing House, Bombay}}</ref>
|-
|Joravarsinhji
|
|[[Varsoda]]
|While he was at Sadra, he attained first rank in his class and in the whole college in English, and obtained the Ferris Medal for proficiency in [[English language|English]]. He was then admitted to [[Mayo College]], [[Ajmer]].
|-
|Shivsinhji
|
|[[Ilol State|Ilol]]
|He studied at the college for seven years and then went to [[England]] for higher education.
|}

==See also==

* [[Rajkumar College, Rajkot]]

==References==
<references />

[[Category:Educational institutions established in 1887]]
[[Category:Educational institutions disestablished in 1934]]
[[Category:Defunct schools in India]]
[[Category:Embedded educational institutions]]
[[Category:Schools in Gujarat]]

St. Mary's Jacobite Syrian Cathedral, Manarcad

2026-04-22T05:24:49Z

FWQGina861152045: added new post

{{more footnotes needed|date=December 2019}}
{{Use dmy dates|date=September 2019}}
{{Use Indian English|date=September 2019}}
{{Infobox church
| denomination = [[Jacobite Syrian Christian Church]]
| name = Manarcad Church
| fullname = St. Mary's Cathedral, Manarcad
| image = Front view of manarcad church.jpg
| caption = Morth Maryam Cathedral, Manarcad
| pushpin map = India Kerala
| coordinates = {{coord|9|35|59|N|76|35|4|E|display=inline,title}}
| map caption = Location in Kerala, India
| country = India
| location = [[Manarcaud]], [[Kottayam district]], [[Kerala]]
| attendance =
| website = {{URL|manarcadpally.com|manarcadpally.com}}
| founded date =
| dedication = [[St. Mary]]
| relics = [[Holy Girdle]] of [[St.Mary]]
}}
'''St. Mary's [[Jacobite Syrian Christian Church|Jacobite Syrian]] Cathedral, Manarcad''', is [[cathedral]] located in [[Manarcaud|Manarcad]], about 9 km from the town of [[Kottayam]] in [[Kerala]], [[India]]. It is a destination for people on annual pilgrimages for the uncanonical [[8 Day Lent]] of the [[Virgin Mary]]. There are more than 5000 families in this parish. The church architecture resembles that of the [[Orvieto Cathedral]]. The church administers various spiritual organisations, schools and a hospital. It is the home to one of the holiest relics among the Malankara churches, a small piece of [[Mary, mother of Jesus|Mother Mary]]'s belt, called the [[Holy Soonoro]].

==Church history==
The inscription on the stones in the Haikalah of the church is in an ancient script-nanum monum, written about 600 years ago. The church was constructed in the 16th century, in a Portuguese fashion. The construction of the present church was completed in 1954.<ref name=":0" />

The desire of Christians in the area for a holy place to conduct prayers and religious ceremonies were the root cause of the construction of the church. They started praying for this purpose. On the 8th day of their prayer, the ancestors had a vision to build a church in the forest where a [[cow]] and calf were lying down, where [[fish]] and [[deer]] could be caught and [[Acacia]] Instia trees and [[Sugarcane|canes]] were scattered around. They went in search of the cow and calf and found them where the church is presently situated.

The old Manarcad Church was built before the 10th century. To build a church in those days was a near impossible task. Ancestors were well aware of the difficulties ahead. The land where the church is constructed belonged to the Devaswam. Edathil Tampuran, the Hindu chieftain there, opposed the plan to build a church. The King, who depended on Edathil family's private army in times of war, would not go against him. The odds were against the church.

Ancestors knew that [[Thekkumkur]] kings were traditionally very secular. Moreover, the king had a soft spot for them and the full backing of the Christian community there. They decided to meet the king with his request. After a lot of deliberation, the king finally decided in favor of the ancestors, not wanting to disappoint him. Sixty-one '''Pathalpadu''<nowiki/>' (a unit of area used for land measurement in those days) land was staked out for the church around the spot where the cow and calf were found.

Edathil Thampuran continued to nurse his grudge against ancestors for bypassing him and getting the approval of the King. He incited his men to destroy the church. The church was pulled down thrice and thrice it was rebuilt. Having spent almost all of his entire wealth on the church, the ancestors found it hard to continue the construction anymore. The ''Kallakkadampil'' family came to their help and with their financial assistance, the Manarcad Church was finally completed.

The church was later renovated, and the construction of the present church was completed in 1954.<ref name=":0">[https://manarcadpally.com/about-st-marys-cathedral/history/ "Church History"], Official Church Website</ref>

The inscription on the stones in the ''Haikalah'' of the church in the ancient script nanum monum (''[[Vatteluttu|Vattezhuthu]]'') show that they were inscribed in between about A.D. 910 and A.D. 920. The royal swords are also kept in the church, which are believed to be given to the church by the king for the protection of church parishes.

During the year 700 of Malayalam Era (''Kollavarsham'') the then ruling King of ''Vadakkumkoor'' had a discontent with the Christians. It was a period of great torment for Christians and the king showed hostility to the Christians and their possessions, including Manarcad church which bordered the neighboring kingdom, ''Thekkumkoor''. The then king of ''Thekkumkoor'' maintained a special relationship with Christians and had even given the swords to the church for its protection.

==Feasts==
* 15 January – A feast invoking the blessings of the Virgin Mary on agricultural seeds.
* 26 February – Sunero Feast.
* 6 May – Commemoration of [[Saint George|St. George]].
* 15 August - [[Assumption of Mary|Virgin Mary's Ascension Day]]
* 8 September - [[8 Day Lent]], Feast of the Virgin Mary's birth; millions attend the annual 8-day lent and celebration, known as ''Ettunombu Perunnal'', during which an [[c:File:Manarcadu_St_Mary's_church_int._-_panoramio.jpg|image of Christ and the Virgin Mary]] is unveiled in a ceremony called "''Nadathurakkal".'' <ref>[http://www.thehindu.com/news/national/kerala/article605818.ece "Annual feast of St. Mary begins today "], ''[[The Hindu]]'', 31 August 2010.</ref><ref>[http://www.thehindu.com/news/cities/Kochi/manarcad-church-festival-on-september-1/article2409345.ece "Manarcad church festival on September 1"], ''The Hindu'', 29 August 2011.</ref><ref>[http://www.thehindu.com/news/cities/Kochi/article2436473.ece "'Ettunombu' festival concludes at Manarcad church"], ''The Hindu'', 8 September 2011.</ref><ref>{{Cite web |title=Ettunombu |url=https://manarcadpally.com/about-st-marys-cathedral/ettu-nombu/ |access-date=2022-01-10 |website=Official Church website |language=en-US}}</ref>

== The small church (കരോട്ടെ പള്ളി) and the chapels (കുരിശുപള്ളി) ==

[[File:St. George Church, Manarcad.jpg|thumb|St. George Jacobite Syrian Church(കരോട്ടെ പള്ളി) belongs to St. Mary's Pilgrim Church, Manarcad.]]
The small Church was built just opposite the main church on the main road in late 19th century. The area for building this small church was given by ''Vettikunnel'' family.

Eight kilometers east of Kottayam town, on K.K. Road, at Manarcad Junction, lies a chapel of the Church. The church and all church establishments are all only around {{convert|11|km}} north of this chapel. There is another chapel set up half a kilometer west of the churchyard at Kottayam.<ref>{{Cite web |title=Kurishu Pally |url=https://manarcadpally.com/about-st-marys-cathedral/kurishu-pallichappel/ |access-date=2022-01-10 |website=Official Church website |language=en-US}}</ref>
[[File:Manarcad Church Shrine.jpg|thumb|Manarcad Jacobite Syrian Church Shrine of Manarcad Junction]]

[[File:Manarcadu St Mary's church int. - panoramio.jpg|thumb|The icon of the blessed [[Mary, mother of Jesus|Virgin Mary]] at the St.Mary's Jacobite Syrian Church, Manarcad]]

[[File:Manarcad church front view.jpg|thumb|265 px|right|Front view of the church]]

==Schools and hospitals==
*St. Mary's CBSE School, Manarcad (established 1993)
*St. Mary's Higher Secondary School (established 1949)
*St. Mary's IT College (established 1978)
*St. Mary's Nursing School (established 1976)
*St. Mary's College (established 1981)
*St Mary's Hospital

==Spiritual organizations==

=== Sunday school ===
The first [[Sunday school]] of the church was established in 1926 and there are now 16 such schools under this parish. They inculcate [[Christian faith]], develop spiritual culture and develop latent leadership qualities of children. More than 963 children learn spiritual lessons from 233 instructors at these Sunday schools, which jointly participate in [[Vacation Bible school|Vacation Bible Schools]] (VBSs), teachers' seminars and [[Christmas carol]]s.

=== Vanitha Samajam ===

They function with the aim of enabling ladies to attain spiritual enlightenment and nobility of mind. The members visit patients, pray for their recovery and extend financial help to poor patients. Members visit those who are in distress and sorrow and alleviate their suffering by offering them spiritual advice. 18 units of this organization functions in the parish.

===Youth Association===
St. Marys Youth Association, a spiritual organization of youngsters of St. Mary's Cathedral Manarcad is one among the biggest youth association of the [[Malankara Jacobite Syrian Church]]. Kolo Suryoyo, the monthly newsletter of this organization shares the happenings of the cathedral to the community. The Youth Association takes lead in organizing various charity activities such as financial assistance to [[cancer]] patients, [[Kidney dialysis|dialysis]] kits for patients with kidney diseases and educational assistance to needy students. As a part of '''Pachathuruthu''<nowiki/>', a campaign for an [[ecofriendly]] parish, the youth association honors the best farmer of the Cathedral. Christmas celebration of the Cathedral organized by the Youth Association is well attended by the general public.
A mobile application developed by Youth Association is also available in the [[Google Play Store]] as 'Manarcad pally'.

===Elders' forum===
It is constituted of elders of over 60 years of age. This body discusses spiritual matters, assesses the functioning of various religious bodies and lays guidelines in the matter.

===Hail Mary League===
It is a spiritual and cultural body that aims to spiritually uplifting young girls.

===Prayer meetings===

The prayer meetings are conducted based on the ancient instructions of this parish. The prayer groups that used to engage in the past have grown into organized prayer meetings. They function fervently in different parts of this parish.

== References ==
{{Reflist}}
== External links ==
* {{official website|https://manarcadpally.com}}
* [https://archive.today/20130813192148/http://ibnlive.in.com/news/miracle-draws-huge-crowd-to-manarcad-church/234422-60-116.html Miracle at Manarcad Church]

{{Christianity in Kerala}}
{{Churches of Kerala}}

{{DEFAULTSORT:Manarcad Church}}
[[Category:Churches in Kottayam district]]
[[Category:Syriac Orthodox cathedrals|Manarcad]]
[[Category:Soonoro churches in Kerala]]
[[Category:Oriental Orthodox cathedrals in India|Manarcad]]
[[Category:Ancient churches of the Saint Thomas Christians (pre-1606)]]

Sachin Gupta (director)

2026-04-21T09:07:36Z

FWQGina861152045: added a post - done

{{Short description|Indian playwright, film director and actor}}
{{For|the musician|Sachin Gupta (musician)}}
{{Use British English|date=August 2014}}
{{Use dmy dates|date=April 2026}}
{{Infobox writer 
| name = Sachin Gupta
| image = Sachin Gupta_0903.jpg
| birth_date = {{Birth date and age|1978|03|09|df=yes}}
| birth_place = [[Delhi]], India
| occupation = Director, producer. screenwriter
| nationality = Indian
| yearsactive = 2002–present
| website = {{URL|http://sachingupta.net}}
}}

'''Sachin Gupta''' (born 9 March 1978) is an [[Indian film]] producer, writer and director.<ref name=dream>{{Cite news|url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/a-man-with-a-dream/article3218047.ece|title=A man with a dream...|date=2006-05-05|work=The Hindu|access-date=2020-02-19|language=en-IN|issn=0971-751X}}</ref> He produces films under Chilsag Motion Pictures and is also an artistic director of Chilsag Chillies Theatre Company.<ref>{{Cite news|url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/a-theatre-meal-with-chillies/article3230301.ece|title=A theatre meal with chillies|date=2006-08-11|work=The Hindu|access-date=2020-02-19|language=en-IN|issn=0971-751X}}</ref> He made his writing and directorial debut with the critically acclaimed film ''[[Paranthe Wali Gali]]'' (2014).<ref>{{Cite news|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Sachin-Gupta-Anuj-Neha-Pawar-in-Delhi/articleshow/18447576.cms|title=Sachin Gupta, Anuj & Neha Pawar in Delhi - Times of India|website=The Times of India|date=12 February 2013 |language=en|access-date=2020-02-19}}</ref> He also shot to fame with ''[[Pakhi (film)|Pakhi]]'' (2018). Gupta's sojourn into theatre started when he was 12 years old, and to date he has staged more than 100 shows around the world, working as an actor, director and playwright.<ref name="Life on stage">{{Cite news|url=https://www.thehindu.com/todays-paper/tp-features/tp-metroplus/life-on-stage/article28151455.ece|title=Life on stage|date=2005-02-17|work=The Hindu|access-date=2020-02-19|language=en-IN|issn=0971-751X}}</ref> His award-winning Off Broadway plays include ''[[Celebration of Life]]'', ''[[Handicapped City]]'',<ref name="Playbill Aug 17">{{Cite magazine |url=http://www.playbill.com/news/article/131890-Handicapped-City-to-Play-SoHo-Playhouse-Aug-17 |archive-url=https://archive.today/20130104232223/http://www.playbill.com/news/article/131890-Handicapped-City-to-Play-SoHo-Playhouse-Aug-17 |archive-date=2013-01-04 |title=Handicapped City to Play SoHo Playhouse Aug. 17 |date=2013-01-04|magazine=[[Playbill]]|access-date=2020-02-19}}</ref> and ''Kailashnath weds Madhumati''. He staged these in New York and in Toronto, Canada for which he got huge appreciation amongst theatre lovers in North America.<ref name=dream/><ref>{{cite news |title=Out of Box: Engineered to act:Sachin Gupta gave up software engineering to pursue theatre|url=https://www.tribuneindia.com/2005/20050409/saturday/main1.htm |work=[[The Tribune (Chandigarh)|The Tribune]] |date=9 April 2005 }}</ref> Sachin Gupta was also the recipient of the Natya Bhushan award in 2012.<ref name=dream/><ref name=Extra>{{Cite web|url=https://www.tribuneindia.com/2005/20050409/saturday/main1.htm|title=The Tribune - Magazine section - Saturday Extra|website=www.tribuneindia.com|access-date=2020-02-19}}</ref><ref name="Life on stage"/>

==Education==
Sachin Gupta was born in New Delhi, India on 9 March 1978. He did his schooling at Summer Fields School, Kailash Colony New Delhi,<ref>{{Cite web|url=http://www.hinduonnet.com/thehindu/fr/2005/08/05/stories/2005080501790300.htm|archive-url=https://web.archive.org/web/20071106054835/http://www.hinduonnet.com/thehindu/fr/2005/08/05/stories/2005080501790300.htm|url-status=usurped|archive-date=6 November 2007|title=The Hindu : Entertainment Delhi / Theatre: In a world of fantasy|date=2007-11-06|access-date=2020-02-19}}</ref> and then attended Engineering College in Noida UP, India from where he received his bachelor's degree in computer engineering.<ref name=Extra/> Later he completed his MBA Degree from Symbiosis Pune. After this he went on to [[Stratford-upon-Avon]] in London to study and research [[William Shakespeare]]. This inspired him to then go to [[Fanshawe College]] in Canada to study [[theatre]]. While studying in [[Ontario]] he started the Canadian chapter of his theatre company, which immediately became a huge success. He went on to study management programs at [[Harvard University]] and studied acting at [[Lee Strasberg Theatre and Film Institute|Lee Strasberg Theatre Institute]], [[New York City|New York]]. He has also learned nuances of Shakespearean acting at the [[Emerson College]] in the US, and did a case study on Harvard University's [[American Repertory Theater|American Repertory Theatre]]. Even while studying management programs, his end goal was theatre acting and filmmaking. He then used everything he learnt at Harvard to fuel his passion into the entertainment industry.<ref>{{Cite web|url=https://www.tribuneindia.com/2004/20040102/ncr2.htm|title=The Tribune, Chandigarh, India - NCR stories|website=www.tribuneindia.com|access-date=2020-02-19}}</ref><ref>{{Cite web|url=http://www.financialexpress.com/news/life-in-technicolour/1082325 |archive-url=https://web.archive.org/web/20140115051547/http://www.financialexpress.com/news/life-in-technicolour/1082325 |archive-date=2014-01-15 |title=Life in technicolour - Financial Express|date=2014-01-15|access-date=2020-02-19}}</ref>

==Film career==
Gupta made his writing and directorial debut with the critically acclaimed film ''Paranthe Wali Gali'' (2014),<ref>{{Cite web|url=https://zeenews.india.com/entertainment/bollywood/-paranthe-wali-gali-to-explore-unexplored-delhi_125284.html|title='Paranthe Wali Gali' to explore unexplored Delhi|date=2012-12-28|website=Zee News|language=en|access-date=2020-02-19}}</ref><ref>{{Cite web|url=http://www.sodelhi.com/entertainments/2238-paranthe-wali-gali-brings-delhi-into-the-spotlight|archive-url=https://archive.today/20130216191808/http://www.sodelhi.com/entertainments/2238-paranthe-wali-gali-brings-delhi-into-the-spotlight|archive-date=2013-02-16|title=Paranthe Wali Gali brings Delhi into the spotlight|date=2013-02-16|website=archive.is|access-date=2020-02-19}}</ref><ref>{{Cite news|url=https://www.thehindu.com/todays-paper/tp-national/tp-newdelhi/capturing-the-exotic-smells-sounds-and-food-of-walled-city-on-celluloid/article4306119.ece|title=Capturing the exotic smells, sounds and food of Walled City on celluloid|date=2013-01-14|work=The Hindu|access-date=2020-02-19|language=en-IN|issn=0971-751X}}</ref> produced by Chilsag Motion Pictures, a production company he established in 2012.<ref>{{cite news|url=http://www.telegraphindia.com/1110930/jsp/orissa/story_14570054.jsp|archive-url=https://archive.today/20130204065712/http://www.telegraphindia.com/1110930/jsp/orissa/story_14570054.jsp|url-status=dead|archive-date=4 February 2013|title=Individuals shine at theatre festival|date=29 September 2011|work=[[The Daily Telegraph]]}}</ref><ref>{{cite news|url=https://www.thehindu.com/arts/theatre/article596070.ece|title=An Alarm to Action|date=26 August 2010|work=[[The Hindu]]}}</ref><ref>{{Cite web|url=https://www.in.com/entertainment/regional/sachin-guptas-chilsag-pictures-all-set-to-enter-the-punjabi-film-circle-301767.htm|archive-url=https://web.archive.org/web/20200128170821/https://www.in.com/entertainment/regional/sachin-guptas-chilsag-pictures-all-set-to-enter-the-punjabi-film-circle-301767.htm|archive-date=2020-01-28|title=Sachin Gupta's Chilsag Pictures all set to enter the Punjabi film circle!|website=in.com|language=en|access-date=2020-02-19}}</ref><ref>{{Cite web|url=https://www.hindustantimes.com/archive-news|title=Hindustan Times - Archive News|website=Hindustan Times|language=en|access-date=2020-02-19}}</ref><ref>{{Cite web|url=https://www.newstrackindia.com/newsdetails/2013/02/08/359--Shooting-in-Old-Delhi-challenging-Sachin-Gupta-unperturbed-.html|title=Shooting in Old Delhi challenging, Sachin Gupta unperturbed|website=www.newstrackindia.com|access-date=2020-02-19}}</ref>
{| class="wikitable sortable"
!Year
!Title
!Director(s)
!Writer
!Producer
!Cast
!Genre
|-
|2014
|''[[Paranthe Wali Gali]]''<ref>{{Cite news|agency=Press Trust of India|url=https://www.business-standard.com/article/pti-stories/now-a-movie-on-paranthe-wali-gali-113020800860_1.html|title=Now a movie on 'Paranthe Wali Gali'|date=2013-02-08|work=Business Standard India|access-date=2020-02-19}}</ref><ref>{{Cite web|url=https://bollyspice.com/sachin-gupta-vasundhara-das-release-music-paranthe-wali-gali/|title=Sachin Gupta & Vasundhara Das release music of 'Paranthe Wali Gali'|last=Releases|first=Press|date=2013-12-25|website=BollySpice.com - The latest movies, interviews in Bollywood|language=en-US|access-date=2020-02-19}}</ref>
|Yes
|Yes
|Yes
|[[Anuj Saxena]], [[Sushmita Sen]], Neha Pawar
|[[Romantic Drama film|Drama]]
|-
|2015
|''[[Thoda Lutf Thoda Ishq]]''<ref>{{Cite web|url=http://www.daijiworld.com/news/newsDisplay.aspx?newsID=330094|title='Thoda Lutf Thoda Ishq' trailer launched|website=www.daijiworld.com|access-date=2020-02-19}}</ref>
|Yes
|Yes
|Yes
|[[Hiten Tejwani]], Neha Pawar,
[[Rajpal Yadav]], [[Sanjay Mishra (actor)|Sanjay Mishra]], Bhavita Anand
|[[Comedy film|Comedy]]
|-
|2018
|''[[Pakhi (film)|Pakhi]]''<ref>{{Cite web|url=http://bollywoodtown.in/latest_news/530/small-screen|title=Sumeet Kaul & Anamika Shukla starrer Pakhi is all about child trafficking {{!}} Bollywood Town {{!}} Bollywood News|website=bollywoodtown.in|access-date=2020-02-19|archive-date=28 January 2020|archive-url=https://web.archive.org/web/20200128170713/http://bollywoodtown.in/latest_news/530/small-screen|url-status=dead}}</ref><ref>{{Cite web|url=http://www.todayexpressnews.com/?p=13624|title=Human trafficking based film 'Pakhi' touching millions of hearts. {{!}} Today Express News|last=verma|first=Ajay|date=9 August 2018 |language=en-US|access-date=2020-02-19}}</ref><ref>{{Cite web|url=http://www.ghaintpunjab.com/GhaintPunjab/Article/10941/short-film-pakhi-by-national-award-winner-sachin-gupta-set-to-release|title=Short Film Pakhi By National Award Winner Sachin Gupta Set To Release|website=Ghaint Punjab|access-date=2020-02-19|archive-date=28 January 2020|archive-url=https://web.archive.org/web/20200128170842/https://www.ghaintpunjab.com/GhaintPunjab/Article/10941/short-film-pakhi-by-national-award-winner-sachin-gupta-set-to-release|url-status=dead}}</ref><ref>{{Cite web|url=http://buzzingchandigarh.com/guptas-team-for-pakhi-address-media-at-chandigarh/|title=Gupta's team for "Pakhi" address media at Chandigarh|last=Pohal|first=Poonam|date=2018-07-30|website=Buzzing Chandigarh|language=en-US|access-date=2020-02-19}}</ref><ref>{{Cite web|url=https://english.kachchachittha.com/sachin-guptas-directorial-pakhi-got-the-refusal-of-censor-certification.html|title=Sachin Gupta's Directorial Pakhi Got The Refusal Of Censor Certification|last=Sharma|first=Yugantika|date=2018-08-13|website=Kachcha Chittha|language=en-US|access-date=2020-02-19|archive-date=28 January 2020|archive-url=https://web.archive.org/web/20200128170446/https://english.kachchachittha.com/sachin-guptas-directorial-pakhi-got-the-refusal-of-censor-certification.html|url-status=dead}}</ref>
|Yes
|Yes
|Yes
|Sumeet Kaul, Anamika Shukla, Pihu, Anmol Goswami
|Crime drama
|-
|2019
|''[[Mansukh Chaturvedi ki Atmakatha]]''
|Yes
|Yes
|Yes
|Sandeep Singh, Shalini Chauhan, Anamika Shukla, Sikandar Khan
|Comedy
|-
|2020
|''[[Mango Talkies]]''
|Yes
|Yes
|Yes
|[[Sanaya Irani]], Sikandar Khan, Dau Dayal Bansal, [[Noyonita Lodh]], Sunil Handa, Ravi Khanna, Susmita Mukherji, Vishal Choudhary, Sumeet Kant Kaul, Seema Pahwa, Shalini Chauhan, Priyanka Lulla, Sandeep Singh, Myra Hope, Tanya Sharma, Himanshu Sharma, Arjun Aujla, Arti Chaddha
|[[Anthology series]]
|}

==Theatre career==
Sachin's sojourn into theatre started when he was 12 years old, and to date he has staged seventy-five shows around the world working as an actor, director and playwright. His award-winning [[Off Broadway]] plays include ''[[Celebration of Life]]'', ''[[Handicapped City]]'' and ''Kailashnath weds Madhumati''. He staged these in New York and in Toronto, Canada for which he got huge appreciation amongst theatre lovers in North America. His acting career started in his school days where he starred in and produced plays. This continued in college as well, as he slowly developed a passion for theatre and performing arts.<ref>{{cite news |title=Listening to the alarm|url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/listening-to-the-alarm/article2273634.ece |work=[[The Hindu]] |date=14 September 2007 }}</ref><ref>{{Cite news|last=Anima|first=P.|url=https://www.thehindu.com/features/friday-review/theatre/An-alarm-to-action/article16145870.ece|title=An alarm to action|date=2010-08-26|work=The Hindu|access-date=2020-02-19|language=en-IN|issn=0971-751X}}</ref><ref name="web.archive.org">{{Cite news |url=http://www.hinduonnet.com/thehindu/fr/2005/08/05/stories/2005080501790300.htm|archive-url=https://web.archive.org/web/20071106054835/http://www.hinduonnet.com/thehindu/fr/2005/08/05/stories/2005080501790300.htm|url-status=usurped|archive-date=2007-11-06|title=Entertainment Delhi / Theatre: In a world of fantasy |newspaper=The Hindu |date=2007-11-06|access-date=2020-02-19}}</ref><ref>{{Cite news |url=http://hindu.com/thehindu/thscrip/print.pl?file=2007091450120300.htm&date=2007/09/14/&prd=fr&|archive-url=https://archive.today/20130104040711/http://hindu.com/thehindu/thscrip/print.pl?file=2007091450120300.htm&date=2007/09/14/&prd=fr&|archive-date=2013-01-04|title=Listening to the alarm |newspaper=The Hindu |date=2013-01-04 |access-date=2020-02-19}}</ref><ref>{{Cite web|url=http://www.hinduonnet.com/thehindu/fr/2006/08/11/stories/2006081101330300.htm|archive-url=https://web.archive.org/web/20071106050228/http://www.hinduonnet.com/thehindu/fr/2006/08/11/stories/2006081101330300.htm|url-status=usurped|archive-date=2007-11-06|title=Friday Review Delhi / Theatre: A theatre meal with chillies |newspaper=The Hindu |date=2007-11-06|access-date=2020-02-19}}</ref>

In December 2002 he started his [[Chilsag Chillies Theatre Company]], which has produced thirteen original theatre productions written and directed by him addressing various social issues. He has trained more than 300 actors in various acting programs under the acting school he began in 2004.<ref name="Playbill Aug 17"/><ref>{{cite news |title='Celebration of Life' a moving play|url=https://www.tribuneindia.com/2004/20040102/ncr2.htm |work=[[The Tribune (Chandigarh)|The Tribune]] |date=2 January 2010 }}</ref> The company's very first production, ''Celebration of Life'',<ref>{{Cite web|url=https://www.tribuneindia.com/news/archive/breaking-the-shackles-629258|title=Breaking the shackles|last=Service|first=Tribune News|website=Tribuneindia News Service|language=en|access-date=2020-02-19}}</ref> was felicitated by the chief minister of Delhi, [[Sheila Dikshit]], and was also appreciated internationally when it was performed at the Factory Theatre, Toronto, Canada and Off-Broadway Theare, New York. Chilsag tied up with the Actor's Experimental Lab in the United States and established Salgane School of Acting in 2003. In 2004, Chilsag Chillies received letters of appreciation from [[Dr. APJ Abdul Kalam]] (former President of India), [[Shivraj Patil]] (former Home Minister, India) and the Italian cultural centre and Department of Art and Culture, Government of India for the contribution to theatre.<ref>{{cite news |title=The play's the thing|url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/the-plays-the-thing/article2272283.ece |work=[[The Hindu]] |date=27 April 2007 }}</ref> In late 2004, Chilsag laid the foundation of a new venture operationalising corporate theatre across its units. ''[[Theatre Pasta]]'',<ref>{{cite news |title=A theatre meal with chillies|url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/a-theatre-meal-with-chillies/article3230301.ece |work=[[The Hindu]] |date=11 August 2006 }}</ref> an international theatre magazine, was launched in 2005. Chilsag also stages two of its productions in locations across London in three days with its pack of English actors.

In 2005, Gupta conducted the Three Days Chilsag Chillies Theatre Festival,<ref>{{Cite web|url=https://www.telegraphindia.com/odisha/individuals-shine-at-theatre-festival/cid/350897|title=Individuals shine at theatre festival|website=www.telegraphindia.com|language=en|access-date=2020-02-19}}</ref> where he directed eight plays including four full-length plays over three days. Mid-2006 witnessed the initiation of Chilsag Children's Theatre Company and Theatre-in-Education projects. Chilsag Theatre Pasta International Awards successfully started its journey in beginning of 2007. The company staged the premier of its plays ''A Rollercoaster Ride'', ''Wake Up Call'',<ref>{{Cite web|url=https://www.tellychakkar.com/tv/tv-news/wakeup-call-time-gauri-karnik-anjum-farooki-rubina-dilaik-praneeta-sahu-kashmira-irani|title='Wakeup Call' time for Gauri Karnik, Anjum Farooki, Rubina Dilaik, Praneeta Sahu, Kashmira Irani, Nupur Joshi and Prerna Wanvari|last=Team|first=Tellychakkar|website=Tellychakkar.com|language=en|access-date=2020-02-19}}</ref> and ''Kailashnath Weds Madhumati'' at one of the premier performing arts location in the capital city, New Delhi.<ref>{{cite news |title=Laugh a while|url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/laugh-a-while/article2273063.ece |work=[[The Hindu]] |date=20 July 2007 }}</ref> Chilsag took its theatre productions ''Celebration of Life'' and ''Handicapped City''<ref name="Playbill Aug 17"/> to the international forum through shows Off-Broadway (New York City), Factory Theatre (Canada), locations across [[Boston]], [[West Virginia]], and other cities. This year marked the launch of International Repertory for Chilsag with American actors.

In 2009, Chilsag started its own Drama Therapy Centre. Late 2010 witnessed a collaboration with [[Indian Council for Cultural Relations]] and production of the play ''Wake Up Call''. In 2011, director Sachin Gupta received the Natya Bhushan, the highest ranking award for his contribution to Hindi theatre. 2015 also witnessed the conceptualisation and production of the biggest musical to be staged in the capital city, ''Chota Bheem The Musical'',<ref>{{Cite web|url=https://tennews.in/chhota-bheema-and-chutki-in-le-meridien-new-delhi/|title=Sachin Gupta introduces the first ever musical theatre featuring Chhota Bheema and Chutki in Le Meridien, New Delhi.|date=2015-07-20|website=tennews.in - National News Portal, Breaking, Latest, Top and Trending, News|language=en-US|access-date=2020-02-19}}</ref> which was attended by over 18,000 in the [[Siri Fort Auditorium]]. In 2016, Chilsag signed a six-film deal with United States-based production house for the production of meaningful cinema and short films. A new production, ''Kafan'', was also staged in 2017 with collaboration with the Indo-American Friendship Association and supported by the [[Ministry of Culture (India)|Ministry of Culture]].<ref>{{Cite web |url=http://paranthewaligalithefilm.com/wp-content/uploads/2013/03/dainikbhaskar.jpg |archive-url=https://web.archive.org/web/20140115043627/http://paranthewaligalithefilm.com/wp-content/uploads/2013/03/dainikbhaskar.jpg |format=JPG |archive-date=2014-01-15 |access-date=2023-06-05 |title=Dainikbhaskar}}</ref>

Internationally, he marked his debut in 2005 as he moved to North America to expand his film and theatre work. Since then he has performed the world over, including major cities like New York, Toronto, London, Birmingham, Boston, Philadelphia, Mumbai, New Delhi, Kolkata, Ontario, Orissa, Bangalore, and Goa. He has been invited to perform at some of the most prestigious international festivals. In 2011 he staged his theatre production ''The Play Begins @8pm'' in [[Orissa, India|Orissa]] while working as an actor along with film actor and playback singer [[Vasundhara Das]].<ref>{{Cite news|url=https://timesofindia.indiatimes.com/A-dramatic-idea/articleshow/7863701.cms|title=A dramatic idea - Times of India|website=The Times of India|date=4 April 2011 |access-date=2020-02-19}}</ref>

Film and television actors who have worked with Gupta's theatre company include [[Huma Qureshi]], [[Jitin Gulati]], [[Deepak Wadhwa]], Vasundhara Das, [[Gauri Karnik]], Anjum Farooki, [[Nausheen Ali Sardar]],<ref>{{Cite web|url=https://www.dnaindia.com/entertainment/report-i-m-foot-in-mouth-says-nausheen-ali-sardar-1528489|title=I'm foot in mouth, says Nausheen Ali Sardar|last=Mazumder|first=Jayeeta|date=2011-04-05|website=DNA India|language=en|access-date=2020-02-19}}</ref> [[Anuj Saxena]], [[Prerna Wanvari]], Kashmira Irani, [[Shraddha Musale]], [[Rubina Dilaik]] and Neha Pawar.

He also acted in the play ''Kailash Nath Weds Madhumati'', an Off Broadway musical comedy production in New York in 2009.

{| class="wikitable"
|+Plays written and directed by Sachin Gupta
!Year
!Title
!Directed
!Produced
!Written
!Genre
|-
|2003
|''[[Celebration of Life]]''
|Yes
|Yes
|Yes
|Drama
|-
|2004
|''[[Handicapped City]]''
|Yes
|Yes
|Yes
|Crime drama
|-
|2005
|''Suicide is painless''
|Yes
|Yes
|Yes
|Drama
|-
|2005
|''Live telecast''
|Yes
|Yes
|Yes
|Satirical drama
|-
|2005
|''Next Indian Idol''
|Yes
|Yes
|Yes
|Comedy
|-
|2005
|''Great men at work''
|Yes
|Yes
|Yes
|Comedy
|-
|2005
|''No Cheating Today''
|Yes
|Yes
|Yes
|Comedy
|-
|2005
|''Devils Carnival''
|Yes
|Yes
|Yes
|Musical
|-
|2005
|''Don't miss my party''
|Yes
|Yes
|Yes
|Drama
|-
|2006
|''Kailashnath Weds Madhumati''
|Yes
|Yes
|Yes
|Musical comedy
|-
|2007
|''Rollercoaster Ride''
|Yes
|Yes
|Yes
|Fantasy
|-
|2007
|''Wake up Call''
|Yes
|Yes
|Yes
|Drama
|-
|2008
|''[[Uncle Vanya]]''
|Yes
|Yes
|No
|Comedy
|-
|2008
|''[[The Odd Couple (play)|The Odd Couple]]''
|Yes
|Yes
|No
|Comedy
|-
|2008
|''[[A Midsummer Night's Dream]]''
|Yes
|Yes
|No
|Fantasy fiction
|-
|2009
|''[[The Cherry Orchard]]''
|Yes
|Yes
|No
|Drama
|-
|2009
|''[[A Doll's House]]''
|Yes
|Yes
|No
|Realistic drama
|-
|2009
|''[[Hedda Gabler]]''
|Yes
|Yes
|No
|
|-
|2009
|''[[The Glass Menagerie]]''
|Yes
|Yes
|No
|Memory play
|-
|2010
|''The Play Begins at 8pm''
|Yes
|Yes
|Yes
|Drama
|-
|2014
|''[[All My Sons]]''
|Yes
|Yes
|No
|Tragedy
|-
|2015
|''Chota Bheem The Musical''
|Yes
|Yes
|Yes
|Musical
|-
|2016
|''Ek Shaam Amrita Ke Naam''
|Yes
|Yes
|No
|
|-
|2016
|''Kafan''
|Yes
|Yes
|No
|Satirical
|}

==Short films==
{| class="wikitable"
!Year
!Title
!Director
!Cast
!Genre
|-
|2017
|''Bidaai''
|Sachin Gupta
|Sikandar Khan, Dau Dayal Bansal
|Crime
|-
|2017
|''My Daughter''
|Sachin Gupta
|[[Noyonita Lodh]], Sunil Handa, Ravi Khanna
|Drama
|-
|2017
|''The Beginning''
|Sachin Gupta
|Susmita Mukherji, Dau Dayal Bansal, Vishal Choudhary
|Drama
|-
|2018
|''Pihu''<ref>{{Cite web|url=https://twitter.com/sanayairanifc__/status/1009867931692486656|title=Watch Sanaya's second short film, Pihu! "Pihu and Danish share a love that is procured from their childhood friendship...Will the love that Pihu and Danish share, last? Or will this cause a series of heartbreak?..." #SanayaIrani #Pihu #PihuShortFilm |last=FC 🌸|first=Sanaya Irani|date=2018-06-21|website=@sanayairanifc__|language=en|access-date=2020-02-19}}</ref><ref>{{Cite web|url=https://www.icnnational.com/pihu-is-a-very-emotional-story-sachin-gupta/|title="Pihu" is a very emotional story: Sachin Gupta|date=2018-06-14|website=ICN WORLD|language=en|access-date=2020-02-19}}</ref><ref name="web.archive.org"/>
|Sachin Gupta
|Sumeet Kant Kaul, Dau Dayal Bansal, [[Sanaya Irani]]<ref>{{Cite web|url=https://www.bizasialive.com/sanaya-iranis-short-film-pihu-release-week/|title=Sanaya Irani's short-film 'Pihu' to release this week|last=Baddhan|first=Raj|date=2018-06-18|website=BizAsia {{!}} Media, Entertainment, Showbiz, Brit, Events and Music|language=en-GB|access-date=2020-02-19}}</ref><ref>{{Citation|title=Pihu {{!}} Short Film Nominee {{!}} Shorted|date=2018-10-20|url=https://shorted.in/short-films/pihu/|access-date=2020-02-19}}</ref>
|Romance
|-
|2020
|''ManoharJi Ki Nimmi''
|Sachin Gupta
|Seema Pahwa, Shalini Chauhan, Sikandar Khan, Priyanka Lulla, Sandeep Singh, Dau Dayal Bansal
|Comedy
|-
|2020
|''Seerat''
|Sachin Gupta
|Myra Hope, Tanya Sharma, Himanshu Sharma, Arjun Aujla, Arti Chaddha,
|Crime
|}

==Music videos==
{| class="wikitable"
!Year
!Title
!Director
!Music
!Singer
!Cast
|-
|2019
|"Naino Tale"<ref>{{Cite web|url=https://www.iwmbuzz.com/music/news-music/tiktok-star-jannat-zubair-rahmani-manish-tyagi-sachin-guptas-music-video/2019/08/29|title=TikTok star Jannat Zubair Rahmani and Manish Tyagi in Sachin Gupta's music video |date=2019-08-29|website=IWMBuzz|language=en-US|access-date=2020-02-19}}</ref>
|Yes
|Shivang Mathur
|Shivang Mathur, [[Asees Kaur]]
|[[Jannat Zubair Rahmani]], Manish Tyagi
|-
|2019
|"Itni Si Kahani"
|Yes
|Shivang Mathur
|Asees Kaur, Abhijeet S, Shivang M.
|Rohan Mehra, Deepti Sati
|-
|2020
|"Pehla Janam"
|Yes
|Shivang Mathur
|Shivang Mathur, Prateeksha Srivastava
|Lyricist - Shayra Apoorva Programming, Mix & Master - Aman Agarwal
|-
|2020
|"Chunariya"
|Yes
|Shivang Mathur
|Prateeksha Srivastava, Shivang Mathur
|Lyricist - Shayra Apoorva Music Produced, Mix and Mastered by Rishit Chauhan @ Beatspace Studios, Music Assistant - Chirag Chopra
|-
|2020
|"Haneya"
|Yes
|Shivang Mathur
|Kalpana Gandharv
|Lyricist - Shayra Apoorva Arranged & Produced By Rishit Chauhan, Mix By Rishit Chauhan, Mastered By Adil Nadaf And Rishit Chauhan, Strokes - Piyush Sood, Flute - Deepak, Music Assistant - Chirag Chopra
|}

==References==
{{Reflist}}

==External links==
* {{Webarchive|url=https://web.archive.org/web/20170524092332/http://sachingupta.net/|title=Official website|date=24 May 2017}}
* {{IMDb name|7987302}}

{{Authority control}}

{{DEFAULTSORT:Gupta, Sachin}}
[[Category:Lee Strasberg Theatre and Film Institute alumni]]
[[Category:Hindi-language film directors]]
[[Category:20th-century Indian dramatists and playwrights]]
[[Category:Indian male dramatists and playwrights]]
[[Category:Living people]]
[[Category:Indian theatre directors]]
[[Category:Artists from Delhi]]
[[Category:1978 births]]
[[Category:Indian male screenwriters]]
[[Category:Hindi film producers]]
[[Category:Film directors from Mumbai]]
[[Category:20th-century Indian male writers]]

Mohol Assembly constituency

2026-04-18T11:21:43Z

FWQGina861152045:

{{Short description|Constituency of the Maharashtra legislative assembly in India}}
{{Use Indian English|date=February 2023}}
{{Use dmy dates|date=August 2019}}
{{Infobox Indian constituency
| name = Mohol
| constituency_no = 247
| type = SLA
| state = [[Maharashtra]]
| latest_election_year = [[2024 Maharashtra Legislative Assembly election|2024]]
| map_image = 247-Mohol.svg
| loksabha_cons = [[Solapur Lok Sabha constituency|Solapur]]
| district = [[Solapur district|Solapur]]
| established = 1951
| reservation = SC
| mla = [[Raju Khare]]
| party = {{Party index link|Nationalist Congress Party - Sharadchandra Pawar}}
| alliance = {{Party index link|Maha Vikas Aghadi}}
| electors =331,882
}}
'''Mohol Assembly constituency''' is one of the 288 [[Maharashtra Vidhan Sabha|Vidhan Sabha]] constituencies of [[Maharashtra]] state in western [[India]] and located in [[Solapur district]]. It is reserved for an [[Scheduled Caste|SC]] Candidate.<ref>{{cite web|url=http://ceo.maharashtra.gov.in/acs.php|title=District wise List of Assembly and Parliamentary Constituencies|publisher=Chief Electoral Officer, Maharashtra website|accessdate=18 August 2015|url-status=dead|archiveurl=https://web.archive.org/web/20100318055304/http://ceo.maharashtra.gov.in/acs.php|archivedate=18 March 2010}}</ref>

It is a part of [[Solapur Lok Sabha constituency]].

== Members of the Legislative Assembly ==
{| class="wikitable"
!Year
!Member<ref>{{Cite web |title=Miraj Vidhan Sabha Current MLA and Previous MLAs |url=https://www.elections.in/maharashtra/assembly-constituencies/mohol.html |access-date= |website=Elections in India}}</ref>
! colspan="2" |Party
|-
| colspan =4 |{{center|''[[1952 Bombay State Legislative Assembly election|1952 Election]] see: [[Madha Assembly constituency|Madha Mohol]]''}}
|-
| [[1967 Maharashtra Legislative Assembly election|1967]] || G. B. Buragute || {{Full party name with color|Indian National Congress|rowspan=2}}
|-
| [[1972 Maharashtra Legislative Assembly election|1972]]
| rowspan="2"|Shahajirao Shankarrao Patil
|-
| [[1978 Maharashtra Legislative Assembly election|1978]] || {{Full party name with color|Indian National Congress (I)|dab=y}}
|-
| [[1980 Maharashtra Legislative Assembly election|1980]] || Chandrakant Dattaji Nimbalkar || {{Full party name with color|Peasants and Workers Party of India}}
|-
| [[1985 Maharashtra Legislative Assembly election|1985]] || Shahajirao Shankarrao Patil || {{Full party name with color|Indian National Congress}}
|-
| [[1990 Maharashtra Legislative Assembly election|1990]] || Chandrakant Dattaji Nimbalkar || {{Full party name with color|Peasants and Workers Party of India}}
|-
| [[1995 Maharashtra Legislative Assembly election|1995]] ||rowspan="3"| Rajan Baburao Patil || {{Full party name with color|Indian National Congress}}
|-
| [[1999 Maharashtra Legislative Assembly election|1999]] || {{Full party name with color|Nationalist Congress Party|rowspan=5}}
|-
| [[2004 Maharashtra Legislative Assembly election|2004]]
|-
| [[2009 Maharashtra Legislative Assembly election|2009]] || Laxman Kondiba Dhobale
|-
| [[2014 Maharashtra Legislative Assembly election|2014]] || [[Ramesh Kadam (politician)|Ramesh Kadam]]
|-
| [[2019 Maharashtra Legislative Assembly election|2019]] || [[Yashwant Mane]]
|-
| [[2024 Maharashtra Legislative Assembly election|2024]] || [[Raju Khare]] || {{Full party name with color|Nationalist Congress Party – Sharadchandra Pawar}}
|}

==Election results==
===Assembly Election 2024===
{{Election box begin|title = [[2024 Maharashtra Legislative Assembly election]] : Mohol<ref name="Maharastra Assembly Election Results 2024 - Mohol">{{cite news |title=Maharastra Assembly Election Results 2024 - Mohol |url=https://results.eci.gov.in/ResultAcGenNov2024/candidateswise-S13247.htm |accessdate=13 January 2025 |date=23 November 2024 |archiveurl=https://web.archive.org/web/20241123054923/https://results.eci.gov.in/ResultAcGenNov2024/candidateswise-S13247.htm |archivedate= 23 November 2024}}</ref><ref name="Mohol Constituency Election Results 2024">{{cite news |title=Mohol Constituency Election Results 2024 |url=https://timesofindia.indiatimes.com/elections/assembly-elections/maharashtra/constituency-show/mohol |accessdate=13 January 2025 |publisher=The Times of India |date=23 November 2024 |archiveurl=https://web.archive.org/web/20250113164943/https://timesofindia.indiatimes.com/elections/assembly-elections/maharashtra/constituency-show/mohol |archivedate=13 January 2025 |language=en}}</ref>}}
{{Election box winning candidate with party link |candidate=[[Raju Khare]] |party=Nationalist Congress Party – Sharadchandra Pawar |votes = 125,838 |percentage = 54.54% |change= ''New'' }}
{{Election box candidate with party link |candidate=[[Yashwant Mane|Yashwant Vitthal Mane]] |party=Nationalist Congress Party|votes = 95,636 |percentage = 41.45% |change= ''New'' }}
{{Election box candidate with party link |candidate=Aakhade Anil Narsinh |party=Independent politician |votes = 4,251 |percentage = 1.84% |change= ''New'' }}
{{Election box candidate with party link |candidate=None of the Above |party=None of the above |votes = 2,047 |percentage = 0.89% |change={{increase}}0.42 }}
{{Election box margin of victory |votes = 30,202 |percentage = 13.09% |change= {{increase}}2.29 }}
{{Election box turnout |votes = 232,784 |percentage = 70.14% |change= {{increase}}3.86 }}{{Election box total valid |votes= 230,737}}
{{Election box registered electors |reg. electors = 331,882|ref = |change= {{increase}}8.49 }}
{{Election box gain with party link |winner = Nationalist Congress Party – Sharadchandra Pawar |loser = Nationalist Congress Party |swing= {{increase}}9.47 }}
{{Election box end}}
===Assembly Election 2019===
{{Election box begin|title = [[2019 Maharashtra Legislative Assembly election]] : Mohol<ref name="election2019">{{cite web |url=https://old.eci.gov.in/files/file/11699-maharashtra-legislative-assembly-election-2019/ |title=Maharashtra Legislative Assembly Election, 2019 |publisher=[[Election Commission of India]] |access-date= 2 February 2022 |url-access=limited}}</ref>}}
{{Election box winning candidate with party link |candidate=[[Yashwant Mane|Yashwant Vitthal Mane]] |party=Nationalist Congress Party |votes = 90,532 |percentage = 45.07% |change={{increase}}12.51 }}
{{Election box candidate with party link |candidate=Kshirsagar Nagnath Dattatray |party=Shiv Sena |votes = 68,833 |percentage = 34.27% |change={{increase}}12.00 }}
{{Election box candidate with party link |candidate=Ramesh Nagnath Kadam |party=Independent politician |votes = 23,649 |percentage = 11.77% |change= ''New'' }}
{{Election box candidate with party link |candidate=Gautam Kisan Vadave |party=Vanchit Bahujan Aaghadi |votes = 6,429 |percentage = 3.20% |change= ''New'' }}
{{Election box candidate with party link |candidate=Shejwal Manoj Bhaskarrao |party=Independent politician |votes = 3,822 |percentage = 1.90% |change= ''New'' }}
{{Election box candidate with party link |candidate=Rajendra Shivaji Shinde |party=Independent politician |votes = 1,765 |percentage = 0.88% |change= ''New'' }}
{{Election box candidate with party link |candidate=Dr. Hanumant Bhagwan Bhosale |party=Maharashtra Navnirman Sena |votes = 1,471 |percentage = 0.73% |change={{decrease}}0.59 }}
{{Election box candidate with party link |candidate=None of the Above |party=None of the above |votes = 940 |percentage = 0.47% |change={{increase}}0.01 }}
{{Election box margin of victory |votes = 21,699 |percentage = 10.80% |change= {{increase}}6.42 }}
{{Election box turnout |votes = 201,808 |percentage = 65.97% |change= {{decrease}}0.83 }}{{Election box total valid |votes= 200,868}}
{{Election box registered electors |reg. electors = 305,901|ref = |change= {{increase}}6.63 }}
{{Election box hold with party link |winner = Nationalist Congress Party |loser = Nationalist Congress Party |swing= {{increase}}12.51 }}
{{Election box end}}
===Assembly Election 2014===
{{Election box begin|title = [[2014 Maharashtra Legislative Assembly election]] : Mohol<ref name="election2014">{{cite web |url=https://old.eci.gov.in/files/file/11699-maharashtra-legislative-assembly-election-2014/ |title=Maharashtra Legislative Assembly Election, 2014 |publisher=[[Election Commission of India]] |access-date= 2 February 2022 |url-access=limited}}</ref>}}
{{Election box winning candidate with party link |candidate=[[Ramesh Kadam (politician)|Ramesh Kadam]] |party=Nationalist Congress Party |votes = 62,120 |percentage = 32.56% |change={{decrease}}20.14 }}
{{Election box candidate with party link |candidate=Kshirsagar Sanjay Dattatraya |party=Bharatiya Janata Party |votes = 53,753 |percentage = 28.18% |change= ''New'' }}
{{Election box candidate with party link |candidate=Shejwal Manoj Bhaskar |party=Shiv Sena |votes = 42,478 |percentage = 22.27% |change={{increase}}16.03 }}
{{Election box candidate with party link |candidate=Laxman Kondiba Dhoble |party=Independent politician |votes = 12,014 |percentage = 6.30% |change= ''New'' }}
{{Election box candidate with party link |candidate=Kharat Gaurav Gautam |party=Indian National Congress |votes = 8,297 |percentage = 4.35% |change= ''New'' }}
{{Election box candidate with party link |candidate=Gavali Deepak Appaso |party=Maharashtra Navnirman Sena |votes = 2,528 |percentage = 1.33% |change= ''New'' }}
{{Election box candidate with party link |candidate=Samjik Shankar Karande |party=Bahujan Samaj Party |votes = 2,187 |percentage = 1.15% |change={{decrease}}0.39 }}
{{Election box candidate with party link |candidate=None of the Above |party=None of the above |votes = 868 |percentage = 0.46% |change= ''New'' }}
{{Election box margin of victory |votes = 8,367 |percentage = 4.39% |change= {{decrease}}14.45 }}
{{Election box turnout |votes = 192,077 |percentage = 66.95% |change= {{increase}}7.08 }}{{Election box total valid |votes= 190,768}}
{{Election box registered electors |reg. electors = 286,894|ref = |change= {{increase}}10.05 }}
{{Election box hold with party link |winner = Nationalist Congress Party |loser = Nationalist Congress Party |swing= {{decrease}}20.14 }}
{{Election box end}}
===Assembly Election 2009===
{{Election box begin|title = [[2009 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher= Chief Eletoral Officer, [[Maharashtra]]|title=General Elections to State Legislative Assembly 2009 |url=https://ceoelection.maharashtra.gov.in/pdff/vidhanresult.pdf|archive-url= http://web.archive.org/web/20240708005931/https://ceoelection.maharashtra.gov.in/pdff/vidhanresult.pdf|archive-date=8 July 2024|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Dhobale Laxman Kondiba |party=Nationalist Congress Party |votes = 81,631 |percentage = 52.70% |change={{decrease}}7.14 }}
{{Election box candidate with party link |candidate=Kshirsagar Nagnath Dattatray |party=Independent politician |votes = 52,452 |percentage = 33.86% |change= ''New'' }}
{{Election box candidate with party link |candidate=Khandhare Uttamprakash Baburao |party=Shiv Sena |votes = 9,666 |percentage = 6.24% |change={{decrease}}30.28 }}
{{Election box candidate with party link |candidate=Gautam Kisan Vadave |party=Republican Party of India |votes = 4,356 |percentage = 2.81% |change= ''New'' }}
{{Election box candidate with party link |candidate=Suraj Alias Vinod Yuvraj Kambale |party=Bahujan Samaj Party |votes = 2,386 |percentage = 1.54% |change={{increase}}0.20 }}
{{Election box candidate with party link |candidate=Honkalas Shivaji Mahadev |party=Independent politician |votes = 1,420 |percentage = 0.92% |change= ''New'' }}
{{Election box margin of victory |votes = 29,179 |percentage = 18.84% |change= {{decrease}}4.48 }}
{{Election box turnout |votes = 155,285 |percentage = 59.57% |change= {{decrease}}16.92 }}{{Election box total valid |votes= 154,886}}
{{Election box registered electors |reg. electors = 260,690|ref = |change= {{increase}}48.62 }}
{{Election box hold with party link |winner = Nationalist Congress Party |loser = Nationalist Congress Party |swing= {{decrease}}7.14 }}
{{Election box end}}
===Assembly Election 2004===
{{Election box begin|title = [[2004 Maharashtra Legislative Assembly election]] : Mohol}}
{{Election box winning candidate with party link |candidate=Patil Rajan Baburao |party=Nationalist Congress Party |votes = 80,128 |percentage = 59.84% |change={{increase}}5.11 }}
{{Election box candidate with party link |candidate=Nimbalkar Chandrakant Dattaji |party=Shiv Sena |votes = 48,903 |percentage = 36.52% |change={{decrease}}1.12 }}
{{Election box candidate with party link |candidate=Imam (Imamkhan) Husen Mujawar |party=Bahujan Samaj Party |votes = 1,798 |percentage = 1.34% |change={{increase}}0.83 }}
{{Election box candidate with party link |candidate=Devidas Chandrabhan Chendage |party=Rashtriya Samaj Paksha |votes = 1,598 |percentage = 1.19% |change= ''New'' }}
{{Election box candidate with party link |candidate=Gaikwad Raghunath Eknath |party=Independent politician |votes = 1,475 |percentage = 1.10% |change= ''New'' }}
{{Election box margin of victory |votes = 31,225 |percentage = 23.32% |change= {{increase}}6.24 }}
{{Election box turnout |votes = 134,015 |percentage = 76.40% |change= {{increase}}6.16 }}{{Election box total valid |votes= 133,902}}
{{Election box registered electors |reg. electors = 175,407|ref = |change= {{increase}}17.91 }}
{{Election box hold with party link |winner = Nationalist Congress Party |loser = Nationalist Congress Party |swing= {{increase}}5.11 }}
{{Election box end}}
===Assembly Election 1999===
{{Election box begin|title = [[1999 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1999 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1999/StatisticalReport-MH99.pdf|archive-url= https://web.archive.org/web/20120117044316/http://eci.nic.in/eci_main/StatisticalReports/SE_1999/StatisticalReport-MH99.pdf|archive-date=17 January 2012|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Rajan Baburao Patil |party=Nationalist Congress Party |votes = 57,135 |percentage = 54.73% |change= ''New'' }}
{{Election box candidate with party link |candidate=Nimbalkar Chandrakant Dattaji |party=Shiv Sena |votes = 39,300 |percentage = 37.64% |change={{increase}}21.61 }}
{{Election box candidate with party link |candidate=Gund Devanand Raosaheb |party=Indian National Congress |votes = 7,436 |percentage = 7.12% |change={{decrease}}41.01 }}
{{Election box margin of victory |votes = 17,835 |percentage = 17.08% |change= {{increase}}2.98 }}
{{Election box turnout |votes = 111,923 |percentage = 75.24% |change= {{decrease}}10.87 }}{{Election box total valid |votes= 104,402}}
{{Election box registered electors |reg. electors = 148,760|ref = |change= {{increase}}6.84 }}
{{Election box gain with party link |winner = Nationalist Congress Party |loser = Indian National Congress |swing= {{increase}}6.60 }}
{{Election box end}}
===Assembly Election 1995===
{{Election box begin|title = [[1995 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1995 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1995/StatisticalReport-MH95.pdf|archive-url= https://web.archive.org/web/20120117121534/http://eci.nic.in/eci_main/StatisticalReports/SE_1995/StatisticalReport-MH95.pdf |archive-date=17 January 2012|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Patil Rajan Baburao |party=Indian National Congress |votes = 54,320 |percentage = 48.13% |change={{increase}}5.65 }}
{{Election box candidate with party link |candidate=Nimbalkar Chandrakant Dattaji |party=Peasants and Workers Party of India |votes = 38,398 |percentage = 34.02% |change={{decrease}}17.14 }}
{{Election box candidate with party link |candidate=Gaikwad Dipak Chandrakant |party=Shiv Sena |votes = 18,097 |percentage = 16.04% |change={{increase}}10.01 }}
{{Election box candidate with party link |candidate=Parsunde Naganath Maruti |party=Independent politician |votes = 1,182 |percentage = 1.05% |change= ''New'' }}
{{Election box margin of victory |votes = 15,922 |percentage = 14.11% |change= {{increase}}5.42 }}
{{Election box turnout |votes = 115,807 |percentage = 83.17% |change= {{increase}}11.14 }}{{Election box total valid |votes= 112,859}}
{{Election box registered electors |reg. electors = 139,241|ref = |change= {{increase}}0.61 }}
{{Election box gain with party link |winner = Indian National Congress |loser = Peasants and Workers Party of India |swing= {{decrease}}3.04 }}
{{Election box end}}
===Assembly Election 1990===
{{Election box begin|title = [[1990 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1990 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1990/StatRep_MT_90.pdf |archive-url= https://web.archive.org/web/20120117080722/http://eci.nic.in/eci_main/StatisticalReports/SE_1990/StatRep_MT_90.pdf |archive-date=17 January 2012|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Nimbalkar Chandrakant Dattaji |party=Peasants and Workers Party of India |votes = 49,505 |percentage = 51.17% |change={{increase}}1.26 }}
{{Election box candidate with party link |candidate=Shahjiroa Shankarrao Patil |party=Indian National Congress |votes = 41,098 |percentage = 42.48% |change={{decrease}}7.62 }}
{{Election box candidate with party link |candidate=Mote Mahadeo Maruti |party=Shiv Sena |votes = 5,829 |percentage = 6.02% |change= ''New'' }}
{{Election box margin of victory |votes = 8,407 |percentage = 8.69% |change= {{increase}}8.49 }}
{{Election box turnout |votes = 98,384 |percentage = 71.09% |change= {{decrease}}3.89 }}{{Election box total valid |votes= 96,753}}
{{Election box registered electors |reg. electors = 138,390|ref = |change= {{increase}}19.22 }}
{{Election box gain with party link |winner = Peasants and Workers Party of India |loser = Indian National Congress |swing= {{increase}}1.07 }}
{{Election box end}}
===Assembly Election 1985===
{{Election box begin|title = [[1985 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1985 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1985/Statistical%20Report%20Maharashtra%201985.pdf |archive-url= https://web.archive.org/web/20120117075119/http://eci.nic.in/eci_main/StatisticalReports/SE_1985/Statistical%20Report%20Maharashtra%201985.pdf |archive-date=17 January 2012|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Shahjiroa Shankarrao Patil |party=Indian National Congress |votes = 42,919 |percentage = 50.10% |change= ''New'' }}
{{Election box candidate with party link |candidate=Patil Baburao Bajirao |party=Peasants and Workers Party of India |votes = 42,752 |percentage = 49.90% |change={{decrease}}0.32 }}
{{Election box margin of victory |votes = 167 |percentage = 0.19% |change= {{decrease}}0.25 }}
{{Election box turnout |votes = 87,113 |percentage = 75.05% |change= {{increase}}0.28 }}{{Election box total valid |votes= 85,671}}
{{Election box registered electors |reg. electors = 116,076|ref = |change= {{increase}}15.41 }}
{{Election box gain with party link |winner = Indian National Congress |loser = Peasants and Workers Party of India |swing= {{decrease}}0.13 }}
{{Election box end}}
===Assembly Election 1980===
{{Election box begin|title = [[1980 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1980 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1980/Statistical%20Report%201980%20Maharashtra.pdf |archive-url= https://web.archive.org/web/20120117083555/http://eci.nic.in/eci_main/StatisticalReports/SE_1980/Statistical%20Report%201980%20Maharashtra.pdf |archive-date=17 January 2012|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Nimbalkar Chandrakant Dattaji |party=Peasants and Workers Party of India |votes = 37,143 |percentage = 50.22% |change={{increase}}17.70 }}
{{Election box candidate with party link |candidate=Shahjiroa Shankarrao Patil |party=Indian National Congress (I) |votes = 36,812 |percentage = 49.78% |change={{increase}}9.95 }}
{{Election box margin of victory |votes = 331 |percentage = 0.45% |change= {{decrease}}6.85 }}
{{Election box turnout |votes = 75,422 |percentage = 74.99% |change= {{decrease}}0.43 }}{{Election box total valid |votes= 73,955}}
{{Election box registered electors |reg. electors = 100,579|ref = |change= {{increase}}10.65 }}
{{Election box gain with party link |winner = Peasants and Workers Party of India |loser = Indian National Congress (I) |swing= {{increase}}10.40 }}
{{Election box end}}
===Assembly Election 1978===
{{Election box begin|title = [[1978 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1978 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1978/Statistical%20Report%201978%20Maharashtra.pdf|archive-url=https://web.archive.org/web/20170629182050/http://eci.nic.in/eci_main/StatisticalReports/SE_1978/Statistical%20Report%201978%20Maharashtra.pdf|archive-date=29 June 2017|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Shahjiroa Shankarrao Patil |party=Indian National Congress (I) |votes = 26,771 |percentage = 39.82% |change= ''New'' }}
{{Election box candidate with party link |candidate=Nimbalkar Chandrakant Dattaji |party=Peasants and Workers Party of India |votes = 21,863 |percentage = 32.52% |change={{decrease}}13.11 }}
{{Election box candidate with party link |candidate=Kade Dyanoba Muralidhar |party=Indian National Congress |votes = 18,150 |percentage = 27.00% |change={{decrease}}27.36 }}
{{Election box candidate with party link |candidate=Dhotre Kaluram Ramaji |party=Independent politician |votes = 439 |percentage = 0.65% |change= ''New'' }}
{{Election box margin of victory |votes = 4,908 |percentage = 7.30% |change= {{decrease}}1.42 }}
{{Election box turnout |votes = 69,326 |percentage = 76.27% |change= {{increase}}2.80 }}{{Election box total valid |votes= 67,223}}
{{Election box registered electors |reg. electors = 90,897|ref = |change= {{increase}}1.36 }}
{{Election box gain with party link |winner = Indian National Congress (I) |loser = Indian National Congress |swing= {{decrease}}14.54 }}
{{Election box end}}
===Assembly Election 1972===
{{Election box begin|title = [[1972 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1967 to the Legislative Assembly of Maharashtra |url=http://eci.nic.in/eci_main/StatisticalReports/SE_1972/StatReport_MT_72.pdf|archive-url=https://web.archive.org/web/20170519183024/http://eci.nic.in/eci_main/StatisticalReports/SE_1972/StatReport_MT_72.pdf|archive-date=19 May 2017|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=Shahaji Rao Patil |party=Indian National Congress |votes = 34,688 |percentage = 54.36% |change={{increase}}15.94 }}
{{Election box candidate with party link |candidate=Chandrakant Nimbalkar |party=Peasants and Workers Party of India |votes = 29,121 |percentage = 45.64% |change={{increase}}26.09 }}
{{Election box margin of victory |votes = 5,567 |percentage = 8.72% |change= {{increase}}2.96 }}
{{Election box turnout |votes = 65,682 |percentage = 73.24% |change= {{increase}}8.83 }}{{Election box total valid |votes= 63,809}}
{{Election box registered electors |reg. electors = 89,676|ref = |change= {{increase}}10.01 }}
{{Election box hold with party link |winner = Indian National Congress |loser = Indian National Congress |swing= {{increase}}15.94 }}
{{Election box end}}
===Assembly Election 1967===
{{Election box begin|title = [[1967 Maharashtra Legislative Assembly election]] : Mohol<ref>{{cite web|publisher=[[Election Commission of India]]|title=Statistical Report on General Election, 1967 to the Legislative Assembly of Maharashtra |url=https://www.eci.nic.in/eci_main/statisticalreports/SE_1967/Statistical%20Report%20Maharashtra%201967.pdf|archive-url=https://web.archive.org/web/20180926233227/https://www.eci.nic.in/eci_main/statisticalreports/SE_1967/Statistical%20Report%20Maharashtra%201967.pdf|archive-date=26 September 2018|format=pdf}}</ref>}}
{{Election box winning candidate with party link |candidate=G. B. Buragute |party=Indian National Congress |votes = 19,523 |percentage = 38.42% |change= ''New'' }}
{{Election box candidate with party link |candidate=D. M. Kade |party=Independent politician |votes = 16,593 |percentage = 32.66% |change= ''New'' }}
{{Election box candidate with party link |candidate=C. D. Nimbalkar |party=Peasants and Workers Party of India |votes = 9,933 |percentage = 19.55% |change= ''New'' }}
{{Election box candidate with party link |candidate=H. N. Jadhav |party=Independent politician |votes = 3,706 |percentage = 7.29% |change= ''New'' }}
{{Election box candidate with party link |candidate=T. G. Barakade |party=Independent politician |votes = 1,055 |percentage = 2.08% |change= ''New'' }}
{{Election box margin of victory |votes = 2,930 |percentage = 5.77% |change= }}
{{Election box turnout |votes = 55,490 |percentage = 68.07% |change= }}{{Election box total valid |votes= 50,810}}
{{Election box registered electors |reg. electors = 81,519|ref = |change= }}
{{Election box new seat win |winner = Indian National Congress |loser = |swing= }}
{{Election box end}}

==See also==
* [[Mohol]]

==References==
{{reflist}}

{{Solapur district topics}}
{{Assembly constituencies of Maharashtra}}
{{coord|17.80|75.64|display=title}}

[[Category:Assembly constituencies of Solapur district]]
[[Category:Assembly constituencies of Maharashtra]]
[[Category:Politics of Maharashtra]]
[[Category:Legislative Assembly constituencies of Indian states established in 1951]]
[[Category:1951 establishments in Bombay State]]

Tohana Assembly constituency

2026-04-15T23:52:01Z

FWQGina861152045: added a page - done

{{short description|Legislative Assembly constituency in Haryana State, India}}
{{Use Indian English|date=February 2023}}
{{Use dmy dates|date=February 2021}}
{{Infobox Indian constituency
|name = Tohana
|type= SLA
| map_image = Tohana Assembly constituency map.svg

|map_caption =
|map_alt =
|established = 1999
|region =
|division =
|constituency_no = 39
|abolished = 
| state = [[Haryana]]
| district = [[Fatehabad district|Fatehabad]]
| loksabha_cons = [[Sirsa (Lok Sabha constituency)|Sirsa]]
| reservation = None
| mla = [[Paramvir Singh (politician)|Paramvir Singh]]
| party = [[Indian National Congress]]
|alliance = 
| latest_election_year = [[2024 Haryana Legislative Assembly election|2024]]
| electors = 2,31,156
}}
'''Tohana Assembly constituency''' is one of the 90 [[Haryana Legislative Assembly|Legislative Assembly]] constituencies of [[Haryana]] state in [[India]].<ref name=eci1>{{cite web |url=http://eci.nic.in/eci_main/CurrentElections/CONSOLIDATED_ORDER%20_ECI%20.pdf |title=Delimitation of Parliamentary and Assembly Constituencies Order, 2008 |publisher=The Election Commission of India |pages=6, 148–157}}</ref>

It is part of [[Fatehabad district|Fatehabad]] district.

== Members of the Legislative Assembly ==
{| class="wikitable"
|-
!Year
!Member<ref>{{Cite web |title=Tohana Assembly constituency Election Result 2024 - Candidates, MLAs, Live Updates & News |url=https://www.elections.in/haryana/assembly-constituencies/tohana.html |access-date= |website=www.elections.in}}</ref>
!colspan="2"|Party
|-
|[[1967 Punjab Legislative Assembly election|1967]]
| rowspan="3" |Harpal Singh
|{{Full party name with color|Indian National Congress}}
|-
|[[1968 Haryana Legislative Assembly election|1968]]
|{{Full party name with color|Vishal Haryana Party}}
|-
|[[1972 Haryana Legislative Assembly election|1972]]
|{{Full party name with color|Indian National Congress}}
|-
|[[1977 Haryana Legislative Assembly election|1977]]
|Karam Singh Mehria
|{{Full party name with color|Janata Party}}
|-
|[[1982 Haryana Legislative Assembly election|1982]]
|Harpal Singh
|{{Full party name with color|Indian National Congress}}
|-Ch Hanuman Bishnoi
|[[1987 Haryana Legislative Assembly election|1987]]
|Harpal Singh
|{{Full party name with color|Communist Party of India (Marxist)|dab=yes}}
|-
|[[1991 Haryana Legislative Assembly election|1991]]
|Harpal Singh
|{{Full party name with color|Indian National Congress}}
|-
|[[1996 Haryana Legislative Assembly election|1996]]
|Vinod Kumar Marya
|{{Full party name with color|Samata Party}}
|-
|[[2000 Haryana Legislative Assembly election|2000]]
|Nishan Singh
|{{Full party name with color|Indian National Lok Dal}}
|-
|[[2005 Haryana Legislative Assembly election|2005]]
| rowspan="2" |[[Paramvir Singh (politician)|Paramvir Singh]]
|{{Full party name with color|Indian National Congress|rowspan=2}}
|-
|[[2009 Haryana Legislative Assembly election|2009]]
|-
|[[2014 Haryana Legislative Assembly election|2014]]
|[[Subhash Barala]]
|{{Full party name with color|Bharatiya Janata Party}}
|-
|[[2019 Haryana Legislative Assembly election|2019]]
| [[Devender Singh Babli]]
| {{Full party name with color|Jannayak Janta Party}}
|-
|[[2024 Haryana Legislative Assembly election|2024]]
|[[Paramvir Singh (politician)|Paramvir Singh]]
|{{Full party name with color|Indian National Congress}}
|-
|}

== Election results ==
===Assembly Election 2024===
{{Election box begin|title= [[2024 Haryana Legislative Assembly election]]: Tohana<ref>{{cite web|url=https://results.eci.gov.in/AcResultGenOct2024/statewiseS071.htm |title=State wise result |work=[[Election Commission of India]]|access-date=8 October 2024}}</ref>}}
{{Election box winning candidate with party link| |candidate=[[Paramvir Singh (politician)|Paramvir Singh]] |party=Indian National Congress |votes=88,522 |percentage=49.05% |change={{increase}}39.64 }}
{{Election box candidate with party link| |candidate=[[Devender Singh Babli]] |party=Bharatiya Janata Party |votes=77,686 |percentage=43.05% |change={{increase}}15.77 }}
{{Election box candidate with party link| |candidate=Kunal Karan Singh |party=Indian National Lok Dal |votes=9,773 |percentage=5.42% |change={{increase}}4.73 }}
{{Election box candidate with party link| |candidate=Sukhvinder Singh S/O Avtar Singh |party=Aam Aadmi Party |votes=1,616 |percentage=0.90% |change={{decrease}}0.15 }}
{{Election box candidate with party link| |candidate=None of the Above |party=None of the above |votes=698 |percentage=0.39% |change= ''New''}}
{{Election box margin of victory |votes=10,836 |percentage=6.00% |change= {{decrease}}23.44 }}
{{Election box turnout |votes=1,80,467 |percentage=77.83% |change= {{decrease}}2.72 }}
{{Election box registered electors |reg. electors = 2,31,156 |ref = |change= {{increase}}5.15 }}
{{Election box gain with party link |winner=Indian National Congress |loser=Jannayak Janta Party |swing= {{decrease}}7.67 }}
{{Election box end}}

===Assembly Election 2019 ===
 <section begin="Assembly Election 2019"/>
{{Election box begin|title= [[2019 Haryana Legislative Assembly election]] : Tohana<ref name=results2019>{{cite web |url=https://old.eci.gov.in/files/file/11697-haryana-legislative-assembly-election-2019/ |title=Haryana Legislative Assembly Election, 2019 - Haryana - Election Commission of India |website=eci.gov.in |accessdate= 2 February 2021}}</ref>}}
{{Election box winning candidate with party link| |candidate=[[Devender Singh Babli]] |party=Jannayak Janta Party |votes=1,00,752 |percentage=56.72% |change= }}
{{Election box candidate with party link| |candidate=[[Subhash Barala]] |party=Bharatiya Janata Party |votes=48,450 |percentage=27.28% |change={{decrease}}1.29 }}
{{Election box candidate with party link| |candidate=Paramvir Singh |party=Indian National Congress |votes=16,717 |percentage=9.41% |change={{decrease}}9.71 }}
{{Election box candidate with party link| |candidate=Baljit Bouddh |party=Bahujan Samaj Party |votes=2,593 |percentage=1.46% |change={{increase}}0.62 }}
{{Election box candidate with party link| |candidate=Ajay Kumar |party=Aam Aadmi Party |votes=1,852 |percentage=1.04% |change= }}
{{Election box candidate with party link| |candidate=Comrade Jagtar Singh |party=Communist Party of India (Marxist) |votes=1,334 |percentage=0.75% |change= }}
{{Election box candidate with party link| |candidate=Rajpal Saini |party=Indian National Lok Dal |votes=1,213 |percentage=0.68% |change={{decrease}}23.89 }}
{{Election box candidate with party link| |candidate=Bhim Singh |party=Loktanter Suraksha Party |votes=1,087 |percentage=0.61% |change= }}
{{Election box margin of victory |votes=52,302 |percentage=29.45% |change= {{increase}}25.46 }}
{{Election box turnout |votes=1,77,622 |percentage=80.55% |change= {{decrease}}4.67 }}
{{Election box registered electors |reg. electors = 2,20,517 |ref = |change= {{increase}}8.53 }}
{{Election box gain with party link |winner=Jannayak Janta Party |loser=Bharatiya Janata Party |swing= {{increase}}28.16 }}
{{Election box end}}
<section end="Assembly Election 2019"/>

===Assembly Election 2014 ===
 <section begin="Assembly Election 2014"/>
{{Election box begin|title= [[2014 Haryana Legislative Assembly election]]: Tohana<ref>{{cite web|url=http://eciresults.nic.in/PartyWiseResultS07.htm?st=S07|title=Haryana Results|access-date=19 October 2014|archive-date=16 December 2014|archive-url=https://web.archive.org/web/20141216120445/http://eciresults.nic.in/ConstituencywiseS074.htm?ac=4|url-status=dead|website=Election Commission of India, Constituencywise-All Candidates }}</ref>}}
{{Election box winning candidate with party link| |candidate=[[Subhash Barala]] |party=Bharatiya Janata Party |votes=49,462 |percentage=28.57% |change={{increase}}20.14 }}
{{Election box candidate with party link| |candidate=Nishan Singh |party=Indian National Lok Dal |votes=42,556 |percentage=24.58% |change={{decrease}}6.62 }}
{{Election box candidate with party link| |candidate=[[Devender Singh Babli]] |party=Independent politician |votes=38,282 |percentage=22.11% |change= }}
{{Election box candidate with party link| |candidate=Paramvir Singh |party=Indian National Congress |votes=33,111 |percentage=19.12% |change={{decrease}}14.87 }}
{{Election box candidate with party link| |candidate=Sunita |party=Independent politician |votes=1,506 |percentage=0.87% |change= }}
{{Election box candidate with party link| |candidate=Dharamender Gothwal |party=Bahujan Samaj Party |votes=1,454 |percentage=0.84% |change={{decrease}}7.19 }}
{{Election box candidate with party link| |candidate=Ramesh Dulat |party=Haryana Janhit Congress (BL) |votes=1,008 |percentage=0.58% |change={{decrease}}3.43 }}
{{Election box candidate with party link| |candidate=Chand Singh |party=Communist Party of India |votes=869 |percentage=0.50% |change={{decrease}}0.5 }}
{{Election box margin of victory |votes=6,906 |percentage=3.99% |change= {{increase}}1.19 }}
{{Election box turnout |votes=1,73,155 |percentage=85.22% |change= {{increase}}3.28 }}
{{Election box registered electors |reg. electors = 2,03,188 |ref = |change= {{increase}}21.06 }}
{{Election box gain with party link |winner=Bharatiya Janata Party |loser=Indian National Congress |swing= {{decrease}}5.43 }}
{{Election box end}}
<section end="Assembly Election 2014"/>

=== Assembly Election 2009 ===
 <section begin="Assembly Election 2009"/>
{{Election box begin|title= [[2009 Haryana Legislative Assembly election]]: Tohana<ref name="election2009">{{cite web |date=21 January 2020 |title=Haryana Legislative Assembly Election, 2009 |url=https://old.eci.gov.in/files/file/3826-haryana-2009/ |access-date=14 April 2022 |publisher=[[Election Commission of India]]}}</ref>}}
{{Election box winning candidate with party link| |candidate=Paramvir Singh |party=Indian National Congress |votes=46,752 |percentage=33.99% |change={{decrease}}11.43 }}
{{Election box candidate with party link| |candidate=Nishan Singh |party=Indian National Lok Dal |votes=42,900 |percentage=31.19% |change={{increase}}2.22 }}
{{Election box candidate with party link| |candidate=Roshan Lal |party=Independent politician |votes=14,816 |percentage=10.77% |change= }}
{{Election box candidate with party link| |candidate=[[Subhash Barala]] |party=Bharatiya Janata Party |votes=11,587 |percentage=8.42% |change={{decrease}}8.53 }}
{{Election box candidate with party link| |candidate=Sanjay Sharma |party=Bahujan Samaj Party |votes=11,038 |percentage=8.03% |change={{increase}}5.11 }}
{{Election box candidate with party link| |candidate=Dheera Ram |party=Haryana Janhit Congress (BL) |votes=5,521 |percentage=4.01% |change= }}
{{Election box candidate with party link| |candidate=Sampuran Singh |party=Communist Party of India |votes=1,374 |percentage=1.00% |change= }}
{{Election box candidate with party link| |candidate=Bajrang |party=Smast Bhartiya Party |votes=1,280 |percentage=0.93% |change= }}
{{Election box candidate with party link| |candidate=Subhash Chand |party=Independent politician |votes=881 |percentage=0.64% |change= }}
{{Election box candidate with party link| |candidate=Sita Ram |party=Independent politician |votes=777 |percentage=0.56% |change= }}
{{Election box margin of victory |votes=3,852 |percentage=2.80% |change= {{decrease}}13.65 }}
{{Election box turnout |votes=1,37,535 |percentage=81.94% |change= {{increase}}3.51 }}
{{Election box registered electors |reg. electors = 1,67,845 |ref = |change= {{increase}}15.33 }}
{{Election box hold with party link |winner=Indian National Congress |loser=Indian National Congress |swing= {{decrease}}11.43 }}
{{Election box end}}
<section end="Assembly Election 2009"/>

=== Assembly Election 2005 ===
{{Election box begin|title= [[2005 Haryana Legislative Assembly election]]: Tohana<ref>{{cite web|url=http://www.indian-elections.com/assembly-elections/haryana/partywise-candidate-list1.html |archive-url=https://web.archive.org/web/20091016121341/http://www.indian-elections.com/assembly-elections/haryana/partywise-candidate-list1.html#inc |archive-date=16 October 2009 |url-status=dead |title= Winning Candidate List for Haryana State Assembly Elections 2005 |publisher=Indian Elections }}</ref>}}
{{Election box winning candidate with party link| |candidate=Paramvir Singh |party=Indian National Congress |votes=51,851 |percentage=45.43% |change={{increase}}6.37 }}
{{Election box candidate with party link| |candidate=Nishan Singh |party=Indian National Lok Dal |votes=33,068 |percentage=28.97% |change={{decrease}}16.26 }}
{{Election box candidate with party link| |candidate=Subhash Chand |party=Bharatiya Janata Party |votes=19,353 |percentage=16.95% |change= }}
{{Election box candidate with party link| |candidate=Singha Ram |party=Bahujan Samaj Party |votes=3,331 |percentage=2.92% |change={{decrease}}3.82 }}
{{Election box candidate with party link| |candidate=Comrade Harpal Singh |party=Communist Party of India (Marxist) |votes=3,120 |percentage=2.73% |change= }}
{{Election box candidate with party link| |candidate=Ram Bhagat |party=Nationalist Congress Party |votes=1,162 |percentage=1.02% |change= }}
{{Election box candidate with party link| |candidate=Subhash |party=Independent politician |votes=1,107 |percentage=0.97% |change= }}
{{Election box candidate with party link| |candidate=Baljit Singh |party=Independent politician |votes=641 |percentage=0.56% |change= }}
{{Election box margin of victory |votes=18,783 |percentage=16.46% |change= {{increase}}10.28 }}
{{Election box turnout |votes=1,14,145 |percentage=78.43% |change= {{increase}}3.47 }}
{{Election box registered electors |reg. electors = 1,45,532 |ref = |change= {{increase}}14.56 }}
{{Election box gain with party link |winner=Indian National Congress |loser=Indian National Lok Dal |swing= {{increase}}0.19 }}
{{Election box end}}

=== Assembly Election 2000 ===
{{Election box begin|title= [[2000 Haryana Legislative Assembly election]]: Tohana<ref name="election2000">{{cite web |title=Haryana 2000 |url=https://old.eci.gov.in/files/file/3824-haryana-2000/ |accessdate=5 May 2023 |publisher=[[Election Commission of India]]}}</ref>}}
{{Election box winning candidate with party link| |candidate=Nishan Singh |party=Indian National Lok Dal |votes=43,076 |percentage=45.23% |change= }}
{{Election box candidate with party link| |candidate=Harpal Singh S/O Nand Lal |party=Indian National Congress |votes=37,196 |percentage=39.06% |change={{increase}}8.18 }}
{{Election box candidate with party link| |candidate=Gian Chand S/O Ludind Chand |party=Independent politician |votes=7,439 |percentage=7.81% |change= }}
{{Election box candidate with party link| |candidate=Mangat Rai |party=Bahujan Samaj Party |votes=6,413 |percentage=6.73% |change= }}
{{Election box margin of victory |votes=5,880 |percentage=6.17% |change= {{decrease}}4.66 }}
{{Election box turnout |votes=95,235 |percentage=75.80% |change= {{decrease}}2.95 }}
{{Election box registered electors |reg. electors = 1,27,040 |ref = |change= {{increase}}3.33 }}
{{Election box gain with party link |winner=Indian National Lok Dal |loser=Samata Party |swing= {{increase}}3.52 }}
{{Election box end}}

===Assembly Election 1996 ===
{{Election box begin|title= [[1996 Haryana Legislative Assembly election]]: Tohana}}
{{Election box winning candidate with party link| |candidate=Vinod Kumar |party=Samata Party |votes=39,957 |percentage=41.71% |change= }}
{{Election box candidate with party link| |candidate=S. Harpal Singh |party=Indian National Congress |votes=29,575 |percentage=30.88% |change={{increase}}0.65 }}
{{Election box candidate with party link| |candidate=S. Raghvir Singh |party=Haryana Vikas Party |votes=16,392 |percentage=17.11% |change= }}
{{Election box candidate with party link| |candidate=Com. Harpal Singh |party=Communist Party of India (Marxist) |votes=2,339 |percentage=2.44% |change={{decrease}}13.78 }}
{{Election box candidate with party link| |candidate=Jaswant Ram |party=Independent politician |votes=1,587 |percentage=1.66% |change= }}
{{Election box candidate with party link| |candidate=Ved Parkash |party=Independent politician |votes=1,444 |percentage=1.51% |change= }}
{{Election box candidate with party link| |candidate=Radha Krishan |party=Independent politician |votes=1,397 |percentage=1.46% |change= }}
{{Election box candidate with party link| |candidate=Bachna Ram |party=Independent politician |votes=612 |percentage=0.64% |change= }}
{{Election box candidate with party link| |candidate=Dalip Singh |party=Independent politician |votes=553 |percentage=0.58% |change= }}
{{Election box margin of victory |votes=10,382 |percentage=10.84% |change= {{increase}}7.05 }}
{{Election box turnout |votes=95,788 |percentage=80.58% |change= {{increase}}10.33 }}
{{Election box registered electors |reg. electors = 1,22,945 |ref = |change= {{increase}}12.72 }}
{{Election box gain with party link |winner=Samata Party |loser=Indian National Congress |swing= {{increase}}11.49 }}
{{Election box end}}

=== Assembly Election 1991 ===
{{Election box begin|title= [[1991 Haryana Legislative Assembly election]]: Tohana<ref name="election1991">{{cite web |title=Haryana 1991 |url=https://old.eci.gov.in/files/file/3822-haryana-1991/ |accessdate=19 January 2022 |publisher=[[Election Commission of India]]}}</ref>}}
{{Election box winning candidate with party link| |candidate=Harpal Singh |party=Indian National Congress |votes=22,279 |percentage=30.23% |change={{increase}}3.67 }}
{{Election box candidate with party link| |candidate=Vinod Kumar |party=Independent politician |votes=19,488 |percentage=26.44% |change= }}
{{Election box candidate with party link| |candidate=Harpal Singh |party=Communist Party of India (Marxist) |votes=11,960 |percentage=16.23% |change={{decrease}}26.57 }}
{{Election box candidate with party link| |candidate=Sadhuram |party=Janata Party |votes=8,480 |percentage=11.51% |change= }}
{{Election box candidate with party link| |candidate=Balam Singh |party=Independent politician |votes=3,719 |percentage=5.05% |change= }}
{{Election box candidate with party link| |candidate=Krishan Lal |party=Bharatiya Janata Party |votes=2,134 |percentage=2.90% |change= }}
{{Election box candidate with party link| |candidate=Banwari Ram |party=Bahujan Samaj Party |votes=1,427 |percentage=1.94% |change= }}
{{Election box candidate with party link| |candidate=Ramesh Kumar |party=Independent politician |votes=1,100 |percentage=1.49% |change= }}
{{Election box candidate with party link| |candidate=Balbir Singh |party=Independent politician |votes=537 |percentage=0.73% |change= }}
{{Election box candidate with party link| |candidate=Inder Kumar |party=Independent politician |votes=476 |percentage=0.65% |change= }}
{{Election box candidate with party link| |candidate=Jagjiwan Ram |party=Independent politician |votes=428 |percentage=0.58% |change= }}
{{Election box margin of victory |votes=2,791 |percentage=3.79% |change= {{decrease}}12.46 }}
{{Election box turnout |votes=73,707 |percentage=70.64% |change= {{decrease}}4.65 }}
{{Election box registered electors |reg. electors = 1,09,070 |ref = |change= {{increase}}11.42 }}
{{Election box gain with party link |winner=Indian National Congress |loser=Communist Party of India (Marxist) |swing= {{decrease}}12.57 }}
{{Election box end}}

=== Assembly Election 1987 ===
{{Election box begin|title= [[1987 Haryana Legislative Assembly election]]: Tohana<ref name="election1987">{{cite web |title=Haryana 1987 |url=https://old.eci.gov.in/files/file/3821-haryana-1987/ |accessdate=28 May 2023 |publisher=[[Election Commission of India]]}}</ref>}}
{{Election box winning candidate with party link| |candidate=Harpal Singh |party=Communist Party of India (Marxist) |votes=30,261 |percentage=42.80% |change= }}
{{Election box candidate with party link| |candidate=Paramvir Singh |party=Indian National Congress |votes=18,774 |percentage=26.55% |change= }}
{{Election box candidate with party link| |candidate=Bhim Singh |party=Independent politician |votes=16,438 |percentage=23.25% |change= }}
{{Election box candidate with party link| |candidate=Arjun Dev |party=Independent politician |votes=1,893 |percentage=2.68% |change= }}
{{Election box candidate with party link| |candidate=Ranjha Ram |party=Independent politician |votes=1,271 |percentage=1.80% |change= }}
{{Election box candidate with party link| |candidate=Jyoti Ram |party=Independent politician |votes=431 |percentage=0.61% |change= }}
{{Election box candidate with party link| |candidate=Banarsi Dass |party=Independent politician |votes=374 |percentage=0.53% |change= }}
{{Election box candidate with party link| |candidate=Manga Ram |party=Independent politician |votes=323 |percentage=0.46% |change= }}
{{Election box margin of victory |votes=11,487 |percentage=16.25% |change= }}
{{Election box turnout |votes=70,705 |percentage=73.41% |change= }}
{{Election box registered electors |reg. electors = 97,891 |ref = |change= }}
{{Election box gain with party link |winner=Communist Party of India (Marxist) |loser=Indian National Congress |swing= }}
{{Election box end}}

===Assembly By-election 1985 ===
{{Election box begin|title= [[1985 Haryana Legislative Assembly by-election]]: Tohana}}
{{Election box winning candidate with party link| |candidate=Ch Hanuman Bishnoi |votes=41,120 |percentage= |change=}}
{{Election box candidate with party link| |candidate=S. L. Sardana |party=Lokdal |votes=15,671 |percentage= |change= }}
{{Election box candidate with party link| |candidate=Harpal Singh |party=Communist Party of India (Marxist) |votes=7,549 |percentage= |change= }}
{{Election box candidate with party link| |candidate=D.Raj |party=Communist Party of India |votes=1,757 |percentage= |change=}}
{{Election box candidate with party link| |candidate=Wakil |party=Independent politician |votes=871 |percentage= |change= }}
{{Election box candidate with party link| |candidate=N. D. D. Adampuria |party=Independent politician |votes=215 |percentage= |change= }}
{{Election box candidate with party link| |candidate=K. Lal |party=Independent politician |votes=112 |percentage= |change= }}
{{Election box margin of victory |votes=25,449 |percentage= |change= }}
{{Election box hold with party link |winner=Indian National Congress |loser=Indian National Congress |swing= }}
{{Election box end}}

=== Assembly Election 1982 ===
{{Election box begin|title= [[1982 Haryana Legislative Assembly election]]: Tohana<ref name="election1982">{{cite web |title=Haryana 1982 |url=https://old.eci.gov.in/files/file/3820-haryana-1982/ |accessdate=28 May 2023 |publisher=[[Election Commission of India]]}}</ref>}}
{{Election box winning candidate with party link| |candidate=Harpal Singh |party=Indian National Congress |votes=31,184 |percentage=52.93% |change={{increase}}19.35 }}
{{Election box candidate with party link| |candidate=Bakshi Ram |party=Independent politician |votes=23,792 |percentage=40.38% |change= }}
{{Election box candidate with party link| |candidate=Sampuran Singh |party=Communist Party of India |votes=1,466 |percentage=2.49% |change={{decrease}}2.63 }}
{{Election box candidate with party link| |candidate=Fateh Singh |party=Independent politician |votes=1,014 |percentage=1.72% |change= }}
{{Election box candidate with party link| |candidate=Ram Singh |party=Independent politician |votes=501 |percentage=0.85% |change= }}
{{Election box margin of victory |votes=7,392 |percentage=12.55% |change= {{decrease}}13.33 }}
{{Election box turnout |votes=58,918 |percentage=75.76% |change= {{increase}}14.68 }}
{{Election box registered electors |reg. electors = 79,451 |ref = |change= {{increase}}18.50 }}
{{Election box gain with party link |winner=Indian National Congress |loser=Janata Party |swing= {{decrease}}6.53 }}
{{Election box end}}

===Assembly Election 1977 ===
{{Election box begin|title= [[1977 Haryana Legislative Assembly election]]: Tohana}}
{{Election box winning candidate with party link| |candidate=Karam Singh |party=Janata Party |votes=23,709 |percentage=59.46% |change= }}
{{Election box candidate with party link| |candidate=Bhim Singh |party=Indian National Congress |votes=13,390 |percentage=33.58% |change={{decrease}}29.89 }}
{{Election box candidate with party link| |candidate=Ishar Singh |party=Communist Party of India |votes=2,040 |percentage=5.12% |change={{decrease}}17.07 }}
{{Election box candidate with party link| |candidate=Fateh Singh |party=Independent politician |votes=737 |percentage=1.85% |change= }}
{{Election box margin of victory |votes=10,319 |percentage=25.88% |change= {{decrease}}15.41 }}
{{Election box turnout |votes=39,876 |percentage=60.20% |change= {{decrease}}8.09 }}
{{Election box registered electors |reg. electors = 67,048 |ref = |change= {{increase}}3.03 }}
{{Election box gain with party link |winner=Janata Party |loser=Indian National Congress |swing= {{decrease}}4.02 }}
{{Election box end}}

===Assembly Election 1972 ===
{{Election box begin|title= [[1972 Haryana Legislative Assembly election]]: Tohana}}
{{Election box winning candidate with party link| |candidate=Harpal Singh |party=Indian National Congress |votes=27,907 |percentage=63.47% |change={{increase}}37.44 }}
{{Election box candidate with party link| |candidate=Sampuran Singh |party=Communist Party of India |votes=9,756 |percentage=22.19% |change= }}
{{Election box candidate with party link| |candidate=Manphul Singh |party=Independent politician |votes=5,302 |percentage=12.06% |change= }}
{{Election box candidate with party link| |candidate=Jagat Ram |party=Independent politician |votes=1,002 |percentage=2.28% |change= }}
{{Election box margin of victory |votes=18,151 |percentage=41.28% |change= {{increase}}20.65 }}
{{Election box turnout |votes=43,967 |percentage=69.65% |change= {{increase}}13.76 }}
{{Election box registered electors |reg. electors = 65,074 |ref = |change= {{increase}}11.75 }}
{{Election box gain with party link |winner=Indian National Congress |loser=Vishal Haryana Party |swing= {{increase}}16.81 }}
{{Election box end}}

===Assembly Election 1968 ===
{{Election box begin|title= [[1968 Haryana Legislative Assembly election]]: Tohana}}
{{Election box winning candidate with party link| |candidate=Harpal Singh |party=Vishal Haryana Party |votes=14,621 |percentage=46.66% |change= }}
{{Election box candidate with party link| |candidate=Mehar Chand |party=Indian National Congress |votes=8,156 |percentage=26.03% |change={{decrease}}35.7 }}
{{Election box candidate with party link| |candidate=Madan Lal |party=Independent politician |votes=7,656 |percentage=24.43% |change= }}
{{Election box candidate with party link| |candidate=Ram Kumar |party=Republican Party of India |votes=439 |percentage=1.40% |change={{increase}}0.42 }}
{{Election box candidate with party link| |candidate=Fateh Singh |party=Independent politician |votes=250 |percentage=0.80% |change= }}
{{Election box candidate with party link| |candidate=Jagat Ram |party=Independent politician |votes=211 |percentage=0.67% |change= }}
{{Election box margin of victory |votes=6,465 |percentage=20.63% |change= {{increase}}10.81 }}
{{Election box turnout |votes=31,333 |percentage=55.37% |change= {{decrease}}12.03 }}
{{Election box registered electors |reg. electors = 58,232 |ref = |change= {{increase}}3.66 }}
{{Election box gain with party link |winner=Vishal Haryana Party |loser=Indian National Congress |swing= {{decrease}}15.06 }}
{{Election box end}}

===Assembly Election 1967 ===
{{Election box begin|title= [[1967 Haryana Legislative Assembly election]]: Tohana}}
{{Election box winning candidate with party link| |candidate=G. Rai |party=Indian National Congress |votes=22,830 |percentage=61.73% |change= }}
{{Election box candidate with party link| |candidate=Harpal Singh |party=Indian National Congress |votes=19,196 |percentage=51.90% |change= }}
{{Election box candidate with party link| |candidate=S. Singh |party=Sanghata Socialist Party |votes=13,534 |percentage=36.59% |change= }}
{{Election box candidate with party link| |candidate=M. Ram |party=Independent politician |votes=9,660 |percentage=26.12% |change= }}
{{Election box candidate with party link| |candidate=B. Singh |party=Independent politician |votes=8,422 |percentage=22.77% |change= }}
{{Election box candidate with party link| |candidate=M. Singh |party=Independent politician |votes=2,602 |percentage=7.04% |change= }}
{{Election box candidate with party link| |candidate=Jagat Ram |party=Independent politician |votes=1,653 |percentage=4.47% |change= }}
{{Election box candidate with party link| |candidate=K. Ram |party=Bharatiya Jana Sangh |votes=1,253 |percentage=3.39% |change= }}
{{Election box candidate with party link| |candidate=N. Dass |party=Communist Party of India |votes=1,069 |percentage=2.89% |change= }}
{{Election box candidate with party link| |candidate=Manohar |party=Republican Party of India |votes=362 |percentage=0.98% |change= }}
{{Election box candidate with party link| |candidate=K. Ram |party=Independent politician |votes=234 |percentage=0.63% |change= }}
{{Election box margin of victory |votes=3,634 |percentage=9.83% |change= }}
{{Election box turnout |votes=36,985 |percentage=70.08% |change= }}
{{Election box registered electors |reg. electors = 56,174 |change = }}
{{Election box new seat win |winner=Indian National Congress |loser= |swing= }}
{{Election box end}}

==See also==
* [[List of constituencies of the Haryana Legislative Assembly]]

==References==
{{reflist}}

{{Haryana constituencies}}

{{coord|29.72|75.9|display=title}}

[[Category:Fatehabad district]]
[[Category:Assembly constituencies of Haryana]]
[[Category:Politics of Haryana]]
[[Category:Legislative Assembly constituencies of Indian states established in 1967]]
[[Category:1967 establishments in Haryana]]

Grenada–India relations

2026-04-01T20:38:25Z

FWQGina861152045: put up entry!

{{Use dmy dates|date=October 2021}}
{{Infobox Bilateral relations|Grenada–India|Grenada|India|}}

'''Grenada–India relations''' refers to the international relations that exist between [[Grenada]] and [[India]]. The High Commission of India in [[Port of Spain]], [[Trinidad and Tobago]] is concurrently accredited to Grenada.<ref>{{cite web |title=India - Grenada Relations |url=http://www.hcipos.in/eoi.php?id=Grenada |archive-url=https://web.archive.org/web/20141019003329/http://www.hcipos.in/eoi.php?id=Grenada |archive-date=19 October 2014 |access-date=19 April 2017 |website=High Commission of India, Port of Spain |language=en}}</ref> Grenada has no diplomatic mission in India.<ref name="MEA2016" />

== History ==
Relations between Grenada and India date back to the mid-19th century when both countries were British colonies. The first Indians in Grenada arrived at Irwin's Bay in [[Saint Patrick Parish, Grenada|Saint Patrick Parish]], Grenada on 1 May 1857 on board the ''Maidstone''. The ship had departed from Calcutta on 27 January 1857 with 375 Indian indentured workers on board. Eighty-six Indians died during the voyage and only 289 would arrive in Grenada. Several ships transported indentured labourers from India to Grenada in the following decades. The last ship carrying Indian indentured workers arrived on the island sometime between 1881 and 1885.<ref name="Yadav">{{cite book|last1=Yadav|first1=S. N.|title=Journey of Overseas Indians: Labour to Investor|date=2005|publisher=Global Vision Publishing House|isbn=9788182200838|pages=269–300|url=https://books.google.com/books?id=LxFKSvhzVLIC|access-date=18 April 2017|language=en}}</ref> In total, nearly 3,206 Indians were brought to Grenada, excluding those who died during the voyage. Only about 15% returned to India, while the rest remained in the country even after their indenture period ended in 1890. These Indians are the origin of the Indo-Grenadian community.<ref name="Brunel">{{cite web|last1=Sookram|first1=Ron|title=Immigrants to Citizens: the Indian Community in Grenada, 1857 to the Present|url=https://www.brunel.ac.uk/__data/assets/pdf_file/0007/186073/ET63SookramRevsED.pdf|website=Brunel University London|access-date=18 April 2017|archive-date=29 November 2020|archive-url=https://web.archive.org/web/20201129153104/https://www.brunel.ac.uk/__data/assets/pdf_file/0007/186073/ET63SookramRevsED.pdf|url-status=dead}}</ref>
Grenadian Prime Minister [[Keith Mitchell]] visited India on 26–30 July 2006 in to conduct preparatory activities for the 2007 Cricket World Cup in the West Indies. He met with Prime Minister Manmohan Singh on 29 July 2006.<ref name="MEA2016" />

A delegation from the Indian Ministry of Micro, Small and Medium Enterprises, and the National Small Industries Corporation (NSIC) visited Grenada in early 2010 to discuss opportunities for cooperation in the field of small and medium enterprises with Grenadian government officials.<ref name="MEA2016" />

==Trade==
Bilateral trade between Grenada and India is constrained by the large distance between the two countries and the small size of the Grenadian economy.<ref name="MEA2016" /> Trade between the two countries totaled US$1.87 million in 2015–16, recording a growth of 40% over the previous fiscal.<ref name="Trade">{{cite web |title=Total Trade |url=https://www.commerce.gov.in/trade-statistics/ |access-date=15 April 2017 |website=Department of Commerce |language=en}}</ref> The main commodities exported by India to Grenada are pharmaceutical products, jewellery, readymade garments, textiles and home furnishings.<ref name="MEA2016" /> India has made no imports from Grenada since 2011–12, when it imported $300,000 worth of electrical equipment and machinery from Grenada.<ref name = "Trade"/>

==Cultural relations==
The Indian community has had a significant influence on Grenadian culture. Bamboo firecrackers were brought to Grenada from India. [[Cannabis]] (known as ganja) was introduced to the country by Indian indentured workers, who used the intoxicant to prepare ''[[bhang]]'' which they would consume to relax after working on the plantations. Indian food such as breads, ''roti'' and ''bhajji'' are popular in Grenada. ''Talkari'' is a type of Indian curry popular among Indo-Grenadians. Most of the Indo-Grenadian community speaks English, the official language of Grenada, and do not use [[Hindi]] and [[Bhojpuri language|Bhojpuri]], the language of their ancestors. However, some Indian words, particularly those relating to food such as ''aloo'' (potato), ''geera/jeera'' (cumin), ''karela'' (bitter gourd), ''seim'', ''chownkay'', and ''baylay'' are still used by the community.<ref>{{cite web|title=BDM Interview with Wilbur Adams|url=http://www.bigdrumnation.org/comments/BDN_WAdams_interview1.pdf|website=Big Drum Nation|access-date=18 April 2017|date=May 2010|archive-date=3 July 2021|archive-url=https://web.archive.org/web/20210703132952/http://www.bigdrumnation.org/comments/BDN_WAdams_interview1.pdf|url-status=usurped}}</ref> The term ''bhai'', meaning "brother" in Hindi, is a common form of greeting amongst Indo-Grenadians males of equal status.

A bust of Mahatma Gandhi was installed at the Mac Donald College in Saint Patrick Parish in January 2013.<ref name="MEA2016" />

==Indo-Grenadians==
{{main|Indo-Grenadians}}
Indo-Grenadians are Grenadian nationals of Indian descent. They are descended from the Indian indentured workers who first arrived in the country on 1 May 1857. According to the 2001 Census of Grenada, Indo-Grenadians made up 1.6% of the country's population and were the third largest ethnic group in country, after Africans (89.4%) and people of mixed race (8.2%).<ref>{{cite web|title=GRENADA|url=https://www.cia.gov/the-world-factbook/countries/grenada/|archive-url=https://web.archive.org/web/20210110035007/https://www.cia.gov/the-world-factbook/countries/grenada|url-status=dead|archive-date=10 January 2021|website=The World Factbook — Central Intelligence Agency|access-date=18 April 2017|language=en}}</ref> As of December 2016, there are an estimated 3,000 Indo-Grenadians. The Indo-Grenada Heritage Foundation (IGHF), established in 2007, is the most prominent organization representing the community.<ref name="MEA2016" />

As of December 2016, there is a small community of Indian citizens in Grenada. They are mostly businessmen dealing in general merchandise and small scale trading activities. A few Indians are professionals and academics teaching at St. George‟s University. There are also a small number of [[Indian American]] students in Grenada.<ref name="MEA2016" />

===Indian Arrival Day===
The 100th anniversary of the first arrival of Indians in Grenada was commemorated in 1957. This was the first ever commemoration of the day in Grenada. The next commemoration would occur more than five decades later in 2009.<ref>{{cite web|last1=Singh|first1=Shubha|title=Indians in Grenada celebrate Indian Arrival Day|url=http://theindiandiaspora.com/news-details/Spotlight/primary_news/indians-in-grenada-celebrate-indian-arrival-day.htm|archive-url=https://web.archive.org/web/20170525131132/http://theindiandiaspora.com/news-details/Spotlight/primary_news/indians-in-grenada-celebrate-indian-arrival-day.htm|url-status=usurped|archive-date=25 May 2017|website=The Indian Diaspora|access-date=18 April 2017|date=3 June 2015}}</ref> On 29 April 2009, the Government of Grenada declared that 1 May would officially be designated as [[Indian Arrival Day]] and observed annually alongside the existing [[Labour Day]]. The date was already a public holiday in Grenada, on account of Labour Day. The Government also announced that Boucherie Road, the road leading to the site of the arrival of the ''Maidstone'', would be officially renamed Maidstone Road to honour the arrival of Indians in Grenada.<ref>{{cite web|title=L'ARRIVEE INDIENNE COMMEMOREE A GRENADE ET SAINTE-LUCIE|url=http://www.montraykreyol.org/article/larrivee-indienne-commemoree-a-grenade-et-sainte-lucie|website=Montray Kréyol|access-date=18 April 2017|language=fr|date=25 May 2009}}</ref> The renaming was officially carried out in a ceremony at 10:30 AM at La Fortune Junction, St. Patrick on 2 May 2009. Governor General Sir Carlyle Glean unveiled a granite plaque commemorating the arrival of the first Indians in Grenada. The plaque bears the inscription, "On 1st May 1857, in this bay the sailing vessel "Maidstone" anchored and landed 287 passengers having left India three months earlier, with 304 passengers. Between the years 1857 and 1890 other ships anchored in this and other bays bringing a total of 3,200 persons from India to work as agricultural indenture labourers in Grenada. This monument is dedicated to those who became the genesis of the Indo-Grenadian population of our nation".<ref>{{cite web|last1=Ferguson|first1=Michael|title=Indian Arrival Day Celebrations|url=http://belmontestate.net/news.htm|website=belmontestate.net|access-date=18 April 2017|date=1 May 2010}}</ref>

==Foreign aid==
India sent emergency medical supplies and roofing material towards disaster relief in the aftermath of [[Hurricane Ivan]] in Grenada in 2004.<ref name="MEA2016">{{cite web |date=5 December 2016 |title=Bilateral Relations – GRENADA |url=http://www.mea.gov.in/Portal/ForeignRelation/High_Commission_of_India_new_grenada.pdf |archive-url=https://web.archive.org/web/20170908220157/http://www.mea.gov.in/Portal/ForeignRelation/High_Commission_of_India_new_grenada.pdf |archive-date=8 September 2017 |access-date=18 April 2017 |website=Ministry of External Affairs |publisher=High Commission of India, Port of Spain}}</ref> The Governments of the two countries signed an MoU in October 2008, agreeing to establish an ICT Centre for Excellence and Innovations in Grenada with Indian assistance. The centre was built at a cost of $800,000 and was officially inaugurated at St. George's University by Prime Minister [[Tillman Thomas]] on 15 April 2011. The centre was relocated to T.A. Marryshow Community College in February 2016, at the request of the Indian High Commissioner to Grenada.<ref name="MEA2016" />

The High Commission of India in Port of Spain donated cricket equipment to the [[Saint Mark Parish, Grenada|Saint Mark Parish]] on 7 February 2011, Grenada National Day.<ref>{{cite web |date=July 2014 |title=Bilateral Relations – GRENADA |url=https://www.mea.gov.in/Portal/ForeignRelation/Grenada_July_2014.pdf |archive-url=https://web.archive.org/web/20220925065206/https://www.mea.gov.in/Portal/ForeignRelation/Grenada_July_2014.pdf |archive-date=25 September 2022 |access-date=18 April 2017 |website=Ministry of External Affairs |publisher=High Commission of India, Port of Spain}}</ref> The Government of Grenada requested funding for infrastructure projects in the country. In 2016, India approved funds of $610,000 to build a Union Community Complex at the current location of the River Sallee Community Centre, and $292,000 to construct Belle Vue Road.<ref name="MEA2016" />

Citizens of Grenada are eligible for scholarships under the [[Indian Technical and Economic Cooperation Programme]]. The most popular ITEC courses among Grenadians are ICT skills, and management and training in SMEs.<ref name="MEA2016" />

==References==
{{reflist|2}}

{{Foreign relations of Grenada}}
{{Foreign relations of India}}

{{DEFAULTSORT:Grenada-India relations}}
[[Category:Grenada–India relations| ]]
[[Category:Bilateral relations of India|Grenada]]
[[Category:Bilateral relations of Grenada|India]]

Sukumar filmography

2026-03-28T20:39:42Z

FWQGina861152045:

{{short description|Filmography of Sukumar}}
{{Use Indian English|date=June 2025}}
{{Use dmy dates|date=June 2025}}

[[Sukumar]] is an Indian film director, screenwriter, and producer who works in [[Telugu cinema]]. One of the highest-paid directors in Indian cinema,<ref>{{Cite web |last=Rathore |first=Manya |date=24 August 2023 |title=Best-paid Indian directors in 2023, by fee* |url=https://www.statista.com/statistics/972743/india-best-paid-directors-by-fee/ |archive-url=https://web.archive.org/web/20241206103052/https://www.statista.com/statistics/972743/india-best-paid-directors-by-fee/ |archive-date=2024-12-06 |access-date=2025-02-27 |website=[[Statista]] |language=en}}</ref><ref>{{Cite news |date=2025-02-23 |title=Meet India's most successful director with ₹4200 crore gross, 0 flops; not Bhansali, Hirani, Karan Johar, Rohit Shetty |url=https://www.hindustantimes.com/entertainment/telugu-cinema/indias-most-successful-film-director-ss-rajamouli-box-office-4200-cr-bhansali-rajkumar-hirani-karan-johar-rohit-shetty-101740296524306.html |archive-url=https://web.archive.org/web/20250223082915/https://www.hindustantimes.com/entertainment/telugu-cinema/indias-most-successful-film-director-ss-rajamouli-box-office-4200-cr-bhansali-rajkumar-hirani-karan-johar-rohit-shetty-101740296524306.html |archive-date=2025-02-23 |access-date=2025-03-18 |work=Hindustan Times |language=en-us}}</ref> his notable films include ''[[Arya 2]]'' (2009), ''[[Rangasthalam]]'' (2018), ''[[Pushpa: The Rise]]'' (2021), and ''[[Pushpa 2: The Rule]]'' (2024). In addition to his directorial work, Sukumar has produced films under his banner Sukumar Writings, including ''[[Kumari 21F]]'' (2015), ''[[Uppena]]'' (2021), and [[Virupaksha (film)|''Virupaksha'']] (2023).

== As director and writer ==
{{Pending films key}}

{| class="wikitable sortable plainrowheaders"
|+
! scope="col" | Year
! scope="col" | Title
!Notes
! scope="col" class="e" | {{abbr|Ref.|Reference(s)}}
|-
| 2004
! scope="row" | ''[[Arya (2004 film)|Arya]]''
|Debut film
| {{Sfn|Chinnarayana|2015|page=10}}
|-
| 2007
! scope="row" | ''[[Jagadam]]''
|
|
|-
| 2009
! scope="row" | ''[[Arya 2]]''
|
|
|-
| 2011
! scope="row" | ''[[100% Love (2011 film)|100% Love]]''
|
|
|-
| rowspan="2" | 2014
! scope="row" | ''[[1: Nenokkadine]]''
|
|
|-
! scope="row" | ''[[I Am That Change]]''
|Short film
|<ref>{{cite web |date=7 August 2014 |title=Sukumar to direct Allu Arjun for a short film |url=http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Sukumar-to-direct-Allu-Arjun-for-a-short-film/articleshow/39819753.cms |access-date=15 August 2014 |work=[[The Times of India]]}}</ref>
|-
| 2016
! scope="row" | ''[[Nannaku Prematho]]''
|
|
|-
|2018
! scope="row" | ''[[Rangasthalam]]''
|
| <ref>{{cite news|url=http://www.thehindu.com/entertainment/movies/sukumars-ambitious-film-unfolding-in-the-rural-landscape-of-the-80s-is-an-immersive-experience/article23391835.ece |title='Rangasthalam' review: Several aspects to savour |work=The Hindu |last=Devi Dundoo |first=Sangeetha |date=30 March 2018 |access-date=30 March 2018 |archive-url=https://web.archive.org/web/20180330142553/http://www.thehindu.com/entertainment/movies/sukumars-ambitious-film-unfolding-in-the-rural-landscape-of-the-80s-is-an-immersive-experience/article23391835.ece |archive-date=30 March 2018}}</ref>
|-
|2021
! scope="row" | ''[[Pushpa: The Rise]]''
|
|<ref>{{Cite web|date=2019-03-04|title=Allu Arjun and 'Arya' fame director Sukumar to team up for 'AA20'|url=https://www.thenewsminute.com/article/allu-arjun-and-arya-fame-director-sukumar-team-aa20-97739|access-date=2021-02-05|website=The News Minute|language=en}}</ref>
|-
|2024
! scope="row" | ''[[Pushpa 2: The Rule]]''
|
|<ref name="koimoi.com">{{Cite web|date=2021-12-21|title=Pushpa 2: Sequel To Allu Arjun's Magnum Opus Is Arriving On This Date, Mark It On Your Calendar!|url=https://www.koimoi.com/south-indian-cinema/pushpa-2-sequel-to-allu-arjuns-magnum-opus-is-arriving-on-this-date-mark-it-on-your-calendar/|access-date=|website=Koimoi}}</ref>
|-
|}

== Other credits ==
{{Pending films key}}
* ''All films are in [[Telugu language|Telugu]], unless mentioned otherwise.''

===As producer and writer ===
{| class="wikitable sortable plainrowheaders"
! scope="col" | Year
! scope="col" | Title
! scope="col" | Producer
! scope="col" | Writer
! scope="col" class="unsortable" | Notes
! scope="col" class="unsortable" | {{abbr|Ref.|Reference(s)}}
|-
| 2015
! scope="row" | ''[[Kumari 21F]]''
| {{yes}}
| {{yes}}
| Association with PA Motion Pictures
| <ref>{{cite web |last=Kavirayani |first=Suresh |date=15 November 2014 |title=Sukumar turns producer |url=https://www.deccanchronicle.com/141115/entertainment-tollywood/article/sukumar-turns-producer |archive-url=https://web.archive.org/web/20141212165430/http://www.deccanchronicle.com/141115/entertainment-tollywood/article/sukumar-turns-producer |archive-date=12 December 2014 |access-date=12 December 2014 |url-status=live |work=Deccan Chronicle}}</ref>
|-
|2018
! scope="row" | ''[[Kumari 21F (2018 film)|Kumari 21F]]''
| {{partial|Presenter}}
| {{yes}}
| [[Kannada film]]; remake of ''Kumari 21F''
| <ref>{{cite web |date=19 April 2016 |title=Kumari 21F goes to Kannada |url=https://www.thehansindia.com/posts/index/Cinema/2016-04-19/Kumari-21F-goes-to-Kannada/222465}}</ref>
|-
| 2020
! scope="row" | ''[[100% Kadhal]]''
| {{partial|Presenter}}
| {{partial|Story}}
| [[Tamil film]]; remake of ''100% Love''
| <ref>{{Cite news |title=GV Prakash Kumar reveals his role in '100% Kadhal' |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/gv-prakash-kumar-reveals-his-role-in-100-kadhal/articleshow/71386474.cms |website=The Times of India|date=October 2019 }}</ref>
|-
|2021
! scope="row" | ''[[Uppena]]''
| {{yes}}
| {{no}}
|
| <ref name="Title">{{Cite web |title=అఫీషియల్.. 'ఉప్పెన'లా వస్తోన్న వైష్ణవ్ తేజ్ |url=https://telugu.samayam.com/telugu-movies/cinema-news/vaishnav-tej-debut-movie-title-confirmed-as-uppena/articleshow/69216887.cms |access-date=2019-08-22 |website=Telugu Samayam}}</ref>
|-
| 2022
! scope="row" | ''[[18 Pages]]''
| {{no}}
| {{yes}}
|
|<ref>{{Cite news |date=20 October 2020 |title=Despite rains, Nikhil starts shooting |work=[[Deccan Chronicle]] |url=https://www.deccanchronicle.com/entertainment/tollywood/201020/despite-rains-nikhil-starts-shooting.html |access-date=19 June 2021}}</ref>
|-
| rowspan="1" |2023
! scope="row" | ''[[Virupaksha (film)|Virupaksha]]''
| {{yes}}
| {{partial|Screenplay}}
|
|<ref>{{cite news | url=https://indianexpress.com/article/entertainment/telugu/sai-dharam-tejs-next-film-titled-virupaksha-jr-ntr-lends-voice-to-the-telugu-teaser-ss-rajamouli-8311629/ | title=Sai Dharam Tej's next film titled Virupaksha, Jr NTR lends voice to the Telugu title teaser | newspaper=The Indian Express | date=7 December 2022 }}</ref>
|-
| 2024
! scope="row" | ''[[Manjummel Boys]]''
| {{partial|Presenter}}
| {{no}}
| Telugu dubbed version
|
|-
| 2025
! scope="row" | ''[[Gandhi Tatha Chettu]]''
| {{partial|Presenter}}
| {{no}}
|
|
|-
| rowspan="2" |2026
! scope="row" | ''[[Peddi]]''
| {{yes}}
| {{no}}
|
|
|-
! scope="row" | ''Vrushakarma''
| {{yes}}
| {{partial|Screenplay}}
|
|
|}

=== As an actor ===
{| class="wikitable sortable plainrowheaders"
! scope="col" | Year
! scope="col" | Title
! scope="col" class="unsortable" | Notes
! scope="col" class="unsortable" | {{abbr|Ref.|Reference(s)}}
|-
| rowspan="2" |2019
! scope="row" | ''[[Nani's Gang Leader]]''
| rowspan="2"|Cameo appearance
|<ref>{{cite web |date=14 September 2019 |title='గ్యాంగ్ లీడర్'లో సుకుమార్ ఎంట్రీ.. ఫుల్ ఫన్! |url=https://telugu.asianetnews.com/entertainment/huge-response-for-sukumar-cameo-in-gang-leader-movie-pxti8u |website=[[Asianet News]] |language=te}}</ref>
|-
! scope="row" | ''[[Gaddalakonda Ganesh]]''
|<ref>{{cite web |date=4 September 2019 |title=Director Sukumar makes a cameo in Valmiki |url=https://www.cinemaexpress.com/stories/news/2019/sep/04/director-sukumar-makes-a-cameo-in-valmiki-14078.html |website=[[Cinema Express]]}}</ref>
|-
| 2022
! scope="row" | ''[[Aadavallu Meeku Johaarlu (2022 film)|Aadavallu Meeku Johaarlu]]''
| Narrator; voice role
|<ref>{{cite web |date=3 March 2022 |title='Pushpa' director Sukumar turns narrator for Sharwanand, Rashmika movie |url=https://telanganatoday.com/pushpa-director-sukumar-turns-narrator-for-sharwanand-rashmika-movie |website=Telangana Today}}</ref>
|-
|}

== References ==
<references />

== External links ==
* {{IMDb name|id=1335875}}
{{Sukumar}}

[[Category:Director filmographies]]
[[Category:Indian filmographies]]

Ravipuram

2026-03-27T12:03:56Z

FWQGina861152045: fixed issues

{{Use dmy dates|date=June 2018}}
{{Use Indian English|date=June 2018}}
{{Infobox settlement
| name = Ravipuram
| native_name =
| settlement_type = [[Municipal corporation (India)#Wards Committee (Legislature)|Ward]]
| image_skyline =
| image_alt =
| image_caption =
| pushpin_map = India Kerala
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in Kerala, India
| coordinates = {{coord|9.956|N|76.292|E|display=inline,title}}
| subdivision_type = Country
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[Kerala]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Ernakulam district|Ernakulam]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type =
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_rank =
| area_total_km2 =
| elevation_footnotes =
| elevation_m =
| population_total =
| population_as_of =
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Malayalam language|Malayalam]], [[English language|English]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 6820**
| area_code_type = Telephone code
| area_code = 0484
| registration_plate = KL-07
| blank1_name_sec1 = Nearest city
| blank1_info_sec1 = [[Kochi]]
| blank2_name_sec1 = [[Lok Sabha]] constituency
| blank2_info_sec1 = [[Ernakulam (Lok Sabha constituency)|Ernakulam]]
| website =
| footnotes =
}}

'''Ravipuram''' ({{IPA|ml|ɾəʋipʊɾəm}}) is a [[Municipal corporation (India)#Wards Committee (Legislature)|ward]] in downtown [[Cochin]]. It sits adjacent to the [[Cochin Shipyard]], close to the [[Cochin Port|Cochin harbour]]. The neighbourhood is located along the portion of [[Mahatma Gandhi Road (Kochi)|M.G. Road]] south of [[S.A Road| Sahodaran Ayyappan Road]], and north of [[Perumanoor]]. It is bounded by [[S.A Road| Sahodaran Ayyappan Road]] to the north, the [[Ernakulam–Kayamkulam coastal line|Ernakulam–Kayamkulam railway line]] to the east, and the now-defunct [[Cochin Harbour Terminus|Cochin Harbour Terminus line]] to the south.

Originally a predominantly residential area with religious and cultural landmarks, Ravipuram underwent significant changes with the expansion of the Cochin Shipyard in the 1960s and 1970s. The development led to the displacement of several long-established communities, including the former neighborhood of Varavukad and its long-established [[Latin Catholics of Malabar|Latin Catholic]] community. In the following decades, Ravipuram developed into a commercial and residential center, featuring modern infrastructure while retaining elements of its historical identity through religious institutions and older establishments.

Ravipuram is represented as Ward 61 in the [[Kochi Municipal Corporation]].<ref>https://kochicorporation.lsgkerala.gov.in/en/ward-details/328</ref>

==Toponymy==
According to local tradition, the name Ravipuram is believed to have been conferred by the revered Krishna devotee, Vilwamangalam Swamiyar. During his visit to the Ravipuram Sree Krishna Temple, Swamiyar observed the rising sun's rays casting a divine glow to the deity's idol. Inspired by this phenomenon, he combined the words "Ravi" (Sanskrit for sun) and "Puram" (meaning town or locality), resulting in the name Ravipuram.<ref>{{Cite web
| last=
| first=
| title=Where radiance of Lord Krishna and the sun merged
| website=The New Indian Express
| date=2022-09-13
| url=https://www.newindianexpress.com/cities/kochi/2022/Sep/13/where-radiance-of-lord-krishna-and-the-sun-merged-2497495.html
| access-date=2025-03-30}}</ref>

==History==
Ravipuram was once home to the neighborhood of Varavukad, renowned for the Holy Cross Chapel (Varavukatt Kurishupally), a four-century-old church established by Portuguese missionaries. The church also served as a community centre and cultural institution for the predominantly [[Latin Catholics of Malabar|Latin Catholic]] neighbourhood. In the early 1960s, the Indian government initiated land acquisition for the construction of [[Cochin Shipyard]], leading to the displacement of residents and the demolition of the chapel and its adjoining cemetery. On January 16, 1972, the community held a final service at the chapel before relocating to Ambikapuram near Parambithara Road, where they established the Ambikapuram Our Lady of Sorrows Church. Today, only a wayside shrine near the shipyard wall at Ravipuram remains.<ref>{{Cite web
| last=
| first=
| title=Varavukad: A neighbourhood that vanished from Kochi map
| website=The New Indian Express
| date=2024-12-27
| url=https://www.newindianexpress.com/cities/kochi/2024/Dec/27/varavukad-a-neighbourhood-that-vanished-from-kochi-map
| access-date=2025-03-30
}}</ref>

Atlantis Junction, located towards the boundary with [[Panampilly Nagar]], was named after the former Hotel Atlantis. Originally known as Hotel Charmant during the colonial era, this establishment was renowned for hosting foreign guests. In the late 1960s, the hotel and surrounding properties were acquired to facilitate the construction of the Cochin Shipyard, leading to the demolition of the hotel by 1970. However, the junction between [[M.G. Road]] and Kizhavana road, and the railway crossing, both located around 60-70 metres from the former hotel, continue to be called Atlantis junction and Atlantis Railway Gate respectively.<ref>{{Cite web
| last=
| first=
| title=Atlantis Junction: Aquaman’s lost city right in middle of Kochi
| website=The New Indian Express
| date=2022-09-20
| url=https://www.newindianexpress.com/cities/kochi/2022/Sep/20/atlantis-junction---aquamans-lost-city-right-in-middle-of-kochi-2499884.html
| access-date=2025-03-30
}}</ref>

==Demographics==
According to the [[2011 census of India|2011 census]], Ravipuram had a population of 8721, with 4271 males and 4450 females. 8.63% of residents were in the 0-6 age group. 8.43% of residents belonged to [[Scheduled Castes and Scheduled Tribes|Scheduled Castes]] and 0.00% of residents belonged to [[Scheduled Castes and Scheduled Tribes|Scheduled Tribes]]. The total literacy rate was 87.83%, with males having a literacy rate of 88.88% and females having a literacy rate of 86.83%
<ref>{{cite book |title=District Census Handbook: Ernakulam |url=https://censusindia.gov.in/nada/index.php/catalog/645/download/2228/DH_2011_3208_PART_B_DCHB_ERNAKULAM.pdf |publisher=Directorate of Census Operations, Kerala |year=2011 |access-date=30 March 2025}}
</ref>

== Major institutions ==

* [https://visa.vfsglobal.com/ind/en/gbr/attend-centre/cochin VFS Global Visa Application Centre in Cochin]
* [https://www.fairfutureonline.com Fair Future Overseas Educational Consultancy]

== References ==
{{reflist}}

{{Neighbourhoods of Kochi}}

Historicity of Muhammad

2026-03-27T03:19:21Z

FWQGina861152045: cleanup

{{Short description|Historical study of the Islamic prophet}}{{Muhammad}}
The '''historicity of Muhammad''' is the subject of the study of [[Muhammad]] as a historical figure and critical examination of sources upon which traditional accounts (the [[Quran]], ''[[sīrah]]'', ''[[hadith]]'' especially) are based. Other historical sources that can be investigated include sealed documents, orders, treaty texts, [[Islamic archaeology|archaeological findings]] and internal and external correspondence of neighboring states or communities, as well as the discovery of Muhammad's genetic makeup and kinship through his personal belongings and physical remains (hair, beard, etc.) that are among his alleged legacies.

[[Prophetic biography]], known as ''sīra'', along with attributed records of the words, actions, and the silent approval of Muhammad, known as ''[[hadith]]'', survive in the historical works of writers from the second and third centuries of the [[Islamic calendar|Muslim era]] ({{circa|700}}−1000 CE),{{sfn|Donner|1998|p=125}}<ref name="Watt-Mecca-xi">[[William Montgomery Watt]], ''[[Muhammad at Mecca (book)|Muhammad in Mecca]]'', 1953, Oxford University Press, p.xi</ref> and give a great deal of information on Muhammad, but the reliability of this information is very much debated in academic circles ([[hadith studies]]) due to the gap ([[oral tradition]]) between the recorded dates of Muhammad's life and the dates when these events begin to appear in written sources.<ref>John Wansbrough argued that ḥadīth literature is exegetical in origin, i.e., the bulk of the tradition literature is closely tied to the interpretation of the Qur'an, which he believed did not take its final form/canonised until the late eighth / early ninth century.https://www.islamic-awareness.org/history/islam/inscriptions/earlysaw</ref>

The general Islamic view is that the Quran has been preserved from the beginning by both writing and memorization, and its testimony is considered beyond doubt. The earliest Muslim source of information for the life of Muhammad, the [[Quran]], gives very little personal information and its [[History of the Qur'an|historicity]] is debated.<ref name="EoI-Muhammad">''[[Encyclopaedia of Islam]]'', ''Muhammad''</ref>{{sfn|Nigosian|2004|p=6}}

Despite any difficulties with the biographical sources, scholars generally see valuable historical information about Muhammad therein and suggest that what is needed are methods to distinguish the likely information from the unlikely.<ref name="The Quest of the Historical Muhammad">{{cite journal |last1=Peters |first1=F.E. |title=The Quest of the Historical Muhammad |journal=International Journal of Middle East Studies |date=August 1991 |volume=23 |issue=3 |pages=307|doi=10.1017/S0020743800056312 |s2cid=162433825 }}</ref> In practice it has proven difficult determining which parts of the early accounts of Muhammad's life are valuable to modern scholars.<ref name=":1">{{Cite journal |last=Hoyland |first=Robert |date=March 2007 |title=Writing the Biography of the Prophet Muhammad: Problems and Solutions |url=https://compass.onlinelibrary.wiley.com/doi/10.1111/j.1478-0542.2007.00395.x |journal=History Compass |volume=5 |issue=2 |pages=581–602 |doi=10.1111/j.1478-0542.2007.00395.x |issn=1478-0542|url-access=subscription }}</ref> However, the majority of classical scholars believe Muhammad existed as a historical figure.<ref>{{cite journal |last1=Berg |first1=Herbert |last2=Rollens |first2=Sarah |year=2008 |title=The historical Muhammad and the historical Jesus: A comparison of scholarly reinventions and reinterpretations |url=https://journals.sagepub.com/doi/10.1177/000842980803700205 |journal=Studies in Religion/Sciences Religieuses |volume=37 |issue=2 |pages=271–292 |doi=10.1177/000842980803700205 |s2cid=144445914|url-access=subscription|quote=The tacit assumption is that Muhammad is a historical figure whose traditional biography is a reasonably accurate account of his life.}}</ref>

==Geography==
{{Main|Bakkah|}}{{See|Revisionist school of Islamic studies}}
[[File:Map of the Three Arabias Excerpted Partly from the Arab of Nubia Partly from Several Other Authors.png|upright=1.2|thumb|Non-Islamic testimonies about Muhammad's life describe him as the leader of the [[Saracens]],<ref>"Chapter 1. "A Prophet Has Appeared, Coming with the Saracens": Muhammad’s Leadership during the Conquest of Palestine According to Seventh- and Eighth-Century Sources". The Death of a Prophet: The End of Muhammad's Life and the Beginnings of Islam, Philadelphia: University of Pennsylvania Press, 2012, pp. 18-72. https://doi.org/10.9783/9780812205138.18</ref> believed to be descendants of [[Ishmael]], lived in the regions Arabia Petrae and Arabia Deserta in the north. According to some sources, Muhammad is not a name but a title.<ref>Volker Popp, Die frühe Islamgeschichte nach inschriftlichen und numismatischen Zeugnissen, in: Karl-Heinz Ohlig (ed.), Die dunklen Anfänge. Neue Forschungen zur Entstehung und frühen Geschichte des Islam, Berlin 2005, pp. 16–123 (here p. 63 ff.)</ref>]]
There are a relatively small number of contemporaneous or near-contemporaneous non-Muslim sources which attest to the existence of Muhammad and are valuable both in themselves and for comparison with Muslim sources.{{sfn|Nigosian|2004|p=6}} As in the case of [[Mecca]], these sources cannot be said to support the traditional Islamic narrative; where there is a lack of pre-Islamic sources that mention it as a pilgrimage center in historical sources before 741 here the author places the region in "midway between [[Ur]] and [[Harran]]" rather than the Hejaz- and lacks pre-Islamic archaeological data.<ref>The ancient history of the holy city of Mecca (Makkah) has been wiped out, and Makkah has been attacked as a city without a pre-Islamic history, due to the lack of archaeological evidence. See [https://archive.org/details/the-history-of-makkah-in-the-light-of-archaeological-finds-2021-r.-o/page/900/mode/2up?q=Mecca here].</ref>{{efn|The first references to Mecca do not use locative expressions except for the Byzantine-Arab Chronicle or ''[[Chronicle of 741]]'', though here the author places the region in [[Mesopotamia]] ("midway between [[Ur]] and [[Harran]]") rather than the Hejaz.<ref name= TH>{{cite book |last= Holland |first= Tom |author-link= Tom Holland (author) |title= In the Shadow of the Sword: The Birth of Islam and the Rise of the Global Arab Empire |chapter= III.6. Hijra: More questions than answers |year= 2012 |publisher= Doubleday |page= 471 |isbn= 0385531362 |chapter-url= https://books.google.com/books?id=1f_BR2DulRIC&pg=PT471&redir_esc=y#v=snippet&q=%22midway%20between%20Ur%20and%20Harran%22&f=false |access-date= 18 July 2025}} Republished in the US from original UK edition of the same year published by Little, Brown.</ref>}}

===Modern scholarship on the Mecca===
Little is known about the early history of Mecca due to a lack of clear sources. The city lies in the hinterland of the middle part of western Arabia of which there are sparse textual or archaeological sources available.<ref name="Literary">{{Cite book |last=Peters |first=F. E. |title=Mecca: a Literary History of the Muslim Holy Land. |date=1994 |publisher=Princeton University Press |isbn=978-1-4008-8736-1 |location=Princeton |pages=135–136 |oclc=978697983}}</ref> This lack of knowledge is in contrast to both the northern and southern areas of western Arabia, specifically the Syro-Palestinian frontier and Yemen, where historians have various sources available such as physical remains of shrines, inscriptions, observations by Greco-Roman authors, and information collected by church historians. The area of [[Hejaz]] that surrounds Mecca was characterized by its remote, rocky, and inhospitable nature, supporting only meagre settled populations in scattered oases and occasional stretches of fertile land. The Red Sea coast offered no easily accessible ports and the oasis dwellers and bedouins in the region were illiterate.<ref name="Literary" />

Possible earlier mentions are not unambiguous. The Greek historian [[Diodorus Siculus]] writes about [[Arabia]] in the 1st century BCE in his work ''[[Bibliotheca historica]]'', describing a holy shrine: "And a temple has been set up there, which is very holy and exceedingly revered by all Arabians".<ref>Translated by C.H. Oldfather, ''Diodorus Of Sicily, Volume II'', William Heinemann Ltd., London & Harvard University Press, Cambridge, MA, 1935, p. 217.</ref> Claims have been made this could be a reference to the [[Ka'bah]] in Mecca.<ref>{{cite book |last1=Gibbon |first1=Edward |url=https://archive.org/details/in.ernet.dli.2015.533456 |title=The History of the Decline and Fall of the Roman Empire |year=1862 |series=Book 5 |pages=223–224}}</ref> However, the geographic location Diodorus describes is located in northwest Arabia, around the area of [[Leuke Kome]], within the former [[Nabataean Kingdom]] and the Roman province of [[Arabia Petraea]].<ref>Jan Retsö, The Arabs in Antiquity (2003), 295–300</ref><ref>Photius, Diodorus and Strabo (English): Stanley M. Burnstein (tr.), Agatharchides of Cnidus: On the Eritraean Sea (1989), 132–173, esp. 152–3 (§92).)</ref>

Ptolemy lists the names of 50 cities in Arabia, one going by the name of Macoraba. There has been speculation since 1646 that this could be a reference to Mecca. Historically, there has been a general consensus in scholarship that Macoraba mentioned by [[Ptolemy]] in the 2nd century CE is indeed Mecca, but more recently, this has been questioned.<ref>{{Cite book|author=Crone, Patricia|title=Meccan Trade and the Rise of Islam|publisher=Princeton University Press|year=1987|isbn=978-1-59333-102-3|pages=134–135}}</ref><ref>{{Cite journal|author=Morris, Ian D.|year=2018|title=Mecca and Macoraba|url=https://islamichistorycommons.org/mem/wp-content/uploads/sites/55/2018/11/UW-26-Morris.pdf|journal=Al-ʿUṣūr Al-Wusṭā|volume=26|pages=1–60|archive-url=https://web.archive.org/web/20181117022342/https://islamichistorycommons.org/mem/wp-content/uploads/sites/55/2018/11/UW-26-Morris.pdf|archive-date=17 November 2018|access-date=16 November 2018}}</ref> Bowersock favors the identity of the former, with his theory being that "Macoraba" is the word "''Makkah"'' followed by the aggrandizing [[Aramaic]] adjective ''rabb'' (great). The Roman 4th-century historian [[Ammianus Marcellinus]] also enumerated many cities of Western Arabia, most of which can be identified. According to Bowersock, he did mention Mecca as "Geapolis" or "Hierapolis", the latter one meaning "holy city" potentially referring to the sanctuary of the [[Kaaba]].<ref>{{cite book|last1=Bowersock|first1=G. W.|title=The crucible of Islam|date=2017|publisher=Harvard University Press|isbn=978-0-674-05776-0|location=Cambridge (Mass.)|pages=53–55}}</ref>

[[Procopius]]' 6th century statement that the [[Ma'add]] tribe possessed the coast of western Arabia between the [[Ghassanids]] and the [[Himyarite Kingdom|Himyarites]] of the south supports the Arabic sources tradition that associates [[Quraysh]] as a branch of the Ma'add and Muhammad as a direct descendant of Ma'add ibn Adnan.<ref>{{cite book |last1=Shahid |first1=Irfan |title=Byzantium and the Arabs in the Sixth Century, volume 1, part 1 |date=1995 |publisher=Dumbarton Oaks |isbn=978-0-88402-284-8 |page=163}}</ref><ref>{{cite book |last1=Procopius |title=History |pages=I.xix.14}}</ref>

==Islamic sources ==
[[File:Folio from a Qur’an, sura 91,14-15; sura 92,1-5 (F1929.70).jpg|thumb|left|11th-century Persian Quran folio page in [[kufic]] script]]

The main Islamic source on Muhammad's life are the [[Quran]] and accounts of Muhammad's life based on [[oral tradition]]s known as ''[[sīra]]'' and [[hadith]].

===Historicity of the Quran ===
{{see also|History of the Quran|Criticism of the Quran}}
{{Quran}}
====Islamic narrative====
[[File:Uthman Koran Taschkent a.jpg|thumb|left|The [[Samarkand Kufic Quran]], dated to the early 9th century. It is alleged to be a 7th-century original of the edition of the third caliph, Uthman. It is located in the small Telyashayakh mosque in [[Tashkent]].]]
According to traditional Islamic scholarship, all of the Quran was written down by Muhammad's [[Sahabah|companions]] while he was alive (during CE 610–632<ref>Mehdy Shaddel (2022) [https://www.academia.edu/36951072 "Periodisation and the futūḥ: Making Sense of Muḥammad's Leadership of the Conquests in non-Muslim Sources"], ''Arabica'' 69: 96-145</ref>), but it was primarily an orally related document.
Following the death of Muhammad the Quran ceased to be revealed, and companions who had memorized the Quran began to die off (particularly after the [[Battle of Yamama]] in 633).<ref name="sunnah.com">{{cite web|url=http://sunnah.com/bukhari/93/53|title=Hadith - Book of Judgments (Ahkaam) - Sahih al-Bukhari - Sunnah.com - Sayings and Teachings of Prophet Muhammad (صلى الله عليه و سلم)|publisher=Sunnah.com|date=2012-04-26|access-date=2015-07-24}}</ref> Worried that parts of the Quran might be irretrievably lost, senior companion [[Umar]] urged Caliph [[Abu Bakr]] to order the collection of the pieces of the Quran which had hitherto been scattered among "palm-leaf stalks, thin white stones, ... [and] men who knew it by heart, ..."<ref>{{cite web |website=Sahih al-Bukhari |title=Volume 6, Book 61, Number 509 |url=https://www.sahih-bukhari.com/Pages/Bukhari_6_61.php |access-date=25 September 2019}}</ref> and put them together.<ref name="sunnah.com"/><ref name=collection>{{cite book|last=Hasan|first=Sayyid Siddiq|author2=Nadwi, Abul Hasan Ali|translator=Kidwai, A.R.|title=The collection of the Qur'an|publisher=Qur'anic Arabic Foundation|year=2000|location=Karachi|pages=34–5}}</ref>
Under Caliph [[Uthman]], a committee of five copied the scraps into a single volume, "monitoring the text as they went", resolving disagreements about verses, tracking down a lost verse.<ref name=MCKaVSI2000:120>[[#MCKaVSI2000|Cook, ''The Koran'', 2000]]: p.120</ref> This ''[[Mus'haf|muṣḥaf]]'' – that became known as the "Uthmanic codex" – was finished around 650 CE,<ref name=MCKaVSI2000:6>[[#MCKaVSI2000|Cook, ''The Koran'', 2000]]: p.6</ref><ref name=MCKaVSI2000:119>[[#MCKaVSI2000|Cook, ''The Koran'', 2000]]: p.119</ref> whereupon Uthman issued an order for all other existing personal and individual copies and dialects of the Quran (known as ''[[Ahruf]]'') to be burnt.<ref>(Burton, pp. 141–42 – citing Ahmad b. `Ali b. Muhammad al `Asqalani, ibn Hajar, "Fath al Bari", 13 vols, Cairo, 1939/1348, vol. 9, p. 18).</ref><ref>see also: [[William Montgomery Watt]] in ''The Cambridge History of Islam'', p.32</ref>

====Modern scholarship on the Quran====
As to the historicity of the Quran itself, some scholars also disagree. Some argue "the Quran is convincingly the words of Muhammad" ([[F.E. Peters]]),<ref name="Peters">F. E. Peters (1991)</ref> with the parchment of an early copy of Quran – the [[Birmingham Quran manuscript|Birmingham manuscript]], whose text differs only slightly to modern versions – being dated to roughly around the lifetime of Muhammad.<ref name=birmingham>{{cite web|title=Birmingham Qur'an manuscript dated among the oldest in the world |publisher=University of Birmingham |url= https://www.birmingham.ac.uk/news/latest/2015/07/quran-manuscript-22-07-15.aspx |access-date= 16 October 2017}}</ref> Some Western scholars,<ref>Herbert Berg(2000), p.83</ref> however, question the accuracy of some of the Quran's historical accounts and whether the holy book existed in any form before the last decade of the seventh century ([[Patricia Crone]] and [[Michael Cook (historian)|Michael Cook]]);<ref name="Crone">Patricia Crone, Michael Cook, and Gerd R. Puin as quoted in {{cite news|url=https://www.theatlantic.com/doc/199901/koran|work=The Atlantic Monthly|title=What Is the Koran?|author=Toby Lester|date=January 1999}}</ref> and/or argue it is a "cocktail of texts", some of which may have been existent a hundred years before Muhammad, that evolved ([[Gerd R. Puin]]),<ref name="Crone"/><ref>[http://individual.utoronto.ca/fantastic/The_History_of_the_Quranic_Text_from_Revelation_to_Compilation.pdf THE HISTORY OF THE QUR’ANIC TEXT FROM REVELATION TO COMPILATION: A COMPARATIVE STUDY WITH THE OLD AND NEW TESTAMENTS] {{Webarchive|url=https://web.archive.org/web/20220427050217/http://individual.utoronto.ca/fantastic/The_History_of_the_Quranic_Text_from_Revelation_to_Compilation.pdf |date=2022-04-27 }} by Muhammad Mustafa Al-A’zami, Leicester: UK, page 12; Al-A’zami quotes a letter that was published in the Yemeni newspaper ''ath-Thawra'', 11 March 1999</ref><ref>[https://www.theguardian.com/education/2000/aug/08/highereducation.theguardian Querying the Koran] {{Webarchive|url=https://web.archive.org/web/20220408141934/https://www.theguardian.com/education/2000/aug/08/highereducation.theguardian |date=2022-04-08 }}, by Abul Taher, The Guardian, 8 August 2000
</ref> or was redacted (J. Wansbrough),<ref>Quranic Studies: Sources and Methods of Scriptural Interpretation (1977) and The Sectarian Milieu: Content and Composition of Islamic Salvation History (1978) by Wansbrough.</ref><ref>http://www.derafsh-kaviyani.com/english/quran3.html {{Webarchive|url=https://web.archive.org/web/20170905183359/http://www.derafsh-kaviyani.com/english/quran3.html |date=2017-09-05 }} (Discusses Wansbrough)
</ref> to form the Quran. A group of researchers explores the irregularities and repetitions in the Quranic text in a way that refutes the traditional claim that it was preserved by memorization alongside writing. According to them, an [[Oral tradition|oral period]] shaped the Quran as a text and order, and the repetitions and irregularities mentioned were remnants of this period.<ref name=AGBRtT2014:1-4>[[#AGBRtT2014|Bannister, "Retelling the Tale", 2014]]: p.1-4</ref>

It is also possible that the content of the Quran itself may provide data regarding the date and probably nearby geography of writing of the text. Sources based on some archaeological data give the construction date of [[Masjid al-Haram]], an architectural work mentioned 16 times in the Quran, as 78 AH<ref>{{cite web | url=https://www.islamic-awareness.org/history/islam/inscriptions/haram1.html | title=An Inscription Mentioning the Rebuilding of Al-Masjid Al-Haram, 78 AH / 697-698 CE}}</ref> an additional finding that sheds light on the evolutionary history of the Quranic texts mentioned,<ref name="LESTER-1999">{{cite magazine |author-link=Toby Lester |date=1 January 1999 |title=What Is the Koran? |url=https://www.theatlantic.com/magazine/archive/1999/01/what-is-the-koran/304024/ |url-status=live |archive-url=https://web.archive.org/web/20120825233826/https://www.theatlantic.com/magazine/archive/1999/01/what-is-the-koran/304024/ |archive-date=25 August 2012 |access-date=16 May 2022 |magazine=[[The Atlantic]] |location=Washington, D.C. |issn=2151-9463 |oclc=936540106 |author-last=Lester |author-first=Toby}}</ref> which is known to continue even during the time of [[Al-Hajjaj ibn Yusuf|Hajjaj]],{{sfn|Jeffrey|1952|pp=99–120}}{{sfn|Robinson|1996|p=56}} in a similar situation that can be seen with [[al-Aksa]], though different suggestions have been put forward to explain.{{efn|Arabic and Persian writers such as 10th-century geographer [[al-Muqaddasi]],<ref name="MukaddasiNasir">{{cite book |last=Le Strange |first=Guy |author-link=Guy Le Strange |title=Palestine Under the Moslems: A Description of Syria and the Holy Land from A.D. 650 to 1500. Translated from the Works of the Medieval Arab Geographers |publisher=Houghton, Mifflin |year=1890 |url=https://books.google.com/books?id=BxUyssIX-H4C&pg=RA1-PA94 |pages=96 |quote=Great confusion is introduced into the Arab descriptions of the Noble Sanctuary by the indiscriminate use of the terms Al Masjid or Al Masjid al Akså, Jami' or Jami al Aksâ; and nothing but an intimate acquaintance with the locality described will prevent a translator, ever and again, misunderstanding the text he has before him-since the native authorities use the technical terms in an extraordinarily inexact manner, often confounding the whole, and its part, under the single denomination of "Masjid." Further, the usage of various writers differs considerably on these points : Mukaddasi invariably speaks of the whole Haram Area as Al Masjid, or as Al Masjid al Aksî, "the Akså Mosque," or "the mosque," while the Main-building of the mosque, at the south end of the Haram Area, which we generally term the Aksa, he refers to as Al Mughattâ, "the Covered-part." Thus he writes "the mosque is entered by thirteen gates," meaning the gates of the Haram Area. So also "on the right of the court," means along the west wall of the Haram Area; "on the left side" means the east wall; and "at the back" denotes the northern boundary wall of the Haram Area. Nasir-i-Khusrau, who wrote in Persian, uses for the Main-building of the Aksâ Mosque the Persian word Pushish, that is, "Covered part," which exactly translates the Arabic Al Mughatta. On some occasions, however, the Akså Mosque (as we call it) is spoken of by Näsir as the Maksurah, a term used especially to denote the railed-off oratory of the Sultan, facing the Mihrâb, and hence in an extended sense applied to the building which includes the same. The great Court of the Haram Area, Nâsir always speaks of as the Masjid, or the Masjid al Akså, or again as the Friday Mosque (Masjid-i-Jum'ah). |access-date=31 July 2022 |archive-date=19 July 2023 |archive-url=https://web.archive.org/web/20230719063147/https://books.google.com/books?id=BxUyssIX-H4C&pg=RA1-PA94 |url-status=live}}</ref> 11th-century scholar [[Nasir Khusraw]],<ref name=MukaddasiNasir/> 12th-century geographer [[Muhammad al-Idrisi|al-Idrisi]]<ref>{{cite book |last1=Idrīsī |first1=Muhammad |authorlink1=Muhammad al-Idrisi |last2=Jaubert |first2=Pierre Amédée |authorlink2=Pierre Amédée Jaubert |title=Géographie d'Édrisi |publisher=à l'Imprimerie royale |year=1836 |url=https://books.google.com/books?id=BRA7AAAAcAAJ&pg=PA343 |language=fr |pages=343–344 |quote=Sous la domination musulmane il fut agrandi, et c'est (aujourd'hui) la grande mosquée connue par les Musulmans sous le nom de Mesdjid el-Acsa مسجد الأقصى. Il n'en existe pas au monde qui l'égale en grandeur, si l'on en excepte toutefois la grande mosquée de Cordoue en Andalousie; car, d'après ce qu'on rapporte, le toit de cette mosquée est plus grand que celui de la Mesdjid el-Acsa. Au surplus, l'aire de cette dernière forme un parallelogramme dont la hauteur est de deux cents brasses (ba'a), et le base de cents quatre-vingts. La moitié de cet espace, celle qui est voisin du Mihrab, est couverte d'un toit (ou plutôt d'un dôme) en pierres soutenu par plusieurs rangs de colonnes; l'autre est à ciel ouvert. Au centre de l'édifice est un grand dôme connu sous le nom de Dôme de la roche; il fut orné d'arabesques en or et d'autres beaux ouvrages, par les soins de divers califes musulmans. Le dôme est percé de quatre portes; en face de celle qui est à l'occident, on voit l'autel sur lequel les enfants d'Israël offraient leurs sacrifices; auprès de la porte orientale est l'église nommée le saint des saints, d'une construction élégante; au midi est une chapelle qui était à l'usage des Musulmans; mais les chrétiens s'en sont emparés de vive force et elle est restée en leur pouvoir jusqu'à l'époque de la composition du présent ouvrage. Ils ont converti cette chapelle en un couvent où résident des religieux de l'ordre des templiers, c'est-à-dire des serviteurs de la maison de Dieu. |access-date=31 July 2022 |archive-date=19 July 2023 |archive-url=https://web.archive.org/web/20230719063143/https://books.google.com/books?id=BRA7AAAAcAAJ&pg=PA343 |url-status=live }} Also at {{cite book |last1=Williams |first1=G. |last2=Willis |first2=R. |title=The Holy City: Historical, Topographical, and Antiquarian Notices of Jerusalem |publisher=J.W. Parker |chapter=Account of Jerusalem during the Frank Occupation, extracted from the Universal Geography of Edrisi. Climate III. sect. 5. Translated by P. Amédée Jaubert. Tome 1. pp. 341—345. |issue=v. 1 |year=1849 |chapter-url=https://books.google.com/books?id=T_sqAAAAYAAJ&pg=RA3-PA131 |ref=none |access-date=31 July 2022 |archive-date=19 July 2023 |archive-url=https://web.archive.org/web/20230719063201/https://www.google.com/books/edition/The_Holy_City/T_sqAAAAYAAJ?hl=en&gbpv=1&pg=RA3-PA131&printsec=frontcover |url-status=live}}</ref> and 15th-century Islamic scholar [[Mujir al-Din]],<ref>{{cite journal |title=The Holy Land, Jerusalem and Al-Aqsa Mosque in the Islamic Sources |journal=Journal of the Central Conference of American Rabbis |date=Fall 2000 |pages=60–68 |url=https://www.academia.edu/6338726 |author=Mustafa Abu Sway |quote=Quoting [[Mujir al-Din]]: "Verily, ‘Al-Aqsa’ is a name for the whole mosque which is surrounded by the wall, the length and width of which are mentioned here, for the building that exists in the southern part of the Mosque, and the other ones such as the Dome of the Rock and the corridors and other [buildings] are novel" |access-date=29 May 2022 |archive-date=29 May 2022 |archive-url=https://web.archive.org/web/20220529020617/https://www.academia.edu/6338726/The_Holy_Land_Jerusalem_and_Al_Aqsa_Mosque_in_the_Quran_Sunnah_and_other_Islamic_Literary_Sources_i |url-status=live}}</ref> as well as 19th-century North American and British [[Oriental studies|Orientalist scholars]] such as [[Edward Robinson (scholar)|Edward Robinson]], [[Guy Le Strange]], and [[Edward Henry Palmer]] explained that the term ''Masjid al-Aqsa'' refers to the entire esplanade plaza also known as the [[Temple Mount]] or ''Haram al-Sharif'' ('Noble Sanctuary')—i.e., the entire area including the [[Dome of the Rock]], the fountains, the [[Gates of the Temple Mount|gates]], and the [[Minarets of the Temple Mount|four minarets]]—because [[Historical reliability of the Quran|none of these buildings existed at the time when the Quran was written]].<ref>{{cite book |last=Le Strange |first=Guy |author-link=Guy Le Strange |title=Palestine Under the Moslems: A Description of Syria and the Holy Land from A.D. 650 to 1500. Translated from the Works of the Medieval Arab Geographers |publisher=Houghton, Mifflin |year=1890 |url=https://books.google.com/books?id=BxUyssIX-H4C&pg=RA1-PA89 |quote=THE AKSÀ MOSQUE. The great mosque of Jerusalem, Al Masjid al Aksà, the "Further Mosque," derives its name from the traditional Night Journey of Muhammad, to which allusion is made in the words of the Kuran (xvii. I)... the term "Mosque" being here taken to denote the whole area of the Noble Sanctuary, and not the Main-building of the Aksà only, which, in the Prophet's days, did not exist. |access-date=29 May 2022 |archive-date=19 July 2023 |archive-url=https://web.archive.org/web/20230719063144/https://books.google.com/books?id=BxUyssIX-H4C&pg=RA1-PA89 |url-status=live}}</ref><ref name="Strange 1887 pp. 247–305">{{cite journal |last=Strange |first=Guy le |title=Description of the Noble Sanctuary at Jerusalem in 1470 A.D., by Kamâl (or Shams) ad Dîn as Suyûtî |journal=Journal of the Royal Asiatic Society of Great Britain and Ireland |publisher=Royal Asiatic Society of Great Britain and Ireland |volume=19 |issue=2 |year=1887 |issn=0035-869X |jstor=25208864 |pages=247–305 |doi=10.1017/S0035869X00019420 |s2cid=163050043 |url=http://www.jstor.org/stable/25208864 |quote=…the term Masjid (whence, through the Spanish Mezquita, our word Mosque) denotes the whole of the sacred edifice, comprising the main building and the court, with its lateral arcades and minor chapels. The earliest specimen of the Arab mosque consisted of an open courtyard, within which, round its four walls, run colonades or cloisters to give shelter to the worshippers. On the side of the court towards the Kiblah (in the direction of Mekka), and facing which the worshipper must stand, the colonade, instead of being single, is, for the convenience of the increased numbers of the congregation, widened out to form the Jami' or place of assembly… coming now to the Noble Sanctuary at Jerusalem, we must remember that the term 'Masjid’ belongs not only to the Aksa mosque (more properly the Jami’ or place of assembly for prayer), but to the whole enclosure with the Dome of the Rock in the middle, and all the other minor domes and chapels.|url-access=subscription}}</ref>}} These structures, -expected to be somewhere near Muhammad-{{efn|While "masjid" may simply be used as a place of worship, meaning a place of [[Sujud|prostration]] traditionally used for worship, it may also refer to the buildings where these acts took place. In this case, the relevant verses could be dated after the construction of these buildings. Another verse alluding to Muhammad's Miraj story can be used to conclude that these two mosques are not that far apart. In this regard, one can consider the conclusions of scholars who point to Al-Aqsa being near Mecca —in the [[Al-Ji'rana]] region—<ref>{{Cite journal |last=Grabar |first=Oleg |date=1959 |title=The Umayyad Dome of the Rock in Jerusalem |url=https://www.jstor.org/stable/4629098 |journal=Ars Orientalis |volume=3 |pages=33–62 |jstor=4629098 |issn=0571-1371}}</ref> or, conversely, the [[Revisionist school of Islamic studies]], which suggests that the birth of Islam occurred in northwestern Arabia.}} which were placed in cities like Mecca and Jerusalem, which are thousands of kilometers apart today, with interpretations [[Isra' and Mi'raj|based on narrations and miracles]], were only a night walk away according to the outward and literal meaning of the verse.{{qref|17|1|c=y}}

=====Muhammad in the Quran=====
{{Main|Muhammad in the Quran}}
The Quran primarily addresses a single "Messenger of God," Muhammad. Unlike the hundreds of references in the Quran to the stories of prophets such as Moses and Jesus, provides very little information about Muhammad himself,{{sfn|Bennett|1998|pp=18–19}}{{sfn|Peters|1994|p=261}} [[Companions of the Prophet|his companions]],<ref name="Watt2024" /> or his contemporaries. The individuals to whom the expressions used in Quranic polemics belong and the contexts in which they were used are merely notes made in [[tafsir|commentaries]] written in later centuries. An exception is his slave/adopted son [[Zayd ibn Haritha al-Kalbi|Zayd]], whose name is mentioned in the verses ([[Al-Aḥzāb]];37) in the context of his -divorced- wife being taken into [[Muhammad's marriages]].

Probably the clearest biographical account of Muhammad in the Quran is the brief mention of his followers' settlement in [[Yathrib]] after their expulsion by the [[Quraysh]], and of military encounters such as the [[Battle of Badr|Muslim victory at Badr]].<ref name="Watt2024">{{Cite encyclopedia |year=2024 |title=Muhammad |encyclopedia=Encyclopædia Britannica |url=https://www.britannica.com/biography/Muhammad |access-date=4 February 2023 |last1=Watt |first1=William Montgomery |author-link1=W. Montgomery Watt |last2=Sinai |first2=Nicolai |author-link2=Nicolai Sinai}}</ref>

Modern scholars differ in their assessment of the Quran as a historical source about Muhammad's life. According to the ''[[Encyclopedia of Islam]]'', the "Qur'an responds constantly and often candidly to Muhammad's changing historical circumstances and contains a wealth of hidden data that are relevant to the task of the quest for the historical Muhammad."<ref name="EoI-Muhammad" /> In contrast, Solomon A. Nigosian writes that the Quran tells us very little about the life of Muhammad.{{sfn|Nigosian|2004|p=6}} Unlike the Bible's narratives of the life of [[Moses]] or [[Jesus]], Michael Cook notes that
<blockquote>while the Koran tells many stories after its fashion, that of Muhammad is not among them. There are references to events in his life, but they are only references, not narratives. In addition, the book is not given to mentioning names in the context of its own time. Muhammad himself is named four times, and a couple of his contemporaries once each ... and for this reason it is almost impossible to relate the scripture to his life without going outside it.<ref name=MCKaVSI2000:136-7>[[#MCKaVSI2000|Cook, ''The Koran'', 2000]]: p.136-37</ref> </blockquote>

===Traditions===
[[File:Blue koran sanaa.jpg|thumb|300px|[[Sana'a manuscripts|Manuscripts found in Sana'a]]. The "subtexts" revealed using UV light are very different from today's Qur'an. [[Gerd R. Puin]] believed this to mean an evolving text.<ref>{{cite web|archive-date=25 August 2012|archive-url=https://web.archive.org/web/20120825233826/https://www.theatlantic.com/magazine/archive/1999/01/what-is-the-koran/304024/|date=1 January 1999|first1=Toby|last1=Lester|title=What Is the Koran?|url=https://www.theatlantic.com/magazine/archive/1999/01/what-is-the-koran/304024/|website=The Atlantic}}</ref> A similar phrase is used by [[Lawrence Conrad]] for [[biography of Muhammad]]. Because, according to his studies, Islamic scientific view on the date of birth of the Prophet until the second century A.H. had exhibited a diversity of 85 years.<ref name="12_Conrad-1987-239"/>]]
Unlike the [[Quran]], the [[hadith]] and ''[[sīra]]'' are devoted to Muhammad, his life, his words, deeds, approval, and example to Muslims in general.

====Prophetic biography (''sīra'')====
{{main|Prophetic biography#Authenticity and usefulness}}
Much is believed to be known about Muhammad from ''Sira'' literature:
<blockquote>The life of Muhammad is known as the ''Sira'' and was lived in the full light of history. Everything he did and said was recorded. Because he could not read and write himself, he was constantly served by a group of 45 scribes who wrote down his sayings, instructions, and his activities. Muhammad himself insisted on documenting his important decisions. Nearly three hundred of his documents have come down to us, including political treaties, military enlistments, assignments of officials, and state correspondence written on tanned leather. We thus know his life to the minutest details: how he spoke, sat, slept (sic), dressed, walked; his behavior as a husband, father, nephew; his attitudes toward women, children, animals; his business transactions and stance toward the poor and the oppressed ...<ref name="Sardar-94-30">{{cite book|last1=Sardar|first1=Z.|last2=Malik|first2=Z.A.|title=Muhammad for beginners|date=1994|location=London|page=30}}</ref><ref name="Sardar-intro-94">{{cite book|last1=Sardar|first1=Ziauddin|title=Introducing Islam: A Graphic Guide|date=1994|publisher=Icon Books Ltd.|isbn=9781848317741|url=https://books.google.com/books?id=WPGmAwAAQBAJ&q=sardar+Everything+he+did+and+said+was+recorded.+Because+he+could+not+read+and+write+himself,&pg=PT48|access-date=22 January 2020}}</ref><ref name=IROoI2000:89-90>[[#IROoI2000|Ibn Rawandi, "Origins of Islam", 2000]]: p.89-90</ref>
</blockquote>

In the [[Prophetic biography|sīra literature]], the most important extant biography are the two recensions of [[Ibn Ishaq]]'s (d. 768), now known as ''Sīrat Rasūl Allah'' ("Biography/Life of the Messenger/Apostle of Allah"), which survive in the works of his editors, most notably [[Ibn Hisham]] (d. 834) and Yunus b. Bukayr (d.814–815), although not in its original form.<ref name="EoI-Muhammad"/> According to Ibn Hisham, Ibn Ishaq wrote his biography some 120 to 130 years after Muhammad's death. Many, but not all, scholars accept the accuracy of these biographies, though their accuracy is unascertainable.{{sfn|Nigosian|2004|p=6}}

After Ibn Ishaq, there are a number of shorter accounts (some of which are earlier than Ibn Ishaq) recorded in different forms (see [[Prophetic biography#Early compilations of s.C4.ABra|List of earliest writers of sīra]]). Other biographies of Muhammad include [[al-Waqidi|al-Waqidi's]] (d. 822) and then [[Ibn Sa'd]]'s (d.844–45). Al-Waqidi is often criticized by early [[Muslim historians]] who state that the author is unreliable.<ref name="EoI-Muhammad"/> These are not "biographies" in the modern sense of the word, but rather accounts of Muhammad's military expeditions, his sayings, the [[asbab al-nuzul|reasons for]] and interpretations of verses in the Quran.<ref name="EoI-Muhammad"/>

==== Criticism of ''sīra'' ====
Secular historians have been much more critical of ''Sīra''.
[[Tom Holland (author)|Tom Holland]] notes that Ibn Hisham credits angels with helping Muslims to victory at the [[Battle of Badr]], and wonders why he should be considered a reliable historical source any more than [[Homer]] (who portrayed [[Twelve Olympians|gods]] as influencing battles in his epic poem the [[Iliad]]).<ref name="Holland">{{cite book|last1=Holland|first1=Tom|title=In the Shadow of the Sword: The Birth of Islam and the Rise of the Global ...|date=2012|publisher=Knopf Doubleday|chapter-url=https://books.google.com/books?id=1f_BR2DulRIC&q=tom+holland+Ibn+Ishaq+angels+Badr+homer&pg=PT48|access-date=25 September 2019|chapter=1. Known Unknowns|isbn=9780385531368}}</ref>

[[Henri Lammens]] complains of contradictions in the Traditions about Muhammad's life, including on the number of his children and wives. Some accounts have him having one child, others two, and still another claimed he had twelve children, including eight boys.<ref name=HLtKaT2000:174-5>[[#HLtKaT2000|Lammen, "Koran and Tradition", 2000]]: p.174-5</ref>{{efn|At least many contemporary sources state that Muhammad had three sons,<ref name="MM-ara-2016">{{cite web|last1=ARA|first1=ANJUM|title=The Sons of Prophet Muhammad (PBUH)|url=https://muslimmemo.com/sons-of-prophet-muhammad/|website=MUSLIM MEMO|access-date=25 February 2020|date=7 March 2016}}</ref> or only two.<ref>{{cite web|title=Children Of Prophet Muhammad|url=http://www.islamicweb.com/history/children.htm|website=Islamicweb|access-date=25 February 2020}}</ref>}} While most accounts state he had nine wives, "some passages of the sira speak of twenty three wives."<ref name=HLtKaT2000:174-5/> Muhammad is thought to have lived between 60 and 65 years according to tradition.<ref name=HLtAoM2000:174-5>[[#HLtAoM2000|Lammen, "The Age of Muhammad and the Chronology of the Sira", 2000]]: p.188</ref>

According to Wim Raven, it is often noted that a coherent image of Muhammad cannot be formed from the literature of sīra, whose authenticity and factual value have been questioned on a number of different grounds.<ref name="EI2">{{cite encyclopedia|edition=2nd|publisher=Brill Academic Publishers|volume=9|pages=660–663|last=Raven|first=W.|title=SĪRA |encyclopedia=Encyclopaedia of Islam|isbn=90-04-10422-4|year=1997}}</ref> He lists the following arguments against the authenticity of sīra, followed here by counter-arguments:

# Hardly any sīra work was compiled during the first century of Islam. Fred Donner points out that the earliest historical writings about the origins of Islam first emerged in 60-70 AH, well within the first century of Hijra (see also [[List of biographies of Muhammad]]). Furthermore, the sources now extant, dating from the second, third, and fourth centuries AH, are according to Donner mostly compilations of material derived from earlier sources.{{sfn|Donner|1998|p=125}}
# The many discrepancies exhibited in different narrations found in sīra works. Yet, despite the lack of a single orthodoxy in Islam, there is still a marked agreement on the most general features of the traditional origins story.{{sfn|Donner|1998|pp=26–27}}
# Later sources claiming to know more about the time of Muhammad than earlier ones (to add embellishments and exaggeration common to an oral storytelling tradition).<ref>{{cite book|last=Crone and Cook|first=Patricia and Michael|title=Hagarism: The Making of the Islamic World|year=1980|publisher=Cambridge University Press|location=Cambridge|isbn=0-521-29754-0|pages=277}}</ref>
# Discrepancies compared to non-Muslim sources. But there are also similarities and agreements both in information specific to Muhammad,<ref name="Cook 73–74">{{cite book|publisher=Oxford University Press, USA|isbn=0192876058|last=Cook|first=Michael|title=Muhammad|date=1983-01-26|pages=73–74}}</ref> and concerning Muslim tradition at large.<ref>{{cite book|publisher=Darwin|isbn=0878501258|last=Hoyland |first=Robert G|title=Seeing Islam as Others Saw It: A Survey and Evaluation of Christian, Jewish and Zoroastrian Writings on Early Islam|title-link=Seeing Islam as Others Saw It|year=1998|author-link=Robert G. Hoyland|page=591}}</ref>
# Some parts or genres of sīra, namely those dealing with miracles, are not fit as sources for scientific historiographical information about Muhammad, except for showing the beliefs and doctrines of his community.

Nevertheless, other content of sīra, like the [[Constitution of Medina]], is generally considered to be authentic by both Muslim and non-Muslim historians.<ref name="EI2" />

====Hadith====
{{main|Hadith|Criticism of hadith}}
The [[hadith]] collections include traditional, [[hagiography|hagiographic]] accounts of [[sunnah|verbal and physical traditions]] attributed to Muhammad, and for many, often explain what a verse in the Quran is referring to in regards to Muhammad.<ref name="Kutty">{{cite web|last1=Kutty|first1=Ahmad|title=What Is the Significance of Hadith in Islam?|url=http://www.islamicity.com/forum/printer_friendly_posts.asp?TID=3547|website=Islamicity|access-date=22 January 2020|date=30 March 2005}}</ref> Unlike the Quran, hadiths are not universally accepted by Muslims.<ref name="Aisha Y. Musa 2013">Aisha Y. Musa, The Qur’anists, Florida International University, accessed May 22, 2013.</ref><ref name="Neal Robinson 2013 pp. 85-89">Neal Robinson (2013), Islam: A Concise Introduction, Routledge, {{ISBN|978-0878402243}}, Chapter 7, pp. 85-89</ref><ref name=":0">{{Cite web|url=https://submission.org/Corruption_of_Religion.html|title=Hadith and the Corruption of the great religion of Islam {{!}} Submission.org - Your best source for Submission (Islam)|website=submission.org|access-date=2020-01-23}}</ref>

Early [[List of Muslim scholars|Muslim scholars]] were concerned that some hadiths (and sīra reports) were fabricated, and thus they developed a science of hadith criticism (see [[Hadith studies]]) to distinguish between genuine sayings and those that were forged, recorded using different words, or were wrongly ascribed to Muhammad.

In general, the majority of western academics view the [[hadith]] collections with considerable caution.<ref name=":02">{{Citation |last=Brown |first=Daniel W. |title=Western Hadith Studies |date=2020-01-02 |work=The Wiley Blackwell Concise Companion to the Hadith |pages=39–56 |editor-last=Brown |editor-first=Daniel W. |url=https://onlinelibrary.wiley.com/doi/10.1002/9781118638477.ch2 |access-date=2024-06-26 |edition=1 |publisher=Wiley |doi=10.1002/9781118638477.ch2 |isbn=978-1-118-63851-4|url-access=subscription }}</ref> [[Bernard Lewis]] states that "The collection and recording of Hadith did not take place until several generations after the death of the Prophet. During that period the opportunities and motives for falsification were almost unlimited."{{sfn|Lewis|1967|p=37}} In addition to fabrication, the meaning of a hadith may have substantially drifted from its original telling by the time it was written down.<ref name=":1" />

The main feature of hadith is that of [[Isnad]] (chains of transmission), which are the basis of determining the authenticity of the reports in traditional Islamic scholarship. According to Stephen Humphreys, while a number of "very capable" modern scholars defended the general authenticity of ''isnads'', most modern scholars regard ''isnads'' with "deep suspicion",<ref name="Humphreys">{{cite book|edition=Revised|publisher=Princeton University Press|isbn=0-691-00856-6|last=Humphreys|first=R. Stephen|title=Islamic History: A framework for Inquiry|year=1991|page=82}}</ref> due to the potential for ''isnads,'' like hadith, to be fabricated.<ref name=":02" />

[[Jonathan A. C. Brown]], a [[Sunni]] Muslim American scholar of [[Islamic studies]] who follows the [[Hanbali]] school of jurisprudence,<ref>{{cite web|last1=Brown|first1=Jonathan|title=The Shariah, Homosexuality & Safeguarding Each Other's Rights in a Pluralist Society {{!}} ImanWire|url=http://almadinainstitute.org/blog/the-shariah-homosexuality-safeguarding-each-others-rights-in-a-pluralist-so/|website=Al-Madina Institute|date=18 June 2016|access-date=10 March 2021|archive-date=22 June 2016|archive-url=https://web.archive.org/web/20160622140840/http://almadinainstitute.org/blog/the-shariah-homosexuality-safeguarding-each-others-rights-in-a-pluralist-so/|url-status=dead}}</ref> asserts that the hadith tradition is a "common sense science" or a "common sense tradition" and is "one of the biggest accomplishments in human intellectual history ... in its breadth, in its depth, in its complexity and in its internal consistency."<ref>{{citation|last=ilmisfree|title=Dr. Jonathan A.C. Brown - An Introduction to Hadith|date=2012-03-04|url=https://www.youtube.com/watch?v=kZlEtV0rDPA%20(see%20from%200:01:03) |archive-url=https://ghostarchive.org/varchive/youtube/20211214/kZlEtV0rDPA |archive-date=2021-12-14 |url-status=live|access-date=2016-12-11}}{{cbignore}} (see from 0:01:13)</ref>

==Non-Muslim sources==
[[File:Nuremberg_chronicles_-_Mohammed_(CLIv).jpg|thumb|Muhammad in the ''[[Nuremberg Chronicle]]'', late 15th century]]

Early Islamic history is also reflected in sources written in [[Greek language|Greek]], [[Syriac language|Syriac]], [[Armenian language|Armenian]], and [[Hebrew]] by Jewish and Christian communities, all of which are dated after 633 CE.{{sfn|Nigosian|2004|p=6}} These sources contain some essential differences with regard to Muslim sources, in particular regarding the chronology and Muhammad's attitude towards the Jews and [[Palestine (region)|Palestine]].{{sfn|Nigosian|2004|p=6}} According to Nevo and Koren, no Byzantine or Syriac sources provide any detail on "Muhammad's early career{{nbsp}}[...] which predate the Muslim literature on the subject".<ref name=YDNJKMQtIS2000:433>[[#YDNJKMQtIS2000|Nevo & Koren, "Methodological Approaches to Islamic Studies", 2000]]: p.433</ref>

According to Syriac and Byzantine sources studied by historian S.P. Brock,<ref name=50_Brock_1982_p20>{{cite book |last1=Brock |first1=S.P. |chapter=Syriac Views of Emergent Islam |title=Studies on the First Century of Islamic Society |editor=G.H.A. Juynboll |publisher=Southern Illinois University Press |year=1982 |page=20 }}</ref> "The title 'prophet' [applied to Muhammad] is not very common, 'apostle' even less so. Normally he is simply described as the first of the Arab kings, and it would be generally true to say that the Syriac sources of this period see the conquests primarily as Arab, and not Muslim".<ref name=10_Brock_p.14>{{cite book |last1=Brock |first1=S.P. |chapter=Syriac Views of Emergent Islam |title=Studies on the First Century of Islamic Society |editor=G.H.A. Juynboll |publisher=Southern Illinois University Press |year=1982 |page=14}}</ref><ref name=YDNJKMQtIS2000:432>[[#YDNJKMQtIS2000|Neva & Koren, "Methodological Approaches to Islamic Studies", 2000]]: p.432</ref>

There is a reference recording the Arab conquest of Syria (known as [[Fragment on the Arab Conquests]]), that mentions Muhammad. This very faded note is preserved on [[Folio#Page numbering|folio]] 1 of [[British Library#Additional manuscripts|BL Add.]] 14,461, a codex containing the [[Gospel of Matthew]] and the [[Gospel of Mark]]. This note appears to have been penned soon after the [[Battle of Yarmouk|battle of Gabitha]] (636 CE) at which the Arabs effected a crushing defeat of the Byzantines. Wright was first to draw the attention to the fragment and suggested that "it seems to be a nearly contemporary notice",<ref>W. Wright, Catalogue Of Syriac Manuscripts In The British Museum Acquired Since The Year 1838, 1870, Part I, Printed by order of the Trustees: London, No. XCIV, pp. 65-66. This book was republished in 2002 by Gorgias Press.</ref> a view which was also endorsed by Nöldeke.<ref>Th. Nöldeke, "Zur Geschichte der Araber im 1. Jahrh. d.H. aus syrischen Quellen", [[Zeitschrift der Deutschen Morgenländischen Gesellschaft]], 1876, Volume 29, p. 76.</ref> The purpose of jotting this note in the book of Gospels appears to be commemorative as the author appears to have realized how momentous the events of his time were. The words "we saw" are positive evidence that the author was a contemporary. The author also talks about [[olive oil]], cattle, ruined villages, suggesting that he belonged to peasant stock, i.e., parish priest or a monk who could read and write. It is worthwhile cautioning that the condition of the text is fragmentary and many of the readings unclear or disputable. The [[Lacuna (manuscripts)|lacunae]] (gaps in the text) are supplied in square brackets:

{{blockquote|text=... and in January, they took the word for their lives (did) [the sons of] [[Emesa]] [i.e., ̣Hiṃs)], and many villages were ruined with killing by [the Arabs of] Muḥammad and a great number of people were killed and captives [were taken] from [[Galilee]] as far as Bēth{{nbsp}} [...] and those Arabs pitched camp beside [Damascus?]{{nbsp}}[...] and we saw everywhe[re...] and o[l]ive oil which they brought and them. And on the t[wenty six]th of May went S[ac[ella]rius]... cattle{{nbsp}}[...] [...] from the vicinity of Emesa and the Romans chased them{{nbsp}}[...] and on the tenth [of August] the Romans fled from the vicinity of Damascus{{nbsp}}[...] many [people] some 10,000. And at the turn [of the ye]ar the Romans came; and on the twentieth of August in the year n[ine hundred and forty-]seven there gathered in [[Jabiyah|Gabitha]]{{nbsp}}[...] the Romans and great many people were ki[lled of] [the R]omans, [s]ome fifty thousand{{nbsp}}[...]<ref>A. Palmer (1993), (with contributions from S. P. Brock and R. G. Hoyland), ''The Seventh Century in the West-Syrian Chronicles Including Two Seventh-Century Syriac Apocalyptic Texts'', Liverpool University Press: Liverpool (UK), pp. 2-3</ref><ref>R. G. Hoyland (1997), ''Seeing Islam As Others Saw It: A Survey and Evaluation of Christian, Jewish and Zoroastrian Writings on Early Islam'', op. cit., pp. 116-117.</ref>}}

The 7th-century ''[[Chronicle of 640]]'' was published by Wright who first brought to attention the mention of an early date of 947 [[Seleucid era|AG]] (635–36 CE).<ref>W. Wright (1872), ''Catalogue Of Syriac Manuscripts in the British Museum Acquired Since the Year 1838'', Part III, Printed by order of the Trustees: London, No. DCCCCXIII, pp. 1040–1041.</ref> The contents of this manuscript has puzzled many scholars for their apparent lack of coherence as it contains an assembly of texts with diverse nature.<ref>A. Palmer (1993), pp. 5–6</ref><ref>R. G. Hoyland (1997), pp. 118–119.</ref> In relation to Arabs of Mohammed, there are two important dates mentioned in this manuscript.
[[File:BL ADD 14,461.jpg|thumb|Fragment on Arab Conquest]]

{{blockquote|AG 945, indiction VII: On Friday, 4 February, [i.e., 634 CE / Dhul Qa'dah 12 AH] at the ninth hour, there was a battle between the Romans and the Arabs of Maḥmet [Syriac ''tayyāyē d-MḤMT''] in Palestine twelve miles east of Gaza. The Romans fled, leaving behind the [[Patrician (ancient Rome)|patrician]] Jordan [Syriac ''BRYRDN''], whom the Arabs killed. Some 40,000 [according to the original edition, but the more recent English translation reads "4000" without comment] poor villagers of Palestine were killed there, Christians, Jews and [[Samaritans]]. The Arabs ravaged the whole region.<ref>{{cite book | last=Thomas | first=D.R. | title=The Bible in Arab Christianity | publisher=Brill | series=The History of Christian-Muslim Relations | year=2007 | isbn=978-90-04-15558-9 | url=https://books.google.com/books?id=NdM-kRoTzxEC&pg=PA66 | access-date=2024-08-23}}</ref>}}

{{blockquote|AG 947, indiction IX: The Arabs invaded the whole of Syria and went down to Persia and conquered it; the Arabs climbed mountain of [[Mardin]] and killed many monks there in [the monasteries of] Qedar and Bnata (Benōthō).<ref>{{cite book |author=[[James Howard-Johnston|Howard-Johnston, James]] |title= Witnesses to a World Crisis: Historians and Histories of the Middle East in the Seventh Century |publisher=[[Oxford University Press]] |year= 2010 |edition= illustrated, reprint |isbn= 978-0199208593 |quote= two of the hill monasteries behind Mardin |url= https://books.google.com/books?id=6pkUDAAAQBAJ&pg=PA64 |access-date= 5 December 2023}}</ref> There died the blessed man Simon, doorkeeper of Qedar, brother of Thomas the priest.<ref>A. Palmer (1993), pp. 18–19</ref><ref>R. G. Hoyland (1997), pp. 119, 120.</ref>}}

It is the first date above which is of great importance as it provides the first explicit reference to Muhammad in a non-Muslim source. The account is usually identified with the [[battle of Dathin]].<ref>A. Palmer (1993), p. 19, note 119</ref><ref>R. G. Hoyland (1997), p. 120, note 14.</ref> According to Hoyland, "its precise dating inspires confidence that it ultimately derives from first-hand knowledge".<ref>R. G. Hoyland (1997), p. 120.</ref>

Another account of the early seventh century comes from [[Sebeos]] who was an [[Armenians|Armenian]] bishop of the [[Bagratuni dynasty|House of Bagratuni]]. His account indicates he was writing at a time when memories of sudden eruption of the Arabs were fresh. He knows Muhammad's name, that he was a merchant by profession, and hints that his life was suddenly changed by a divinely inspired revelation.<ref>R. W. Thomson (with contributions from J. Howard-Johnson & T. Greenwood), The Armenian History Attributed To Sebeos Part - II: Historical Commentary, 1999, Translated Texts For Historians - Volume 31, Liverpool University Press, p. 238</ref> Sebeos is the first non-Muslim author to present a theory for the rise of Islam that pays attention to what the Muslims themselves thought they were doing.<ref>R. G. Hoyland, Seeing Islam As Others Saw It: A Survey And Evaluation Of Christian, Jewish And Zoroastrian Writings On Early Islam, 1997, op. cit., p. 128</ref>

{{blockquote|At that time a certain man from along those same sons of Ismael, whose name was Mahmet [i.e., Muḥammad], a merchant, as if by God's command appeared to them as a preacher [and] the path of truth. He taught them to recognize the God of Abraham, especially because he was learnt and informed in the history of Moses. Now because the command was from on high, at a single order they all came together in unity of religion. Abandoning their vain cults, they turned to the living God who had appeared to their father Abraham. So, Mahmet legislated for them: not to eat carrion, not to drink wine, not to speak falsely, and not to engage in fornication. He said: 'With an oath God promised this land to Abraham and his seed after him for ever. And he brought about as he promised during that time while he loved Israel. But now you are the sons of Abraham and God is accomplishing his promise to Abraham and his seed for you. Love sincerely only the God of Abraham, and go and seize the land which God gave to your father Abraham. No one will be able to resist you in battle, because God is with you.<ref>R. W. Thomson (with contributions from J. Howard-Johnson & T. Greenwood), The Armenian History Attributed To Sebeos Part - I: Translation and Notes, 1999, Translated Texts For Historians - Volume 31, Liverpool University Press, pp. 95-96. Other translations can also be seen in P. Crone & M. Cook, Hagarism: The Making Of The Islamic World, 1977, Cambridge University Press: Cambridge, pp. 6-7; R. G. Hoyland, Seeing Islam As Others Saw It: A Survey And Evaluation Of Christian, Jewish And Zoroastrian Writings On Early Islam, 1997, op. cit., p. 129; idem., "Sebeos, The Jews And The Rise Of Islam" in R. L. Nettler (Ed.), Medieval And Modern Perspectives On Muslim-Jewish Relations, 1995, Harwood Academic Publishers GmbH in cooperation with the Oxford Centre for Postgraduate Hebrew Studies, p. 89</ref>}}

From this chronicle, there are indications that he lived through many of the events he relates. He maintains that the account of Arab conquests derives from the fugitives who had been eyewitnesses thereof. He concludes with [[Mu'awiya]]'s ascendancy in the [[First Fitna|Arab civil war (656–661 CE)]], which suggests that he was writing soon after this date.

==General considerations for historicity ==
Though the Quran contains few and rudimentary details of the prophet's life, most of the biographical information about Muhammad comes from the sirah (biographical literature), especially the work of Ibn Ishaq (d. 768).<ref name="Encyc Brittan">{{cite web |title=Muhammad |url=https://www.britannica.com/biography/Muhammad |website=Encyclopaedia Britannica|date=10 September 2023 }}</ref> These sources normally provide a historical trail of names that lead, in some cases, to an eyewitness and sometimes converge with other earlier sources near the time of the prophet.<ref name="Encyc Brittan" /> Though "there is no compelling reason to suggest that the basic scaffolding of the traditional Islamic account of Muhammad's life is unhistorical", a much more detailed biography is difficult to be understood as historically certain knowledge.<ref name="Encyc Brittan" /> According to Wim Raven, attempts to distinguish between the historical elements and the unhistorical elements of many of the reports of Muhammad have been problematic.<ref>Wim Raven, Introduction on a translation of Islamic texts into Dutch by Ibn Ishaq, ''Het leven van Muhammad'' (The life of Muhammad), {{ISBN|90-5460-056-X}}.</ref> According to F. E. Peters, despite any difficulties with the biographical sources, scholars generally see valuable historical information about Muhammad therein and suggest that what is needed are methods to be able to sort out the likely from the unlikely.<ref name="The Quest of the Historical Muhammad"/>

In the 1970s, the [[Revisionist School of Islamic Studies]] raised fundamental doubts about the reliability of traditional Islamic sources and applied the [[historical-critical method]]s to the early Islamic period, including the veracity of the conventional account of Muhammad. A major source of difficulty in the quest for the historical Muhammad is the modern lack of knowledge about pre-Islamic Arabia.<ref name="Peters"/> According to [[Harald Motzki]], "On the one hand, it is not possible to write a historical biography of the Prophet without being accused of using the sources uncritically, while on the other hand, when using the sources critically, it is simply not possible to write such a biography."{{sfn|Nigosian|2004|p=6}}

In 1952, French Arabist [[Régis Blachère]], author of a critical biography of Muhammad that took "fully into account the skeptical conclusions" of [[Ignác Goldziher]] and [[Henri Lammens]], i.e. that Islamic hadith had been corrupted and could not be considered reliable sources of information, wrote <blockquote>We no longer have any sources that would allow us to write a detailed history of Muhammad with a rigorous and continuous chronology. To resign oneself to a partial or total ignorance is necessary, above all for everything that concerns the period prior to Muhammad's divine call [ca. 610 CE]. All a truly scientific biography can achieve is to lay out the successive problems engendered by this preapostolate period, sketch out the general background atmosphere in which Muhammad received his divine call, give in broad brush strokes the development of his apostleship at Mecca, try with a greater chance of success to put in order the known facts, and finally put back into the penumbra all that remains uncertain. To want to go further is to fall into hagiography or romanticization.<ref>{{cite book |last1=Blachere |first1=R |title=Le Probleme de Mahomet Essai de Biographie Critique du fondateur |date=1952 |location=Paris |pages=17–18}} found and translated in {{cite book |editor1-last=Ibn Warraq |title=The Quest for the Historical Muhammad |url=https://archive.org/details/questforhistoric00ibnw |url-access=registration |date=2000 |publisher=Prometheus |page=[https://archive.org/details/questforhistoric00ibnw/page/51 51] |chapter=1. Studies on Muhammad and the Rise of Islam|isbn=9781573927871 }}</ref></blockquote>

[[Michael Cook (historian)|Michael Cook]] laments that comparing Ibn Ishaq with the later commentator [[Al-Waqidi#Comparison with earlier commentaries|Al-Waqid]]—who based his writing on Ibn Ishaq but added much colorful but made-up detail—reveals how oral history can be contaminated by the fiction of storytellers (''qussa'').<ref name="Cook-1983-62-3">{{cite book |last1=Cook |first1=Michael |title=Muhammad |date=1983 |publisher=Oxford University Press |isbn=0192876058 |pages=62–3}}</ref> "We have seen what half a century of story-telling could achieve between Ibn Ishaq and al-Waqidi, at a time when we know that much material had already been committed to writing. What the same processes may have brought about in the century before Ibn Ishaq is something we can only guess at."<ref name="Cook-1983-67">{{cite book |last1=Cook |first1=Michael |title=Muhammad |date=1983 |publisher=Oxford University Press |isbn=0192876058 |page=67}}</ref>

Overall, Cook takes the view that evidence independent of Islamic tradition "precludes any doubts as to whether Muhammad was a real person" and clearly shows that he became the central figure of a new religion in the decades following his death. He reports, though, that this evidence conflicts with the Islamic view in some aspects, associating Muhammad with Israel rather than Inner Arabia, complicating the question of his sole authorship or transmission of the Quran, and suggesting that there were Jews as well as Arabs among his followers.<ref>{{Cite book| publisher = Oxford University Press| isbn = 0192876058| last = Cook| first = Michael| title = Muhammad| date = 1996 | pages=73–76}}</ref>

Cook's fellow [[Revisionist school of Islamic studies|revisionist]] [[Patricia Crone]] complains that ''Sīrat'' is written "not by a grandchild, but a great grandchild of the Prophet's generation", that it is written from the point of view of the [[ulama]] and [[Abbasid Caliphate|Abbasid]], so that "we shall never know ... how the [[Umayyad Caliphate|Umayyad caliph]]s remembered their prophet".<ref>{{cite book |last1=Crone |first1=Patricia |title=Slaves on Horses |url=https://delong.typepad.com/files/slaves_on_horses.pdf |page=4 |publisher=Cambridge University Press |year=1980 | access-date=23 November 2019}}</ref>

While Crone argues that Muhammad was a person whose existence is supported by various sources, she takes a view that Muhammad's traditional association with the Arabian Peninsula may be "doctrinally inspired", and is put in doubt by the Quran itself, which describes agricultural activity that could not have taken place there, as well as making a reference to the site of [[Sodom and Gomorrah|Sodom]] which appears to place Muhammad's community close to the [[Dead Sea]].<ref name=crone-what-do-2008>{{cite web |first1=Patricia |last1=Crone |url=https://www.opendemocracy.net/en/mohammed_3866jsp/ |title=What do we actually know about Mohammed? |date=10 June 2008|website=openDemocracy |access-date=22 January 2020}}</ref>

Concerning the dates of Muhammad's life, Lawrence Conrad writes that "well into the second century A.H. [Islamic] scholarly opinion on the birth date of the Prophet displayed a range of variance of 85 years. On the assumption that chronology is crucial to the stabilization of any tradition of historical narrative, whether transmitted orally or in writing, one can see in this state of affairs a clear indication that ''[[sīra]]'' studies in the second century were still in a state of flux".<ref name="12_Conrad-1987-239">{{cite journal |last1=Conrad |first1=Lawrence I. |title=Abraha and Muhammad: Some Observations Apropos of Chronology and Literary topoi in the Early Arabic Historical Tradition |journal=Bulletin of the School of Oriental and African Studies |date=June 1987 |volume=50 |issue=2 |page=239 |doi=10.1017/S0041977X00049016 |s2cid=162350288 |url=https://www.cambridge.org/core/journals/bulletin-of-the-school-of-oriental-and-african-studies/article/abraha-and-muhammad-some-observations-apropos-of-chronology-and-literary-topoi-in-the-early-arabic-historical-tradition1/3C7779B2986050C4381A72D79D2B8F3F |access-date=29 January 2020|url-access=subscription }}</ref> Since second century A.H. scholarly opinion is the earliest scholarly opinion, and assuming the closer scholars were to the actual event the more likely their sources are to be accurate, this suggests a surprising lack of information among Islamic scholars about basic information on Muhammad.<ref>{{cite book |editor1-last=Ibn Warraq |title=The Quest for the Historical Muhammad |date=2000 |publisher=Prometheus |pages=103 |chapter=2. Origins of Islam: A Critical Look at the Sources}}</ref>

Robert Hoyland suggests his historical importance may have been exaggerated by his followers, writing that "other" Arab leaders "in other locations" had preceded Muhammad in attacking the weakened Byzantine and Persian empires, but these had been "airbrushed out of history by later Muslim writers". Hoyland and other historians argue that the original Arab invaders were not all Muslims.<ref name=RGHIGP2015:56-7>[[#RGHIGP2015|Hoyland, ''In God's Path'', 2015]]: p.56-7</ref>

===Those who see Muhammad as a mythological figure===

Some historians have posited the belief that Muhammad may be mythical. In their 2003 book ''[[Crossroads to Islam]]'', [[Yehuda D. Nevo]] and Judith Koren advanced a thesis, based on an extensive examination of archaeological evidence from the [[Negev]] desert from the [[Timeline of Palestine region#Early Muslim period|Early Islamic period]], that Muhammad may never have existed, with monotheistic Islam only coming into existence some time after he is supposed to have lived. This has been described as "plausible or at least arguable" by David Cook of [[Rice University]], but also compared to [[Holocaust denial]] by historian [[Colin Wells (historian)|Colin Wells]], who suggests that the authors deal with some of the evidence illogically.<ref>{{cite journal |last= Wells |first= Colin |title= Bryn Mawr Classical Review 2004.02.33 |date= February 2004 |journal= Bryn Mawr Classical Review |url= http://bmcr.brynmawr.edu/2004/2004-02-33.html |access-date= 22 March 2011}}</ref>

In 2007, [[Karl-Heinz Ohlig]] suggested that the person of Muhammed was not central to early Islam at all, and that at this very early stage Islam was in fact an Arabic Christian sect which had objections to the concept of the [[trinity]], and that the later hadith and biographies are in large part [[legend]]s, instrumental in severing Islam from its Christian roots and building a full-blown new religion.<ref>Karl-Heinz Ohlig, ''Der frühe Islam'', 2007, {{ISBN|3-89930-090-4}}</ref> In 2008, [[Sven Kalisch]], a former Muslim convert and Germany's first professor of Islamic theology, also questioned whether the prophet Muhammad existed.<ref>{{cite web|url=https://www.wsj.com/articles/SB122669909279629451|title=Islamic Theologian Says Prophet Muhammad Likely Never Existed - WSJ|author=Andrew Higgins|date=16 November 2008|work=WSJ}}</ref> In 2011, [[Hans Jansen]], a Dutch scholar, expressed similar views.<ref>{{cite web|url=http://www.trykkefrihed.dk/blog/335/The-historicity-of-Muhammad-Aisha-and-who-knows-who-else.htm|title=The historicity of Muhammad, Aisha and who knows who else|work=trykkefrihed.dk}}</ref>

Popular writer, blogger, and critic of Islam, [[Robert B. Spencer|Robert Spencer]], has argued that [[Muhammad]] did not exist and proposes that he was made up by Arab leaders. He defended his ideas in his book titled ''[[Did Muhammad Exist?|Did Muhammad Exist]]''.

==See also==
* [[Ashtiname of Muhammad]]
* [[Criticism of Islam#Criticism of the Quran|Reliability of the Quran]]
* [[Historicity of Jesus]]
* [[Historicity of the Bible]]
* [[Historiography of early Islam]]
* ''[[Islam: The Untold Story]]''
* [[Muhammad's letters to the heads of state]]
* [[Phantom time hypothesis]]
* [[Relics of Muhammad]]
* [[Soviet Orientalist studies in Islam]]
* ''[[Seeing Islam as Others Saw It]]''

==Notes==
{{notelist}}

==References==
{{Reflist}}

==Bibliography==
* {{Cite book |last=Bennett |first=Clinton |author-link=Clinton Bennett |url=https://books.google.com/books?id=-VTIkkcUFHQC&pg=PA182 |title=In search of Muhammad |publisher=Continuum |year=1998 |isbn=978-0-304-70401-9}}
* {{cite journal
|last=Berg
|first=Herbert
|author2=Sarah Rollens
|author2-link=Sarah Rollens
|author-link=Herbert Berg (religion)
|title=The Historical Muhammad and the Historical Jesus: A Comparison of Scholarly Reinventions and Reinterpretations
|journal=Studies in Religion/Sciences Religieuses
|year=2008
|volume=37
|issue=2
|pages=271–292
|doi= 10.1177/000842980803700205
|s2cid=144445914}}
* {{cite book|last1=Cook|first1=Michael|title=The Koran : A Very Short Introduction|date=2000|publisher=Oxford University Press|url=https://books.google.com/books?id=rUEe1twiimUC&q=The+Koran+:+A+Very+Short+Introduction |isbn=0192853449 |ref=MCKaVSI2000}}
*{{Cite book
| last1 = Crone
| first1 = Patricia
| author-link = Patricia Crone
| first2 = Michael
| last2 = Cook
| author-link2 = Michael Cook (historian)
| title = Hagarism: The Making of the Islamic World
| title-link = Hagarism: The Making of the Islamic World
| year = 1977
| publisher = Cambridge University Press
| isbn= 0-521-29754-0}}
* {{Cite book |author-link=Fred McGraw Donner |last=Donner |first=Fred McGraw |title= Narratives of Islamic Origins: The Beginnings of Islamic Historical Writing |year= 1998 |publisher= Darwin Press |isbn= 0878501274}}
* {{cite book
| last=Fouracre
| first= Paul
| title=The New Cambridge Medieval History
| publisher= Cambridge University Press
| year=2006
| isbn=0-521-36291-1}}
*{{Cite book
| last = Hoyland
| first = Robert G
| author-link = Robert G. Hoyland
| title = Seeing Islam as Others Saw It: A Survey and Evaluation of Christian, Jewish and Zoroastrian Writings on Early Islam
| title-link = Seeing Islam as Others Saw It
| year= 1998
| publisher= Darwin
| isbn= 0-87850-125-8}}
*{{cite book |last=Hoyland |first=Robert G. |title=In God's Path: the Arab Conquests and the Creation of an Islamic Empire |year=2015 |publisher=Oxford University Press |ref=RGHIGP2015}}
*{{cite book |editor-last=Ibn Warraq |title=The Quest for the Historical Muhammad |date=2000 |publisher=Prometheus |pages=89–124 |chapter=2. Origins of Islam: A Critical Look at the Sources |ref=IROoI2000}}
* {{Cite book |last=Jeffrey |first=Arthur |title=The Qur'an as Scripture |publisher=Russell F. Moore Company |year=1952 |location=New York}}
*{{cite book |last=Lammens |first=Henri |editor-last=Ibn Warraq |title=The Quest for the Historical Muhammad |year=2000 |publisher=Prometheus}}
**{{cite book |last=Lammens |year=2000 |title=The Quest for the Historical Muhammad |chapter=4. The Koran and Tradition |pages=169–187 |ref=HLtKaT2000}}
**{{cite book |last=Lammens |year=2000 |title=The Quest for the Historical Muhammad |chapter=5. The Age of Muhammad and the Chronology of the Sira |pages=188–217 |ref=HLtAoM2000}}
* {{Cite book |last= Lewis |first= Bernard |title = The Arabs in history| year = 1967 |publisher= Harper & Row |isbn= 9780061310294| url-access = registration |url = https://archive.org/details/arabsinhistory00lewi_0}}
* {{cite book |last1=Nevo |first1=Yehuda D.
|author-link= Yehuda D. Nevo |last2=Koren |first2=Judith |title=The Quest for the Historical Muhammad |date=2000 |publisher=Prometheus Books |location=New York |pages=420–443 |chapter=Methodological Approaches to Islamic Studies |ref=YDNJKMQtIS2000}}
* {{cite book
| last=Nigosian
| first= Solomon Alexander
| title=Islam: Its History, Teaching, and Practices
| url= https://archive.org/details/islamitshistoryt0000nigo
| url-access=registration
| publisher= Indiana University Press
| year=2004
| isbn=0-253-21627-3}}
* {{cite journal
| last=Peters
| first=F. E.
| author-link=F. E. Peters
| title=The Quest for Historical Muhammad
| journal= International Journal of Middle East Studies
| year=1991 | doi= 10.1017/S0020743800056312
| s2cid=162433825}}
* {{Cite book |last=Robinson |first=Neal |title=Discovering the Qur'an: A Contemporary Approach to a Veiled Text |year=1996 |publisher=SCM Press}}
* {{cite book
| last=Waines
| first= David
| title=Introduction to Islam
| url=https://archive.org/details/introductiontois0000wain
| url-access=registration
| publisher= Cambridge University Press
| year=1995
| isbn=0-521-42929-3}}

{{Islam topics}}
{{Historicity}}

[[Category:Muhammad]]
[[Category:Historicity of religious figures|Muhammad]]
[[Category:Revisionist school of Islamic studies]]

Battle of Koregaon

2026-03-26T17:28:03Z

FWQGina861152045: refine content per sources and fixed typos

{{Short description|1818 battle of the Third Anglo-Maratha War}}
{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{Infobox military conflict
| conflict = Battle of Koregaon
| width =
| partof = [[Third Anglo-Maratha War]]
| image = [[File:Bhima Koregaon Victory Pillar.jpg|center|250px]]
| caption = Koregaon Bhima Victory Pillar
| date = 1 January 1818
| place = [[Koregaon Bhima]] (in present-day [[Maharashtra]], [[India]])
| result = Inconclusive<ref name="Rajivlochan_2018"/>{{sfn|Shraddha Kumbhojkar|2015|p=40}}
| coordinates = {{Coord|18|38|44|N|074|03|33|E|display=inline,title}}
| map_type = India
| map_caption = Location of Koregaon Bhima in India
| map_label = Koregaon Bhima
| status =
| combatants_header =
| combatant1 = {{flagicon|East India Company}} [[East India Company|East India Company]]
| combatant2 = [[File:Flag of the Maratha Empire.svg|22px|border]] Peshwa faction, [[Maratha Confederacy]]
| commander1 = Francis F. Staunton
| commander2 = [[Peshwa]] [[Baji Rao II]] [[Bapu Gokhale]] Appa Desai Trimbakji Dengle
| units1 = {{Tree list}}[[Bombay Army]]
**[[102nd Prince of Wales's Own Grenadiers|2nd Battalion, 1st Regiment Bombay Native Infantry]]
**Auxiliary Horse
**[[Madras Army|Madras Artillery]]{{Tree list/end}}
| units2 = {{Tree list}}[[Maratha Army]]
**[[Arabs in India|Arab]] Battalion
**[[Gosain]] Battalion
**[[Maratha (caste)|Maratha]] Battalion
{{Tree list/end}}
| strength1 = 500 infantry 300 cavalry 24 artillerymen 2 6-pounder cannons
| strength2 = 1800 infantry 2 cannons
| casualties1 = 275 killed, wounded or missing
| casualties2 = 500–600 killed or wounded (British estimates)
| notes = <ref name="Gazetteer1885" />
| campaignbox = {{Campaignbox Third Anglo-Maratha War}}
}}
The '''Battle of Koregaon''' was fought on 1 January 1818 between the [[British East India Company]] and the [[Peshwa]] faction of the [[Maratha Confederacy]], at [[Koregaon Bhima]].

A 28,000-strong force led by Peshwa [[Baji Rao II]] whilst on their way to attack the company-held [[Pune]], were unexpectedly met by an 800-strong Company force that was on its way to reinforce the British troops in Pune. The Peshwa dispatched around 2,000 soldiers to attack the force which sought entrenchment in Koregaon. Led by Captain [[Francis Staunton]], the Company troops defended their position for nearly 12 hours, before the Peshwa's troops ultimately withdrew, fearing the imminent arrival of a larger British force.

The battle was part of the [[Third Anglo-Maratha War|Third Anglo-Maratha war]], a series of battles that culminated in the defeat of the Peshwa rule and subsequent rule of the British East India Company in nearly all of Western, Central and Southern India.<ref>{{cite book |last1=Amin |first1=Agha |title=Atlas of Third Maratha War-Volume 1: First ever detailed cartographic description of the Maratha and Pindari War (Cartographic Depictions of Indo Pak British Military History) (Volume 35) |date=23 September 2017 |publisher=Createspace |isbn=978-1977547941 }}</ref> There is a "victory pillar" ([[obelisk]]) in Koregaon commemorating the battle.<ref>{{cite book |last1=Macmillan |first1=Michael |title=The Last of the Peshwas, a Tale of the Third Maratha War |publisher=Forgotten Books}}</ref>

== Background ==

By the 1800s, the [[Maratha Confederacy|Marathas]] were organized into a loose confederacy, with the major constituents being the [[Peshwa]] of [[Pune]], the [[Scindia]] of [[Gwalior State|Gwalior]], the [[House of Holkar|Holkar]] of [[Indore State|Indore]], the [[Gaekwad dynasty|Gaekwad]] of [[Baroda State|Baroda]], and the [[Bhosale]] of [[Nagpur State|Nagpur]].<ref>{{cite book |author=Surjit Mansingh |title=Historical Dictionary of India |url=https://books.google.com/books?id=6HAeAgAAQBAJ&pg=PA388 |year=2006 |publisher=Scarecrow Press |isbn=978-0-8108-6502-0 |pages=388 }}</ref> The British had subjugated and signed peace treaties with these factions, establishing [[Residencies of British India|Residencies]] at their capitals. The British intervened in a revenue-sharing dispute between the Peshwa and Gaekwad, and on 13 June 1817, the Company forced Peshwa [[Baji Rao II]] to sign an agreement renouncing claims on Gaekwad's revenues and ceding large swaths of territory to the British. This treaty of Pune formally ended the Peshwa's titular overlordship of other Maratha chiefs, thus officially ending the Maratha confederacy.<ref name="MT_2008">{{cite book |author=Mohammad Tarique |title=Modern Indian History |url=https://books.google.com/books?id=DR2oAQAAQBAJ&pg=SA1-PA15 |publisher=Tata McGraw-Hill |year=2008 |isbn=978-0-07-066030-4 |pages=1.15–1.16}}</ref><ref>{{cite book |author=Gurcharn Singh Sandhu |title=The Indian Cavalry: History of the Indian Armoured Corps |url=https://books.google.com/books?id=6qTeAAAAMAAJ |year=1987 |publisher=Vision Books |isbn=978-81-7094-013-5 |page=211 }}</ref> Soon after this, the Peshwa burnt down the British Residency at Pune, but was defeated in the [[Battle of Khadki]] near Pune on 5 November 1817.<ref name="JFR_2006">{{cite book |author=John F. Riddick |title=The History of British India: A Chronology |url=https://books.google.com/books?id=Es6x4u_g19UC&pg=PA34 |year=2006 |publisher=Greenwood Publishing Group |isbn=978-0-313-32280-8 |pages=34 }}</ref>

The Peshwa then fled to [[Satara (city)|Satara]], and the Company forces took complete control of Pune. Pune was placed under Colonel Charles Barton Burr, while a British force led by General Smith pursued Peshwa. Smith feared that Peshwa could escape to [[Konkan]] and overpower the small British detachment there. Therefore, he instructed Colonel Burr to send reinforcements to Konkan, and in turn, call in for reinforcements from [[Shirur, Maharashtra|Shirur]], if needed.<ref name="CharlesDatta1918"/> Meanwhile, the Peshwa managed to escape beyond Smith's pursuit, but his southward advance was constrained by the advance of a Company force led by General Theophilus Pritzler. He then changed his route, marching eastwards before turning north-west towards [[Nashik]]. Realizing that General Smith was in a position to intercept him, he suddenly turned southwards towards Pune.<ref name="Peter_1837">{{cite book |url=https://books.google.com/books?id=Fds2AAAAMAAJ&pg=PA542 |title=Rise and progress of the British power in India |volume=2 |author=Peter Auber |publisher=W. H. Allen & Co. |year=1837 |pages=542–550 }}</ref> Towards the end of December, Colonel Burr received news that the Peshwa intended to attack Pune, and asked the Company troops stationed at Shirur for help. The troops dispatched from Shirur came across the Peshwa's forces, resulting in the Battle of Koregaon.<ref name="Gazetteer1885" /><ref name="CharlesDatta1918">{{cite book |author1=Charles Augustus Kincaid |author2=Dattātraya Baḷavanta Pārasanīsa |title=A history of the Maratha people |url=http://www.forgottenbooks.com/readbook_text/A_History_of_the_Maratha_People_v3_1000347281/241 |year=1918 |publisher=Oxford University Press |pages=212–216|author1-link=Charles Augustus Kincaid }}</ref>

=== Peshwa's forces ===

The Peshwa's army comprised 20,000 cavalry and 8,000 infantry. Out of these, around 2,000 men were deployed in the action, constantly reinforced during the battle.<ref name="RGB_2008">{{cite book |author=Reginald George Burton |title=Wellington's Campaigns in India |url=https://books.google.com/books?id=UAxEpTvTxrQC&pg=PA164 |year=2008 |publisher=Lancer |isbn=978-0-9796174-6-1 |pages=164–165 }}</ref> The force that attacked the Company troops consisted of three infantry parties of 600 soldiers each.<ref name="Gazetteer1885" /> These soldiers included [[Arab people|Arabs]], [[Gosains]] and [[Maratha (caste)|Marathas]] (the caste).<ref name="RGB_2008"/> The majority of the attackers were Arabs ([[mercenaries in India|mercenaries]] and their descendants), reputed to be the finest among the Peshwa's soldiers.<ref name="HTP_1825">{{cite book |url=https://books.google.com/books?id=Uq5jAAAAMAAJ&pg=PA160 |title=History of the Political and Military Transactions in India During the Administration of the Marquess of Hastings, 1813-1823 |volume=2 |author=Henry Thoby Prinsep |publisher=Kingsbury, Parbury & Allen |year=1825 |pages=158–167 |author-link=Henry Thoby Prinsep }}</ref><ref name="RVR_1916"/> The attackers were supported by a cavalry and two pieces of artillery.<ref name="Peter_1837"/>

The attack was directed by [[Bapu Gokhale]], Appa Desai and Trimbakji Dengle.<ref name="Gazetteer1885" /> Trimbakji was the only among these to enter the Koregaon village, once during the attack.<ref name="JGD_1826"/> The Peshwa and other chiefs stayed at Phoolsheher (modern Phulgaon) near Koregaon.<ref name="TEC_1884">{{cite book |url=https://books.google.com/books?id=yjjehtJoLQgC&pg=PA16 |title=Life of the Honourable Mountstuart Elphinstone |volume=2 |orig-year=1884 |year=2011 |author=Thomas Edward Colebrooke |publisher=Cambridge University Press |pages=16–17 |author-link=Thomas Edward Colebrooke |isbn=9781108294928 }}</ref> The titular Maratha [[Chatrapati]], [[Pratap Singh, Raja of Satara|Pratap Singh of Satara]], also accompanied the Peshwa.<ref name="JGD_1826"/>

=== Company forces ===

The Company troops dispatched from Shirur comprised 834 men, including:<ref name="Gazetteer1885">{{cite book |title=Gazetteer of the Bombay Presidency |volume=18 |url=https://books.google.com/books?id=dboMAAAAIAAJ&pg=PA244 |year=1885 |publisher=Government Central Press |pages=244–247 }}</ref><ref name="JGD_1826"/>

* [[102nd Prince of Wales's Own Grenadiers|2nd Battalion, 1st Regiment Bombay Native Infantry]]—Around 500 soldiers led by Captain [[Francis Staunton]]. Other officers included:
** Lieutenant and Adjutant Thomas Pattinson
** Lieutenant Connellan
** Lieutenant Jones, 10th Regiment
** Assistant-Surgeon Wingate
* Auxiliary Horse—Around 300 under Lieutenant Swanston, Madras Establishment
* [[Madras Army|Madras Artillery]]—24 European and 4 Native, with two [[6-pounder gun]]s, led by Lieutenant Chisholm. Assistant-Surgeon Wyllie (or Wyldie) was the only other artillery officer.<ref>{{cite book |last1=Carter |first1=Thomas |last2=Long |first2=William Henry |title=War Medals of the British Army and How They Were Won |publisher=Norrie and Wilson |location=London |pages=40–41 |date=1893 |url=https://books.google.com/books?id=4QgwAAAAYAAJ&dq=%22WAR%20MEDALS%20of%20the%20BRITISH%20ARMY%2C%20and%20HOW%20THEY%20WERE%20WON%22%201893&pg=PA221}}</ref>

The Company troops of Indian origin included [[Mahar]]s, [[Maratha (caste)|Marathas]], [[Rajput]]s, [[Indian Muslims|Muslims]], and [[Indian Jews|Jews]].<ref name="Vasant_2003">{{cite book |editor=Vasant Moon |title=Dr. Babasaheb Ambedkar, Writings and Speeches |url=https://books.google.com/books?id=6H9DAAAAYAAJ |year=2003 |publisher=Government of Maharashtra |page=5 |quote="22 were Mahars or Parwaris (identified by their names ending with ''nak''), 16 were Marathas, 8 were Raputs, two were Muslims, and one or two were probably Indian Jews"}}</ref> This was mostly the troops that Capt. Staunton had raised three months ago with the object of strengthening the defense of Poona that was already under British control.<ref name="Rajivlochan_2018">{{cite news |author=M Rajivlochan|title=Bloody Scrum, Glorious Victory |url=https://www.outlookindia.com/magazine/story/bloody-scrum-glorious-victory/299701}}</ref>

==The battle==
[[File:British defence plan during Battle of Koregaon.jpg|thumb|350px|British defence plan during Battle of Koregaon]]
The Company troops left Shirur at 8 pm on 31 December 1817. After marching all night and covering a distance of 25 miles, they reached the high ground behind [[Talegaon Dhamdhere]]. From there, they spotted Peshwa's army across the [[Bhima River]]. Captain Staunton marched up to [[Koregaon Bhima]] village, which was located on the banks of the river. The village was surrounded by a low mud wall. Captain Staunton made a [[feint attack|feint]] of crossing the shallow Bhima river. A 5,000-strong infantry, which was slightly ahead of the Peshwa's base, retreated to inform him about the presence of British forces. Meanwhile, Staunton stationed his forces in Koregaon instead of crossing the river. He secured a strong position for his guns, posting one of them to guard an approach from the Bhima river (which was running almost dry), and another to guard the road from Shirur.<ref name="Gazetteer1885" /><ref name="CharlesDatta1918" />

After the return of his 5,000-strong infantry, the Peshwa dispatched three infantry parties of [[Arabs|Arab]], [[Gosains|Gosain]] and [[Maratha (caste)|Maratha]] soldiers. Each party comprised 300–600 soldiers. The parties crossed the Bhima River at three different points, supported by two cannons and rocket fire. Peshwa's troops also made a feint attack from the Shirur road.<ref name="CharlesDatta1918" /><ref name="JGD_1826">{{cite book |url=https://books.google.com/books?id=ffcRAAAAYAAJ&pg=PA432 |title=A History of the Mahrattas |volume=3 |author=James Grant Duff |publisher=Longmans, Rees, Orme, Brown, and Green |year=1826 |pages=432–438 |author-link=James Grant Duff }}</ref>

By noon, the Arabs took control of a temple on the outskirts of the village. One of the temples was retaken by a party led by Lieutenant and Assistant Surgeon Wyllie. The Arabs also captured the sole gun guarding the river, and killed eleven gunners, including their officer Lieutenant Chisholm. Driven by thirst and hunger, some of the Company's gunners suggested negotiating a surrender. However, Captain Staunton refused to yield. A group led by Lieutenant Pattison retook the gun, and found Lieutenant Chisholm's body with the head cut off. Captain Staunton declared that this would be the fate of those who fall into the enemy hands. This encouraged the gunners to fight on. The Company troops successfully defended the village.<ref name="Gazetteer1885" /><ref name="CharlesDatta1918" />

Peshwa's forces ceased firing and left the village by 9 pm, driven by the fear of approaching British reinforcements under General Joseph Smith.<ref name="RVR_1916">{{cite book |url=https://archive.org/stream/thetribesandcast20583gut/20583.txt |title=The Tribes and Castes of the Central Provinces of India |volume=I |author=R. V. Russell |publisher=Macmillan and Co. |location=London |year=1916 |isbn=9781465582942 |page=363 |quote=The Arabs attacked us at Koregaon and would have certainly destroyed us had not the Peshwa withdrawn his troops on General Smith's approach. |author-link=Robert Vane Russell }}</ref><ref name="TJ_2007">{{cite book |author=Tony Jaques |title=Dictionary of Battles and Sieges: F-O |url=https://books.google.com/books?id=Dh6jydKXikoC&pg=PA542 |year=2007 |publisher=Greenwood Publishing Group |isbn=978-0-313-33538-9 |pages=542 }}</ref> At night, the Company troops managed to procure a supply of water.<ref name="JGD_1826"/> The Peshwa remained near Koregaon on the next day but did not launch another attack. Captain Staunton, who was not aware of General Smith's advance, believed that the Peshwa would attack the Company troops on the Koregaon-Pune route. On the night of 2 January, Staunton first pretended to go in the direction of Pune but then marched back to Shirur, carrying most of his wounded soldiers.<ref name="Peter_1837"/><ref name="JGD_1826"/>

According to the ''Interesting Intelligence from the London Gazette'': "Accounts have been received from Lt Col Burr, dated the 3rd (January, 1818), intimating that Capt. Staunton, commanding the 2nd battalion 1st regiment of Bombay Native Infantry, had been fortunately able to commence his march back to Seroor, with 125 wounded, having buried 50 at Goregaum (sic), and left 12 or 15 there, badly wounded; that the Peshwa had proceeded Southward, General Smith in pursuit, which had probably saved the battalion."<ref>"Interesting Intelligence from the London Gazette" (June 1818) page 550</ref>

== Casualties ==

Out of the 834 Company troops, 275 were killed, wounded or missing. The dead included two officers — Assistant-Surgeon Wingate and Lieutenant Chisholm; Lieutenant Pattison later died of his wounds in Shirur.<ref name="Gazetteer1885" /> Among the infantrymen, 50 were killed and 105 wounded. Among the artillery, 12 were killed and 8 were wounded.<ref name="HTP_1825"/> The dead Company soldiers of Indian origin included 22 [[Mahar]]s, 16 [[Maratha (caste)|Marathas]], 8 [[Rajput]]s, 2 [[Indian Muslims|Muslims]], and 1-2 [[Indian Jews|Jews]].<ref name="Vasant_2003"/><ref>{{cite book |author=V. Longer |title=Forefront for Ever: The History of the Mahar Regiment |url=https://books.google.com/books?id=gAceAAAAMAAJ |year=1981 |publisher=Mahar Regimental Centre |page=14 |quote=One hundred and thirteen men and two British Officers were wounded. Of the men of the 2/1st Regiment Bombay Native Infantry who fell in action, 22 were Mahars or Parwaris (identified by their names ending with "nak"), 16 were Marathas, 8 were Rajputs, two were Muslims, and one or two were probably Indian Jews. }}</ref>

According to the British estimates, around 500 to 600 of Peshwa's soldiers were killed or wounded in the battle.<ref name="Gazetteer1885" />

[[Mountstuart Elphinstone]], who visited Koregaon two days later on 3 January 1818, wrote that the houses had been burned and the streets were filled with dead bodies of horses and men. There were around 50 dead bodies lying in the village, most of them of the Peshwa's Arab soldiers. There were six dead bodies outside the village. In addition, there were shallow graves of 50 native sepoys, 11 European soldiers and the 2 deceased officers belonging to the Company forces.<ref name="TEC_1884"/>

== Aftermath ==
When Elphinstone visited the battle field shortly after its completion, he found that the Company soldiers had completely lost their morale and were reluctant to believe the praises that were showered on them .<ref>{{cite book|url=https://books.google.com/books?id=rlrqUU7MaoAC&pg=PA406|title=The British Conquest and Dominion of India|author=Penderel Moon|author-link = Penderel Moon | publisher=India Research Press|year=1999|isbn=0-7156-2169-6|pages=406}}</ref>

General Smith arrived in Koregaon on 3 January, but by this time, the Peshwa had already left the area.<ref name="HTP_1825"/> A company force led by General Pritzler pursued Peshwa, who tried to escape to [[Mysore State|Mysore]]. Meanwhile, General Smith captured [[Satara (city)|Satara]], the capital of Pratap Singh. Smith intercepted Peshwa in a battle on 19 February 1818 at Ashtoon (or Ashta); Bapuji Gokhale was killed in this action. The Peshwa then fled to [[Khandesh]], while his [[jagirdar]]s accepted the Company's suzerainty. A dejected Peshwa then met with [[John Malcolm]] on 2 June 1818, and surrendered his royal claims in exchange for a pension and a residence in [[Bithoor]]. Trimbakji Dengle was captured near Nashik and imprisoned at the [[Chunar Fort]].<ref name="Peter_1837"/>

As a reward for their bravery in the Battle of Koregaon, the 2nd battalion of the 1st Regiment of the Bombay Native Infantry was made [[Grenadier]]s. Their regiment came to be known as [[102nd Prince of Wales's Own Grenadiers|1st Grenadier Regiment of Bombay Native Infantry]].<ref name="Gazetteer1885" /> The official report to the British Residents at Poona recalls the "heroic valour and enduring fortitude" of the soldiers, the "disciplined intrepidity" and "devoted courage and admirable consistency" of their actions.<ref name="EPW"/>

Captain Staunton was appointed an honorary [[aide-de-camp]] to the [[Governor General of India]]. The [[List of East India Company directors|Court of Directors]] presented him with a sword and a sum of 500 [[Guinea (British coin)|guineas]] (gold coins). Later in 1823, he became a Major, and was appointed a companion of the [[Order of the Bath|Most Honourable Military Order of the Bath]].<ref name="Gazetteer1885" />

General [[Sir Thomas Hislop, 1st Baronet|Thomas Hislop]] called the battle "one of the most heroic and brilliant achievements ever recorded on the annals of the army".<ref name="Gazetteer1885" /> According to M.S. Naravane, "this gallant defense by a small number of Company's troops against an overwhelming Maratha force is rightly considered one of the most glorious examples of valour and fortitude in the annals of the Company's forces."<ref name=Naravane>{{Cite book |last=Naravane |first=M.S. |title=Battles of the Honorourable East India Company |publisher=A.P.H. Publishing Corporation |year=2014 |isbn=9788131300343 |pages=83–84}}</ref>

General Smith, in his official report of this battle, wrote, "The action at Koregaum was one of the most brilliant affairs achieved by any army in which European and Native soldiers displayed the most noble devotion and most romantic bravery under pressure of hunger and thirst almost beyond human endurance.<ref>[http://www.bharat-rakshak.com/ARMY/images/Poona%20Horse.pdf Poona Horse] bharat-rakshak.com</ref>

== Decisiveness ==
Neither side achieved a decisive victory in the battle.{{sfn|Shraddha Kumbhojkar|2015|p=40}} Shortly after the battle, [[Mountstuart Elphinstone]] described it as a "small victory" for the Peshwa.<ref>{{cite book |url=https://books.google.com/books?id=X3YBAAAAMAAJ |title=Peshwa Bajirao II and The Downfall of The Maratha Power |author=S. G. Vaidya |publisher=Pragati Prakashan |year=1976 |page=308 |quote=In his Journal Elphinstone wrote that the Peshwa had gained a small victory at Koregaon }}</ref> Nevertheless, the East India Company government praised the bravery of its troops, who could not be overpowered despite being outnumbered.{{sfn|Shraddha Kumbhojkar|2015|p=40}}

Notwithstanding this, the battle being one of the last ones to be fought in the [[Third Anglo-Maratha War]], is since recognised as a Company victory after the war ended with Peshwa's defeat.{{sfn|Shraddha Kumbhojkar|2015|p=40}}

== Legacy ==
=== Memorial ===
To commemorate its fallen soldiers, the East India Company commissioned a "victory pillar" (an [[obelisk]]) in Koregaon.<ref>{{cite book |url=https://books.google.com/books?id=bTY-AAAAMAAJ |title=Western Colonial Policy |author=Nisith Ranjan Ray |publisher=Institute of Historical Studies |year=1983 |page=176 }}</ref> The inscription of the pillar declares that Captain Staunton's force "accomplished one of the proudest triumphs of the British Army in the East."{{sfn|Shraddha Kumbhojkar|2015|p=40}}

=== Significance to Mahars ===
[[File:Dr. Babasaheb Ambedkar and his followers at 'Vijaystambha', Bhima-Koregaon, Tal. Haveli, Pune (Maharashtra) to salute to the brave Mahar Regiment's soldiers who won the battle.jpg|thumb|[[B. R. Ambedkar]] and his followers at the Koregaon victory pillar on 28 December 1927]]
The Koregaon pillar inscription features the names of the 49 Company soldiers killed in the battle.<ref name="Doranne1992">{{cite book |author1=Doranne Jacobson |author2=Eleanor Zelliot |author3=Susan Snow Wadley |author3-link=Susan Snow Wadley |title=From untouchable to Dalit: essays on the Ambedkar Movement |url=https://books.google.com/books?id=3WcMAQAAMAAJ |year=1992 |publisher=Manohar |page=89 |isbn=9788185425375 }}</ref> 22 of these names end with the suffix ''-nac'' (or ''-nak''), which was used exclusively by the people of [[Mahar]] caste.{{sfn|Shraddha Kumbhojkar|2015|p=40}}<ref>{{cite book|author=Basham, Ardythe|editor=Das, Bhagwan|title=Untouchable soldiers: the Maharas and the Mazhbis|date=2008|publisher=Gautam Book Centre|location=Delhi|isbn=9788187733430|page=27|url=https://books.google.com/books?id=vNrwIinNdH0C&pg=PA27}}</ref> The obelisk was featured on the [[Mahar Regiment]]'s crest until Indian Independence. While it was built by the British as a symbol of their own power, today it serves as a memorial of the Mahars.<ref name="EPW">{{cite journal |last=Kumbhojkar |first=Shraddha |title=Contesting Power, Contesting Memories – The History of the Koregaon Memorial |journal=The Economic and Political Weekly |year=2012 |url=http://www.epw.in/special-articles/contesting-power-contesting-memories.html |access-date=2012-10-19}}{{Subscription required}}</ref><ref>{{cite book|author=Kumbhojkar, Shraddha|editor1=Geppert, Dominik|editor2=Müller, Frank Lorenz|title=Sites of Imperial Memory: Commemorating Colonial Rule in the Nineteenth and, Chapter three: Politics, caste and the remembrance of the Raj: the Obelisk at Koregaon|year=2015|publisher=Oxford University press|isbn=9780719090813|pages=39–52|url=https://books.google.com/books?id=NeCSDAAAQBAJ&pg=PP39}}</ref>

The Mahars were considered [[untouchability|untouchable]] in the contemporary caste-based society. The Peshwas, who were the 'high-caste' [[Brahmin]]s, were notorious for their mistreatment and persecution of the untouchables.{{sfn|Shraddha Kumbhojkar|2015|p=43|ps=:"The Peshwas, Brahmin rulers of western India, were infamous for their high caste orthodoxy and their persecution of the Untouchables."}} Because of this, the [[Dalit]]s (former untouchables), after independence, saw the Koregaon obelisk as a symbol of their victory over the high-caste oppression.{{sfn|Shraddha Kumbhojkar|2015|p=49}} Dalit leader [[B. R. Ambedkar]] visited the site on 1 January 1927. To commemorate his visit to the site, now thousands of his followers visit the site every New Year's Day.{{sfn|Shraddha Kumbhojkar|2015|p=47}} A number of Mahar gatherings have also been held at the place.<ref name="Doranne1992" />

On 1 January 2018, [[2018 Bhima Koregaon violence|clashes]] erupted between Hindu groups and Dalit Buddhist groups during the commemoration of this battle.<ref>{{Cite web|url=https://www.rediff.com/news/report/pix-dalit-protests-rock-mumbai-over-bhima-koregaon-pune-violence/20180102.htm|title=Pune's Dalit protests reach Mumbai, suburbs affected|website=Rediff|accessdate=11 June 2023}}</ref> This led to further violent protests and rioting in Mumbai and Maharashtra for two days.<ref>{{Cite web|url=https://www.thehindu.com/news/national/other-states/maharashtra-tense-a-day-after-clashes-during-bicentenary-celebrations-of-koregaon-bhima-battle/article61485220.ece|title=Protests spread in Maharashtra post clashes during bicentenary celebrations of Bhima-Koregaon battle|date=2 January 2018|accessdate=11 June 2023|via=www.thehindu.com}}</ref>

===Films===
''[[The Battle of Bhima Koregaon: An Unending Journey]]'' is a 2017 documentary by Indian filmmaker [[Somnath Waghmare]].<ref>{{Cite web|url=https://www.deccanherald.com/content/606276/docu-film-intriguing-1818-battle.html|title=Docu-film on intriguing 1818 battle premieres in Bengaluru|date=2017-04-14|website=Deccan Herald|language=en|access-date=2019-12-08}}</ref><ref>{{Cite web|url=https://indianexpress.com/article/lifestyle/art-and-culture/victory-of-the-voiceless-5010574/|title=Somnath Waghmare's documentary explains why the Battle of Bhima Koregaon is important to Dalits|date=2018-01-04|website=The Indian Express|language=en-US|access-date=2019-12-08}}</ref> It explored the role of 500 [[Mahar]] soldiers in Battle of Koregaon on 1 January 1818 against the [[Peshwa]] dynasty.

''[[The Battle of Bhima Koregaon (film)|The Battle of Bhima Koregaon]]'' is an upcoming Indian [[Hindi]]-language [[historical drama|period war drama film]] directed and produced by Ramesh Thete under his banner Ramesh Thete Films.<ref>{{cite news |title=Am directing film on Koregaon Bhima battle: Ex-IAS officer |url=https://www.outlookindia.com/newsscroll/am-directing-film-on-koregaon-bhima-battle-exias-officer/1907639 |access-date=13 January 2021 |work=Outlook |date=2 August 2020}}</ref> The film stars [[Arjun Rampal]] as the Mahar warrior Sidhnak, and [[Digangana Suryavanshi]].<ref>{{Cite web|url=https://www.tellychakkar.com/movie/movie-news/digangana-suryavanshi-star-opposite-arjun-rampal-the-battle-of-bhima-koregaon|title=Digangana Suryavanshi To Star Opposite Arjun Rampal In The Battle of Bhima Koregaon?|website=Telly Chakkar}}</ref><ref>{{cite news |last1=Varma |first1=Lipika |title=Arjun Rampal's upcoming movie delayed |url=https://www.deccanchronicle.com/entertainment/bollywood/160620/arjun-rampals-upcoming-movie-delayed.html |access-date=13 January 2021 |work=Deccan Chronicle |date=16 June 2020 |language=en}}</ref>

==See also==
*[[Battle of Saragarhi]]
*[[Mahar Regiment]]

== References ==
{{reflist}}

=== Bibliography ===
{{refbegin}}
* {{cite book |author=Shraddha Kumbhojkar |chapter=Politics, caste and the remembrance of the Raj: the Obelisk at Koregaon |editor=Dominik Geppert and Frank Lorenz Müller |title=Sites of Imperial Memory: Commemorating Colonial Rule in the Nineteenth and Twentieth Centuries |chapter-url=https://books.google.com/books?id=NeCSDAAAQBAJ&pg=PA39 |year=2015 |publisher=Manchester University Press |isbn=978-0-7190-9081-3 }}
{{refend}}

{{MarathaEmpire}}

[[Category:Conflicts in 1818|Koregaon]]
[[Category:Military history of British India|Koregaon]]
[[Category:Battles involving the Maratha Empire|Koregaon]]
[[Category:Battles involving the British East India Company|Koregaon]]
[[Category:History of Pune]]
[[Category:1818 in India]]
[[Category:Dalit history]]
[[Category:January 1818]]
[[Category:1810s battles|Koregaon]]

Early Modern English

2026-03-26T00:34:56Z

FWQGina861152045: updated page

{{short description|Stage of development of English, starting late 15th century}}
{{About|the stage of the language|the historical period|Early Modern Britain}}
{{Use dmy dates|date=March 2020}}
{{Use British English|date=May 2021}}
{{Infobox language
| name = Early Modern English
| altname = Shakespeare's English, Shakespearean English, King James' English
| nativename = English
| image = File:Sonnet 132 1609.jpg
| imagescale = 1.45
| imagecaption = [[William Shakespeare]]'s [[Sonnet 132]] in the 1609 Quarto
| states = [[England]], [[Wales]], [[Scotland]], [[Ireland]] and [[English overseas possessions]]
| region =
| ethnicity =
| era = [[Early modern period]]; developed into [[Modern English]] in the late 17th century
| familycolor = Indo-European
| fam2 = [[Germanic languages|Germanic]]
| fam3 = [[West Germanic languages|West Germanic]]
| fam4 = [[Ingvaeonic languages|North Sea Germanic]]
| fam5 = [[Anglo-Frisian languages|Anglo-Frisian]]
| fam6 = [[Anglic languages|Anglic]]
| ancestor = [[Proto-Indo-European]]
| ancestor2 = [[Proto-Germanic]]
| ancestor3 = [[Proto-West Germanic]]
| ancestor4 = [[Proto-English]]
| ancestor5 = [[Old English]]
| ancestor6 = [[Middle English]]
| isoexception = historical
| iso6 = emen
| glotto = none
| notice = IPA
| ietf = en-emodeng
}}

'''Early Modern English''' (sometimes abbreviated '''EModE'''<ref name=":0">For example, {{cite journal|last=Río-Rey|first=Carmen|date=9 October 2002|title=Subject control and coreference in Early Modern English free adjuncts and absolutes|journal=English Language and Linguistics|publisher=Cambridge University Press|volume=6|issue=2|pages=309–323|url=http://journals.cambridge.org/action/displayAbstract?aid=124085|access-date=12 March 2009|doi=10.1017/s1360674302000254|s2cid=122740133|archive-date=21 February 2016|archive-url=https://web.archive.org/web/20160221025332/http://journals.cambridge.org/action/displayAbstract?aid=124085|url-status=live|url-access=subscription}}</ref> or '''EMnE'''), also known as '''Early New English''' ('''ENE'''), and colloquially '''Shakespeare's English''', '''Shakespearean English''', or '''King James' English''', is the stage of the [[English language]] from the beginning of the [[Tudor period]] to the English [[Interregnum (England)|Interregnum]] and [[Stuart Restoration|Restoration]], or from the transition from [[Middle English]], in the late 15th century, to the transition to [[Modern English]], in the mid-to-late 17th century.<ref>Nevalainen, Terttu (2006). ''An Introduction to Early Modern English''. Edinburgh: Edinburgh University Press</ref>

Before and after the accession of [[James VI and I|James I]] to the English throne in 1603, the emerging English standard began to influence the spoken and written [[Middle Scots]] of Scotland.

The grammatical and orthographical conventions of literary English in the late 16th century and the 17th century are still very influential on modern [[Standard English]]. Most modern readers of English can understand texts written in the late phase of early modern English, such as the ''[[King James Bible]]'' and the works of [[William Shakespeare]], and they have greatly influenced Modern English.

Texts from the earlier phase of early modern English, such as the late-15th-century ''[[Le Morte d'Arthur]]'' (1485) and the mid-16th-century ''[[Gorboduc (play)|Gorboduc]]'' (1561), may present more difficulties but are still closer to Modern English grammar, lexicon and phonology than are 14th-century Middle English texts, such as the works of [[Geoffrey Chaucer]].

[[File:Psalm 23.jpg|[[King James Version]] of [[Psalm 23]]|thumb]]

==History==
{{more citations needed section|date=July 2024}}

===English Renaissance===
{{See also|English Renaissance}}

====Transition from Middle English====
{{further|Late Middle English}}
The change from [[Middle English]] to early modern English affected much more than just vocabulary and pronunciation.<ref name=":0" />

Middle English underwent significant change over time and contained large dialectical variations. Early Modern English, on the other hand, became more standardised and developed an established canon of literature that survives today.
*1476 – [[William Caxton]] started printing in [[Westminster]]; however, the language that he used reflected the variety of styles and dialects used by the authors who originally wrote the material.

=====Tudor period (1485–1603)=====
*1485 – Caxton published [[Thomas Malory]]'s ''[[Le Morte d'Arthur]]'', the first print bestseller in English. Malory's language, while archaic in some respects, was clearly early modern and was possibly a Yorkshire or Midlands dialect.
*1491 or 1492 – [[Richard Pynson]] started printing in London; his style tended to prefer [[Middle English#Chancery Standard|Chancery Standard]], the form of English used by the government.

====Henry VIII====
*{{c.}} 1509 – Pynson became the king's official printer.
*From 1525 – Publication of [[William Tyndale]]'s [[Tyndale Bible|Bible translation]], [[Censorship of the Bible|which was initially banned]].
*1539 – Publication of the ''[[Great Bible]]'', the first officially authorised Bible in English. Edited by [[Myles Coverdale]], it was largely from the work of Tyndale. It was read to congregations regularly in churches, which familiarised much of the population of England with a standard form of the language.
*1549 – Publication of the [[Book of Common Prayer (1549)|first edition]] of the ''[[Book of Common Prayer]]'' in English, under the supervision of [[Thomas Cranmer]] (revised in [[Book of Common Prayer (1552)|1552]], [[Book of Common Prayer (1559)|1559]], [[Book of Common Prayer (1604)|1604]], and [[Book of Common Prayer (1662)|1662]]), which standardised much of the wording of church services. Some have argued that since attendance at prayer book services was required by law for many years, the repetitive use of its language helped to standardise Modern English even more than the ''[[King James Bible]]'' (1611) did.<ref>Stephen L. White, "The Book of Common Prayer and the Standardization of the English Language" The Anglican, 32:2(4-11), April 2003</ref>
*1557 – Publication of ''[[Tottel's Miscellany]]''.

====Elizabethan English====
[[File:Gorboduc TP 1565.jpg|thumb|Title page of ''[[Gorboduc (play)|Gorboduc]]'' (printed 1565). ''The Tragedie of Gorbodvc, whereof three Actes were wrytten by Thomas Nortone, and the two laste by Thomas Sackuyle. Sett forthe as the same was shewed before the Qvenes most excellent Maiestie, in her highnes Court of Whitehall, the .xviii. day of January, Anno Domini .1561. By the Gentlemen of Thynner Temple in London.'']]
;[[Elizabethan era]] (1558–1603)
*1560 – The [[Geneva Bible]] was published. The New Testament was completed in 1557 by English Reformed exiles on the continent during the reign of Mary, and the complete Bible three years later, after Elizabeth succeeded the throne. This version was favoured by the [[Puritans]] and [[Pilgrims]] due to its more vigorous and forceful language. Its popularity and proliferation (due in large part to its copious notes) over the following decades sparked the production of the [[King James Bible]] to counter it.
*1582 – The [[Douay–Rheims Bible|Rheims and Douai Bible]] was completed, and the [[New Testament]] was released in [[Rheims]], [[France]], in 1582. It was the first complete English translation of the Bible that was officially sponsored and carried out by the [[Catholic Church]] (earlier translations into English, especially of the Psalms and Gospels, existed as far back as the 9th century, but it was the first Catholic English translation of the full Bible). Though the Old Testament was already complete, it was not published until 1609–1610, when it was released in two volumes. While it did not make a large impact on the English language at large, it certainly played a role in the development of English, especially in heavily Catholic English-speaking areas.
*[[Christopher Marlowe]], {{floruit|1586–1593}}
*1592 – ''[[The Spanish Tragedy]]'' by [[Thomas Kyd]]
*{{Circa|1590|1612}} – [[Shakespeare's plays]] written {{see also|Chronology of Shakespeare's plays|Shakespeare's influence}}
{{further|Elizabethan literature|English Renaissance theatre}}

===17th century===
====Jacobean and Caroline eras====
=====Jacobean era (1603–1625)=====
{{further|Jacobean era}}
*1609 – [[Shakespeare's sonnets]] published
*Other playwrights:
**[[Ben Jonson]]
**[[Thomas Dekker (writer)|Thomas Dekker]]
**[[Beaumont and Fletcher]] ([[Francis Beaumont]] and [[John Fletcher (playwright)|John Fletcher]])
**[[John Webster]]
*1607 – The first successful permanent English colony in the New World, [[Jamestown, Virginia|Jamestown]], is established in [[Virginia]]. Early vocabulary specific to [[American English]] comes from indigenous languages (such as [[:wikt:moose|moose]], [[:wikt:racoon|racoon]]).
*1611 – The [[King James Version]] of the Bible was published. It was largely based on the [[Bishops' Bible]] translation and revision of 1602. The "Authorised Version" as it is called in the U.K. remained the standard Bible in the [[Church of England]] until the [[1769 Oxford edition]] supplanted it with updated modern English spelling and grammar.
*1623 – Shakespeare's ''[[First Folio]]'' published

=====Caroline era and English Civil War (1625–1649)=====
{{further|Caroline era|English Civil War}}
*1630–1651 – William Bradford, Governor of [[Plymouth Colony]], wrote his journal. It will become ''[[Of Plymouth Plantation]]'', one of the earliest texts written in the [[Thirteen Colonies|American Colonies]].
*1647 – Publication of the first [[Beaumont and Fletcher folio]]

====Interregnum and Restoration====
The [[English Civil War]] and the [[Interregnum (England)|Interregnum]] were times of social and political upheaval and instability.
The dates for [[Restoration literature]] are a matter of convention and differ markedly from genre to genre. In drama, the "Restoration" may last until 1700, but in poetry, it may last only until 1666, the ''[[annus mirabilis#1666 — The year of wonders|annus mirabilis]]'' (year of wonders), and in prose lasts until 1688. With the increasing tensions over succession and the corresponding rise in journalism and periodicals, or until possibly 1700, when those periodicals grew more stabilised.
*1651 – Publication of ''[[Leviathan (Hobbes book)|Leviathan]]'' by [[Thomas Hobbes]].
*1660–1669 – [[Samuel Pepys]] wrote his diary, which will become an important eyewitness account of the Restoration Era.
*1662 – New edition of the ''Book of Common Prayer'', largely based on the 1549 and subsequent editions. It long remained a standard work in English.
*1667 – Publication of ''[[Paradise Lost]]'' by [[John Milton]] and of ''[[Annus Mirabilis (poem)|Annus Mirabilis]]'' by [[John Dryden]].

===Development to Modern English===
{{main|Modern English}}
The 17th-century [[port town]]s and their forms of speech gained influence over the old [[county town]]s. From around the 1690s onwards, England experienced a new period of internal peace and relative stability, which encouraged the arts, including literature. Modern English can be taken to have emerged fully by the beginning of the [[Georgian era]] in 1714, but [[English orthography]] remained somewhat fluid until the publication of Johnson's ''[[A Dictionary of the English Language]]'', in 1755.

The [[Proceedings in Courts of Justice Act 1730]] made English, instead of Law French and [[Latin]], the obligatory language for use in the courts of England and in the [[Court of Exchequer (Scotland)|court of exchequer]] in Scotland. It was later extended to Wales, and seven years later a similar act was passed in Ireland, the [[Administration of Justice (Language) Act (Ireland) 1737]].<ref>{{Cite web |title=Northern Ireland Act 1998 (Amendment No. 1) |url=https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/857001/Final_Combined_Legislation_for_publication.pdf |access-date=30 July 2024 |website=www.assets.publishing.service.gov.uk}}</ref>

The towering importance of [[William Shakespeare]] over the other Elizabethan authors was the result of his [[William Shakespeare's influence|reception]] during the 17th and the 18th centuries, which directly contributes to the development of [[Standard English]].{{Citation needed|date=May 2018}} [[Shakespeare's plays]] are therefore still familiar and comprehensible 400 years after they were written,<ref>[[Fausto Cercignani|Cercignani, Fausto]], ''Shakespeare's Works and Elizabethan Pronunciation'', Oxford, Clarendon Press, 1981.</ref> but the works of [[Geoffrey Chaucer]] and [[William Langland]], which had been written only 200 years earlier, are considerably more difficult for the average modern reader.

==Orthography==
[[File:William Shakespeare by John Taylor, edited.jpg|thumb|upright=0.9|right|[[Shakespeare]]'s writings are universally associated with early modern English.]]
The [[orthography]] of early modern English is recognisably similar to [[English orthography|that of today]], but spelling was unstable. Early Modern and Modern English both retain various orthographical conventions that predate the [[Great Vowel Shift]].

Early Modern English spelling was broadly similar to that encountered [[Middle English orthography|in Middle English]]. Some of the changes that occurred were based on etymology (as with the [[silent b|silent {{vr|b}}]] that was added to words like {{lang|italic=yes|en-emodeng|debt}}, {{lang|italic=yes|en-emodeng|doubt}} and {{lang|italic=yes|en-emodeng|subtle}}). Many spellings had still not been standardised. For example, ''he'' was spelled as both {{lang|italic=yes|en-emodeng|he}} and {{lang|italic=yes|en-emodeng|hee}} in the same sentence in Shakespeare's plays and elsewhere.

Certain key orthographic features of early modern English spelling have not been retained:
*The letter {{angle bracket|S}} had two distinct [[lowercase]] forms: {{angle bracket|s}} (short ''s''), as is still used today, and {{angle bracket|ſ}} ([[long s|long ''s'']]). The short ''s'' was always used at the end of a word and often elsewhere. The long ''s'', if used, could appear anywhere except at the end of a word. The double lowercase ''S'' was written variously {{angle bracket|ſſ}}, {{angle bracket|ſs}} or {{angle bracket|ß}} (the last [[Ligature (writing)|ligature]] is still used in German [[ß]]).<ref>{{cite book|last=Burroughs|first=Jeremiah|author-link=Jeremiah Burroughs|author2=Greenhill, William|title=The Saints Happinesse|publisher=M.S.|url=https://archive.org/details/saintshappiness00greegoog|year=1660}} Introduction uses both {{lang|italic=yes|en-emodeng|happineſs}} and {{lang|italic=yes|en-emodeng|[[wikt:blessedness|bleſſedneſs]]}}.</ref> That is similar to the alternation between medial (σ) and final lowercase [[sigma]] (ς) in Greek.
*[[U|{{angle bracket|u}}]] and [[V|{{angle bracket|v}}]] were not considered two distinct letters then but as still different forms of the same letter. Typographically, {{angle bracket|v}} was frequent at the start of a word and {{angle bracket|u}} elsewhere:<ref>{{Cite book|author=Sacks, David|title=The Alphabet|year=2004|publisher=Arrow|location=London|isbn=0-09-943682-5|page=[https://archive.org/details/alphabetunraveli0000sack/page/316 316]|url-access=registration|url=https://archive.org/details/alphabetunraveli0000sack/page/316}}</ref> hence ''{{lang|en-emodeng|vnmoued}}'' (for modern ''unmoved'') and {{lang|italic=yes|en-emodeng|loue}} (for ''love''). The modern convention of using {{vr|u}} for the vowel sounds and {{vr|v}} for the consonant appears to have been introduced in the 1630s.{{sfnp|Salmon|1999|p=39}} Also, {{angle bracket|w}} was frequently represented by {{angle bracket|vv}}.
*Similarly, [[I|{{angle bracket|i}}]] and [[J|{{angle bracket|j}}]] were also still considered not as two distinct letters, but as different forms of the same letter: hence ''{{lang|en-emodeng|ioy}}'' for ''joy'' and {{lang|italic=yes|en-emodeng|iust}} for ''just''. Again, the custom of using {{vr|i}} as a vowel and {{vr|j}} as a consonant began in the 1630s.{{sfnp|Salmon|1999|p=39}}
*The letter {{angle bracket|þ}} ([[thorn (letter)|thorn]]) was still in use during the early modern English period but was increasingly limited to handwritten texts. In Early Modern English printing, {{angle bracket|þ}} was represented by the Latin {{angle bracket|Y}} (see [[Ye olde]]), which appeared similar to thorn in blackletter typeface <big>{{angle bracket|𝖞}}</big>. Thorn had become nearly totally disused by the late early modern English period, the last vestiges of the letter being its ligatures, {{lang|italic=yes|en-emodeng|ye}} (thee), {{lang|italic=yes|en-emodeng|yt}} (that), {{lang|italic=yes|en-emodeng|yu}} (thou), which were still seen occasionally in the 1611 ''King James Version'' and in Shakespeare's Folios.<ref>{{Cite book|author=Sacks, David|title=Language Visible|year=2003|publisher=Knopf|location=Canada|isbn=0-676-97487-2|pages=356–57}}</ref>
*A [[silent e|silent {{angle bracket|e}}]] was often appended to words, as in ''{{lang|en-emodeng|ſpeake}}'' and ''{{lang|en-emodeng|cowarde}}''. The last [[consonant]] was sometimes doubled when the {{angle bracket|e}} was added: hence ''{{lang|en-emodeng|manne}}'' (for ''man'') and ''{{lang|en-emodeng|runne}}'' (for ''run'').
*The sound that became Modern English {{IPA|/ʌ/}} was often written {{angle bracket|o}} (as in ''son''): hence ''{{lang|en-emodeng|ſommer}}'', ''{{lang|en-emodeng|plombe}}'' (for modern ''summer'', ''plumb'').<ref>[[W. W. Skeat]], in ''Principles of English Etymology'', claims that the substitution was encouraged by the ambiguity between ''u'' and ''n''; if ''{{lang|en-emodeng|sunne}}'' could just as easily be misread as ''{{not a typo|sunue}}'' or ''{{not a typo|suvne}}'', it made sense to write it as ''{{lang|en-emodeng|sonne}}''. (Skeat, ''Principles of English Etymology'', Second Series. Clarendon Press, 1891, [https://archive.org/details/principlesengli00skeagoog/page/n137 page 99].)</ref>
*The final syllable of words like ''public'' was variously spelt but came to be standardised as ''-ick''. The modern spellings with ''-ic'' did not come into use until the mid-18th century.<ref>Fischer, A., Schneider, P., "The dramatick disappearance of the {{vr|-ick}} spelling", in ''Text Types and Corpora'', Gunter Narr Verlag, 2002, pp. 139ff.</ref>
*{{angle bracket|y}} was often used instead of {{angle bracket|i}}.<ref name=":1">{{Cite news |date=2012-08-16 |title=Early modern English pronunciation and spelling {{!}} Oxford English Dictionary |url=https://public.oed.com/blog/early-modern-english-pronunciation-and-spelling/ |archive-url=https://web.archive.org/web/20190626171245/https://public.oed.com/blog/early-modern-english-pronunciation-and-spelling/ |archive-date=2019-06-26 |access-date=2025-12-05 |work=Oxford English Dictionary |language=en-US}}</ref>
*The vowels represented by {{angle bracket|ee}} and {{angle bracket|e_e}} (for example in ''meet'' and ''{{lang|en-emodeng|mete}}'') changed, and {{angle bracket|ea}} became an alternative.<ref name=":1" />

==Phonology==
{{Contains special characters|IPA|section}}

The phonology of early modern English is reconstructed from a variety of sources, including phonetic descriptions by orthoepists, spellings, and usage in poetry.{{sfnp|Lass|1999|pp=58-67}}

===Consonants===
{| class="wikitable" style="text-align: center;"
|+Early Modern English consonants
!
![[Labiodental consonant|Labial]]
![[Dental consonant|Dental]]
![[Alveolar consonant|Alveolar]]
![[Postalveolar consonant|Postalveolar]]
![[Palatal consonant|Palatal]]
![[Velar consonant|Velar]]
![[Glottal consonant|Glottal]]
|-
![[Nasal consonant|Nasal]]
|{{IPA link|m}}
|
|{{IPA link|n}}
|
|
|({{IPA link|ŋ}})
|
|-
![[Stop consonant|Stop]]
|{{IPA link|p}} • {{IPA link|b}}
|
|{{IPA link|t}} • {{IPA link|d}}
|{{IPA link|tʃ}} • {{IPA link|dʒ}}
|
|{{IPA link|k}} • {{IPA link|ɡ}}
|
|-
![[Fricative consonant|Fricative]]
|{{IPA link|f}} • {{IPA link|v}}
|{{IPA link|θ}} • {{IPA link|ð}}
|{{IPA link|s}} • {{IPA link|z}}
|{{IPA link|ʃ}} • ({{IPA link|ʒ}})
| colspan=3 | {{IPA link|ç}} ~ {{IPA link|x}} ~ {{IPA link|h}}
|-
![[Approximant]]
|
|
|
|
|{{IPA link|j}}
|{{IPA link|w}}
|
|-
![[Rhotic consonant|Rhotic]]
|
|
| colspan=2 | {{IPA link|r}} ~ {{IPA link|ɹ}}
|
|
|
|-
![[Lateral approximant|Lateral]]
|
|
|{{IPA link|l}}
|
|
|
|
|}
Most consonant sounds of early modern English have survived into present-day English; however, there are still a few notable differences in pronunciation:
* Many initial [[consonant cluster]]s which have disappeared in the modern day were still fully pronounced. These include {{IPA|/wr kn gn hw/}}. All but {{IPA|/hw/}} have [[Phonological history of English consonant clusters#Other initial cluster reductions|fully reduced]] in the 16th and 17th centuries.{{sfnp|Lass|1999|p=122}}
** {{IPA|/wr/}} as in ''write'' was the first to disappear, merging into {{IPA|/r/}} in the first half of the 17th century.{{sfnp|Dobson|1968|pp=975-976}}
** {{IPA|/kn/}} as in ''knife'' evolved into a variety of pronunciations including {{IPA|[tn,n̥]}}, some of which remained into the 18th century until it merged with {{IPA|/n/}}.{{sfnp|Dobson|1968|pp=976-977}}{{sfnp|Lass|1999|p=123}}
** Similarly, {{IPA|/gn/}} as in ''gnat'' evolved into {{IPA|[ŋn]}} or merged into {{IPA|/kn/}} or {{IPA|/n/}}.{{sfnp|Lass|1999|p=123}}{{sfnp|Dobson|1968|pp=977-979}}
** {{IPA|/hw/}}, spelled {{angbr|wh}} such as in ''what'', ''where'' and ''whale'', were still pronounced {{IPAblink|ʍ|audio=y}}, rather than {{IPAblink|w|audio=y}}. That means, for example, that ''wine'' and ''whine'' were [[Wine–whine merger|still pronounced differently]], unlike in most varieties of English today. A merger into {{IPA|/w/}} had started by 1700, but did not become common until the late 18th century.{{sfnp|Lass|1999|pp=123-124}}
* Much variation existed in words with postvocalic {{IPA|/x/}}, like ''night'', ''thought'', and ''daughter'', written {{angbr|[[Gh (digraph)|gh]]}}. In Middle English, this phoneme had allophones {{IPA|[x~ç]}}. While {{IPA|[ç]}} dropped entirely via {{IPA|[h]}}, {{IPA|[x]}} either dropped via the same path or became {{IPA|[f]}}. The most conservative dialects retained the original allophones until the 1630s, but ''gh''-dropping dialects had already started appearing in Middle English.{{sfnp|Lass|1999|pp=117-118}}
* ''Would'' and ''should'' had started losing {{IPA|/l/}} in weak forms by the 1640s,{{sfnp|Dobson|1968|pp=456-457,462-463}} but may have persisted several decades longer in the [[British American colonies]].<ref>The American Language 2nd ed. p. 71</ref> While the {{angbr|l}} in ''could'' is unetymological, having descended from [[Old English]] {{lang|ang|cūþe}}, both its spelling and its pronunciation were affected by analogy with ''would'' and ''should'', showing {{IPA|/l/}} in its strong forms.{{sfnp|Dobson|1968|pp=451-452}}
* The modern phoneme {{IPA|/ʒ/}} was not documented as occurring until the mid-17th century, when it formed from coalescence of the sequence {{IPA|/zj/}}.{{sfnp|Lass|1999|p=121}} The word ''vision'' was pronounced {{IPA|[ˈvɪzjən]}} prior to the change.{{sfnp|Barber|1997|p=125}}
* Early Modern English was [[rhoticity in English|rhotic]], as postvocalic {{IPA|/r/}} was not lost until the late 1700s.{{sfnp|Dobson|1968|pp=992-993}} It was a trill {{IPA|[r]}} or tap {{IPA|[ɾ]}} word-initially and an approximant {{IPA|[ɹ]}} finally, but [[Eric John Dobson|Dobson]] and [[Roger Lass|Lass]] disagree on which was the intervocalic allophone based on different sources.{{sfnp|Dobson|1968|pp=945-946}}{{sfnp|Lass|1999|p=115}}
*In Early Modern English, the precise nature of the light and dark [[allophone|variants]] of the ''l'' consonant, respectively {{IPAblink|l|audio=y}} and {{IPAblink|ɫ|audio=y}}, remains unclear.
* Word-final {{angbr|ng}}, as in ''sing'', was still pronounced {{IPA|[ŋɡ]}} until the late 16th century, when it began to [[ng-coalescence|coalesce]] into the usual modern pronunciation, {{IPAblink|ŋ}}. Coalescence happened at morpheme boundaries in the 17th century, except in inflected adjectives, giving us modern "si{{IPA|/ŋ/}}er" and "stro{{IPA|/ŋg/}}er". However, coalescence happened earlier in unstressed ''-ing'' and the nasal further changed to {{IPA|/n/}}, becoming more and more common until the end of the 17th century.{{sfnp|Lass|1999|pp=119-120}} The original pronunciation {{IPA|[ŋɡ]}} is preserved in parts of England, in dialects such as [[Brummie dialect|Brummie]], [[Manchester dialect|Mancunian]] and Scouse.
* [[H-dropping]] at the start of words was common. In loanwords taken from [[Latin]], Greek, or any [[Romance language]], a written ''h'' was increasingly pronounced from the 17th to 18th centuries, e.g. in ''humble'', ''host'', and British ''herb''.{{sfnp|Lass|1999|pp=118-119}}

===Vowels===
{| class="wikitable" style="text-align:center;"
|+Early modern English vowels
! colspan="2" rowspan="2" |
! colspan="2" |[[Monophthong]]s
! colspan="2" |[[Diphthongs]]
|-
!Short
!Long
!+{{IPA|/j/}}
!+{{IPA|/w/}}
|-
! rowspan="2" |[[Close vowel|Close]]
![[Front vowel|Front]]
|{{IPA|ɪ}}
|{{IPA|iː}}
|
|{{IPA|ɪw}}
|-
![[Back vowel|Back]]
|{{IPA|ʊ}}
|{{IPA|uː}}
|
|
|-
! rowspan="2" |[[Close-mid vowel|Close-mid]]
![[Front vowel|Front]]
|
|{{IPA|eː}}
|
|
|-
![[Back vowel|Back]]
|
|{{IPA|oː}}
|
|
|-
! colspan="2" |[[Mid vowel|Mid]]
|{{IPA|ə}}
|
|{{IPA|əj}}
|{{IPA|əw}}
|-
! rowspan="2" |[[Open-mid vowel|Open-mid]]
![[Front vowel|Front]]
|{{IPA|ɛ}}
|
|{{IPA|ɛj}}
|
|-
![[Back vowel|Back]]
|{{IPA|ɤ}}
|{{IPA|ɔː}}
|{{IPA|ɔj}}
|{{IPA|ɔw}}
|-
! rowspan="2" |[[Near-open vowel|Near-open]]
![[Front vowel|Front]]
|
|
|
|
|-
![[Back vowel|Back]]
|{{IPA|ɒ}}
|
|
|
|-
! colspan="2" |[[Open vowel|Open]]
|{{IPA|a}}
|{{IPA|aː}}
|
|
|}
The following information primarily comes from studies of the [[Great Vowel Shift]];<ref>Stemmler, Theo. ''Die Entwicklung der englischen Haupttonvokale: eine Übersicht in Tabellenform'' [Trans: The development of the English primary-stressed-vowels: an overview in table form] (Göttingen: Vandenhoeck & Ruprecht, 1965).</ref><ref>{{cite web|first=William Elford|last=Rogers|publisher=[[Furman University]]|title=Early Modern English vowels|url=http://facweb.furman.edu/~wrogers/phonemes/phone/eme/evowel.htm|archive-url=https://web.archive.org/web/20150113011226/http://facweb.furman.edu/~wrogers/phonemes/phone/eme/evowel.htm|archive-date=13 January 2015|url-status=dead|access-date=5 December 2014}}</ref> see the related chart.
*The modern English [[phoneme]] {{IPAc-en|audio=En-us-I.ogg|aɪ}}, as in ''glide'', ''rhyme'' and ''eye'', was {{IPA|en-emodeng|əi|}}, and was reduced word-finally. Early Modern rhymes indicate that {{IPA|en-emodeng|əi|}} was similar to the vowel that was used at the end of words like ''happy'', ''melody'' and ''busy''.
*{{IPAc-en|audio=En-us-ow.ogg|aʊ}}, as in ''now'', ''out'' and ''ploughed'', was {{IPA|en-emodeng|əu||audio=en-uk-oh.ogg}}.
*{{IPAc-en|audio=Open-mid front unrounded vowel.ogg|ɛ}}, as in ''fed'', ''elm'' and ''hen'', was more or less the same as the phoneme represents today, sometimes approaching {{IPAblink|ɪ|audio=y}} (which is still in the word ''pretty'').<ref name="Hark">{{cite web|last=Crystal|first=David|title=David Crystal – Home |url=http://www.davidcrystal.com/?fileid=-4254|archive-url=https://web.archive.org/web/20171020080412/http://www.davidcrystal.com/?fileid=-4254|archive-date=20 October 2017|quote="Hark, hark, what shout is that?" Around the Globe 31. [based on article written for the Troilus programme, Shakespeare's Globe, August 2005: 'Saying it like it was'}}</ref>
* {{IPAc-en|audio=en-uk-a.ogg|eɪ}}, as in ''name'', ''case'' and ''sake'', was a long [[monophthong]]. It shifted from {{IPAblink|æː|audio=y}} to {{IPAblink|ɛː|audio=y}} and finally to {{IPAblink|eː|audio=y}}. Earlier in early modern English, ''mat'' and ''mate'' were near-homophones, with a longer vowel in the second word. Thus, [[Shakespeare]] rhymed words like ''haste'', ''taste'' and ''waste'' with ''last'' and ''shade'' with ''sad''.{{sfnp|Crystal|2011|pp=298-300}} The more open pronunciation remains in some [[Northern England English]] and rarely in Irish English. During the 17th century, the phoneme variably [[Phonological change|merged]] with the phoneme {{IPA|en-emodeng|ɛi||audio=Nl-ei.ogg}} as in ''day'', ''weigh'', and the merger survived into standard forms of Modern English, though a few dialects kept these vowels distinct at least to the 20th century (see [[Pane–pain merger|''pane''–''pain'' merger]]).
*{{IPAc-en|audio=Close front unrounded vowel.ogg|iː}} (typically spelled {{angbr|ee}} or {{angbr|ie}}) as in ''see'', ''bee'' and ''meet'', was more or less the same as the phoneme represents today, but it had not yet [[fleece merger|merged]] with the phoneme represented by the spellings {{angbr|ea}} or {{angbr|ei}} (and perhaps {{angbr|ie}}, particularly with ''fiend'', ''field'' and ''friend''), as in ''east'', ''meal'' and ''feat'', which were pronounced with {{IPAblink|eː|audio=y}} or {{IPAblink|ɛ̝ː}}.<ref>Cercignani, Fausto (1981), ''Shakespeare's Works and Elizabethan Pronunciation'', Oxford: Clarendon Press.</ref>{{sfnp|Crystal|2011|pp=298-300}}> However, words like ''breath'', ''dead'' and ''head'' may have already split off towards {{IPAc-en|audio=Open-mid front unrounded vowel.ogg|ɛ}}).
*{{IPAc-en|audio=Near-close_near-front_unrounded_vowel.ogg|ɪ}}, as in ''bib'', ''pin'' and ''thick'', was more or less the same as the phoneme represents today.
*{{IPAc-en|audio=en-us-o.ogg|oʊ}}, as in ''stone'', ''bode'' and ''yolk'', was {{IPAblink|oː|audio=y}} or {{IPAblink|o̞ː|audio=y}}. The phoneme was probably just beginning the process of merging with the phoneme {{IPA|en-emodeng|ow|}}, as in ''grow'', ''know'' and ''mow'', without yet achieving today's [[toe–tow merger|complete merger]]. The old pronunciation remains in some dialects, such as in [[Yorkshire dialect|Yorkshire]], [[East Anglia]], and [[Scottish English|Scotland]].
*{{IPAc-en|audio=En-us-awe.ogg|ɒ}}, as in ''rod'', ''top'' and ''pot'', was {{IPAblink|ɒ}} or {{IPAblink|ɔ|audio=y}}, much like the corresponding RP sound.
*{{IPAc-en|audio=Open-mid back rounded vowel.ogg|ɔː}}, as in ''taut'', ''taught'' and ''law'' was more open than in contemporary RP, being {{IPAblink|ɔː}} or {{IPAblink|ɑː|audio=y}} (and thus being closer to Welsh and General American {{IPA|/ɔː/}})
*{{IPAc-en|audio=en-uk-oi.ogg|ɔɪ}}, as in ''boy'', ''choice'' and ''toy'', is even less clear than other vowels. In the late 16th century, the similar but distinct phonemes {{IPA|/ɔi/}}, {{IPA|/ʊi/}} and {{IPA|/əi/}} all existed. By the late 17th century, they all merged.{{sfnp|Barber|1997|pp=108-116}} Because those phonemes were in such a state of flux during the whole early modern period (with evidence of rhyming occurring among them as well as with the precursor to {{IPA|/aɪ/}}), scholars<ref name="OP">See [http://www.thehistoryofenglish.com/history_early_modern.html The History of English (online)] {{Webarchive|url=https://web.archive.org/web/20141209013306/http://www.thehistoryofenglish.com/history_early_modern.html |date=9 December 2014 }} as well as [[David Crystal]]'s [http://originalpronunciation.com/ Original Pronunciation (online).] {{Webarchive|url=https://web.archive.org/web/20141209064651/http://originalpronunciation.com/ |date=9 December 2014 }}</ref> often assume only the most neutral possibility for the pronunciation of {{IPA|/ɔɪ/}} as well as its similar phonemes in early modern English: {{IPA|[əɪ]}} (which, if accurate, would constitute an early instance of the [[line–loin merger]] since {{IPA|/aɪ/}} had not yet fully developed in English).
*{{IPAc-en|audio=en-us-uh.ogg|ʌ}} (as in ''drum'', ''enough'' and ''love'') and {{IPAc-en|audio=Near-close near-back rounded vowel.ogg|ʊ}} (as in ''could'', ''full'', ''put'') had not yet [[foot–strut split|split]] and so were both pronounced in the vicinity of {{IPAblink|ʊ|audio=Near-close_near-back_rounded_vowel.ogg}}.
*{{IPAc-en|audio=En-us-ooh.ogg|uː}} occurred not only in words like ''food'', ''moon'' and ''stool'', but also all other words spelled with {{angbr|oo}} like ''blood'', ''cook'' and ''foot''. However, the vowel for some of those words was shortened at an early stage: either beginning or already in the process of approximating the early modern English {{IPAblink|ʊ|audio=y}}. That phonological split among the {{angbr|oo}} words was a catalyst for the later [[foot–strut split]] and is called "early shortening" by [[John C. Wells]].<ref>{{cite book | author=Wells, John C. | author-link=John C. Wells | title=Accents of English | location=[[Cambridge]] | publisher=[[Cambridge University Press]] | year=1982 | isbn=0-521-22919-7 | id=(vol. 1). (vol. 2)., (vol. 3)| page=199}}</ref> The {{angbr|oo}} words that came to be pronounced with the shortened vowel {{IPAblink|ʊ|audio=y}} included, for example, ''good'' and ''blood''. They, like other words with /ʊ/, were subsequently subject to the [[foot–strut split]] and many of them, like ''drum'' and ''love'', came to be pronounced with the vowel {{IPAblink|ɤ|audio=y}} and eventually {{IPAc-en|audio=en-us-uh.ogg|ʌ}}. However, the words with a shortened vowel also seem to have included, at least in some pronunciations such as Shakespeare's and at certain stages, some words that are pronounced with the original non-shortened vowel {{IPAc-en|audio=En-us-ooh.ogg|uː}} in Present-Day English - e.g. ''brood'', ''doom'' and ''noon''. For example, ''doom'' and ''come'' rhyme in Shakespeare's writing for this reason.{{sfnp|Crystal|2011|pp=300}}
*{{IPA|/ɪw/}} or {{IPA|/iw/}}<ref>{{harvp|Dobson|1968}} and other scholars before him postulated the existence of a vowel /y/ beside /iu̯/ in early Modern English. But see {{harvp|Cercignani|2022}}</ref> occurred in words spelled with ''ew'' or ''ue'' such as ''due'' and ''dew''. In most dialects of Modern English, it became {{IPA|/juː/}} and {{IPA|/uː/}} by [[yod-dropping]] and so ''do'', ''dew'' and ''due'' are now perfect homophones in most American pronunciations, but a distinction between the two phonemes remains in other versions of English. There is, however, an additional complication in dialects with [[yod-coalescence]] (such as [[Australian English]] and younger RP), in which ''dew'' and ''due'' {{IPA|/dʒuː/}} (homophonous with ''jew'') are distinguished from ''do'' {{IPA|/duː/}} purely by the initial consonant, without any vowel distinction.

The difference between the transcription of the EME diphthong offsets with {{angbr IPA|j w}}, as opposed to the usual modern English transcription with {{angbr IPA|ɪ̯ ʊ̯}} is not meaningful in any way. The precise EME realizations are not known, and they vary even in modern English.

===Rhoticity===
The ''r'' sound (the phoneme {{IPAc-en|r}}) was probably always pronounced following vowel sounds, as in modern [[General American]], [[West Country Accent|West Country English]], [[Hiberno-English|Irish English]], and [[Scottish English]].

At the beginning of the early modern English period there were three non-open and non-[[schwa]] short vowels before {{IPA|/r/}} in the [[syllable coda]]: {{IPA|/e/}}, {{IPA|/i/}} and {{IPA|/u/}} (roughly equivalent to modern {{IPA|/ɛ/}}, {{IPA|/ɪ/}} and {{IPA|/ʊ/}}; {{IPA|/ʌ/}} had not yet developed). In [[London English]] they gradually merged into a phoneme that became modern {{IPAc-en|ɜr}}, known as the {{sc2|NURSE}} mergers. While {{angbr|ur}} spellings for {{angbr|ir}} words exist in the 1500s, these are descended from Old English words with the segments {{IPA|/yr/}} and {{IPA|/ri/}} suggesting that they may not be part of the merger. The earliest native speaker to comment on mergers between the classes is [[John Wallis]] in 1653, showing a near merger of {{IPA|/ur/}} and {{IPA|/ir/}}, with "turn" and "burn" having the vowel of "dull", and "virtue" with a slightly closer or unrounded vowel. However, a smaller number of speakers merge {{IPA|/ir/}} and {{IPA|/er/}} instead. The full three-way {{sc2|NURSE}} mergers only completed in England around 1800.{{sfnp|Lass|1999|pp=112-113}}

===Specific words===
''Nature'' was pronounced approximately as {{IPA|[ˈnɛːtəɹ]}}<ref name="Hark"/> and may have rhymed with ''letter'' or, early on, even ''latter''. ''One'' may have been pronounced ''own'', with both ''one'' and ''other'' using the era's long {{sc2|GOAT}} vowel, rather than today's {{sc2|STRUT}} vowels.<ref name="Hark"/> ''Tongue'' derived from the sound of ''tong'' and rhymed with ''song''.{{sfnp|Crystal|2011|pp=298-300}}

==Grammar==
===Pronouns===
Early Modern English had two second-person personal pronouns: ''[[thou]]'', the informal singular pronoun, and ''ye'', the plural (both formal and informal) pronoun and the formal singular pronoun.

"Thou" and "ye" were both common in the early 16th century (they can be seen, for example, in the disputes over [[Tyndale]]'s translation of the Bible in the 1520s and the 1530s) but by 1650, "thou" seems old-fashioned or literary. It has effectively completely disappeared from Modern [[Standard English]].

The translators of the ''[[King James Version]]'' of the Bible (begun 1604 and published 1611, while Shakespeare was at the height of his popularity) had a particular reason for keeping the informal "thou/thee/thy/thine/thyself" forms that were slowly beginning to fall out of spoken use, as it enabled them to match the [[Hebrew]] and [[Ancient Greek]] distinction between second person singular ("thou") and plural ("ye"). It was not to denote reverence but only to denote the singular (in the ''King James Version'', God addresses individual people and even Satan as "thou"). Over the centuries, however, the very fact that "thou" was dropping out of normal use gave it a special aura and so it gradually and ironically came to be used to express reverence in hymns and in prayers.{{Citation needed|date=February 2012}}

Like other personal pronouns, ''thou'' and ''ye'' have different forms dependent on their [[grammatical case]]; specifically, the objective form of ''thou'' is ''thee'', its possessive forms are ''thy'' and ''thine'', and its reflexive or emphatic form is ''thyself''. The objective form of ''ye'' was ''you'', its possessive forms are ''your'' and ''yours'' and its reflexive or emphatic forms are ''yourself'' and ''yourselves''. The older forms "mine" and "thine" had become "my" and "thy" before words beginning with a consonant other than ''h'', and "mine" and "thine" were retained before words beginning with a vowel or an ''h'', as in ''mine eyes'' or ''thine hand''.{{Early Modern English personal pronouns (table)}}

===Verbs===
====Tense and number====
During the early modern period, the verb inflections became simplified as they evolved towards their modern forms:
*The third-person singular present lost its alternate inflections: ''-eth'' and ''-th'' became obsolete, and ''-s'' survived. (Both forms can be seen together in Shakespeare: "With her, that ''hateth'' thee and ''hates'' us all".){{sfnp|Lass|1999|p=163}}
*The plural present form became uninflected. Present plurals had been marked with ''-en'' and singulars with ''-th'' or ''-s'' (''-th'' and ''-s'' survived the longest, especially with the singular use of ''is'', ''hath'' and ''doth'').{{sfnp|Lass|1999|pp=165-166}} Marked present plurals were rare throughout the early modern period and ''-en'' was probably used only as a stylistic affectation to indicate rural or old-fashioned speech.{{sfnp|Barber|1997|p=171}}
*The second-person singular indicative was marked in both the present and past tenses with ''-st'' or ''-est'' (for example, in the past tense, ''walkedst'' or ''gav'st'').{{sfnp|Barber|1997|p=165}} Since the indicative past was not and still is not otherwise marked for person or number,{{sfnp|Barber|1997|p=172}} the loss of ''[[thou]]'' made the past subjunctive indistinguishable from the indicative past for all verbs except ''to be''.

====Modal auxiliaries====
The [[English modal verbs|modal auxiliaries]] cemented their distinctive syntactical characteristics during the early modern period. Thus, the use of modals without an infinitive became rare (as in "I must to Coventry"; "I'll none of that"). The use of modals' present participles to indicate aspect (as in "Maeyinge suffer no more the loue & deathe of Aurelio" from 1556), and of their preterite forms to indicate tense (as in "he follow'd Horace so very close, that of necessity he must fall with him") also became uncommon.{{sfnp|Rissanen|1999|pp=231-35}}

Some verbs ceased to function as modals during the early modern period. The present form of ''must'', ''mot'', became obsolete. ''Dare'' also lost the syntactical characteristics of a modal auxiliary and evolved a new past form (''dared''), distinct from the modal ''durst''.{{sfnp|Rissanen|1999|p=232}}

====Perfect and progressive forms====
The [[perfect (grammar)|perfect]] of the verbs had not yet been standardised to use only the auxiliary verb "to have". Some took as their auxiliary verb "to be", such as this example from the ''King James Version'': "But which of you... will say unto him... when he '''is''' come from the field, Go and sit down..." [Luke XVII:7]. The rules for the auxiliaries for different verbs were similar to those that are still observed in German and French (see [[unaccusative verb]]).

The modern syntax used for the [[progressive aspect]] ("I am walking") became dominant by the end of the early modern period, but other forms were also common such as the prefix ''a-'' ("I am a-walking") and the infinitive paired with "do" ("I do walk"). Moreover, the ''to be'' + -''ing'' verb form could be used to express a passive meaning without any additional markers: "The house is building" could mean "The house is being built".{{sfnp|Rissanen|1999|pp=217-18}}

==Vocabulary==
A number of words that are still in common use in Modern English have undergone [[semantic field|semantic narrowing]]. The use of the verb "to suffer" in the sense of "to allow" survived into early modern English, as in the phrase "suffer the little children" of the ''King James Version'', but it has mostly been lost in Modern English.<ref>{{Cite web |last=Doughlas |first=Harper |title=suffer {{!}} Origin and meaning of suffer by Online Etymology Dictionary |url=https://www.etymonline.com/word/suffer#etymonline_v_22311 |archive-url=https://web.archive.org/web/20181104010424/https://www.etymonline.com/word/suffer#etymonline_v_22311 |archive-date=2018-11-04 |access-date=2025-12-05 |website=www.etymonline.com |language=en}}</ref> This use still exists in the [[idiom]] "[[suffer fools gladly|to suffer fools gladly]]". Also, this period includes one of the earliest Russian borrowings to English (which is historically a rare occasion itself<ref>Mirosława Podhajecka Russian borrowings in English: A dictionary and corpus study, p.19</ref>); at least as early as 1600, the word "[[:wikt: steppe|steppe]]" (rus. [[:wikt: степь|степь]]<ref>Max Vasmer, Etymological dictionary of the Russian language</ref>) first appeared in English in [[William Shakespeare]]'s comedy ''[[A Midsummer Night's Dream]]''. It is believed that this is a possible indirect borrowing via either German or French. The substantial borrowing of Latin and sometimes Greek words for abstract concepts, begun in Middle English, continued unabated, often terms for abstract concepts not available in English.<ref>{{Cite web |last=Franklin |first=James |date=1983 |title=Mental furniture from the philosophers |url=http://www.maths.unsw.edu.au/~jim/mental.pdf |archive-url=https://web.archive.org/web/20081123101442/http://www.maths.unsw.edu.au/~jim/mental.pdf |archive-date=2008-11-23 |access-date=2025-12-05 |website=www.maths.unsw.edu.au |pages=177–191}}</ref>

==See also==
*[[Early modern Britain]]
*[[English literature]]
*[[History of English]]
*[[Inkhorn term]]
*[[Elizabethan era]], [[Jacobean era]], [[Caroline era]]
*[[English Renaissance]]
*[[Shakespeare's influence]]
*[[Old English]], [[Middle English]], [[Modern English]]

==References==
{{reflist}}

===Works cited===
* {{cite book
| surname = Barber
| given = Charles Laurence
| year = 1997
| orig-year = 1976
| title = Early Modern English
| edition = 2nd
| location = Edinburgh
| publisher = Edinburgh University Press
| url = https://books.google.com/books?id=Iat4Bk_YeR4C
| access-date = 31 August 2020
| archive-date = 9 November 2023
| archive-url = https://web.archive.org/web/20231109181145/https://books.google.com/books?id=Iat4Bk_YeR4C
| url-status = live
| isbn = 978-0-7486-0835-5
}}
* {{cite journal
| last1 = Cercignani
| first1 = Fausto
| author-link = Fausto Cercignani
| date = 2022
| title = On the alleged existence of a vowel /y:/ in early Modern English
| url = https://www.cambridge.org/core/journals/english-language-and-linguistics/article/on-the-alleged-existence-of-a-vowel-y-in-early-modern-english/AC739707E998A98AFFD515678D9B1E14
| journal = English Language and Linguistics
| volume = 26
| issue = 2
| publisher =
| pages = 263–277
| doi = 10.1017/S1360674321000083
| archive-url = https://web.archive.org/web/20231109181252/https://www.cambridge.org/core/journals/english-language-and-linguistics/article/abs/on-the-alleged-existence-of-a-vowel-y-in-early-modern-english/AC739707E998A98AFFD515678D9B1E14
| archive-date = 9 November 2023
| access-date =
| url-access= subscription
}}
* {{citation
| surname = Crystal
| given = David
| author-link = David Crystal
| year = 2011
| chapter = Sounding out Shakespeare: Sonnet Rhymes in Original Pronunciation
| chapter-url = http://www.davidcrystal.com/?fileid=-4836
| archive-url = https://web.archive.org/web/20171020080423/http://www.davidcrystal.com/?fileid=-4836
| archive-date = 20 October 2017
| title = Jezik u Upotrebi: primenjena lingvsitikja u cast Ranku Bugarskom
| trans-title = Language in use: applied linguistics in honour of Ranko Bugarski
| editor-surname = Vasić
| editor-given = Vera
| location = Novi Sad
| publisher = Društvo za primenjenu lingvistiku Srbije [Applied Linguistics Association of Serbia]
| pages = 295–306
| isbn = 978-86-6065-068-1
}}
* {{cite book
| surname = Dobson
| given = E.J.
| year = 1968
| orig-year = 1957
| title = English Pronunciation, 1500–1700, Volume II: Phonology
| edition = 2nd
| location = Oxford
| publisher = Clarendon Press
}}
* {{citation
| surname = Lass
| given = Roger
| author-link = Roger Lass
| year = 1999
| chapter = 3. Phonology and morphology
| title = The Cambridge History of the English Language, Volume III: 1476–1776
| editor-surname = Lass
| editor-given = Roger
| location = Cambridge
| publisher = Cambridge University Press
| pages = 56–186
| isbn = 0-521-26476-6
}}
* {{citation
| surname = Rissanen
| given = Matti
| author-link = Matti Rissanen
| year = 1999
| chapter = 4. Syntax
| title = The Cambridge History of the English Language, Volume III: 1476–1776
| editor-surname = Lass
| editor-given = Roger
| location = Cambridge
| publisher = Cambridge University Press
| pages = 187–331
| isbn = 0-521-26476-6
}}
* {{citation
| surname = Salmon
| given = Vivian
| year = 1999
| chapter = 2. Orthography and punctuation
| title = The Cambridge History of the English Language, Volume III: 1476–1776
| editor-surname = Lass
| editor-given = Roger
| location = Cambridge
| publisher = Cambridge University Press
| pages = 13–55
| isbn = 0-521-26476-6
}}

===Primary sources cited===
* {{citation
| surname = Jonson
| given = Ben
| author-link = Ben Jonson
| year = 1640
| chapter = The English grammar
| title = The Workes of Benjamin Jonson, the Second Volume
}}
* {{cite book
| surname = Wallis
| given = John
| author-link = John Wallis
| year = 1653
| title = Grammatica linguae Anglicanae
}}

==External links==
* [https://web.archive.org/web/20100616095827/http://beinecke.library.yale.edu/digitallibrary/paleography.html English Paleography]: Examples for the study of English handwriting from the 16th–18th centuries from the [[Beinecke Rare Book and Manuscript Library]] at Yale University{{dead link|date=March 2019}}

[[Category:Early Modern English| ]]
[[Category:History of the English language]]
[[Category:Early modern languages|English]]
[[Category:Languages attested from the 15th century]]
[[Category:15th-century establishments in Europe]]
[[Category:Languages extinct in the 17th century]]
[[Category:17th-century disestablishments in Europe]]

War film

2026-03-23T17:55:59Z

FWQGina861152045: updated details

{{Short description|Film genre depicting wars}}
{{About|the genre of film|films named "War"|War (disambiguation)#Film and television{{!}}War (disambiguation)}}
{{good article}}
[[File:Hawai Mare oki kaisen poster.jpg|thumb|upright=1.5|Japanese film poster for [[Kajiro Yamamoto]]'s ''[[The War at Sea from Hawaii to Malaya]] (Hawai Mare oki kaisen)'', featuring acclaimed special effects by [[Eiji Tsuburaya]]]]
{{War}}

'''War film''' is a [[film genre]] concerned with [[war]]fare, typically about [[navy|naval]], [[air force|air]], or [[army|land]] battles, with combat scenes central to the drama. It has been strongly associated with the 20th century.{{sfn|Neale|2000|p=117}}<ref name="Manchel1990" /> The fateful nature of battle scenes means that war films often end with them. Themes explored include [[combat]], survival and escape, camaraderie between [[soldiers]], sacrifice, the futility and inhumanity of battle, the effects of war on society, and the moral and human issues raised by war. War films are often categorized by their milieu, such as the [[Korean War]]; the most popular subjects are the [[World War II|Second World War]] and the [[American Civil War]]. The stories told may be [[fiction]], [[historical drama]], or [[biographical]]. Critics have noted similarities between the [[Western (genre)|Western]] and the war film.

Nations such as China, Indonesia, Japan, and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance.

Subgenres, not necessarily distinct, include [[anti-war film|anti-war]], [[comedy]], [[propaganda]], and [[documentary]]. There are similarly subgenres of the war film in specific [[Theatre (warfare)|theatres]] such as the [[Western Desert campaign|Western Desert]] of North Africa and the [[Pacific War|Pacific]] in the Second World War, [[Vietnam War|Vietnam]], or the [[Soviet–Afghan War]]; and films set in specific domains of war, such as the infantry, the air, at sea, [[submarine films|in submarines]] or at [[prisoner of war]] camps.

== Genre ==
{{further|List of war films}}

The war film genre is not necessarily tightly defined: the [[American Film Institute]], for example, speaks of "films to grapple with the Great War" without attempting to classify these.<ref>{{Cite web|title=Cinema and the Great War|url=http://www.afi.com/silver/films/2014/p67/thegreatwar.aspx|publisher=AFI|access-date=23 June 2015}}</ref> However, some directors and critics have offered at least tentative definitions. The director [[Sam Fuller]] defined the [[film genre|genre]] by saying that "a war film's objective, no matter how personal or emotional, is to make a viewer feel war."<ref>{{Cite news |last1=Macnab |first1=Geoffrey |title=Fury, film review: Brad Pitt stars as an unsympathetic hero in muted war movie |url=https://www.independent.co.uk/arts-entertainment/films/reviews/fury-film-review-brad-pitt-gives-intriguing-performance-as-unsympathetic-war-hero-9806584.html |newspaper=The Independent |access-date=5 March 2015 |date=20 October 2014}}</ref> [[John Belton (academic)|John Belton]] identified four narrative elements of the war film within the context of [[Cinema of the United States|Hollywood]] production: a) the suspension of civilian morality during times of war, b) primacy of collective goals over individual motivations, c) rivalry between men in predominantly male groups as well as marginalization and objectification of women, and d) depiction of the reintegration of veterans.{{sfn|Belton|1994| pp=165–171}} The fateful nature of battle scenes means that war films often end with them.{{sfn|Neale|2000|p=118}}

[[File:John Wayne in The Longest Day trailer.jpg|left|thumb|upright=1.35|[[John Wayne]] in ''[[The Longest Day (film)|The Longest Day]]'', 1962]]

The film critic Stephen Neale suggests that the genre is for the most part well defined and uncontentious, since war films are simply those about war being waged in the 20th century, with combat scenes central to the drama. However, Neale notes, films set in the [[American Civil War]] or the American [[Indian Wars]] of the 19th century were called war films in the time before the First World War.{{sfn|Neale|2000|p=117}} The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the [[Western (genre)|Western]], but that in practice, "successful and influential" war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing.<ref name="Manchel1990">{{Cite book |last=Manchel |first=Frank |title=Film Study: An Analytical Bibliography |url=https://books.google.com/books?id=BebEAji_wH4C&pg=PA200 |date=1990 |publisher=Fairleigh Dickinson Univ Press |isbn=978-0-8386-3186-7 |page=200}}</ref> The film scholar Kathryn Kane<ref>Kane, 1982.</ref> points out some similarities between the war film genre and the Western. Both genres use opposing concepts like war and peace, civilization and savagery. War films usually frame [[World War II]] as a conflict between "good" and "evil" as represented by the [[Allies of World War II|Allied forces]] and [[Nazi Germany]] whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples.<ref>Kane, Kathryn. "The World War II Combat Film". In: Wes D. Gehring (ed.) ''Handbook of American Film Genres''. New York: Greenwood Press, 1988, pp. 90–91, {{ISBN|978-0-313-24715-6}}.</ref> James Clarke notes the similarity between a Western like [[Sam Peckinpah]]'s ''[[The Wild Bunch]]'' and "war-movie escapades" like ''[[The Dirty Dozen]]''.{{sfn|Clarke|2006|pp=9–10}}

The film historian [[Jeanine Basinger]] states that she began with a preconception of what the war film genre would be, namely that:

{{blockquote|What I knew in advance was what presumably every member of our culture would know about World War II combat films—that they contained a [[hero]], a group of mixed types [of people], and a [[military objective]] of some sort. They take place in the actual combat zones of World War II, against the established enemies, on the ground, the sea, or in the air. They contain many repeated events, such as mail call, all presented visually with appropriate [[uniform]]s, equipment, and iconography of battle.{{sfn|Basinger|1986|p=23}}}}

Further, Basinger considers ''[[Bataan (film)|Bataan]]'' to provide a definition-by-example of "the World War II combat film", in which a diverse and apparently unsuited group of "hastily assembled volunteers" hold off a much larger group of the enemy through their "bravery and tenacity".{{sfn|Eberwein|2005|pp=30–31}} She argues that the combat film is not a subgenre but the only genuine kind of war film. Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by the many other films that are only just war films.{{sfn|Basinger|1986|pp=14–75}} However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal "with the roles of civilians, espionage agents, and soldiers in any of the aspects of war (i.e. preparation, cause, prevention, conduct, daily life, and consequences or aftermath.)"{{sfn|Neale|2000|pp=117–121}} Neale points out that genres overlap, with combat scenes for different purposes in other types of film, and suggests that war films are characterised by combat which "determines the fate of the principal characters". This in turn pushes combat scenes to the climactic ends of war films.{{sfn|Neale|2000|p=118}} Not all critics agree, either, that war films must be about 20th-century wars. James Clarke includes [[Edward Zwick]]'s Oscar-winning ''[[Glory (1989 film)|Glory]]'' (1990) among the war films he discusses in detail; it is set in the [[American Civil War]], and he lists six other films about that war which he considers "notable".{{sfn|Clarke|2006|pp=227–237}}{{efn|Clarke's list of "notable Civil War films" is ''[[Shenandoah (film)|Shenandoah]]'' (1965), ''[[Gods and Generals (film)|Gods and Generals]]'' (2003), ''[[Andersonville (film)|Andersonville]]'' (1966), ''[[The Beguiled (1971 film)|The Beguiled]]'' (1971), ''[[North and South (TV miniseries)|North and South]]'' (1985), and ''[[Ride with the Devil (film)|Ride with the Devil]]'' (1999).{{sfn|Clarke|2006|p=236}} }} The screenwriter and scholar [[Eric R. Williams]] identifies war films as one of eleven super-genres in his [[Screenwriters Taxonomy|screenwriters' taxonomy]], claiming that all feature-length narrative films can be classified as belonging to one of them.{{efn|The other ten super-genres are [[Action film|action]], [[Crime film|crime]], [[Fantasy film|fantasy]], [[Horror film|horror]], [[Romance film|romance]], [[Science fiction film|science fiction]], slice of life, [[Sports film|sports]], [[Thriller film|thriller]], and [[Western (genre)|western]].<ref name="Williams 2018">{{harvnb|Williams|2018|loc=Chapter 2 Movie Types and Supergenres}}</ref> }}<ref name="Williams 2018" />

The British military historian [[Antony Beevor]] "despair[s]" at how film-makers from America and Britain "play fast and loose with the facts", yet imply that "their version is as good as the truth".<ref name="Beevor 2018">{{Cite news |last=Beevor |first=Antony |author-link=Antony Beevor |title=War films: Antony Beevor: the greatest war movie ever – and the ones I can't bear |url=https://www.theguardian.com/film/2018/may/29/antony-beevor-the-greatest-war-movie-ever-and-the-ones-i-cant-bear |work=[[The Guardian]] |date=29 May 2018}}</ref> For example, he calls the 2000 American film ''[[U-571 (film)|U-571]]'' a "shameless deception" for pretending that a US warship had helped to win the Battle of the Atlantic—seven months before America entered the war.<ref name="Beevor 2018" /> He is equally critical of [[Christopher Nolan]]'s 2017 film ''[[Dunkirk (2017 film)|Dunkirk]]'' with its unhistorically empty beaches, low-level air combat over the sea, and rescues mainly by the "little ships".<ref name="Beevor 2018" /> Beevor feels, however, that Continental European film-makers are often "far more scrupulous"; for example, in his view the 2004 German film ''[[Downfall (2004 film)|Downfall]]'' accurately depicted the historical events of Hitler's final days in his Berlin bunker,<ref name="Beevor 2018" /> and he considers the 1965 French film ''[[The 317th Platoon]]'', set in Vietnam, "the greatest war movie ever made". The 1966 film ''[[The Battle of Algiers]]'' is, he argues, a close second.<ref name="Beevor 2018" />

== History ==
=== American Civil War ===
{{further|List of films and television shows about the American Civil War}}
The costliest war in U.S. history in terms of American life, this war has been the subject of, or the backdrop to, numerous films, documentaries and mini-series. One of the earliest films using the Civil War as its subject was [[D.W. Griffith]]'s 1910 silent picture, ''[[The Fugitive (1910 film)|The Fugitive]]''.<ref>{{Cite web | url=http://www.silentera.com/PSFL/data/F/Fugitive1910.html | publisher=Silent Era | title=The Fugitive | access-date=23 June 2015 | archive-url=https://web.archive.org/web/20150403134807/http://silentera.com/PSFL/data/F/Fugitive1910.html | archive-date=3 April 2015}}</ref> Films that have the war as its main subject, or about a certain aspect of the war, include the 1989 film ''[[Glory (1989 film)|Glory]]'', about the first formal unit of the Union Army during the American Civil War to be made up entirely of Black volunteers.<ref>{{Cite web | last=Ebert | first=Roger |author-link=Roger Ebert | url=http://www.rogerebert.com/reviews/glory-1989 | publisher=RogerEbert.com | title=Glory | access-date=23 June 2015 }}</ref> Some films such as ''[[Gettysburg (1993 film)|Gettysburg]]'' focused on a single battle during the war,<ref>{{Cite news | url=https://www.baltimoresun.com/1993/10/09/gettysburg-ted-turner-a-cast-of-thousands-and-the-ghosts-of-the-past/ | newspaper=[[The Baltimore Sun]] | title=Gettysburg: Ted Turner, a cast of thousands and the ghosts of the past | access-date=23 June 2015 | date=9 October 1993 | last=Jubera | first=Drew | archive-date=8 December 2014 | archive-url=https://web.archive.org/web/20141208214449/http://articles.baltimoresun.com/1993-10-09/features/1993282122_1_ted-turner-gettysburg-jeff-daniels | url-status=live }}</ref> or even on a single incident, like the French short film ''[[An Occurrence at Owl Creek Bridge (film)|La Rivière du Hibou]]'' (''An Occurrence at Owl Creek Bridge'')<ref name="NY Times">{{Cite web |url=https://movies.nytimes.com/movie/35918/An-Occurrence-at-Owl-Creek-Bridge/details |archive-url=https://web.archive.org/web/20081023123313/http://movies.nytimes.com/movie/35918/An-Occurrence-at-Owl-Creek-Bridge/details |url-status=dead |archive-date=23 October 2008 |department=Movies & TV Dept. |work=[[The New York Times]] |date=2008 |title=An Occurrence at Owl Creek Bridge |access-date=22 May 2008 }}</ref> and [[Disney]]'s ''[[The Great Locomotive Chase]]'' (1956).<ref name="Trains_1956">Entinger, Rosemary, ”The Great Locomotive Chase”, '' [[Trains (magazine)|Trains]] '', May 1956</ref> Others like the 1993 miniseries ''[[North and South (miniseries)|North and South]]'' spanned the entire breadth of the war. Some films deal with the human aspects of the war, such as ''[[The Red Badge of Courage (1951 film)|The Red Badge of Courage]]'' (1951),<ref>{{Cite web | url=http://www.allmovie.com/movie/v40655 | publisher=AllMovie | title=The Red Badge of Courage: Synopsis |last=Erickson | first=Hal | access-date=23 June 2015}}</ref> or ''[[Shenandoah (film)|Shenandoah]]'' (1965), on the tragedy that the war inflicted on the civilian population.<ref>{{Cite web | url=http://www.tcm.com/this-month/article/31258%7C0/Shenandoah.html | publisher=Turner Classic Movies | title=Shenandoah: article | access-date=23 June 2015 | archive-url=https://web.archive.org/web/20150623170545/http://www.tcm.com/this-month/article/31258%7C0/Shenandoah.html | archive-date=23 June 2015}}</ref> [[Ken Burns]]'s ''[[The Civil War (TV series)|The Civil War]]'' is the most-watched documentary in the history of [[PBS]].<ref>{{Cite web | url=https://www.pbs.org/civilwar/filmmakers/ | archive-url=https://web.archive.org/web/20020910113458/http://www.pbs.org/civilwar/filmmakers/ | url-status=dead | archive-date=September 10, 2002 | publisher=[[PBS]] | title=The Filmmakers: Ken Burns | access-date=23 June 2015}}</ref>

[[File:Paul von Hindenbrug WWI poster 2.jpg|thumb|upright=0.8|1918 film poster for ''Die grosse Schlacht in Frankreich'' (''The Great Battle in France''), with [[Paul von Hindenburg|Hindenburg]] in the background]]

=== The Spanish–American War ===

The first war films come from the [[Spanish–American War]] of 1898. Short "actualities"—documentary film-clips—included ''Burial of the Maine Victims'', ''Blanket-Tossing of a New Recruit'', and ''Soldiers Washing Dishes''. These non-combat films were accompanied by "reenactments" of fighting, such as of [[Theodore Roosevelt]]'s "Rough Riders" in action against the Spanish, staged in the United States.{{sfn|Eberwein|2010|p=5}}

=== First World War ===
{{further|Fiction based on World War I|History of the United Kingdom during the First World War#Media|United States home front during World War I#Motion pictures|Home front during World War I}}

During the First World War, many films were made about life in the war. Topics included prisoners of war, covert operations, and military training. Both the Central Powers and the Allies produced war documentaries. The films were also used as propaganda in neutral countries like the United States. Among these was a film shot on the Eastern Front by official war photographer to the Central Powers, [[Albert K. Dawson]]: ''[[The Battle and Fall of Przemysl]]'' (1915), depicting the [[Siege of Przemyśl]], disastrous for the Austrians, with incidents reenacted using soldiers as extras.<ref>{{Cite web |title=World War I: Siege Of Przemysl | website=[[YouTube]] | date=29 August 2009 |url=https://www.youtube.com/watch?v=FJchHW2SXs0 | archive-url=https://ghostarchive.org/varchive/youtube/20211110/FJchHW2SXs0| archive-date=2021-11-10 | url-status=live|access-date=6 March 2015}}{{cbignore}}</ref><ref>{{Cite news |title=Movies: The Battle and Fall of Przemysl (1915) |url=https://www.nytimes.com/movies/movie/236068/The-Battle-and-Fall-of-Przemysl/overview |archive-url=https://web.archive.org/web/20150402103234/http://www.nytimes.com/movies/movie/236068/The-Battle-and-Fall-of-Przemysl/overview |url-status=dead |archive-date=2015-04-02 |access-date=6 March 2015 |department=Movies & TV Dept. |work=[[The New York Times]] |author=Hal Erickson |date=2015 |author-link=Hal Erickson (author) }}</ref>

The 1915 Australian film ''[[Within Our Gates (1915 film)|Within Our Gates]]'' (also known as ''Deeds that Won Gallipoli'') by [[Frank Harvey (Australian screenwriter)|Frank Harvey]] was described by the ''Motion Picture News'' as "a really good war story, which is exceptional".<ref>{{Cite book|last=Quigley Publishing Co.|url=http://archive.org/details/motionpicturenew132unse|title=Motion Picture News (Mar–Apr 1916)|date=1916|publisher=New York : Motion Picture News|others=MBRS, Library of Congress}}</ref>

[[File:The Battle of the Somme film image1.jpg|thumb|left|upright=1.35|Staged scene of British troops advancing through barbed wire from ''[[The Battle of the Somme (film)|The Battle of the Somme]]'', 1916]]

The 1916 British film ''[[The Battle of the Somme (film)|The Battle of the Somme]]'', by two official cinematographers, [[Geoffrey Malins]] and John McDowell, combined documentary and propaganda, seeking to give the public an impression of what [[trench warfare]] was like. Much of the film was shot on location at the Western Front in France; it had a powerful emotional impact. It was watched by some 20 million people in Britain in its six weeks of exhibition, making it what the critic [[Francine Stock]] called "one of the most successful films of all time".<ref>{{Cite book |title=The Battle of the Somme (DVD viewing guide) |last=Smither |first=R.B.N. |year=2008 |publisher=Imperial War Museum |edition=2nd rev. |url=http://www.iwm.org.uk/upload/package/100/Somme%20DVD/documents/viewing_guide.pdf |isbn=978-0-901627-94-0 |access-date=2016-06-29 |archive-date=2011-08-01 |archive-url=https://web.archive.org/web/20110801231715/http://www.iwm.org.uk/upload/package/100/Somme%20DVD/documents/viewing_guide.pdf |url-status=dead }}</ref><ref>{{Cite web |last1=Stock |first1=Francine |title=Why was the Battle of the Somme film bigger than Star Wars?|url=https://www.bbc.co.uk/guides/zc3dhyc |publisher=BBC |access-date=29 June 2016}}</ref>

The 1925 American film ''[[The Big Parade]]'' depicted unglamorous elements of war: the protagonist loses his leg, and his friends are killed.{{sfn|Suid|2002|pp=24–26}} [[William A. Wellman]]'s ''[[Wings (1927 film)|Wings]]'' (1927) showed aerial combat during the war and was made in cooperation with the Army Air Corps. It proved a powerful recruiting tool.<ref>{{Cite journal |last=Oldfield |first=Barney |title='WINGS' A Movie and an Inspiration |journal=Air Power History |year=1991 |volume=38 |issue=1 |pages=55–58}}</ref> It became the first film (in any genre) to be awarded an Oscar for best picture.<ref>{{Cite web|title=The 1st Academy Awards : 1929|date=8 October 2014 |url=http://www.oscars.org/oscars/ceremonies/1929|publisher=Oscars.org|access-date=23 June 2015}}</ref> Later films of varied genres that deal with the First World War include [[David Lean]]'s "colossal epic", both war film and biopic<ref name=BFI-Lawrence /> ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' (1962), shot in the then unfamiliar and exciting [[70mm]] [[Technicolor]],<ref>{{Cite web |last1=Fahy |first1=Patrick |title=Lawrence of Arabia: 50 years ago |url=https://www.bfi.org.uk/features/watching-lawrence-arabia-first-time-story-world-premiere |publisher=British Film Institute |access-date=9 March 2015 |date=4 April 2014}}</ref> and described by [[Steven Spielberg]] as "maybe the greatest screenplay ever written for the motion-picture medium";<ref name=BFI-Lawrence>{{Cite web |title=Lawrence of Arabia (1962) |url=http://explore.bfi.org.uk/4ce2b6aea50ea |archive-url=https://web.archive.org/web/20120712005330/http://explore.bfi.org.uk/4ce2b6aea50ea |url-status=dead |archive-date=12 July 2012 |publisher=British Film Institute |access-date=9 March 2015}}</ref> [[Richard Attenborough]]'s satirical anti-war musical comedy based on [[Joan Littlewood]]'s play of the same name, ''[[Oh! What a Lovely War]]'' (1969);<ref>{{Cite web |title=Oh! What a Lovely War (1969) |url=http://explore.bfi.org.uk/4ce2b6b1e5daa |archive-url=https://web.archive.org/web/20120712173035/http://explore.bfi.org.uk/4ce2b6b1e5daa |url-status=dead |archive-date=12 July 2012 |publisher=British Film Institute |access-date=9 March 2015}}</ref> Spielberg's 2011 war drama ''[[War Horse (film)|War Horse]]'' was based on [[Michael Morpurgo]]'s [[War Horse (novel)|children's novel of the same name]].<ref>{{Cite web |title=War Horse (2011) |url=http://explore.bfi.org.uk/4f4bb4a882c89 |archive-url=https://web.archive.org/web/20120804164509/http://explore.bfi.org.uk/4f4bb4a882c89 |url-status=dead |archive-date=4 August 2012 |publisher=British Film Institute |access-date=9 March 2015}}</ref>

Many of the films promoted as "documentaries" added context to authentic battlefield scenes by staging critical events, and invented episodes and dialog to enhance excitement at the cost of authenticity.<ref>David H. Mould, and Charles M. Berg, "Fact and Fantasy in the Films of World War One," ''Film & History'' (1984) 14#3 pp 50–60</ref>

=== Finnish Civil War ===

Although the 1918 [[Finnish Civil War]] between [[Whites (Finland)|Whites]] and [[Red Guards (Finland)|Reds]] remained a controversial topic a century later in [[Finland]],<ref>{{Cite web|last=Haapala|first=Timo|date=2017-12-15|title=Pääkirjoitus: Kansalaissota on arka muistettava|url=https://www.is.fi/paakirjoitus/art-2000005492424.html|access-date=2022-10-29|website=Ilta-Sanomat|language=fi}}</ref><ref>{{Cite web|date=2016-05-15|title=Punaisten ja valkoisten perintöä vaalitaan yhä – Suomalaiset lähettivät yli 400 muistoa vuoden 1918 sisällissodasta|url=http://yle.fi/uutiset/punaisten_ja_valkoisten_perintoa_vaalitaan_yha__suomalaiset_lahettivat_yli_400_muistoa_vuoden_1918_sisallissodasta/8831374|access-date=2022-10-29|website=Yle Uutiset|language=fi}}</ref> many Finnish filmmakers have taken up the subject, often basing their work on a book. In 1957, [[Toivo Särkkä]]'s ''[[1918 (1957 film)|1918]]'', based on [[Jarl Hemmer]]'s play and novel, was screened at the [[7th Berlin International Film Festival]].<ref>{{Cite web|url=https://www.filmaffinity.com/us/film949377.html |title=1918 |work=Film Affinity |access-date=5 May 2020}}</ref> Recent films include [[Lauri Törhönen]]'s 2007 ''[[The Border (2007 film)|The Border]]'',<ref>{{Cite web |url=http://www.mtv3.fi/viihde/arvostelut/elokuva.shtml/587024/raja-1918 |title=Raja 1918 |author=Aro, Tuuve |date=November 29, 2007 |work=MTV3.fi |publisher=Bonnier Group |language=fi |access-date=September 3, 2012}}</ref><ref>{{Cite web |url=http://www.finland.org.ua/public/default.aspx?contentid=194231&nodeid=31712&contentlan=1&culture=fi-FI |title=Raja 1918-elokuva eurooppalaisilla elokuvafestivaaleilla |publisher=Embassy of Finland, Kiev |language=fi |access-date=September 3, 2012 |archive-date=March 4, 2016 |archive-url=https://web.archive.org/web/20160304052158/http://www.finland.org.ua/public/default.aspx?contentid=194231&nodeid=31712&contentlan=1&culture=fi-FI |url-status=dead }}</ref> and [[Aku Louhimies]]'s 2008 ''[[Tears of April]]'', based on [[Leena Lander]]'s novel.<ref>{{Cite web |url=http://www.mtv3.fi/viihde/uutiset/elokuvat.shtml/686892/lehti-kasky-elokuvassa-miesten-valista-seksia |title=Lehti: Käsky-elokuvassa miesten välistä seksiä |date=August 13, 2008 |work=MTV3.fi |language=fi |access-date=February 23, 2012}}</ref> Perhaps the most famous film about the Finnish Civil War is [[Edvin Laine]]'s 1968 ''[[Here, Beneath the North Star]]'', based on the first two books of [[Väinö Linna]]'s ''[[Under the North Star trilogy|Under the North Star]]'' trilogy; it describing the civil war from the losing side, [[Red Guards (Finland)|Finland's Red Guards]].<ref>{{Cite journal |last=Larsen |first=Mads |title=Agreeing on History: Adaptation as Restorative Truth in Finnish Reconciliation |journal=Literature/Film Quarterly |date=2020 |volume=48 |issue=1 (Winter 2020) |url=https://lfq.salisbury.edu/_issues/48_1/agreeing_on_history_adaptation_as_restorative_truth_in_finnish_reconciliation.html |access-date=21 May 2021}}</ref>

=== Spanish Civil War ===
{{further|List of Spanish Civil War films}}
[[File:SovietSpainCivilWarPoster.jpg|thumb|upright=0.8|Soviet poster for an exhibition about the [[Spanish Civil War]], 1936]]

The [[Spanish Civil War]] has attracted directors from different countries. [[Sam Wood]]'s ''[[For Whom the Bell Tolls (film)|For Whom the Bell Tolls]]'' (1943), based on [[Ernest Hemingway]]'s [[For Whom the Bell Tolls|book of the same name]], portrays the fated romance between an American played by [[Gary Cooper]] and a partisan played by [[Ingrid Bergman]] against the backdrop of the civil war. The epic 168-minute film with its landscapes shot in Technicolor and a "beautiful" orchestral score was a success both with audiences and with critics.<ref name=Harvard /> [[Alain Resnais]]'s ''[[Guernica (1950 film)|Guernica]]'' (1950) uses [[Picasso]]'s 1937 [[Guernica (Picasso)|painting of the same name]] to protest against war.<ref name="Harvard" /> [[Carlos Saura]]'s ''[[The Hunt (1966 film)|La Caza]]'' (The Hunt, 1966) uses the metaphor of hunting to criticise the aggressiveness of Spanish [[fascism]].<ref name=Pulver-Spanish>{{Cite news|last1=Pulver|first1=Andrew|title=A short history of Spanish cinema|url=https://www.theguardian.com/film/filmblog/2011/mar/29/short-history-spanish-cinema|newspaper=The Guardian|access-date=11 March 2015|date=29 March 2011}}</ref> It won the [[Silver Bear for Best Director]] at the [[16th Berlin International Film Festival]] in 1966.<ref>{{Cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1966/03_preistr_ger_1966/03_Preistraeger_1966.html |title=Berlinale 1966: Prize Winners |access-date=11 March 2015 |archive-date=15 October 2013 |archive-url=https://web.archive.org/web/20131015120304/http://www.berlinale.de/en/archiv/jahresarchive/1966/03_preistr_ger_1966/03_Preistraeger_1966.html |url-status=dead }}</ref> [[Ken Loach]]'s ''[[Land and Freedom (film)|Land and Freedom]]'' (''Tierra y Libertad'', 1995), loosely based on [[George Orwell]]'s ''[[Homage to Catalonia]]'', follows a British communist through the war to reveal the painful contradictions within the anti-fascist Republican side.<ref name=Harvard>{{Cite web |title=Franco, Fascists, and Freedom Fighters: The Spanish Civil War on Film |url=http://hcl.harvard.edu/hfa/films/2007spring/spanish.html |publisher=Harvard Film Archive |access-date=11 March 2015 |date=2015 |archive-url=https://web.archive.org/web/20150307075445/http://www.hcl.harvard.edu/hfa/films/2007spring/spanish.html |archive-date=2015-03-07 |url-status=dead }}</ref>

=== Korean War ===
{{See also|Category:Korean War films}}


[[Samuel Fuller]]'s ''[[The Steel Helmet]]'' (1951) was made during the [[Korean War]] (1950–1953). The critic Guy Westwell notes that it questioned the conduct of the war, as did later films like ''[[The Bridges at Toko-Ri]]'' (1954) and ''[[Pork Chop Hill (film)|Pork Chop Hill]]'' (1959).{{sfn|Westwell|2006|pp=51–53}} Fuller agreed that all his films were anti-war. No Hollywood films about the Korean War did well at the box office; the historian Lary May suggested in 2001 that they reminded American viewers of "the only war we have lost".<ref name="WestSŏ2001">{{Cite book |last1=West |first1=Philip |last2=Sŏ |first2=Chi-mun |title=Remembering the 'Forgotten War': The Korean War Through Literature and Art |url=https://books.google.com/books?id=Ajmbslz-GacC&pg=PA127 |date=2001 |publisher=M.E. Sharpe |isbn=978-0-7656-0696-9 |page=127}}</ref>

In 1955, after the fighting, the successful [[Republic of Korea|South Korean]] action film ''[[Piagol]]'' about leftist guerrilla atrocities encouraged other film-makers. The 1960s military government punished pro-communist film-makers and gave Grand Bell Awards to films with the strongest anti-communist message. ''[[The Taebaek Mountains]]'' (1994) dealt with leftists from the south who fought for the communists, while ''[[Silver Stallion (1991 film)|Silver Stallion]]'' (1991) and ''[[Spring in My Hometown]]'' (1998) showed the destructive impact of American military presence on village life. The violent action films ''[[Shiri (film)|Shiri]]'' (1999) and ''[[Joint Security Area (film)|Joint Security Area]]'' (2000) presented North Korea in a favourable light.<ref>{{Cite web | author=Paquet, Darcy | url=http://www.koreanfilm.org/warfilms.html |title=South Korean Films About the Korean War (1950–53): A Tool for Reference | publisher=Koreanfilm.org |access-date=6 March 2015}}</ref>

Films in [[Democratic Republic of Korea|North Korea]] were made by government film studios and had clear political messages. The first was ''[[My Home Village]]'' (1949), on the liberation of Korea from the Japanese, presented as the work of [[Kim Il Sung]] without help from the Americans. Similarly, the country's films about the Korean War show victory without help from the Chinese. The film scholar Johannes Schönherr concludes that the purpose of these films is "to portray North Korea as a country under siege", and that since the U.S. and its "puppet" South Korea invaded the North once, they would do so again.<ref>{{Cite book |last = Schönherr |first = Johannes |year = 2012 |title = North Korean Cinema: A History |publisher = McFarland| location = Jefferson, N.C. |url=https://books.google.com/books?id=Z6n0itIPmakC |isbn=978-0-7864-6526-2}} [https://books.google.com/books?id=Z6n0itIPmakC&q=My+Home+Village pp. 4, 29–31]</ref>

=== Algerian War ===
[[Gillo Pontecorvo]]'s dramatic ''[[The Battle of Algiers]]'' (({{langx|it|La battaglia di Algeri}}; {{langx|ar|معركة الجزائر}}; {{langx|fr|La Bataille d'Alger}}), 1966) portrayed events in the [[Algerian War]] (1954–1956). It was shot on location as an Italo-Algerian co-production. It had the black and white newsreel style of [[Italian neorealism]], and even-handedly depicts violence on both sides. It won various awards including [[Golden Lion]] at the [[Venice Film Festival]].<ref>{{Cite news |last1=de Wilde |first1=Gervase |title=The Battle of Algiers, DVD review |url=https://www.telegraph.co.uk/culture/film/6081647/The-Battle-of-Algiers-DVD-review.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/culture/film/6081647/The-Battle-of-Algiers-DVD-review.html |archive-date=2022-01-12 |url-access=subscription |url-status=live |newspaper=The Telegraph |access-date=11 March 2015}}{{cbignore}}</ref> It was attacked by French critics and was for five years banned in France as well as ''[[Jamila, the Algerian]]'' (1958).<ref>{{Cite web |last1=Matthews |first1=Peter |title=The Battle of Algiers: Bombs and Boomerangs |url=http://www.criterion.com/current/posts/342-the-battle-of-algiers-bombs-and-boomerangs |publisher=Criterion |access-date=11 March 2015 |date=9 August 2011}}</ref>

=== Vietnam War ===
{{further|Vietnam War in film}}

Few films before the late 1970s about the [[Vietnam War]] actually depicted combat;{{sfn|Neale|2000|pp=121–124}} exceptions include ''[[The Green Berets (film)|The Green Berets]]'' (1968).{{sfn|Neale|2000|pp=121–124}} Critics such as Basinger explain that Hollywood avoided the subject because of [[opposition to United States involvement in the Vietnam War]], making the subject divisive; in addition, the film industry was in crisis, and the army did not wish to assist in making anti-war films.{{sfn|Neale|2000|pp=121–124}}{{sfn|Basinger|1986|pp=212–213}}

From the late 1970s, independently financed and produced films showed Hollywood that Vietnam could be treated in film. Successful but very different portrayals of the war in which America had been defeated included [[Michael Cimino]]'s ''[[The Deer Hunter]]'' (1978), and [[Francis Ford Coppola]]'s ''[[Apocalypse Now]]'' (1979).{{sfn|Neale|2000|pp=121–124}}  With the shift in American politics to the right in the 1980s, military success could again be shown in films such as [[Oliver Stone]]'s ''[[Platoon (film)|Platoon]]'' (1986), [[Stanley Kubrick]]'s ''[[Full Metal Jacket]]'' (1987) and [[John Irvin]]'s ''[[Hamburger Hill]]'' (1987).{{sfn|Neale|2000|pp=121–124}}

The Vietnamese director {{ill|Nguyễn Hồng Sến|vi}}'s ''[[The Abandoned Field: Free Fire Zone]]'' (''Cánh đồng hoang'', 1979) gives an "unnerving and compelling .. subjective-camera-eye-view" of life under helicopter fire in the [[Mekong Delta]] during the Vietnam War. The film cuts to an (American) "helicopter-eye view", contrasting painfully with the human tenderness seen earlier.<ref>{{Cite web |title=The Abandoned Field-Free Fire Zone (Canh dong hoang) |url=http://www.bampfa.berkeley.edu/film/FN7762 |publisher=University of California, Berkeley Art Museum & Pacific Film Archive |access-date=10 March 2015 |archive-url=https://web.archive.org/web/20150402172423/http://www.bampfa.berkeley.edu/film/FN7762 |archive-date=2015-04-02 |url-status=dead }}</ref>

=== Later wars ===
Dino Mustafić's ''[[Remake (2003 film)|Remake]]'' (2003), written by [[Zlatko Topčić]], tells the parallel [[Coming-of-age story|coming-of-age]] stories of a father living in [[Sarajevo]] during [[World War II]] and his son living through the [[Siege of Sarajevo]] during the [[Bosnian War]]. According to Topčić, the story is based on incidents from his own life.<ref>{{Cite web |url=http://www.kviff.com/en/programme/film/03118-remake/ |title=KVIFF programme – Remake |publisher=Kviff |access-date=25 August 2015}}</ref><ref name="Cleveland">{{Cite web |url=http://www.clevelandfilm.org/films/2004/remake |title=CIFF: "Remake" |publisher=Cleveland Film |access-date=26 August 2015 |archive-date=23 September 2015 |archive-url=https://web.archive.org/web/20150923204646/http://www.clevelandfilm.org/films/2004/remake |url-status=dead }}</ref>

The [[Iraq War]] served as the background story of American movies, like ''[[The Hurt Locker]]'' from 2008, ''[[Green Zone (film)|Green Zone]]'' from 2010,<ref name="Schwerdtfeger 2021" /> and ''[[American Sniper]]'' from 2014.

The [[War in Afghanistan (2001–present)|War in Afghanistan]] since 2001 was depicted in various movies, among them ''[[Restrepo (film)|Restrepo]]'' in 2010 and ''[[Lone Survivor]]'' from 2013.<ref name="Schwerdtfeger 2021">{{Cite web |last=Schwerdtfeger |first=Conner |title=The 10 Best Post 9/11 War Movies, Ranked |url=https://www.cinemablend.com/new/10-Best-Post-9-11-War-Movies-Ranked-106707.html |website=CinemaBlend |date=19 January 2016 |access-date=5 January 2021}}</ref>

== Second World War ==
[[File:HMS Tribune fiming 1943 IWM D 13211.jpg|thumb|Filming aboard the [[Royal Navy]] submarine {{HMS|Tribune|N76|6}}, playing the role of "HMS ''Tyrant''" in a [[propaganda]] film, 1943]]

=== Made by Western Allies ===
{{further|List of Allied propaganda films of World War II}}

The first popular [[Allies of World War II|Allied]] war films made during the [[World War II|Second World War]] came from [[United Kingdom|Britain]] and combined the functions of [[documentary film|documentary]] and propaganda. Films such as ''[[The Lion Has Wings]]'' and ''[[Target for Tonight]]'' were made under the control of the Films Division of the Ministry of Information. The [[Cinema of the United Kingdom|British film industry]] began to combine documentary techniques with fictional stories in films like [[Noël Coward]] and [[David Lean]]'s ''[[In Which We Serve]]'' (1942)—"the most successful British film of the war years"{{sfn|Murphy|2005|p=64}}—''[[Millions Like Us]]'' (1943), and ''[[The Way Ahead]]'' (1944).<ref name="Swann1989">{{Cite book |last=Swann |first=Paul |title=The British Documentary Film Movement, 1926–1946 |url=https://books.google.com/books?id=JAV80f4DohgC |year=1989 |publisher=Cambridge University Press |isbn=978-0-521-33479-2 |pages=viii, 150–173}}</ref>

[[File:Thirty-seconds-over-tokyo.jpg|thumb|left|[[B-25]]s about to launch from the {{USS|Hornet|CV-8|6}} in ''[[Thirty Seconds Over Tokyo]]'' (1944)]]

In America, documentaries were produced in various ways: General Marshall commissioned the ''[[Why We Fight]]'' propaganda series from Frank Capra; the War Department's Information-Education Division started out making training films for the U.S. Air Force and U.S. Navy; the Army made its own through the U.S. Signal Corps, including [[John Huston]]'s ''[[The Battle of San Pietro]]''.<ref name="Manning2004">{{Cite book |last=Manning |first=Martin J. |title=Historical Dictionary of American Propaganda |url=https://books.google.com/books?id=1-JjwDPcOLQC&pg=PA86 |year=2004 |publisher=Greenwood Publishing Group|isbn=978-0-313-29605-5 |pages=86–87}}</ref> [[Cinema of the United States|Hollywood]] made films with propaganda messages about America's allies, such as ''[[Mrs. Miniver]]'' (1942), which portrayed a British family on the home front;<ref>{{Cite web |title=Mrs. Miniver (1942) |url=https://movies.nytimes.com/movie/33719/Mrs-Miniver/overview |archive-url=https://web.archive.org/web/20071023093926/http://movies.nytimes.com/movie/33719/Mrs-Miniver/overview |url-status=dead |archive-date=23 October 2007 |department=Movies & TV Dept. |work=[[The New York Times]] |author=Hal Erickson |author-link=Hal Erickson (author) |date=2007 |access-date=7 March 2015}}</ref> ''[[Edge of Darkness (1943 film)|Edge of Darkness]]'' (1943) showed Norwegian resistance fighters,<ref>{{tcmdb title|id=2891|title=Edge of Darkness}}</ref> and ''[[The North Star (1943 film)|The North Star]]'' (1943) showed the [[Soviet Union]] and its [[Communist Party of the Soviet Union|Communist Party]].<ref>{{tcmdb title|id=85227|title=The North Star}}</ref> Towards the end of the war popular books provided higher quality and more serious stories for films such as ''[[Guadalcanal Diary (film)|Guadalcanal Diary]]'' (1943),<ref>{{tcmdb title|id=77030|title=Guadalcanal Diary}}</ref> [[Mervyn LeRoy]]'s ''[[Thirty Seconds Over Tokyo]]'' (1944),{{sfn|Orriss|1984|pp=93–100}} and [[John Ford]]'s ''[[They Were Expendable]]'' (1945).<ref>{{tcmdb title|2070|They Were Expendable}}</ref>

[[File:Moscow Strikes Back 24-52 Infantry riding into battle on tanks.jpg|thumb|Screenshot from ''[[Moscow Strikes Back]]'' (1942). [[Snow camouflage|Snow-camouflage]]d Russian ski infantry ride into battle on [[BT-7]] cavalry tanks in the [[Battle of Moscow]].]]

The Soviet Union, too, appreciated the propaganda value of film, to publicise both victories and German atrocities. Ilya Kopalin's documentary ''[[Moscow Strikes Back]]'' ({{langx|ru|Разгром немецких войск под Москвой}}, literally "The rout of the German troops near Moscow"), was made during the [[Battle of Moscow]] between October 1941 and January 1942. It depicted civilians helping to defend the city, the parade in [[Red Square]] and [[Stalin]]'s speech rousing the Russian people to battle, actual fighting, Germans surrendering and dead, and atrocities including murdered children and hanged civilians. It won an Academy Award in 1943 for best documentary.<ref>{{Cite web |title=Moscow Strikes Back |url=https://archive.org/details/MoscowStrikesBack |publisher=[[Artkino Pictures]] |access-date=17 March 2015 |date=1942}}</ref><ref name=NYT1942>{{Cite news|last1=T.S. |title=Movie Review: Moscow Strikes Back (1942) 'Moscow Strikes Back,' Front-Line Camera Men's Story of Russian Attack, Is Seen at the Globe |url=https://www.nytimes.com/movie/review?res=9501E0D7113CE33BBC4F52DFBE668389659EDE |newspaper=The New York Times |access-date=18 March 2015 |date=17 August 1942}}</ref> Newsreel cameras were similarly rushed to [[Stalingrad]] early in 1943 to record "the spectacle which greeted the Russian soldiers"—the starvation of Russian prisoners of war in the Voropovono camp by the [[6th Army (Wehrmacht)|German Sixth Army]], defeated in the [[Battle of Stalingrad]].<ref>{{Cite book |last1=Beevor |first1=Antony |title=Stalingrad |year=1999 |orig-date=1998 |publisher=Penguin |isbn=0-14-024985-0 |pages=[https://archive.org/details/stalingrad00anth/page/350 350–351] |url=https://archive.org/details/stalingrad00anth/page/350 }}</ref>

Feature films made in the west during the war were subject to censorship and were not always realistic in nature. One of the first to attempt to represent violence, and which was praised at the time for "gritty realism", was [[Tay Garnett]]'s ''[[Bataan (film)|Bataan]]'' (1943). The depiction actually remained stylised. Jeanine Basinger gives as an example the "worst image for stark violence" when a Japanese soldier beheads an American: the victim shows pain and his lips freeze in a scream, yet no blood spurts and his head does not fall off. Basinger points out that while this is physically unrealistic, psychologically it may not have been. The wartime audience was, she points out, well aware of friends and relatives who had been killed or who had come home wounded.<ref name=AHA-Basinger>{{Cite journal |last1=Basinger |first1=Jeanine |title=Translating War: The Combat Film Genre and Saving Private Ryan |journal=Perspectives on History|url=http://www.historians.org/publications-and-directories/perspectives-on-history/october-1998/translating-war-the-combat-film-genre-and-saving-private-ryan |date=1998 |publisher=American Historical Association |access-date=7 March 2015 |issue=October 1998}}</ref>

=== Made by Axis powers ===
{{further|Nazi propaganda|Japanese propaganda during World War II}}
[[File:Bundesarchiv Bild 183-1990-1002-500, Besuch von Hitler und Goebbels bei der UFA.jpg|thumb|left|[[Hitler]] and [[Joseph Goebbels|Goebbels]] visiting [[Universum Film AG]] in 1935. The studio made propaganda films such as ''[[Triumph des Willens]]'' (1935) and ''[[Kolberg (film)|Kolberg]]'' (1945).]]

The [[Axis powers]] similarly made films during the Second World War, for propaganda and other purposes. In Germany, the [[Oberkommando des Heeres|army high command]] brought out ''[[Sieg im Westen]]'' ("Victory in the West", 1941).<ref>{{Cite book |last1=Herzstein |first1=Robert E | title=The War that Hitler Won |date=1979 | publisher=Hamish Hamilton |isbn=0-399-11845-4 |page=281}}</ref> Other Nazi propaganda films had varied subjects, as with ''[[Kolberg (film)|Kolberg]]'' (1945), which depicts stubborn [[Prussia]]n resistance in the [[Siege of Kolberg (1807)]] to the invading French troops under [[Napoleon]].<ref>{{Cite web |title=Kolberg |url=http://www.filmportal.de/en/movie/kolberg_ea43d4a739775006e03053d50b37753d |publisher=FilmPortal.de |access-date=13 March 2015}}</ref> The propaganda minister [[Joseph Goebbels]] chose the historical subject as suitable for the worsening situation facing Nazi Germany when it was filmed from October 1943 to August 1944. At over eight million marks, using thousands of soldiers as extras and 100 railway wagonloads of salt to simulate snow, it was the most costly German film made during the war. The actual siege ended with the surrender of the town; in the film, the French generals abandon the siege.<ref>{{Cite book |last1=Leiser |first1=Erwin |title=Nazi Cinema |url=https://archive.org/details/nazicinema0000leis |url-access=registration |date=1974 |publisher=Macmillan |isbn=0-02-570230-0 |pages=[https://archive.org/details/nazicinema0000leis/page/122 122–129]}}</ref>

For Japan, the war began with the [[Second Sino-Japanese War|undeclared war and invasion of China in 1937]], which the Japanese authorities called "The China Incident". The government dispatched a "pen brigade" to write and film the action in China with "humanist values". [[Tomotaka Tasaka]]'s ''[[Mud and Soldiers]]'' (1939) for instance, shot on location in China, [[Kōzaburō Yoshimura]]'s ''[[Legend of Tank Commander Nishizumi]]'', and [[Sato Takeshi]]'s ''[[Chocolate and Soldiers]]'' (1938) show the common Japanese soldier as an individual and as a family man, and even enemy Chinese soldiers are presented as individuals, sometimes fighting bravely.<ref>{{Cite book |last=High |first=Peter B |year=2003 |title=The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931–1945 |publisher=University of Wisconsin Press| location=Madison |isbn=0-299-18130-8 }} esp. Ch. 5 [https://books.google.com/books?id=6XiA9DOuvjAC War Dramas in the China Incident]</ref> Once war with the United States was declared, the Japanese conflict became known as the [[Pacific War]]. Japanese film critics worried that even with Western film techniques, their film output failed to represent native Japanese values.<ref>{{Cite book |last=Calichman |first=Richard |year=2008 |title=Overcoming Modernity: Cultural Identity in Wartime Japan |publisher=Columbia University Press |isbn=978-0-231-14396-7 | page=174 |quote=Even though Japanese film techniques were basically learned from American and Soviet films, most of what has been expressed through these techniques has been fake, showing neither real Japanese customs nor the Japanese heart.}}</ref> The historian [[John W. Dower|John Dower]] found that Japanese wartime films had been largely forgotten, as "losers do not get reruns", yet they were so subtle and skilful that Frank Capra thought ''Chocolate and Soldiers'' unbeatable. Heroes were typically low-ranking officers, not [[samurai]], calmly devoted to his men and his country.{{sfn|Dower|1993|p=48}} These films did not personalise the enemy and therefore lacked hatred, though Great Britain could figure as the "cultural enemy". For Japanese film-makers, war was not a cause but more like a natural disaster, and "what mattered was not whom one fought but how well". Asian enemies, especially the Chinese, were often portrayed as redeemable and even possible marriage partners. Japanese wartime films do not glorify war, but present the Japanese state as one great family and the Japanese people as an "innocent, suffering, self-sacrificing people". Dower comments that the perversity of this image "is obvious: it is devoid of any recognition that, at every level, the Japanese also victimized others."{{sfn|Dower|1993|p=49}}

=== Postwar ===
{{further|List of World War II films}}
[[File:Shooting of a scene from A bridge too far.jpg|thumb|right|Shooting a scene from ''[[A Bridge Too Far (1977 film)|A Bridge Too Far]]'' on location in [[Deventer]], Netherlands, 1977]]

According to Andrew Pulver of ''The Guardian'', the public fascination with war films became an "obsession", with over 200 war films produced in each decade of the 1950s and 1960s.<ref name=Pulver /> War film production in the United Kingdom and United States reached its zenith in the mid-1950s.{{Sfn|Mayer|2003|p=83}} Its popularity in the United Kingdom was brought on by the critical and commercial success of [[Charles Frend]]'s ''[[The Cruel Sea (1953 film)|The Cruel Sea]]'' (1953).{{Sfn|Mayer|2003|p=83}} Like others of the period, ''The Cruel Sea'' was based on a bestselling novel, in this case the former naval commander [[Nicholas Monsarrat]]'s story of the [[battle of the Atlantic]].<ref>{{Cite news |last1=A. W. |title=The Cruel Sea (1953) The Screen in Review; Monsarrat's 'The Cruel Sea', a Graphic Record of Valor, Opens at Fine Arts |url=https://www.nytimes.com/movie/review?res=9406E3D61731E53BBC4952DFBE668388649EDE |newspaper=The New York Times |access-date=14 March 2015 |date=11 August 1953}}</ref><ref>{{Cite news |url=http://nla.gov.au/nla.news-article58094591 |title=From London |newspaper=[[The Mail (Adelaide)|The Mail]] |location=Adelaide|date=9 January 1954 |access-date=10 July 2012 |page=50 |publisher=National Library of Australia}}</ref> Others, like ''[[The Dam Busters (film)|The Dam Busters]]'' (1954), with its exciting tale of the inventor [[Barnes Wallis]]'s unorthodox [[bouncing bomb]] and its distinctive [[theme music]], were true stories. ''The Dam Busters'' became the most popular film in Britain in 1955,<ref>{{"'}}The Dam Busters{{'"}}. ''The Times'' [London, England], 29 December 1955, p. 12.</ref> and remained a favourite as of 2015 with a 100% score on [[Rotten Tomatoes]],<ref>{{Cite web |title=The Dam Busters (1954) |url=http://www.rottentomatoes.com/m/the_dam_busters/ |website=Rotten Tomatoes |access-date=8 March 2015}}</ref> though, partly because it celebrated an "exclusively British [victory]", it failed in the American market.<ref name="Ramsden2003">{{Cite book |author=John Ramsden |title=The Dam Busters: A British Film Guide |url=https://books.google.com/books?id=VIwOnhtH9UUC&pg=PA128 |year=2003 |publisher=I.B. Tauris |isbn=978-1-86064-636-2 |page=118}}</ref> A large number of war films were made in the 1955–1958 period in particular. In 1957 alone, ''[[Bitter Victory]]'', ''[[Count Five and Die]]'', ''[[The Enemy Below]]'', ''[[Ill Met by Moonlight (film)|Ill Met by Moonlight]]'', ''[[Men in War]]'', ''[[The One That Got Away (1957 film)|The One That Got Away]]'', and ''[[Seven Thunders (film)|Seven Thunders]]'', and the highly successful, critically acclaimed pictures ''[[The Bridge on the River Kwai]]'' (which won the Academy Award for Best Picture that year{{sfn|Monaco|1992|p=96}}) and ''[[Paths of Glory]]'' were released.{{sfn|Wojik-Andrews|2002|p=76}} Some, such as ''Bitter Victory'', focused more on the psychological battle between officers and egotism rather than events during the war.{{Sfn|DiLeo|2010|p=196}} ''The Bridge on the River Kwai'' brought a new complexity to the war picture, with a sense of moral uncertainty surrounding war. By the end of the decade the "sense of shared achievement" which had been common in war films "began to evaporate", according to Pulver.<ref name=Pulver />

[[Cinema of the United States|Hollywood]] films in the 1950s and 1960s could display spectacular heroics or self-sacrifice, as in the popular ''[[Sands of Iwo Jima]]'' (1949) starring [[John Wayne]]. U.S. Marines considered ''Sands of Iwo Jima'' visually authentic, but found Lewis Milestone's ''[[Battle Cry (film)|Battle Cry]]'' (1955), with its attention to the lives of the men, the more realistic film.{{sfn|Suid|2002|pp=116–135}} The formula for a successful war film consisted, according to Lawrence Suid, of a small group of ethnically diverse men; an unreasonable senior officer; cowards became heroic, or died.{{sfn|Suid|2002|pp=116–135}} Jeanine Basinger suggests that a traditional war film should have a hero, a group, and an objective, and that the group should contain "an Italian, a Jew, a cynical complainer from Brooklyn, a sharpshooter from the mountains, a midwesterner (nicknamed by his state, 'Iowa' or 'Dakota'), and a character who must be initiated in some way".<ref name=AHA-Basinger /> Films based on real [[commando]] missions, like [[Gift Horse (film)|''The Gift Horse'']] (1952) based on the [[St. Nazaire Raid]], and ''[[Ill Met by Moonlight (film)|Ill Met by Moonlight]]'' (1956) based on the capture of the German commander of Crete, inspired fictional adventure films such as ''[[The Guns of Navarone (film)|The Guns of Navarone]]'' (1961), ''[[The Train (1964 film)|The Train]]'' (1964), and ''[[Where Eagles Dare]]'' (1968). These used the war as a backdrop for spectacular action.<ref name=Pulver>{{Cite news |last1=Pulver |first1=Andrew |url=https://www.theguardian.com/film/2014/jul/17/why-so-obsessed-second-world-war-films |title=Why are we so obsessed with films about the second world war? |newspaper=The Guardian |access-date=7 March 2015 |date=17 July 2014}}</ref>

[[File:Tora Fire Break 08.JPG|thumb|left|Supposed realism: the [[Commemorative Air Force]]'s [[Gulf Coast Wing]]'s ''[[Tora! Tora! Tora!]]'' team simulating the [[attack on Pearl Harbor]] with a wall of fire instead of explosions, using planes such as [[T-6 Texan]]s converted to resemble [[Mitsubishi A6M Zero]]s, and generating smoke<ref>{{Cite web |last1=Goebel |first1=Greg |title=The Mitsubishi A6M Zero |url=http://www.airvectors.net/avzero.html |access-date=15 March 2015 |date=1 March 2015 |quote=A large number of flyable Zero replicas exist. These were modified from North American AT-6 Texans for the 1969 movie 'TORA TORA TORA', about the Japanese attack on Pearl Harbor. The replicas are surprisingly convincing, though they are still clearly fakes, since the Texan is a chubbier aircraft than the slender Zero. 25 of these bogus Zeroes were built}}</ref>{{efn|Further, two of the aircraft are still carrying their weapons after the attack.}} 2008]]

[[Darryl F. Zanuck]] produced the 178 minute documentary drama ''[[The Longest Day (film)|The Longest Day]]'' (1962), based on the first day of the [[D-Day landings]], achieving commercial success and Oscars.<ref>{{Cite web |title=The Longest Day (1962) Awards |publisher=Turner Classic Movies, A Time Warner Company | url=https://www.tcm.com/tcmdb/title/81774/the-longest-day | archive-url=https://web.archive.org/web/20120223221243/http://www.tcm.com/tcmdb/title/81774/The-Longest-Day/ | url-status=dead | archive-date=February 23, 2012 | access-date = 7 March 2015}}</ref> It was followed by large-scale but thoughtful films like [[Andrei Tarkovsky]]'s ''[[Ivan's Childhood]]'' (1962), and quasi-[[Documentary film|documentary]] all-star epics filmed in Europe such as ''[[Battle of the Bulge (1965 film)|Battle of the Bulge]]'' (1965), ''[[Battle of Britain (film)|Battle of Britain]]'' (1969), ''[[The Battle of Neretva]]'' (1969), ''[[Midway (1976 film)|Midway]]'' (1976), and ''[[A Bridge Too Far (1977 film)|A Bridge Too Far]]'' (1977). In Lawrence Suid's view, ''The Longest Day'' "served as the model for all subsequent combat spectaculars".{{sfn|Suid|2002|pp=188–189}} However, its cost also made it the last of the traditional war films, while the controversy around the help given by the U.S. Army and Zanuck's "disregard for Pentagon relations" changed the way that Hollywood and the Army collaborated.{{sfn|Suid|2002|pp=188–189}}

Zanuck, by then an executive at [[20th Century Fox]], set up an American–Japanese co-production for [[Richard Fleischer]]'s ''[[Tora! Tora! Tora!]]'' (1970) to depict what "really happened on December 7, 1941" in the surprise [[attack on Pearl Harbor]].{{sfn|Parish|1990|pp=411–412}}{{sfn|Orriss|1984|pp=194–195}} The film, panned by [[Roger Ebert]]<ref>{{Cite journal | author=Ebert, Roger | url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19701012/REVIEWS/10120301/1023 | title=Tora! Tora! Tora! (review) | journal=Chicago Sun-Times | date=12 October 1970 | access-date=15 March 2015 | archive-date=11 March 2013 | archive-url=https://web.archive.org/web/20130311201839/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19701012%2FREVIEWS%2F10120301%2F1023 | url-status=dead }}</ref> and ''[[The New York Times]]'',<ref>{{Cite journal| author=Canby, Vincent |url=https://movies.nytimes.com/movie/review?res=9F0CE7DC1E38E73ABC4C51DFBF66838B669EDE |title=Movies: Tora! Tora! Tora! (1970) |journal=The New York Times | date=4 September 1970 |access-date=15 March 2015}}</ref> was a major success in Japan.{{sfn|Parish|1990|pp=411–412}} Its realistic-looking attack footage was reused in later films such as ''[[Midway (1976 film)|Midway]]'' (1976), ''[[The Final Countdown (film)|The Final Countdown]]'' (1980), and ''[[Australia (2008 film)|Australia]]'' (2008).{{sfn|Dolan |1985|p=87}} The story was revisited in ''[[Pearl Harbor (film)|Pearl Harbor]]'' (2001), described by ''The New York Times'' as a "noisy, expensive and very long new blockbuster", with the comment that "for all its epic pretensions (as if epic were a matter of running time, tumescent music and earnest voice-over pronouncements), the movie works best as a bang-and-boom action picture".<ref>{{Cite news |last1=Scott |first1=A. O. |title='Pearl Harbor': War Is Hell, but Very Pretty |url=https://www.nytimes.com/2001/05/25/arts/25PEAR.html |newspaper=The New York Times |access-date=8 March 2015 |date=25 May 2001}}</ref>

[[Steven Spielberg]]'s ''[[Saving Private Ryan]]'' (1998) uses hand-held camera, sound design, staging, and increased audio-visual detail to defamiliarise viewers accustomed to conventional combat films, so as to create what film historian Stuart Bender calls "reported realism", whether or not the portrayal is genuinely more realistic.{{sfn|Bender|2013|p=ix}} Jeanine Basinger notes that critics experienced it as "groundbreaking and anti-generic", with, in James Wolcott's words, a "desire to bury the cornball, recruiting poster legend of John Wayne: to get it right this time"; and that combat films have always been "grounded in the need to help an audience understand and accept war".<ref name=AHA-Basinger /> Its success revived interest in World War II films.<ref name="Stein2004">{{Cite book |last=Stein |first=Howard F. |title=Beneath the Crust of Culture: Psychoanalytic Anthropology and the Cultural Unconscious in American Life |url=https://books.google.com/books?id=mTxfvLvjeGEC&pg=PA6 |year=2004 |publisher=Rodopi |isbn=90-420-0818-0 |page=6 |quote=Chris Vognar writes: 'Saving Private Ryan wasn't just a great movie: it was also the cultural touchstone for the country's revived interest in World War II.'}}</ref> Others tried to portray the reality of the war, as in [[Joseph Vilsmaier]]'s ''[[Stalingrad (1993 film)|Stalingrad]]'' (1993), which ''The New York Times'' said "goes about as far as a movie can go in depicting modern warfare as a stomach-turning form of mass slaughter".<ref>{{Cite news |last1=Holden |first1=Stephen |title=Stalingrad (1992) Film Review; In War's Horrors, Chaos May Rank With Carnage |url=https://www.nytimes.com/movie/review?res=990CE5DA163EF937A15756C0A963958260 |newspaper=New York Times |access-date=8 March 2015 |date=24 May 1995}}</ref>

=== Military–film industry relations ===
{{See also|Military-entertainment complex}}
[[File:Colonel Frank Capra (right) of the US Army Signal Corps confers with Captain Roy Boulting of the British Army Film Unit on the editing of the film 'Tunisian Victory' in February 1944. D18377.jpg|thumb|upright=0.8 |Colonel [[Frank Capra]] (right) of the [[US Army Signal Corps]] confers with Captain [[Roy Boulting]] of the British Army Film Unit on the editing of the film ''[[Tunisian Victory]]'' in February 1944.]]

Many war films have been produced with the cooperation of a nation's military forces. Since the Second World War, the [[United States Navy]] has provided ships and technical guidance for films such as ''[[Top Gun]]''. The [[U.S. Air Force]] assisted with ''[[The Big Lift]]'', ''[[Strategic Air Command (film)|Strategic Air Command]]'' and ''[[A Gathering of Eagles]]'', which were filmed on Air Force bases; Air Force personnel appeared in many roles.{{sfn|Suid|2002|pp=161–209}} Critics have argued that the film ''Pearl Harbor''<nowiki>'</nowiki>s US-biased portrayal of events is a compensation for technical assistance received from the US armed forces, noting that the premiere was held on board a U.S. Navy carrier.{{sfn|Rayner|2007|pp=1–2}} In another case, the U.S. Navy objected to elements of ''[[Crimson Tide (film)|Crimson Tide]]'', especially mutiny on board an American naval vessel, so the film was produced without their assistance.{{sfn|Suid|2002|p=609}} The film historian Jonathan Rayner observes that such films "have also clearly been intended to serve vital propagandist, recruitment and public relations functions".{{sfn|Rayner|2007|pp=1–2}}

== National traditions ==

=== Chinese ===

The first Chinese war films were newsreels like ''[[Battle of Wuhan (1911 film)|Battle of Wuhan]]'' (1911) and ''[[Battle of Shanghai (1913 film)|Battle of Shanghai]]'' (1913). Still in films such as [[Xu Xinfu]]'s ''[[Battle Exploits]]'' (1925), war featured mainly as background. Only with the Second Sino–Japanese War from 1937 onwards did war film become a serious genre in China, with nationalistic films such as [[Shi Dongshan]]'s ''[[Protect Our Land]]'' (1938). The Chinese Civil War, too, attracted films such as [[Cheng Yin]]'s ''[[From Victory to Victory]]'' (1952). A more humanistic film set in the same period is [[Xie Jin]]'s The Cradle (1979), while more recent large-scale commercial films include [[Lu Chuan]]'s ''[[City of Life and Death]]'' (2009).<ref name="YeZhu2012">{{Cite book |last1=Ye |first1=Tan |last2=Zhu |first2=Yun |title=Historical Dictionary of Chinese Cinema |url=https://books.google.com/books?id=javqwyBe0WoC&pg=PA168 |year=2012 |publisher=Rowman & Littlefield |isbn=978-0-8108-6779-6 |pages=168–169}}</ref> Chinese directors have repeatedly attempted to cover the atrocities committed by the Japanese during the [[Nanjing Massacre]] (1937–1938), with films such as the political melodrama ''[[Massacre in Nanjing]]'', [[Mou Tun Fei]]'s [[docudrama]] ''[[Black Sun: The Nanking Massacre]]'', and the "contrived Sino–Japanese romance" ''[[Don't Cry, Nanking]]''.<ref name="Li">{{Cite book |last=Li |first=Peter |title=Japanese War Crimes: The Search for Justice |url=https://books.google.com/books?id=2J0ZqRZw-QQC&pg=PA222 |publisher=Transaction Publishers |isbn=978-1-4128-2683-9 |pages=204–223}}</ref> [[Zhang Yimou]]'s epic Chinese film ''[[Flowers of War]]'' (2011), based on [[Geling Yan]]'s novel, portrays the violent events through the eyes of a 13-year-old girl.<ref>{{Cite web |title=The story behind Chinese war epic The Flowers of War |url=https://www.bbc.co.uk/news/world-asia-china-16638897 |publisher=BBC |access-date=10 March 2015}}</ref>

=== Indonesian ===
[[File:Darah dan Doa P&K Apr 1953 p28 1.jpg|thumb|left|The [[Siliwangi Division]] in combat, in a scene from [[Usmar Ismail]]'s ''[[Darah dan Doa]]'', 1950]]

Many [[Indonesian cinema|Indonesian films]] deal with the occupation of the archipelago by the Japanese during the Second World War. [[Teguh Karya]]'s ''[[Doea Tanda Mata]]'' (''Mementos'', literally "Two Eye Marks", 1985) covers the limited nationalist resistance to Dutch colonial rule in the 1930s.<ref>{{Cite news |title=Doea Tanda Mata (1986) |url=https://www.nytimes.com/movies/movie/120596/Doea-Tanda-Mata/overview |archive-url=https://web.archive.org/web/20150403040731/http://www.nytimes.com/movies/movie/120596/Doea-Tanda-Mata/overview |url-status=dead |archive-date=3 April 2015 |department=Movies & TV Dept. |work=[[The New York Times]] |author=Hal Erickson |author-link=Hal Erickson (author) |date=2015 |access-date=13 March 2015}}</ref>{{sfn|Heider|1991|pp=99–107}} A third group of films such as ''[[Enam Djam di Jogja]]'' (''Six Hours in Yogyakarta'', 1951) and ''[[Serangan Fajar]]'' (''Attack at Dawn'', 1983) covers the [[Indonesian National Revolution|Indonesian war of independence]] (1945–1949). Two other films about the same period portray the Indonesian equivalent of the Chinese [[Long March]]: [[Usmar Ismail]]'s ''[[Darah dan Doa]]'' (''The Long March'', literally "Blood and Prayer", 1950) and ''[[Mereka Kembali]]'' (''They Return'', 1975). Each of these films interprets the past from the perspective of its own time.{{sfn|Heider|1991|pp=99–107}}

The more recent ''Merdeka'' (Freedom) trilogy (2009–2011), starting with ''[[Merah Putih (2009 film)|Merah Putih]]'' ("Red and White", the colours of the flag of the new Indonesia), revisits the campaign for independence through the lives of a diverse group of cadets who become guerillas.<ref>{{Cite web |last1=Parrot |first1=John |title=Review: Red and White (Merah Putih) |url=http://thefilmreview.com/reviews/review-red-white-merah-putih.html |publisher=The Film Review |access-date=11 March 2015 |date=9 February 2011 |archive-date=23 June 2016 |archive-url=https://web.archive.org/web/20160623211836/http://thefilmreview.com/reviews/review-red-white-merah-putih.html |url-status=dead }}</ref>

Karya's ''[[November 1828]]'' (1979) looks at Indonesia's struggle for independence through [[historical drama]] about the [[Java War|Java or Diponegoro War]] (1825–1830), though the colonial enemy was the same, the [[Dutch East Indies|Dutch]]. Deanne Schultz considered it "a valuable interpretation" of [[Indonesian history]] that "embodies the best of popular Indonesian cinema". It was the first Indonesian film to become well known internationally.{{sfn|Schultz|2007|p=133}}

=== Soviet ===

[[File:Stalingrad Ozerov.jpg|thumb|upright=0.8|Russia's "cinema front": [[Yuri Ozerov (director)|Yury Ozerov]] (left) directing the filming of ''[[Stalingrad (1989 film)|Stalingrad]]'', 1987]]

War has been the Soviet Union's cinema's major genre, becoming known indeed as the "cinema front", and its war films ranged from grim portrayals of atrocities to sentimental and even quietly subversive accounts.{{sfn|Youngblood|2010|pp=234–235, ''passim''}} [[Leonid Lukov]]'s popular and "beautiful"<ref name="Smorodinskaya2013">{{Cite book |editor1=Smorodinskaya, Tatiana |editor2=Evans-Romaine, Karen |editor3=Goscilo, Helena |title=Encyclopaedia of Contemporary Russian Culture |url=https://books.google.com/books?id=ZXz2okCSfq8C&pg=PA205 |date=28 October 2013 |publisher=Routledge |isbn=978-1-136-78785-0 |page=205}}</ref> ''[[Two Warriors]]'' (1943) depicted two stereotypical Soviet soldiers, a quiet Russian and an extrovert southerner from Odessa, singing in his dugout.{{sfn|Stites|1992|pp=113–114}}

The many Soviet films about the Second World War include both large-scale epics such as [[Yuri Ozerov (director)|Yury Ozerov]]'s ''[[Battle of Moscow (film)|Battle of Moscow]]'' (1985) and [[Mikhail Kalatozov]]'s more psychological ''[[The Cranes are Flying]]'' (1957) on the cruel effects of war; it won the 1958 Palme d'Or at Cannes.<ref>{{Cite web |title=See The War With Russian Eyes: Soviet And Russian Films About World War 2 |url=http://www.rusemb.org.uk/films |website=The Embassy of the Russian Federation to the United Kingdom of Great Britain and Northern Ireland |publisher=The Ministry of Foreign Affairs of Russia |access-date=9 March 2015 |date=2012}}</ref>

=== Japanese ===
{{See also|#Animated||Category:Japanese war films}}

Japanese directors have made popular films such as ''[[Submarine I-57 Will Not Surrender]]'' (1959), ''[[Battle of Okinawa (film)|Battle of Okinawa]]'' (1971) and ''[[Japan's Longest Day]]'' (1967) from a Japanese perspective.{{sfn|Tam|Tsu|Wilson|2014|p=108, ''passim''}} These "generally fail to explain the cause of the war".<ref name=USNI-Japanese>{{Cite web |last1=USNI Staff |title=Through Japanese Eyes: World War II in Japanese Cinema |url=http://news.usni.org/2014/04/14/japanese-eyes-world-war-ii-japanese-cinema|publisher=United States Naval Institute|access-date=8 March 2015|date=14 April 2014}}</ref> In the decades immediately after the Second World War, Japanese films often focused on human tragedy rather than combat, such as ''[[The Burmese Harp (1956 film)|The Burmese Harp]]'' (1956) and ''[[Fires on the Plain (1959 film)|Fires on the Plain]]'' (1959).<ref name=USNI-Japanese /> From the late 1990s, films started to take a positive view of the war and of Japanese actions. These nationalistic films, including ''[[Pride (1998 film)|Pride]]'' (1998), ''[[Merdeka 17805]]'' (2001), and ''[[The Truth about Nanjing]]'' (2007), have emphasized positive traits of the Japanese military and contended that the Japanese were victims of post-war vindictiveness and viciousness. Such films have, however, been subject to protest for [[historical revisionism|revisionism]].<ref name=USNI-Japanese /><ref>{{Cite book |last=High |first=Peter B. |url=https://books.google.com/books?id=6XiA9DOuvjAC&pg=PR26 |title=The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931–1945 |year=2003 |publisher=University of Wisconsin Press |series=Wisconsin Studies in Film |location=Madison |isbn=978-0-299-18130-7 |page=xxvi}}</ref><ref>{{Cite book |title=Tensions of Empire: Japan and Southeast Asia in the Colonial and Postcolonial World |publisher=Ohio University Press |year=2003 |location=Athens, Ohio |page=273 |url=https://books.google.com/books?id=MqmnPrgeYLEC |last=Goto |first=Ken'ichi |isbn=978-0-89680-231-5 }}</ref> ''[[The Eternal Zero]]'' (2013) narrates the tale of a [[Mitsubishi A6M Zero|Zero fighter]] pilot who is considered a coward by his comrades, as he returns alive from his missions. It broke the record takings for a Japanese live action film,<ref>{{Cite web |url=http://www.filmbiz.asia/news/eternal-zero-tops-japan-bo-for-8th-week |title=Eternal Zero tops Japan B.O. for 8th week |author=Kevin Ma |date=February 13, 2014 |access-date=February 13, 2014 |work=Film Business Asia |archive-url=https://web.archive.org/web/20140221122347/http://www.filmbiz.asia/news/eternal-zero-tops-japan-bo-for-8th-week |archive-date=2014-02-21 |url-status=dead }}</ref> and won the Golden Mulberry at the Udine Far East Film Festival,<ref>{{Cite web |url=https://variety.com/2014/film/news/eternal-zero-wins-udine-audience-prize-1201171158/ |title=Japanese Pic 'Eternal Zero' Wins Italy's Udine Audience Prize |author=Mark Schilling |date=3 May 2014|access-date=12 March 2015 |work=Variety }}</ref> but was criticised for its nationalistic sympathy with [[kamikaze]] pilots.<ref>{{Cite magazine |last1=Lee |first1=Maggie |title=Film Review: 'The Eternal Zero' |url=https://variety.com/2014/film/reviews/film-review-japanese-hit-the-eternal-zero-1201155266/ |magazine=Variety |access-date=12 March 2015 |date=7 February 2014}}</ref>

== Subgenres ==

=== Documentary ===
{{further|Documentary war film|List of World War II documentary films}}

The wartime authorities in both Britain and America produced a wide variety of [[documentary]] films. Their purposes included military training, advice to civilians, and encouragement to maintain security. Since these films often carried messages, they grade into propaganda. Similarly, commercially produced films often combined information, support for the war effort, and a degree of propaganda.<ref name="Swann1989" /><ref name="Manning2004" /> [[Newsreels]], ostensibly simply for information, were made in both Allied and Axis countries, and were often dramatised.<ref>{{Cite web |title=The Art of Wartime Newsreels – 1940 through 1946 |url=http://1940s.org/the-art-of-wartime-newreels-1940-through-1946 |publisher=1940s.org |access-date=8 March 2015 |archive-date=2 April 2015 |archive-url=https://web.archive.org/web/20150402145934/http://1940s.org/the-art-of-wartime-newreels-1940-through-1946 |url-status=dead }}</ref><ref>{{Cite web |title=German Wartime Newsreels (Die Deutsche Wochenschau) |url=http://ihffilm.com/gerwarnew.html |publisher=International Historic Films |access-date=8 March 2015 |archive-url=https://web.archive.org/web/20150402194402/http://ihffilm.com/gerwarnew.html |archive-date=2015-04-02 |url-status=dead }}</ref><ref>{{Cite web|title=Wartime Newsreel British News Now Online|url=http://bufvc.ac.uk/2012/05/04/british-news|publisher=British Universities Film & Video Council|access-date=8 March 2015|archive-date=18 June 2015|archive-url=https://web.archive.org/web/20150618060025/http://bufvc.ac.uk/2012/05/04/british-news|url-status=dead}}</ref> More recently, in the [[Iran–Iraq War]], [[Morteza Avini]]'s ''[[Ravayat-e Fath]]'' (Chronicles of Victory) television series combined front-line footage with commentary.<ref>{{Cite book |last1=Rastegar |first1=Kamran |title=Surviving Images: Cinema, War, and Cultural Memory in the Middle East |date=2015 |publisher=Oxford University Press |isbn=978-0-19-939017-5 |page=213}}</ref>

=== Propaganda ===
{{further|Propaganda film|World War I film propaganda}}
[[File:Nevsky2.jpg|thumb|[[Teutonic Order]] (German) monks prepare the hanging of a Russian resistance leader. Still from ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' (1938)]]

[[Sergei Eisenstein]]'s 1938 historical drama ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' depicts [[Alexander Nevsky|Prince Alexander]]'s defeat of the attempted invasion of the Russian city of [[Novgorod]] by the [[Teutonic Knights]].<ref>{{Cite web |last1=Hoberman |first1=J. |title=Alexander Nevsky |url=http://www.criterion.com/current/posts/8-alexander-nevsky |publisher=Criterion |access-date=4 March 2015}}</ref> By April 1939 the film had been seen by 23,000,000 people.<ref>{{Cite book | author=Anderson, Kyril |title=Kremlevskij Kinoteatr. 1928–1953: Dokumenty | publisher=Rospen Press |year=2005 | isbn=978-5-8243-0532-6 | page=539}}</ref> In 1941 the director and three others were awarded the [[State Stalin Prize|Stalin Prize]] for their contributions. The film features a musical score by the classical composer [[Sergei Prokofiev]], considered by artists such as the composer [[André Previn]] the best ever written for cinema.<ref>{{Cite web |last1=Lysy |first1=Craig |title=Alexander Nevsky – Sergei Prokofiev {{!}} 100 Greatest Scores of All Time |url=https://moviemusicuk.us/2015/11/09/alexander-nevsky-sergei-prokofiev/ |publisher=Movie Music UK |date=9 November 2015 |quote=Composer André Previn once remarked that Prokofiev's music for Alexander Nevsky was 'the greatest film score ever written, trapped inside the worst soundtrack ever recorded.'}}</ref><ref>{{Cite web |title=Watch It for the Soundtrack: 'Alexander Nevsky' |url=https://www.npr.org/templates/story/story.php?storyId=18860465&t=1544433041639 |publisher=[[NPR]] |date=10 February 2008 |quote=SEABROOK: The most exciting film music of all, Prokofiev. KORNBLUTH: Because it's so completely matches sound to image that you'll only have to hear that to know what you're seeing.}}</ref> Russell Merritt, writing in ''Film Quarterly'', describes it as a "war [[propaganda film]]".<ref>{{Cite journal |last1=Merritt |first1=Russell |title=Recharging "Alexander Nevsky": Tracking the Eisenstein-Prokofiev War Horse |journal=Film Quarterly |date=1994 |volume=48 |issue=2|pages=34–47 |jstor=1213094 |doi=10.1525/fq.1994.48.2.04a00050}}</ref> A 1978 [[Arnoldo Mondadori Editore|Mondadori]] poll placed ''Alexander Nevsky'' among the world's 100 best motion pictures.<ref>{{Cite web |url=http://www.ruscico.com/catalog/cataloguedvd/catalogue_106.html |title=mindupper.com |publisher=Ruscico.com |access-date=4 March 2015 |archive-url=https://web.archive.org/web/20170419073546/http://www.ruscico.com/catalog/cataloguedvd/catalogue_106.html |archive-date=2017-04-19 |url-status=dead }}</ref>

[[File:Transmitlies.jpeg|thumb|left|Screenshot from [[Frank Capra]]'s wartime ''[[Why We Fight]]'' series,<ref>{{Cite web |last1=Silver |first1=Charles |title=Why We Fight: Frank Capra's WWII Propaganda Films |url=http://www.moma.org/explore/inside_out/2011/06/07/why-we-fight-frank-capras-wwii-propaganda-films/ |publisher=Museum of Modern Art (MoMA) |date=7 June 2011}}</ref> depicting lies being broadcast by the [[Nazi propaganda]] machine]]

During the Second World War, [[propaganda film|film propaganda]] was widely used. [[Kenneth Clark]] advised the British government that "If we renounced interest in entertainment as such, we might be deprived of a valuable weapon for getting across our propaganda"; he suggested using documentaries about the war and the war effort; celebrations of Britishness; and films about British life and character. [[Michael Powell]] and Clark agreed on a story about survivors of a [[U-boat]] crew, imbued with brutal Nazi ideology, travelling across Canada and meeting various kind, tolerant and intelligent Canadians, to encourage America into the war. The resulting film, ''[[49th Parallel (film)|49th Parallel]]'' (1941), became the top film at British offices that year.{{sfn|Murphy|2005|pp=61–62}} Entertaining films could carry messages about the need for vigilance, too, as in ''[[Went the Day Well?]]'' (1942) or the avoidance of "careless talk", as in ''[[The Next of Kin]]'' (1942).<ref name="Swann1989" />

[[File:CasablancaPoster-Gold.jpg|thumb|upright=0.8|The romantic drama ''[[Casablanca (film)|Casablanca]]'' (1943) vilified Nazism.]]

In America, [[Charlie Chaplin]]'s ''[[The Great Dictator]]'' (1940) clearly satirised [[fascism]].<ref name=HMM>{{Cite web |title=World War II Movies – Propaganda and Patriotism |url=http://www.hollywoodmoviememories.com/articles/war-articles/world-war-ii-movies-propaganda.php |access-date=8 March 2015 |archive-date=21 February 2015 |archive-url=https://web.archive.org/web/20150221193251/http://www.hollywoodmoviememories.com/articles/war-articles/world-war-ii-movies-propaganda.php |url-status=dead }}</ref> [[Michael Curtiz]]'s ''[[Casablanca (film)|Casablanca]]'' (1943) was not simply a romance between the characters played by [[Humphrey Bogart]] and [[Ingrid Bergman]], but vilified the [[Nazi]]s and glorified resistance to them.<ref name=HMM /> Frank Capra's ''[[Why We Fight]]'' series (1942–1945) won the 1942 Academy Award for best documentary, though it was designed to "influence opinion in the U.S. military".<ref name="Manning2004" /><ref>{{Cite journal | last=German | first=Kathleen | title=Frank Capra's Why We Fight Series and the American Audience | journal=Western Journal of Speech Communication | volume=54 | issue=2 | year=1990 | pages=237–48 | doi=10.1080/10570319009374338}}</ref>

During the [[Cold War]], "propaganda played as much of a role in the United States' struggle with the Soviet Union as did the billions of dollars spent on weaponry."<ref name="Fort Devens 2015" /> ''[[Face to Face with Communism]]'' (1951) dramatised an imagined invasion of the United States; other films portrayed threats such as communist indoctrination.<ref name="Fort Devens 2015">{{Cite web |title=The Fort Devens Collection |url=http://hcl.harvard.edu/hfa/collections/fort_devens.html |publisher=Harvard Film Archive |access-date=12 March 2015 |archive-url=https://web.archive.org/web/20150307060650/http://www.hcl.harvard.edu/hfa/collections/fort_devens.html |archive-date=2015-03-07 |url-status=dead }}</ref>

=== Submarine ===
{{Main|Submarine films}}
[[File:Bavaria Filmstudio Das Boot 4.jpg|thumb|left|The cramped, equipment-filled setting of a [[submarine films|submarine film]], ''[[Das Boot]]'' (1981), recreated in the Bavaria film studio]]

[[Submarine films]] have their own particular meanings and conventions, concerned specifically with giving the effect of [[submarine warfare]]. A distinctive element in this subgenre is the [[soundtrack]], which attempts to bring home the emotional and dramatic nature of conflict under the sea. For example, in [[Wolfgang Petersen]]'s 1981 ''[[Das Boot]]'', the sound design works together with the hours-long film format to depict lengthy pursuit with [[depth charge]]s, the ping of [[sonar]], and threatening sounds such as of the [[propellor|propellers]] of enemy [[destroyer]]s and [[torpedo]]es.<ref name=Koldau>{{Cite journal |last1=Koldau |first1=Linda Maria |title=Sound effects as a genre-defining factor in submarine films|journal=MedieKultur |date=2010 |volume=26 |issue=48 |pages=18–30 |url=http://ojs.statsbiblioteket.dk/index.php/mediekultur/article/viewFile/2117/2393|doi=10.7146/mediekultur.v26i48.2117|doi-access=free}}</ref> Classic films in the genre include ''[[The Enemy Below]]'' (1957)<ref>{{Cite news |title=Duel to the Death |url=https://www.nytimes.com/movie/review?res=9501EFD91131E63ABC4E51DFB467838C649EDE |newspaper=[[New York Times]] |access-date=8 March 2015 |date=26 December 1957}}</ref> and ''[[Run Silent, Run Deep (1958 film)|Run Silent, Run Deep]]'' (1958), both based on novels by naval commanders. ''Run Silent, Run Deep'' is a movie full of tension, both with the enemy and between the contrasting personalities of the submarine Commander and his Lieutenant, played by [[Clark Gable]] and [[Burt Lancaster]].<ref>{{Cite news |last1=Crowther |first1=Bosley |title=Run Silent Run Deep (1958) |url=https://www.nytimes.com/movie/review?res=9E01E7D6113FE43BBC4051DFB5668383649EDE |newspaper=New York Times |access-date=8 March 2015 |date=28 March 1958}}</ref>

=== Prisoner of war ===
{{further|Prisoner of war#In popular culture}}
[[File:Model Stalag Luft III.jpg|thumb|Model of [[Stalag Luft III]] used in filming ''[[The Great Escape (film)|The Great Escape]]'' (1963)]]

A popular subgenre of war films in the 1950s and 1960s was the [[prisoner of war]] film.<ref name=BFI-Wigley>{{Cite web |last1=Wigley |first1=Samuel |title=10 great prisoner-of-war films |date=18 April 2013 |url=https://www.bfi.org.uk/lists/10-great-prisoner-war-films |publisher=British Film Institute |access-date=6 March 2015}}</ref> The genre was popularised in [[United Kingdom|Britain]] with major films like [[Guy Hamilton]]'s ''[[The Colditz Story]]'' (1955) and [[John Sturges]]'s American film ''[[The Great Escape (film)|The Great Escape]]'' (1963).<ref name=BFI-Wigley /> They told stories of real escapes from [[Nazi Germany|German]] prisoner of war camps such as [[Stalag Luft III]] in the Second World War. Despite episodes of danger and human tragedy, these films delight in a continual boyish game of escape and ingenuity, celebrating the courage and the defiant spirit of the prisoners of war, and treating war as fun.<ref name=BFI-Wigley /><ref>{{Cite web |last1=O'Neill |first1=Esther Margaret |title=British World War Two Films 1945–65: Catharsis or National Regeneration? |url=https://core.ac.uk/download/pdf/19576241.pdf |publisher=University of Central Lancashire (PhD Thesis) |pages=57 and passim |date=October 2006}}</ref><ref>{{Cite book |last1=MacKenzie |first1=S. P. |title=The Colditz Myth British and Commonwealth Prisoners of War in Nazi Germany |date=2004 |publisher=Oxford University Press |isbn=978-0-19-926210-6 |page=20 and passim |quote=stung by criticism of the schoolboyish tone of his original account ... Reid ...}}</ref> [[David Lean]]'s ''[[Bridge on the River Kwai]]'' (1957) was judged best picture at the Oscars; it took the genre from chilly German prisons to the heat of a camp in Thailand. It was the first, too, to use lush colour to bring out the British [[stiff upper lip]] of the colonel, played by [[Alec Guinness]] in an Oscar-winning performance.<ref name=BFI-Wigley /> The "definitive" Oscar-winning prisoner of war film was [[Billy Wilder]]'s ''[[Stalag 17]]'' (1953), while the brief but powerful prison camp scenes of ''[[The Deer Hunter]]'' (1978) lend an air of tragedy to the whole of that film.<ref name=BFI-Wigley />

=== Comedy ===
[[File:Shoulder Arms poster.jpg|thumb|upright=0.65|First military comedy: [[Charlie Chaplin]]'s ''[[Shoulder Arms]]'' (1918)]]
{{further|Comedy film#Military comedy}}

[[Charlie Chaplin]]'s ''[[Shoulder Arms]]'' (1918) set a style for war films to come, and was the first comedy about war in [[film history]].<ref>{{Cite web |title=Charlie Chaplin goes to War |url=http://chnm.gmu.edu/episodes/charlie-chaplin-goes-to-war/ |publisher=RRCHNM |access-date=6 March 2015 |archive-url=https://web.archive.org/web/20150316071512/http://chnm.gmu.edu/episodes/charlie-chaplin-goes-to-war/ |archive-date=2015-03-16 |url-status=dead }}</ref><ref name=BFI-Thrift>{{Cite web |last1=Thrift |first1=Matthew |title=10 great First World War films |url=https://www.bfi.org.uk/lists/10-great-first-world-war-films |publisher=British Film Institute |access-date=6 March 2015 |date=1 July 2014}}</ref>

British cinema in the Second World War marked the evacuation of children from London with social comedies such as ''[[Those Kids from Town]]'' (1942) where the evacuees go to stay with an [[earl]], while in ''[[Cottage to Let]]'' (1941) and ''[[Went the Day Well?]]'' (1942) the English countryside is thick with spies.{{sfn|Murphy|2005|pp=34–35}} ''[[Gasbags]]'' (1941) offered "zany, irreverent, knockabout" comedy making fun of everything from [[barrage balloon]]s to [[concentration camp]]s.{{sfn|Murphy|2005|p=41}} [[Abbott and Costello]]'s ''[[Buck Privates]]'' (1941) was successful in America,<ref>{{Cite news |last=Strauss |first=Theodore |title=At Loew's State |url=https://www.nytimes.com/1941/02/14/archives/at-loews-state.html |newspaper=[[New York Times]] |date=14 February 1941}}</ref> leading to many further wartime comedies.{{sfn|Erickson|2012|pp=''passim''}}

=== Animated ===
[[File:Winsor McCay - The Sinking of the Lusitania still - Lusitania torpedoed.jpg|thumb|left|First animated propaganda film: [[Winsor McCay]]'s ''[[The Sinking of the Lusitania]]'' (1918)]]

[[Winsor McCay]]'s ''[[The Sinking of the Lusitania]]'' (1918) was a [[silent film|silent]] First World War film. At 12 minutes long, it was the longest [[animated film]] made at that time. It was probably the first animated propaganda film to be made; it remains the earliest serious animated drama that has survived.<ref>{{Cite book |last=Theisen |first=Earl |chapter=The History of the Animated Cartoon |pages=[https://archive.org/details/technologicalhis0000fiel/page/84 84]–87 |editor-last=Fielding |editor-first=Raymond |title=A Technological History of Motion Pictures and Television |url=https://archive.org/details/technologicalhis0000fiel |url-access=registration |year=1967 |orig-date=1933 |publisher=University of California Press |isbn=978-0-520-00411-5}}</ref><ref>{{Cite journal |last=Mikulak |first=Bill |title=Mickey Meets Mondrian: Cartoons Enter the Museum of Modern Art |journal=Cinema Journal |volume=36 |issue=3 |date=Spring 1997 |pages=56–72 |publisher=University of Texas Press |jstor=1225675|doi=10.2307/1225675 }}</ref><ref>{{Cite book |last=Wells |first=Paul |year=2002 |title=Animation: Genre and Authorship |publisher=Wallflower Press |isbn=978-1-903364-20-8 |page=116}}</ref> Through World War II, animated propaganda shorts remained influential in American cinema. The [[Walt Disney Company]], working with the American armed forces, [[Walt Disney's World War II propaganda production|produced 400,000 feet of war propaganda films]] between 1942 and 1945,<ref name="animat">{{Cite journal |last=Churchill |first=Edward |date=March 1945 |title=Walt Disney's Animated War |journal=Flying |volume=36 |issue=3 | pages= 50–51, 134–138 |url=https://books.google.com/books?id=BQKNhDRiv_kC}}</ref> including ''[[Der Fuehrer's Face]]'' (1943) and ''[[Education for Death]]'' (1943).<ref>{{Cite book |title=Doing Their Bit: Wartime American Animated Short Films, 1939–1945 |page=60 |edition=2nd |last1=Shull |first1=Michael S. |last2=Wilt |first2=David E. |publisher=McFarland and Company |url=https://books.google.com/books?id=hKrmuvh4PQkC |year=2005 |location=Jefferson, North Carolina |isbn=978-0-7864-1555-7}}</ref>

Japanese [[anime]] films from the 1960s onwards addressed national memories of war. ''[[Akira (1988 film)|Akira]]'' (1988) moves from the [[Atomic bombings of Hiroshima and Nagasaki|atomic destruction of Hiroshima and Nagasaki]] to apocalyptic visions of global conflict; ''[[Grave of the Fireflies]]'' (1988) is elegiac on the effect of war on children.<ref>{{Cite web |last1=Singleton |first1=Jack |title=Japanese Animation, the Pacific War and the Atomic Bomb |url=http://www.impactnottingham.com/2011/08/japanese-animation-the-pacific-war-and-the-atomic-bomb/ |publisher=Impact, University of Nottingham |access-date=11 March 2015 |date=23 August 2011 |archive-date=7 September 2019 |archive-url=https://web.archive.org/web/20190907230514/http://impactnottingham.com/2011/08/japanese-animation-the-pacific-war-and-the-atomic-bomb/ |url-status=dead }}</ref>{{sfn|Napier|2005|pp=1–3}} ''[[Barefoot Gen (1983 film)|Barefoot Gen]]'' (1983) portrays the bombing of Hiroshima through the eyes of a child,<ref>{{Cite web |last=Masaki |first=Mori |title=Barefoot Gen |date=13 June 1992|url=https://www.imdb.com/title/tt0085218/|others=Issei Miyazaki, Catherine Battistone, Yoshie Shimamura |website=[[IMDb]] |access-date=1 November 2017}}</ref> but reviewers consider it a less well made film than ''Grave of the Fireflies'' with "stomach-churning detail" bizarrely paired with crude artwork, giving it the look of a "Saturday morning Warner Brothers cartoon".<ref>{{Cite web |last1=See |first1=Raphael |title=Barefoot Gen |url=http://www.themanime.org/viewreview.php?id=50 |publisher=T.H.E.M. Anime Reviews |access-date=12 March 2015}}</ref>

=== Anti-war ===
{{further|List of anti-war films}}
[[File:All Quiet on the Western Front (1930 film) poster.jpg|thumb|upright=0.65|Anti-war: [[Lewis Milestone]]'s ''[[All Quiet on the Western Front (1930 film)|All Quiet on the Western Front]]'', 1930]]

The anti-war genre began with films about the First World War. Films in the genre are typically revisionist, reflecting on past events and often generically blended. [[Lewis Milestone]]'s ''[[All Quiet on the Western Front (1930 film)|All Quiet on the Western Front]]'' (1930) was unquestionably powerful, and an early anti-war film, portraying a German point of view; it was the first film (in any genre) to win two Oscars, best picture and best director.<ref name=BFI-Thrift /> Andrew Kelly, analysing ''All Quiet on the Western Front'', defined the genre as showing: the brutality of war; the amount of human suffering; the betrayal of men's trust by incompetent officers. War and anti-war films often prove difficult to categorize as they contain many generic ambiguities.{{sfn|Neale|2000|p=117}} While many anti-war films criticize war directly through depictions of grisly combat in past wars, some films such as Penn's ''[[Alice's Restaurant (film)|Alice's Restaurant]]'' criticized war obliquely by poking fun at such things as the draft board.<ref>{{Cite journal |last=Paris |first=Michael |title=The American Film Industry & Vietnam |url=http://www.historytoday.com/michael-paris/american-film-industry-vietnam |journal=History Today |volume=37 |issue=4 |date=4 April 1987}}</ref> The number of anti-war films produced in America dipped sharply during the 1950s because of [[McCarthyism]] and the [[Hollywood blacklist]].<ref>{{Cite book |title=Film Criticism, the Cold War, and the Blacklist |jstor=10.1525/j.ctt6wqb6x |last=Smith |first=Jeff |publisher=University of California Press |year=2014 |isbn=978-0-520-95851-7 |chapter=Reading the Hollywood Reds }}</ref> The end of the blacklist and the introduction of the MPAA rating system marked a time of resurgence for films of all type including anti-war films in the States. Robert Eberwein names two films as anti-war classics.{{sfn|Eberwein|2005|p=4}} The first is [[Jean Renoir]]'s prisoner of war masterpiece<ref name=BFI-Thrift /> ''[[Grand Illusion (film)|La Grande Illusion]]'' (''The Grand Illusion'', 1937). Renoir's critique of contemporary politics and ideology celebrates the universal humanity that transcends national and racial boundaries and radical nationalism, suggesting that mankind's common experiences should prevail above political division, and its extension: war.<ref>Stephen Pendo, ''Aviation in the Cinema'' (1985) p. 107.</ref> The second is [[Stanley Kubrick]]'s ''[[Paths of Glory]]'' (1957). The critic [[David Ehrenstein]] writes that ''Paths of Glory'' established Kubrick as the "leading commercial filmmaker of his generation" and a world-class talent. Ehrenstein describes the film as an "outwardly cool/inwardly passionate protest drama about a disastrous French army maneuver and the court-martial held in its wake", contrasting it with the "classic" ''All Quiet on the Western Front'''s story of an innocent "unstrung by the horrors of war".<ref>{{Cite web |last=Ehrenstein |first=David |title=Paths of Glory |url=http://www.criterion.com/current/posts/812-paths-of-glory |publisher=The Criterion Collection |date=25 June 1989 |access-date=8 March 2015}}</ref>

=== Mixed genres ===

Comedy gave scope for [[satire]], and post-war film-makers merged comedy and anti-war sentiment in films as varied as ''[[Stalag 17]]'' (1953) and ''[[Dr. Strangelove]]'' (1964).{{sfn|Erickson|2012|pp=314–368}} [[Black comedy|Black comedies]] like [[Mike Nichols]]'s ''[[Catch-22 (film)|Catch-22]]'' (1970), based on [[Joseph Heller]]'s [[Catch-22|satirical novel]] about the Second World War, and [[Robert Altman]]'s ''[[M*A*S*H (film)|M*A*S*H]]'' (1970), set in Korea, reflected the attitudes of an increasingly sceptical public during the Vietnam War.<ref name=NYT-Catch-22>{{Cite news |last1=Bozzola |first1=Lucia |title=Movies: Catch-22 (1970) |url=https://www.nytimes.com/movies/movie/8628/Catch-22/overview |archive-url=https://web.archive.org/web/20131110143651/http://www.nytimes.com/movies/movie/8628/Catch-22/overview |url-status=dead |archive-date=10 November 2013 |department=Movies & TV Dept. |work=[[The New York Times]] |date=2013 |access-date=10 March 2015}}</ref>

Other genres were combined in [[Franklin J. Schaffner]]'s ''[[Patton (film)|Patton]]'' (1970), about real life General [[George S. Patton]], where combat scenes were interleaved with commentary about how he waged war, showing good and bad sides to a command. It and ''MASH'' became the two most profitable war/anti-war films made up to that time,{{sfn|Suid|2002|pp=260–277}} and ''Patton'' won seven [[Academy Awards]].<ref>{{Cite web |url=http://www.oscars.org/oscars/ceremonies/1971 |title=The 43rd Academy Awards (1971) Nominees and Winners |date=4 October 2014 |access-date=8 March 2015}}</ref>

== Notes ==
{{Notelist}}

== References ==
{{Reflist|28em}}

== Sources ==

* {{cite book |last=Basinger |first=Jeanine |title=World War II Combat Film: The Anatomy of a Genre |year=1986 |publisher=Columbia University Press |isbn=978-0-231-05952-7 |url=https://books.google.com/books?id=lQ3GZuKbidMC }}
* {{cite book |last=Belton |first=John |author-link=John Belton (academic) |title=American Cinema/American Culture |publisher=McGraw-Hill |year=1994 |isbn=978-0-07-004466-1 |url-access=registration |url=https://archive.org/details/americancinemaam00belt }}
* {{cite book |last=Bender |first=Stuart |title=Film Style and the World War II Combat Genre |publisher=Cambridge Scholars Publishing |year=2013 |isbn=978-1-4438-4336-2 }}
* {{cite book |last=Clarke |first=James |author-link=James Clarke (author) |year=2006 |title=War Films |publisher=Virgin Books |isbn=978-0-7535-1094-0 }}
* {{cite book |last=DiLeo |first=John |title=Tennessee Williams and Company: His Essential Screen Actors |url=https://books.google.com/books?id=fkux5gg5vSQC&pg=PT196 |date=October 2010 |publisher=Hansen Publishing Group |isbn=978-1-60182-425-7}}
* {{cite book |last=Dolan |first=Edward F. Jr. |title=Hollywood Goes to War |url=https://archive.org/details/hollywoodgoestow0000dola |url-access=registration |publisher=Bison Books |year=1985 |isbn=0-86124-229-7 }}
* {{cite book |last=Dower |first=John |author-link=John W. Dower |chapter=Japanese cinema goes to war |pages=[https://archive.org/details/japaninwarpeaces00dowe/page/33 33–54] |title=Japan in War and Peace: Selected Essays |editor-last=Dower, John |location=NY |publisher=New Press |year=1993 |isbn=1-56584-067-4 |chapter-url=https://archive.org/details/japaninwarpeaces00dowe/page/33 }}
* {{cite book |last=Eberwein |first=Robert T. |title=The War Film |date=2005 |publisher=Rutgers University Press |isbn=0-8135-3496-8 |url-access=registration |url=https://archive.org/details/warfilm0000unse }}
* {{cite book |last=Eberwein |first=Robert T. |title=The Hollywood War Film |date=2010 |publisher=Wiley-Blackwell |isbn=978-1-4051-7391-9}}
* {{cite book |last1=Erickson |first1=Hal |title=Military Comedy Films: A Critical Survey and Filmography of Hollywood Releases Since 1918 |date=2012 |publisher=McFarland |isbn=978-0-7864-6290-2 }}
* {{cite book |last=Heider |first=Karl G. |title=Indonesian Cinema: National Culture on Screen |url=https://archive.org/details/indonesiancinema0000heid |url-access=registration |year=1991 |publisher=University of Hawaii Press |isbn=978-0-8248-1367-3 }}
* {{cite book |last=Mayer |first=Geoff |title=Guide to British Cinema |url=https://books.google.com/books?id=7FOX_OWDyHEC&pg=PA83 |year=2003 |publisher=Greenwood Publishing Group |isbn=978-0-313-30307-4 }}
* {{cite book |last=Monaco |first=James |title=The Movie Guide |url=https://books.google.com/books?id=s7MUAQAAIAAJ&pg=PA96 |year=1992 |publisher=Perigee Books |isbn=978-0-399-51780-8}}
* {{cite book |last=Murphy |first=Robert |title=British Cinema and the Second World War |url=https://books.google.com/books?id=q9jQdmfyGDoC |year=2005 |publisher=A&C Black |isbn=978-0-8264-7897-9 }}
* {{cite journal |last=Napier |first=Susan |title=World War II as Trauma, Memory and Fantasy in Japanese Animation |journal=The Asia-Pacific Journal: Japan Focus |issue=1972 |date=2005 |url=http://www.japanfocus.org/-Susan_J_-Napier/1972 }}
* {{cite book |last=Neale |first=Stephen |chapter=War Films |title=Genre and Hollywood |url=https://books.google.com/books?id=vFPadW736NUC |year=2000 |publisher=Psychology Press |isbn=978-0-415-02606-2 |pages=117–124 }}
* {{cite book |last=Orriss |first=Bruce |title=When Hollywood Ruled the Skies: The Aviation Film Classics of World War II |year=1984 |publisher=Aero Associates |isbn=978-0-9613088-0-3}}
* {{cite book |last=Parish |first=James Robert |title=The Great Combat Pictures: Twentieth-Century Warfare on the Screen |publisher=Scarecrow Press |year=1990 |isbn=978-0-8108-2315-0 }}
* {{cite book |last=Rayner |first=Jonathan |title=The Naval War Film: Genre, History and National Cinema |url=https://books.google.com/books?id=i7OQLDjv6e4C |year=2007 |publisher=Manchester University Press |isbn=978-0-7190-7098-3 }}
* {{cite book |last=Schultz |first=Deanne |title=Filmography of World History |year=2007 |publisher=Greenwood Press |url=https://books.google.com/books?id=Zd2CVhbGWNAC |isbn=978-0-313-32681-3 }}
* {{cite book |last=Stites |first=Richard |year=1992 |title=Russian Popular Culture: Entertainment and Society Since 1900 |publisher=Cambridge University Press |isbn=978-0-521-36986-2 |url=https://archive.org/details/russianpopularcu00stit }}
* {{cite book |last=Suid |first=Lawrence H. |title=Guts & Glory: The Making of the American Military Image in Film |url=https://books.google.com/books?id=zB8J2ho-0k8C |year=2002 |edition=2nd |publisher=University Press of Kentucky |isbn=978-0-8131-9018-1 }} (revised ed. 2015, {{ISBN|978-0-813-15808-2}})
* {{cite book |last1=Tam |first1=King-fai |last2=Tsu |first2=Timothy Y. |last3=Wilson |first3=Sandra |title=Chinese and Japanese Films on the Second World War |url=https://books.google.com/books?id=uxscBQAAQBAJ |date=2014 |publisher=Routledge |isbn=978-1-317-65046-1 }}
* {{cite book |last=Westwell |first=Guy |year=2006 |title=War Cinema: Hollywood on the Front Line |publisher=Wallflower |url=https://books.google.com/books?id=96Myji48hMQC |isbn=978-1-904764-54-0 }}
* {{cite book |last=Williams |first=Eric |title=The Screenwriters Taxonomy: a Roadmap to Collaborative Storytelling |publisher=Routledge |year=2018 |isbn=978-1-315-10864-3 |oclc=993983488}}
* {{cite book |last=Wojik-Andrews |first=Ian |title=Children's Films: History, Ideology, Pedagogy, Theory |url=https://books.google.com/books?id=d4uOAgAAQBAJ&pg=PA76 |date=2002 |publisher=Routledge |isbn=978-1-135-57661-5}}
* {{cite book |last=Youngblood |first=Denise J. |title=Russian War Films: On the Cinema Front, 1914–2005 |year=2010 |orig-date=2006 |publisher=University Press of Kansas |isbn=978-0-7006-1761-6 }}

== Further reading ==

* {{Cite book |last1=Castellan |first1=James W. |last2=van Dopperen |first2=Ron |last3=Graham |first3=Cooper C. |title=American Cinematographers in the Great War, 1914–1918 |publisher=New Barnet |year=2014 |isbn=978-0-86196-717-9 |ref=none}}
* {{Cite book |last=DeBauche |first=Leslie Midkiff |title=Reel Patriotism: the Movies and World War I |url=https://archive.org/details/reelpatriotismmo00deba |url-access=registration |publisher=University of Wisconsin Press |year=1997 |isbn=0-299-15400-9 |ref=none}}
* {{Cite book |last1=Kane |first1=Kathryn R. |title=Visions of War: Hollywood Combat Films of World War II |year=1982 |publisher=UMI Research |isbn=0-8357-1286-9 |ref=none}}
* {{Cite book |last1=Lim | first1=Song Hwee | last2=Ward |first2=Julian |title=The Chinese Cinema Book |url=https://books.google.com/books?id=FG4dBQAAQBAJ |year=2011 |publisher=Palgrave Macmillan |isbn=978-1-84457-580-0 |ref=none}}
* {{Cite book | last=Slater | first=Jay |year=2009 | title=Under Fire: a century of war movies | publisher=Ian Allan Publishing |isbn=978-0-7110-3385-6 |ref=none}}
* {{Cite book | last=Stites |first=Richard |title=Culture and Entertainment in Wartime Russia |publisher=Indiana University Press|year=1995 |isbn=0-253-35403-X |ref=none}}
* {{Cite book | last=Taylor |first=Mark |title=The Vietnam War in History, Literature, and Film |publisher=University of Alabama Press |year=2003 |isbn=0-8173-1401-6 |ref=none}}

== External links ==

* [http://www.iwm.org.uk/collections-research/research-programmes/first-world-war-film-collection Imperial War Museum: First World War Film Collection] {{Webarchive|url=https://web.archive.org/web/20150627103202/http://www.iwm.org.uk/collections-research/research-programmes/first-world-war-film-collection |date=2015-06-27 }}
* [https://commons.wikimedia.org/wiki/File:Mobilizing_Movies_-_The_U.S._Signal_Corps_Goes_To_War,_1917-1919.ogg ''Mobilizing Movies! The U.S. Signal Corps Goes to War, 1917-1919''], Documentary on the U.S. film effort during the First World War (2017)
* {{Webarchive|url=https://web.archive.org/web/20150627103202/http://www.iwm.org.uk/collections-research/research-programmes/first-world-war-film-collection |date=2015-06-27 }}
* [http://www.pritzkermilitary.org/whats_on/pritzker-military-presents/michael-wilmington-dann-gire-world-on-war-film-discussion/ Michael Wilmington & Dann Gire: World on War: A Film Discussion]
* [https://www.bfi.org.uk/lists/10-great-battle-sea-films British Film Institute: 10 great battleship and war-at-sea films]

{{Film genres}}

{{Authority control}}

{{DEFAULTSORT:War Film}}
[[Category:Film genres]]
[[Category:War films| ]]
[[Category:Military fiction]]
[[Category:Works about war|Film]]
[[Category:Documentary films about war]]

List of Sahitya Akademi Award winners for Marathi

2026-03-20T08:02:40Z

FWQGina861152045: added info

{{Short description|List of winners of a literary honor in India}}

{{Use dmy dates|date=February 2019}}
{{Use Indian English|date=February 2019}}
{{Infobox award
| name = Sahitya Akademi Award for Marathi
| awardname = Sahitya Akademi Award for Marathi literature
| image = Sahitya Akademi Award - Surjit Patar.JPG
| image_size =
| alt =
| caption =
| subheader = Award for contributions to Marathi literature
| awarded_for = Literary award in India
| sponsor = [[Sahitya Akademi]], [[Government of India]]
| reward = {{INRConvert|1|l}}
| firstawarded = 1955
| lastawarded = 2024
| former name =
| award1_type = Total awarded
| award1_winner = 70
| award2_type = First winner
| award2_winner = [[Lakshman Shastri Joshi]]
| award3_type = Most Recent winner
| award3_winner = Sudhir Rasal
| website = {{URL|http://sahitya-akademi.gov.in/awards/akademi%20samman_suchi.jsp|Official website}}
| previous =
| next =
}}
{{Sahitya Akademi Awards}}
[[Sahitya Akademi Award]] to [[Marathi language|Marathi]] writers by [[Sahitya Akademi]]. No Award was conferred in 1957.<ref>{{cite web|url=http://sahitya-akademi.gov.in/awards/akademi%20samman_suchi.jsp|title=AKADEMI AWARDS (1955-2020)|date= 27 December 2021|publisher=sahitya-akademi.gov.in}}</ref>

==Recipients==
Following is the list of recipients of Sahitya Akademi Awards for their works written in [[Marathi language|Marathi]]. {{As of|2022}}, the award consists of an engraved copper plaque, a shawl and prize money of {{INRConvert|1|l}}.<ref name="SAAM2022">{{Cite web |date=22 December 2022 |title=Sahitya Akademi Award 2022 |url=https://sahitya-akademi.gov.in/pdf/sahityaakademiawards-2022.pdf |access-date=23 December 2022 |website=Sahitya Akademi}}</ref>

[[File:Irawati Karve.jpg|upright|thumbnail|[[Irawati Karve]] was the first woman winner of this award.]]

{| class="wikitable sortable"
! Year
!Author
!Work title
!Genre
!class=unsortable|References
|-
| 1955 || [[Laxmanshastri Joshi]] ||''Vaidik Sanskruticha Vikas'' || Cultural history ||
|-
| 1956 || [[B. S. Mardhekar|Bal Sitaram Mardhekar]] || ''Saundarya Ani Sahitya'' || A study of Aesthetics ||
|-
| 1957 || style="background:#f5a9a9; text-align:center;" colspan=4| '''''No Award'''''
|-
| 1958 || [[Chintaman Ganesh Kolhatkar]] || ''Bahurupee'' || Autobiography ||
|-
| 1959 || [[G. T. Deshpande|Gajanan Tryambak Deshpande]] || ''Bharatiya Sahityashastra'' || A treatise on poetics ||
|-
| 1960 || [[Vishnu Sakharam Khandekar]] || ''[[Yayati (novel)|Yayati]]'' || Novel ||
|-
| 1961 || D. N. Gokhale || ''Dr. Ketkar'' || Biography ||
|-
| 1962 || [[Purushottam Yashwant Deshpande]] || ''Anamikachi Chintanika'' || Philosophical reflections ||
|-
| 1963 || [[Shripad Narayan Pendse]] || ''Rathachakra'' || Novel ||
|-
| 1964 || [[Ranjit Desai]] || ''Swami'' || Novel ||
|-
| 1965 || [[Pu La Deshpande]] || ''Vyakti Ani Valli'' || Sketches ||
|-
| 1966 || [[Tryambak Shankar Shejwalkar]] || ''Shri Shiv Chhatrapati'' || Historical research ||
|-
| 1967 || [[Narayan Govind Kalelkar]] || ''Bhasha : Itihas Ani Bhoogol'' || Linguistic study ||
|-
| 1968 || [[Irawati Karve]] || ''Yugant'' || Interpretation of the Mahabharata ||
|-
| 1969 || Shrinivas Narayan Banhatti || ''Natyacharya Deval'' || Biography ||
|-
| 1970 || [[Narahar Raghunath Phatak]] || ''Adarsh Bharat Sevak'' || Biography ||
|-
| 1971 || [[Durga Bhagwat]] || ''Pais'' || Essays ||
|-
| 1972 || [[Godavari Parulekar]] || ''Jevha Manus Jaga Hoto'' || Autobiography ||
|-
| 1973 || [[G. A. Kulkarni|Gurunath Abaji Kulkarni]] || ''Kajalmaya'' || Short Stories ||
|-
| 1974 || [[Vishnu Vaman Shirwadkar]] || ''Natasamrat'' || Play ||
|-
| 1975 || [[R. B. Patankar]] || ''Soundarya Mimansa'' || Aesthetics ||
|-
| 1976 || [[G. N. Dandekar|Gopal Nilakanth Dandekar]] || ''Smarangatha'' || Autobiographical Novel ||
|-
| 1977 || [[Atmaram Ravaji Deshpande]] || ''Dashapadi'' || Poetry ||
|-
| 1978 || [[Chintamani Tryambak Khanolkar]] || ''Nakshatranche Dene'' || Poetry ||
|-
| 1979 || [[Sharchchandra Muktibodh]] || ''Srushti, Saundarya Ani Sahityamulya'' || Literary criticism ||
|-
| 1980 || [[Mangesh Padgaonkar]] || ''Salaam'' || Poetry ||
|-
| 1981 || [[Laxman Mane]] || ''[[Upara]]'' || Autobiography ||
|-
| 1982 || Prabhakar Padhye || ''Saundaryanubhav'' || Literary criticism ||
|-
| 1983 || [[Vyankatesh Madgulkar]] || ''Sattantar'' || Novel ||
|-
| 1984 || [[Indira Sant]] || ''GarbhaReshami'' || Poetry ||
|-
| 1985 || [[Vishram Bedekar]] || ''Ek Zad Ani Don Pakshi'' || Autobiography ||
|-
| 1986 || [[N. G. Deshpande]] || ''Khoon-Gathi'' ||Poetry ||
|-
| 1987 || [[Ramchandra Chintamani Dhere]] || ''Shri Vitthal : Ek Mahasamanvay'' || Literary criticism ||
|-
| 1988 || [[Laxman Gaikwad]] ||''Uchalya'' || Autobiography ||
|-
| 1989 || Prabhakar Urdhwareshe ||''Haravlele Diwas'' || Autobiography ||
|-
| 1990 || [[Anand Yadav]] ||''Zombi'' || Autobiographical Novel ||
|-
| 1991 || [[Bhalchandra Nemade]] ||''Teeka Svayanwar'' || Criticism ||
|-
| 1992 || [[Vishwas Patil]]|| ''Zada-Zadati'' || Novel ||
|-
| 1993 || [[Vijaya Rajadhyaksha]] ||''Mardhekaranchi Kavita'' || Literary criticism ||
|-
| 1994 || [[Dilip Chitre]] ||''Ekun Kavita - 1'' || Poetry ||
|-
| 1995 || Namdeo Kamble || ''Raghawa-Wel'' || Novel ||
|-
| 1996 || [[Gangadhar Gadgil]] || ''Eka Mungiche Mahabharat'' || Autobiography ||
|-
| 1997 || [[M. V. Dhond|Madhukar Vasudev Dhond]] || ''Dnyaneshwaritil Laukik Srushti'' || Criticism ||
|-
| 1998 || [[Sadanand More]] || ''Tukaram Darshan'' || Criticism ||
|-
| 1999 || Ranganath Pathare || ''Tamrapat'' || Novel ||
|-
| 2000 || [[Namdeo Dhondo Mahanor]] || ''Panzad'' || Poetry ||
|-
| 2001 || Rajan Gavas ||''Tanakat'' || Novel ||
|-
| 2002 || [[Mahesh Elkunchwar]] || ''Yugant'' || Play ||<ref>{{cite web|url=https://m.rediff.com/news/2003/feb/17award.htm|title=Sahitya Akademi awards presented|date= 18 February 2003|work=rediff.com}}</ref>
|-
| 2003 || T. V. Sardeshmukh || ''Dangora Eka Nagaricha'' || Novel ||
|-
| 2004 || [[Sadanand Deshmukh]] || ''Baromas'' || Novel ||<ref>{{cite web|url=https://www.outlookindia.com/newswire/story/sahitya-akademi-awards-declared/268873|title=Sahitya Akademi awards declared|date= 22 December 2004|publisher=outlookindia.com}}</ref>
|-
| 2005 || [[Arun Kolatkar]] ||''Bhijaki Vahi'' || Poetry ||<ref>{{cite web|url=https://www.dnaindia.com/india/report-kolatkar-dalal-among-sahitya-akademi-winners-1003524|title=Kolatkar, Dalal among Sahitya Akademi winners|date= 22 December 2005|publisher=dnaindia.com}}</ref>
|-
| 2006 || [[Asha Bage]] ||''Bhoomi'' || Novel ||<ref>{{cite web|url=https://www.dnaindia.com/india/report-tsunami-tale-gets-asha-this-year-s-sahitya-akademi-award-1071093|title=Tsunami tale gets Asha this year's Sahitya Akademi award|date= 24 December 2006|publisher=dnaindia.com}}</ref>
|-
| 2007 || G. M. Pawar || ''Charitra: Viththal Ramji Shinde'' || Biography ||
|-
| 2008 || Shyam Manohar || ''Utsukatene Mee Zopalo'' || Novel ||<ref>{{cite web|url=https://www.dnaindia.com/india/report-23-win-sahitya-akademi-awards-1231846|title=23 win Sahitya Akademi awards|date= 18 February 2009|publisher=dnaindia.com}}</ref>
|-
| 2009 || [[Vasant Abaji Dahake]] || Chitralipi ||Poetry||<ref>{{cite web|url=https://www.thehindu.com/news/national/Poets-dominate-this-yearrsquos-Sahitya-Akademi-Awards/article16854946.ece|title=Poets dominate this year's Sahitya Akademi Awards|date= 23 December 2009|publisher=thehindu.com}}</ref>
|-
| 2010 || [[Ashok Kelkar]] || ''Rujuvaat'' (''रूजुवात'') || Criticism ||<ref>{{cite web|url=https://www.thehindu.com/arts/Sahitya-Akademi-awards-announced/article15600809.ece|title=Sahitya Akademi awards announced|date= 21 December 2010|publisher=thehindu.com}}</ref>
|-
| 2011 || [[Manik Godghate|Manik Godghate "Grace"]] || ''Varyane Halate Raan'' || Collection of essays ||<ref>{{cite web|url=https://timesofindia.indiatimes.com/city/pune/kavi-grace-to-get-sahitya-akademi-award/articleshow/11201220.cms?from=mdr|title=Kavi Grace to get Sahitya Akademi Award|date= 22 December 2011|publisher=timesofindia.indiatimes.com}}</ref>
|-
| 2012 || Jayant Pawar ||''Phoenixchya Rakhetun Uthla Mor'' || Story stories collection ||<ref>{{cite news|url=http://www.thehindu.com/todays-paper/tp-national/sahitya-akademi-awards-for-24/article4224362.ece |title=Sahitya Akademi Awards for 24 |newspaper=[[The Hindu]] |date=21 December 2012 |accessdate=17 June 2015}}</ref>
|-
| 2013 || [[Satish Kalsekar]] || ''Vachanaryachi Rojanishee'' (वाचणाऱ्याची रोजनिशी)|| Collection of essays ||<ref>{{cite web|url=https://www.business-standard.com/article/news-ians/javed-akhtar-among-sahitya-akademi-award-winners-for-2013-113121900760_1.html|title=Javed Akhtar among Sahitya Akademi Award winners for 2013|date= 19 December 2013|publisher=business-standard.com}}</ref>
|-
| 2014 || [[Jayant Vishnu Narlikar]] ||''Chaar Nagranatale Maaze Viswa'' || Autobiography ||<ref name=Narlikar>{{cite news|url=http://timesofindia.indiatimes.com/city/pune/Sahitya-Akademi-award-for-Narlikar/articleshow/45581467.cms |title=Sahitya Akademi award for Narlikar |newspaper=[[Times of India]] |date=20 December 2014 |accessdate=17 June 2015}}</ref>
|-
| 2015 || Arun Khopkar || ''Chalat-Chitravyooh'' (चलत्-चित्रव्यूह)||Memoirs ||<ref>{{cite web|url=https://maharashtratimes.com/maharashtra/mumbai-news/literature-award/articleshow/50224857.cms|title=खोपकर, बहुलकर यांना साहित्य अकादमी पुरस्कार|date= 18 December 2015|publisher=maharashtratimes.com}}</ref>
|-
|2016 || [[Asaram Lomate]] || ''Aalok'' || Short Stories ||<ref>{{cite web|url=https://economictimes.indiatimes.com/magazines/panache/sahitya-academy-award-for-lomtes-story-collection-alok/articleshow/56105389.cms?from=mdr|title=Sahitya Academy Award for Lomte's story collection 'Alok'|date= 21 December 2017|publisher=economictimes.indiatimes.com}}</ref>
|-
|2017 || Shrikant Deshmukh|| ''Bolave Te Amhi'' || Poetry ||<ref>{{cite web|url=https://maharashtratimes.com/maharashtra/aurangabad/shrikant-deshmukh-received-sahitya-akademi-award/articleshow/62199934.cms|title=वर्तमानाचं बोट धरून पडझड लिहित राहिलो!|date= 22 December 2017|publisher=maharashtratimes.com}}</ref>
|-
|2018 || Ma. Su. Patil || ''Sarjanprerana ani Kavitwashodh'' || Literary Criticism ||<ref>{{cite web|url=https://maharashtratimes.com/india-news/sahitya-akademi-announces-annual-sahitya-akademi-awards-in-marathi-sarjanprerana-ani-kavitwashodh-of-ma-su-patil-is-winner/articleshow/66956046.cms|title=म.सु.पाटील यांच्या समीक्षा ग्रंथाला अकादमी पुरस्कार|date= 5 December 2018|publisher=maharashtratimes.com}}</ref>
|-
|2019 || [[Anuradha Patil]]|| "Kadachit Ajoonahi" ||Poetry ||<ref>{{cite web|url=https://maharashtratimes.com/india-news/anuradha-patil-wins-sahitya-akademi-award-2019/articleshow/72869098.cms|title=ज्येष्ठ कवयित्री अनुराधा पाटील यांना साहित्य अकादमी पुरस्कार|date= 18 December 2019|publisher=maharashtratimes.com}}</ref>
|-
|2020 || [[Nanda Khare]] || ''Udya'' || Novel || <ref>{{cite web|url=https://indianexpress.com/article/india/marathi-writer-nanda-khare-refuses-sahitya-akademi-award-7225907/|title=Marathi writer Nanda Khare refuses Sahitya Akademi award|date= 12 March 2021|publisher=Indianexpress.com}}</ref>
|-
|2021 || Kiran Gurav || ''Baluchya Avasthantarachi Diary''|| Short stories || <ref>{{cite web|url=https://www.loksatta.com/maharashtra/sahitya-akademi-award-to-kiran-gurav-msr-87-2741041/|title=किरण गुरव यांना "बाळूच्या अवस्थांतराची डायरी" पुस्तकासाठी साहित्य अकादमी पुरस्कार|date= 30 December 2021|publisher=loksatta.com}}</ref>
|-
|2022 || Praveen Dashrath Bandekar || ''Ujavya Sondechya Bahulya''|| Novel || <ref name="SAAM2022" />
|-
|2023
|Krishnat Khot
|''Ringan''
|Novel
|<ref>{{Cite web |date=20 December 2023 |title=Sahitya Akademi Award 2023 |url=https://sahitya-akademi.gov.in/pdf/sahityaakademiawards-2023.pdf|access-date=9 February 2025 |website=Sahitya Akademi}}</ref>
|-
|2024
|Sudhir Rasal
|''Vindanche Gadyaroop''
|Criticism
|<ref>{{Cite web |date=18 December 2024 |title=Sahitya Akademi Award 2024 |url=https://sahitya-akademi.gov.in/pdf/sahityaakademiawards-2024.pdf|access-date=9 February 2025 |website=Sahitya Akademi}}</ref>
|-
|2025
|Raju Baviskar
|Kalyanilya Resha
|Autobiography
|
|}

==References==
{{Reflist}}

==External links==
*[http://sahitya-akademi.gov.in/ Sahitya Akademi India - Official Website]

{{Marathi language topics}}
{{Sahitya}}

[[Category:Marathi-language literature|Sahitya Akademi Award]]
[[Category:Marathi-language poets|Sahitya Akademi Award]]
[[Category:Recipients of the Sahitya Akademi Award in Marathi| ]]
[[Category:Lists of Sahitya Akademi Award winners|Marathi]]

Tata Steel Europe

2026-03-17T07:17:02Z

FWQGina861152045:

{{Short description|Multinational steelmaking company}}
{{Use dmy dates|date=June 2022}}
{{Use British English|date=July 2018}}
{{Infobox company
| name = Tata Steel Europe Ltd.
| logo = Tata Steel Logo.svg
| type = [[Subsidiary]]
| former_name = Corus Group plc (1999–2010)
| predecessor = {{ubli|[[British Steel plc]] (1967–1999)
|[[Koninklijke Hoogovens]] (1918–1999)}}
| defunct = {{End date|df=yes|2021|10|01}}
| fate = Separation
| successor = {{ubli|[[British Steel Limited]] (2016) | Tata Steel UK | [[Tata Steel Netherlands]]}}
| location = [[London]], England, UK
| area_served = Europe
| key_people = Dr. Henrik Adam, Chairman TSE
| products =
| industry = [[Steel industry]]
| revenue = {{Decrease}} US$2.167 billion (2017)
| operating_income = {{Decrease}} −US$127 million (2016)
| net_income =
| net_income_year =
| assets = {{Increase}} US$6.22 billion
| equity = {{Decrease}} US$2.79 billion
| num_employees = {{Decrease}} 21,000 (2017)
| parent = [[Tata Steel]]
| homepage = {{url|https://tatasteeleurope.com}}
}}
[[File:Port talbot large.jpg|thumb|right|Blast Furnace 5 at the [[Port Talbot Steelworks]]]]

'''Tata Steel Europe Ltd.''' (formerly '''Corus Group plc''') was a [[steelmaking]] company headquartered in [[London]], England, with its main operations in the United Kingdom and the Netherlands. The company was created in 2007, when [[Tata Group]] took over the British-Dutch Corus Group.

In 2021, the company was split into a British and a Dutch branch: [[Tata Steel Netherlands]] (TSN) and Tata Steel UK, both of which fell directly under the Indian parent company [[Tata Steel]].<ref name=":0">{{cite web |last=Barry |first=Sion |date=28 June 2021 |title=Tata says break up of European business will only see small number of job losses |url=https://www.business-live.co.uk/business/manufacturing/tata-says-break-up-european-20916408 |access-date=31 May 2022 |website=Business Live }}</ref>

Corus Group was formed through the merger of the [[Koninklijke Hoogovens]] and [[British Steel plc]] in 1999 and was a constituent of the [[FTSE 100 Index]]. It was acquired by [[Tata Group|Tata]] of India in 2007, and renamed Tata Steel Europe in September 2010.

At formation Corus operated steelmaking plants ([[blast furnace]]s) in [[Port Talbot]] and Llanwern, Wales; [[Scunthorpe]] and Hartlepool, England; and [[IJmuiden]], Netherlands, with additional steelmaking facilities in [[Rotherham]], England ([[electric arc furnace]]), as well as downstream steel production of both long and flat steel.

Profitability at the business was affected by the [[Great Recession]]: the Hartlepool plant was mothballed and sold in 2009/2010; the [[long products]] division including the steelworks at Scunthorpe was sold for a nominal sum to [[Greybull Capital]] in April 2016.

==History==
===Background – Corus ===
{{see also|British Steel plc|Koninklijke Hoogovens}}

British Steel plc was a large British steel producer, consisting of the assets of former private companies which had been [[nationalization|nationalised]] on 28 July 1967 by the [[Labour Party (UK)|Labour Party]] government of [[Harold Wilson]]. On 5 December 1988 the company was privatised as a result of the [[British Steel Act 1988]]. The Koninklijke Hoogovens (lit. Royal Blast furnaces) was a Royal Dutch steel and aluminium producer founded in 1918, located in [[IJmuiden]], Netherlands. The plant is now called Tata Steel IJmuiden.

In October 1999, British Steel merged with Koninklijke Hoogovens to form '''Corus Group plc'''. At formation the steel company was the largest in Europe and the third largest worldwide.<ref>{{citation| url = https://www.theguardian.com/business/2001/feb/01/6| title = History of Britain's steel industry| newspaper = The Guardian| date = 1 February 2001| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160401003347/http://www.theguardian.com/business/2001/feb/01/6| archive-date = 1 April 2016| url-status = live}}</ref> The French steel company [[Sogerail]], specialising in rail manufacture, was acquired in 1999 shortly before the merger of BSC for £83 million.<ref>{{citation | title = APPENDIX 3 : Memorandum submitted by Corus Rail | url = https://publications.parliament.uk/pa/cm200001/cmselect/cmtrdind/270/270ap04.htm | publisher = Select Committee on Trade and Industry | date = 24 November 2000 | work = www.publications.parliament.uk | access-date = 21 April 2016 | archive-url = https://web.archive.org/web/20160506054839/http://www.publications.parliament.uk/pa/cm200001/cmselect/cmtrdind/270/270ap04.htm | archive-date = 6 May 2016 | url-status = live }}</ref>

In 2001 Corus announced it was to cut 6,050 jobs between 2001 and 2003.<ref>{{citation| url =https://www.theguardian.com/business/2001/feb/01/9| title =Anger after 6,000 steel jobs axed| date =1 February 2001| newspaper =The Guardian| access-date =20 March 2016| archive-url =https://web.archive.org/web/20160331232902/http://www.theguardian.com/business/2001/feb/01/9| archive-date =31 March 2016| url-status =live}}</ref>

In 2003 Corus became the sole owner of SEGAL, a galvanizing company established 1983 as a joint venture.<ref name="segal2">{{citation| url = http://www.segal.be/fr/segal.html| title = Segal| work = www.segal.be| language = fr| access-date = 21 April 2016| archive-url = https://web.archive.org/web/20160504154415/http://www.segal.be/fr/segal.html| archive-date = 4 May 2016| url-status = live}}</ref>

In March 2006, Corus announced that it had agreed to sell its aluminium rolled products and extrusions businesses to [[Aleris International, Inc.]] for €728million (£572 million). Corus was to retain its smelting operations and supply Aleris under a long-term agreement. On 1 August, the sale to Aleris Europe was completed.<ref>{{citation | url = http://business.scotsman.com/corus/Corus-of-approval-for-aluminium.2759544.jp | title = Corus of approval for Aluminium sale | date = 17 March 2006 | work = The Scotsman | access-date = 20 March 2016 | archive-url = https://archive.today/20120707061644/http://business.scotsman.com/corus/Corus-of-approval-for-aluminium.2759544.jp | archive-date = 7 July 2012 | url-status = live }}</ref><ref>{{citation| url = http://www.standaard.be/cnt/be398d1471c16e| language = nl| work = www.standaard.be| title = Corus verkoopt aluminiumtak aan Aleris voor EUR 728 mln| date = 16 March 2006| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160330154039/http://www.standaard.be/cnt/be398d1471c16e| archive-date = 30 March 2016| url-status = live}}</ref> The sale took place in May 2006.<ref>{{citation| url = http://www.trouw.nl/tr/nl/4504/Economie/article/detail/1448006/2006/05/23/Corus-verkoopt-aluminium-onderdeel-aan-Aleris.dhtml| language = nl| date = 23 May 2006| title = Corus verkoopt aluminium-onderdeel aan Aleris| work = www.trouw.nl| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160329133120/http://www.trouw.nl/tr/nl/4504/Economie/article/detail/1448006/2006/05/23/Corus-verkoopt-aluminium-onderdeel-aan-Aleris.dhtml| archive-date = 29 March 2016| url-status = live}}</ref>

In 2006 the Mannstaedt works ([[Troisdorf]], Germany, special profiles, acquired by BSC in 1990) was sold to Georgsmarienhütte (GMH Holding).<ref>{{citation| url=http://www.mannstaedt.de/uk/company/philosophy.html| title=Mannstaedt GmbH. – Company| access-date=19 April 2016| work=www.mannstaedt.de| archive-url=https://web.archive.org/web/20160426195042/http://www.mannstaedt.de/uk/company/philosophy.html| archive-date=26 April 2016| url-status=live}}</ref><ref>{{citation | url = https://www.steelbb.com/?PageID=157&article_id=21204 | title = Sections maker Mannstaedt adds processing lines | date = 9 October 2006 | work = www.steelbb.com | access-date = 19 April 2016 | archive-url = https://web.archive.org/web/20160630012804/https://www.steelbb.com/?PageID=157&article_id=21204 | archive-date = 30 June 2016 | url-status = live }}</ref>

===Takeover by Tata Steel===

On 20 October 2006, Corus announced that it had accepted at £4.3 billion ($8.1 billion) offer from [[Tata Steel]]; a valuation of £4.55 per share. The combination of Corus (18.18MT pa) and Tata (4.4MT pa) would create the fifth largest steelmaking company worldwide.<ref>{{citation| url = http://news.bbc.co.uk/1/hi/business/6068244.stm| title = Corus accepts £4.3bn Tata offer| date = 20 October 2006| work = BBC News| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20080420055052/http://news.bbc.co.uk/1/hi/business/6068244.stm| archive-date = 20 April 2008| url-status = live}}</ref> Tata surprised the [[credit default swap]] segment of the [[derivative market]]s by deciding to raise $6.17 billion of debt for the deal through a new subsidiary of Corus called 'Tata Steel UK', rather than by raising the debt itself. Tata's [[security (finance)|security]] [[credit rating]] was [[investment grade]], whereas the new subsidiary may not be. The higher risk associated with raising debt through a subsidiary with a lower credit rating prompted [[Fitch Ratings]] to downgrade its rating of the credit swap risks in the takeover to 'negative'. Fitch also stated that Corus' responsibility for the debt may lead to Corus' own unsecured debt rating being downgraded. This does not affect the rating of bonds issued by Corus which are secured debt.<ref>{{cite news|first=Jennifer |last=Ryan |title=Tata Debt for Corus Leaves Derivative Trades in Lurch |url=https://www.bloomberg.com/apps/news?pid=20601109&sid=anH6oe4Dyf.I&refer=home |publisher=Bloomberg |date=25 October 2006 | access-date=25 October 2006|url-status=dead |archive-url=https://web.archive.org/web/20100525071928/http://www.bloomberg.com/apps/news?pid=20601109 |archive-date=25 May 2010 }}</ref>{{failed verification|date=April 2016}}

On 19 November 2006, the Brazilian steel company [[Companhia Siderúrgica Nacional]] (CSN) launched a counter offer for Corus at a higher valuation of £4.75 per share.<ref name="csn1"/> CSN and Corus had previously discussed a merger in 2002,<ref>{{citation| url = https://www.wsj.com/articles/SB10268961922144360| title = Corus to Acquire CSN of Brazil In Deal Valued at $2.07 Billion| first1 = Silvia| last1 = Ascarelli| first2 = Jonathan| last2 = Karp| date = 18 July 2002| work = www.wsj.com| access-date = 30 March 2016| archive-url = https://web.archive.org/web/20160401212224/http://www.wsj.com/articles/SB10268961922144360| archive-date = 1 April 2016| url-status = live}}</ref> cancelled late 2002;<ref>{{citation| url = http://www.gtreview.com/news/no-category/corus-and-csn-break-off-merger-talks/| title = Corus and CSN break off merger talks| date = 26 November 2002| work = www.gtreview.com| access-date = 30 March 2016| archive-url = https://web.archive.org/web/20160512214151/http://www.gtreview.com/news/no-category/corus-and-csn-break-off-merger-talks/| archive-date = 12 May 2016| url-status = live}}</ref><ref>{{citation| url = https://www.independent.co.uk/news/business/news/corus-shares-dive-as-27bn-offer-for-csn-is-abandoned-127638.html| title = Corus shares dive as £2.7bn offer for CSN is abandoned| first = Michael| last = Harrison| date = 14 November 2002| work = The Independent| access-date = 30 March 2016| archive-url = https://web.archive.org/web/20160331165529/http://www.independent.co.uk/news/business/news/corus-shares-dive-as-27bn-offer-for-csn-is-abandoned-127638.html| archive-date = 31 March 2016| url-status = live}}</ref> CSN's iron ore assets would provide synergy with Corus's need to import ore.<ref name="csn1">{{citation| url = https://www.theguardian.com/business/2006/nov/19/theobserver.observerbusiness| title = CSN tries to outbid Tata for Corus| first = Oliver| last = Morgan| date = 19 November 2006| newspaper = The Guardian| access-date = 30 March 2016| archive-url = https://web.archive.org/web/20160401012906/http://www.theguardian.com/business/2006/nov/19/theobserver.observerbusiness| archive-date = 1 April 2016| url-status = live}}</ref>

Subsequently, Tata submitted an improved bid at £5.00 per share, followed by an improved bid from CSN at £5.15 per share which was accepted by the board of Corus on 11 December 2006. On 19 December 2006 the UK body, the [[Panel on Takeovers and Mergers]] announced a close date for bidding of 30 January 2007.<ref>{{citation | url=http://news.bbc.co.uk/2/hi/business/6193913.stm | work=BBC News | title=Watchdog sets Corus bid deadline | date=19 December 2006 | access-date=30 April 2010 | archive-url=https://web.archive.org/web/20081214064358/http://news.bbc.co.uk/2/hi/business/6193913.stm | archive-date=14 December 2008 | url-status=live }}</ref>

On 30/31 January an auction was held by the Panel for Corus's shares, with Tata outbidding CSN at £6.08 vs £6.03 per share. CSN's bid had been supported by [[Goldman Sachs]] whilst Tata's was supported by [[ABN Amro]], [[Rothschild & Co|Rothschilds]], and [[Deutsche Bank]].<ref>{{citation| url =https://www.independent.co.uk/news/business/news/tata-buys-steel-giant-corus-for-16362bn-434437.html| title =Tata buys steel giant Corus for £6.2bn| first =Michael| last =Harrison| date =31 January 2007| work =The Independent| access-date =30 March 2016| archive-url =https://web.archive.org/web/20160331222706/http://www.independent.co.uk/news/business/news/tata-buys-steel-giant-corus-for-16362bn-434437.html| archive-date =31 March 2016| url-status =live}}</ref><ref>{{cite news |title =India's Tata wins race for Corus |url =http://news.bbc.co.uk/2/hi/business/6315823.stm |publisher =BBC |date =31 January 2007 |access-date =26 November 2007 |archive-url =https://web.archive.org/web/20081122010917/http://news.bbc.co.uk/2/hi/business/6315823.stm |archive-date =22 November 2008 |url-status =live }}</ref>

===2007–2014===
In January 2009, Corus announced job cuts of 1,000 in the Netherlands and 2,500 in the UK due to the economic downturn (see [[Great Recession]]) and consequent reduction of steel demand. Cuts included cessation (mothballing) of production at a hot strip mill in Llanwern, Wales (600 jobs), as well as major jobs losses (up to 700) at the engineering steel production site in Rotherham. Corus also closed down its [[defined benefit]] pension scheme to new members.<ref>{{citation | url = https://www.theguardian.com/business/2009/jan/26/corus-job-losses-recession | title = Corus cuts 2,500 UK jobs | first1 = Graeme | last1 = Wearden | first2 = Mark | last2 = Milner | date = 26 January 2009 | newspaper = The Guardian | access-date = 20 March 2016 | archive-url = https://web.archive.org/web/20160401112439/http://www.theguardian.com/business/2009/jan/26/corus-job-losses-recession | archive-date = 1 April 2016 | url-status = live }}</ref>

In late 2009 Corus announced the mothballing of the ''Teesside Cast Products'' plant (Teesside blast furnaces), following the unexpected cancellation of 10 year contracts with [[Marcegaglia]] (Italy) signed 2004. Corus's workforce was expected to be reduced by approximately 1,700 as a result;<ref>{{citation| url = http://news.bbc.co.uk/1/hi/business/8394871.stm| title = 1,700 jobs to go as Corus mothballs plant| date = 4 December 2009| work = BBC News |access-date=20 March 2016}}</ref> The plant had been identified as surplus to requirements in 2003, with Corus's own steel requirements to be supplied from Port Talbot and Scunthorpe, with Teesside Cast Products to seek external markets for its steel slab.<ref name="t1"/><ref>{{citation| url = http://www.tatasteeleurope.com/en/news/news/2010/2010_tcp_myths_and_facts| title = Teesside Cast Products – Myths and Facts| date = 6 March 2010| publisher = Tata Steel| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160331030520/http://www.tatasteeleurope.com/en/news/news/2010/2010_tcp_myths_and_facts| archive-date = 31 March 2016| url-status = live}}</ref> Partial mothballing took place in early 2010. In mid 2010 the company reached preliminary agreement to sell the plant to Thai steel producer [[Sahaviriya Steel Industries|SSI]]. The plant was sold in February 2011 for £300 million.<ref name="t1">{{citation| url =http://www.itv.com/news/tyne-tees/2015-09-28/timeline-the-history-of-steel-on-teesside-and-in-britain/| title =Timeline: The history of steel on Teesside and in Britain| date =28 September 2015| work =ITV News| access-date =20 March 2016| archive-url =https://web.archive.org/web/20160402170437/http://www.itv.com/news/tyne-tees/2015-09-28/timeline-the-history-of-steel-on-teesside-and-in-britain/| archive-date =2 April 2016| url-status =live}}</ref>

In September 2010, Corus announced that it was changing its name to Tata Steel Europe and adopting the Tata logo.<ref>{{citation| title= VOTE: Scunthorpe steel company will change site name from Corus to Tata Steel| url= http://www.scunthorpetelegraph.co.uk/Scunthorpe-steel-company-change-site-Corus-Tata-Steel/story-11188069-detail/story.html| work=Scunthorpe Telegraph| date=28 September 2010 |access-date=30 March 2010}}</ref>

In July 2012, Tata Steel were fined £500,000 over the 2006 death of worker Kevin Downey at their Port Talbot plant.<ref name='WalesOnlineJul31'>{{cite web|url=http://www.walesonline.co.uk/news/wales-news/2012/07/31/tata-steel-fined-500-000-over-death-of-worker-kevin-downey-91466-31519238/|title=Tata Steel fined £500,000 over death of worker Kevin Downey|publisher=Wales Online |date=31 July 2012|access-date=31 July 2012}}</ref> Engulfed in steam and left disorientated during a night shift, Downey died after wandering into a channel of molten slag heated to 1,500 °C.<ref name='WalesOnlineJul31'/>

On 23 November 2012 Tata Steel Europe announced that, as a result of restructuring proposals, there would be a net loss of 900 jobs in the UK.<ref>{{cite web|last1=Simpson|first1=Rob|title=Tata Steel restructures to improve competitiveness of UK operations through market cycles|url=http://www.tatasteeleurope.com/en/news/news/2012/2012_tata_steel_restructures|work=www.tatasteeleurope.com|date=23 November 2012|access-date=8 December 2015|archive-url=https://web.archive.org/web/20151210190321/http://www.tatasteeleurope.com/en/news/news/2012/2012_tata_steel_restructures|archive-date=10 December 2015|url-status=live}}</ref>

===2014–2020===

By late 2014 Tata Group remained £13 billion in debt, which had increased following the acquisition of Corus in 2007, due to reduced demand in Europe (see [[2008 financial crisis]] and the [[Great Recession]]). As a result, the company sought to reduce liabilities: the European [[long products]] division was offered in sale to [[Klesch Group]].<ref>{{citation| url = https://www.bloomberg.com/news/articles/2014-10-27/tata-steel-starts-debt-clean-up-after-corus-purchase-mess| title = Tata Steel Starts Debt Clean-Up After Corus Purchase Mess| first1 = Abhishek| last1 = Shanker| first2 = Rajesh Kumar| last2 = Singh| date = 27 October 2014| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160401111208/http://www.bloomberg.com/news/articles/2014-10-27/tata-steel-starts-debt-clean-up-after-corus-purchase-mess| archive-date = 1 April 2016| url-status = live}}</ref> The long products division employed around 6,500, and was operating at about 60% of its 5 million ton pa capacity; the division included primary production at [[Scunthorpe Steelworks]]; mills in Teesside ([[Teesside Beam Mill]], Skinningrove and Darlington special profiles); France (Hayange rail mill); Scotland (Dalzell and Clydebridge), and other assets including the [[Immingham Bulk Terminal]].<ref>{{citation| url = http://www.klesch.com/docs/default-source/default-document-library/please-click-here-to-view-article-as-pdf-.pdf| title = Klesch signs MoU with a view to purchase Tata Steel's Long Products Europe business| date = 15 October 2014| publisher = Klesch Group| access-date=30 March 2018 |url-status = dead| archive-url = https://web.archive.org/web/20160411191444/http://www.klesch.com/docs/default-source/default-document-library/please-click-here-to-view-article-as-pdf-.pdf| archive-date = 11 April 2016 }}</ref> In late 2014 estimates for the value of the property were about $1.4 billion.<ref>{{citation| url = https://www.wsj.com/articles/tata-steel-in-talks-to-sell-european-business-to-klesch-group-1413396588| title = Tata Steel in Talks to Sell European Business to Klesch Group| date = 15 October 2014| first = Alex| last = MacDonald| work = www.wsj.com| access-date = 30 March 2018| archive-url = https://web.archive.org/web/20180116180225/https://www.wsj.com/articles/tata-steel-in-talks-to-sell-european-business-to-klesch-group-1413396588| archive-date = 16 January 2018| url-status = live}}</ref> In August 2015 talks on the acquisition ended unsuccessfully, with Klesch citing energy prices and (dumping of) Chinese steel imports as factors against the sale.<ref>{{citation | url = https://www.bbc.co.uk/news/business-33772944 | title = Klesch abandons Tata Steel's Long Products talks | date = 4 August 2015 | newspaper = BBC News | access-date = 20 March 2016 | archive-url = https://web.archive.org/web/20160209152440/http://www.bbc.co.uk/news/business-33772944 | archive-date = 9 February 2016 | url-status = live }}</ref><ref>{{citation| url = https://next.ft.com/content/42d919e8-3a07-11e5-bbd1-b37bc06f590c| title = Industrialist walks away from buying Tata's Scunthorpe steel plant| first = Peggy| last = Hollinger| date = 3 August 2015| work = ft.com| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160701141923/https://next.ft.com/content/42d919e8-3a07-11e5-bbd1-b37bc06f590c| archive-date = 1 July 2016| url-status = live}}</ref>

In October 2015 the Dalzell and Clydebridge plants were announced to be mothballed,<ref>{{citation| url = https://www.bbc.co.uk/news/uk-scotland-glasgow-west-34575423| title = 270 jobs go as Tata Steel closes two plants in Scotland| date = 20 October 2015| work = BBC News Scotland| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20151023003052/http://www.bbc.co.uk/news/uk-scotland-glasgow-west-34575423| archive-date = 23 October 2015| url-status = live}}</ref> The mothballing in Scotland and further reductions at Scunthorpe (around 900 jobs) led to 1,200 redundancies in late 2015.<ref>{{citation| url = https://www.theguardian.com/business/2015/oct/20/tata-steel-expected-to-announce-1200-job-losses-in-uk| title = Tata Steel confirms 1,200 job losses as industry crisis deepens| date = 20 October 2015| first1 = Sean| last1 = Farrell| first2 = Libby| last2 = Brooks| first3 = Karl| last3 = West| newspaper = The Guardian| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160317013653/http://www.theguardian.com/business/2015/oct/20/tata-steel-expected-to-announce-1200-job-losses-in-uk| archive-date = 17 March 2016| url-status = live}}</ref> In late 2015 Tata Steel UK reached a preliminary agreement with [[Greybull Capital]] for it to acquire Tata's European long products division,<ref>{{citation| url = https://www.bbc.co.uk/news/business-35160675| title = Tata Steel in talks to sell Scunthorpe and Teesside plants| date = 22 December 2015| newspaper = BBC News| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160323122305/http://www.bbc.co.uk/news/business-35160675| archive-date = 23 March 2016| url-status = live}}</ref> excluding the Dalzell and Clydebridge plants.<ref>{{citation| url = https://www.bbc.co.uk/news/uk-scotland-glasgow-west-35160186| title = Uncertainty over deal for Tata Steel's Scots plants| date = 22 December 2015| work = BBC News Scotland| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20151225025018/http://www.bbc.co.uk/news/uk-scotland-glasgow-west-35160186| archive-date = 25 December 2015| url-status = live}}</ref>

In early 2016 CEO Karl Koehler stood down to be replaced by CTO Hans Fischer.<ref>{{citation| url =https://next.ft.com/content/e69ec410-93ac-378d-b636-ab455a3b58c8| title = Tata Steel Europe chief steps down after job cuts| date = 5 February 2016| first = Nathalie | last = Thomas | work = ft.com| access-date=30 March 2016}}</ref>

In March 2016 ''[[The Sunday Post]]'' report that a preliminary agreement had been reached between Tata and [[Liberty House Group]] on the sale of the Dalzell and Clydesbridge plants.<ref>{{citation| url = https://www.sundaypost.com/news/scottish-news/scottish-steel-jobs-saved-deal-struck-reopen-plants/| title = Scottish steel jobs saved as deal struck to reopen plants| date = 20 March 2016| work = Sunday Post| first = Andrew| last = Picken| access-date = 20 March 2016| archive-url = https://web.archive.org/web/20160402071421/https://www.sundaypost.com/news/scottish-news/scottish-steel-jobs-saved-deal-struck-reopen-plants/| archive-date = 2 April 2016| url-status = live}}</ref>

At the end of March 2016 the Tata board rejected a turnaround plan for the Port Talbot site, and announced it would seek to sell all (or part) of its UK steel business.<ref>{{citation| title= Tata Steel plans to sell UK business| url= https://www.bbc.co.uk/news/business-35922046| publisher= BBC News| date= 29 March 2016| access-date= 30 March 2016| archive-url= https://web.archive.org/web/20160329234210/http://www.bbc.co.uk/news/business-35922046| archive-date= 29 March 2016| url-status= live}}</ref><ref name="gsale">{{citation | url = https://www.theguardian.com/business/2016/mar/29/tata-set-to-announce-sale-of-uk-steel-business-port-talbot | title = Tata Steel to sell off entire British business | date = 30 March 2016 | newspaper = The Guardian | access-date = 2 April 2016 | last1 = Ruddick | first1 = Graham | last2 = Stewart | first2 = Heather | archive-url = https://web.archive.org/web/20160402044256/http://www.theguardian.com/business/2016/mar/29/tata-set-to-announce-sale-of-uk-steel-business-port-talbot | archive-date = 2 April 2016 | url-status = live }}</ref> Its UK steel operations had lost £68 million in the three months to February 2016, from a profit the previous year despite rising demand – a primary factor in the loss was lowered steel prices due to global imports, with Russia, South Korea and particularly China cited as [[Dumping (pricing policy)|dumping]] steel.<ref>{{citation| url = https://www.theguardian.com/business/2016/feb/04/tata-steel-reports-third-quarter-loss-chinese-imports| title = Tata Steel reports £68m quarterly loss in face of cheap Chinese imports| date = 4 February 2016| newspaper = The Guardian| first = Sean| last = Farrell| access-date = 31 March 2018| archive-url = https://web.archive.org/web/20180726071805/https://www.theguardian.com/business/2016/feb/04/tata-steel-reports-third-quarter-loss-chinese-imports| archive-date = 26 July 2018| url-status = live}}</ref> Other factors mitigating against profitability included high energy costs (including green taxes), high business rates and oversupply/low demand.<ref name="gsale"/><ref>{{citation| url = https://www.reuters.com/article/us-tata-britain-steel-idUSKCN0WW0TQ| title = Thousands of jobs at risk as India's Tata Steel seeks British exit| first1 = Kate| last1 = Holton| first2 = Andy| last2 = Bruce| date = 30 March 2016| work = www.reuters.com| access-date = 31 March 2018| archive-url = https://web.archive.org/web/20180726040921/https://www.reuters.com/article/us-tata-britain-steel-idUSKCN0WW0TQ| archive-date = 26 July 2018| url-status = live}}</ref><ref>{{citation | url = https://money.cnn.com/2016/03/30/news/economy/tata-steel-china/index.html | title = Cheap Chinese steel has claimed another victim | first1 = Charles | last1 = Riley | first2 = Ivana | last2 = Kottasova | date = 30 March 2016 | work = CNN Money | access-date = 31 March 2018 | archive-url = https://web.archive.org/web/20180726073734/https://money.cnn.com/2016/03/30/news/economy/tata-steel-china/index.html | archive-date = 26 July 2018 | url-status = live }}</ref><ref>{{citation| url = https://www.theguardian.com/business/2016/mar/30/would-brexit-help-britain-steel-industry| title = Would Brexit help Britain's steel industry?| first = Graham| last = Ruddick| newspaper = The Guardian| date = 30 March 2016| access-date = 31 March 2016| quote = Demand for the metal in the UK has never recovered since the financial crisis, remaining 30% lower than pre-2008 levels, while energy costs, business rates, and environmental taxes have further squeezed the industry. However, Tata and other steelmakers argue that the biggest problem is China dumping steel into Europe| archive-url = https://web.archive.org/web/20160331055455/http://www.theguardian.com/business/2016/mar/30/would-brexit-help-britain-steel-industry| archive-date = 31 March 2016| url-status = live}}</ref> In addition the UK government had voted against increased [[tariff]]s on imported Chinese steel due to its free trade policies, limiting import duties to minimal amounts (around 10%).<ref>{{citation| url = https://www.bbc.co.uk/news/uk-wales-politics-35708741| title = Ministers 'blocking higher Chinese steel tariffs'| date = 3 March 2016| newspaper = BBC News| access-date = 31 March 2016| archive-url = https://web.archive.org/web/20160324205656/http://www.bbc.co.uk/news/uk-wales-politics-35708741| archive-date = 24 March 2016| url-status = live}}</ref><ref name="teudump"/><ref>{{citation| url =http://www.walesonline.co.uk/business/business-news/government-must-back-higher-eu-11117748| title =Government must back higher EU tariffs to save British steel industry, councils urge| date =31 March 2016| work =www.walesonline.co.uk| first =Chris| last =Kelsey| access-date =31 March 2016| archive-url =https://web.archive.org/web/20160331220750/http://www.walesonline.co.uk/business/business-news/government-must-back-higher-eu-11117748| archive-date =31 March 2016| url-status =live}}</ref><ref>{{citation | url = https://www.theguardian.com/business/2016/feb/10/david-cameron-accused-failing-uk-steel-industry-blocking-eu-lesser-duty-proposal | title = David Cameron accused of failing UK steel after EU proposal rejected | date = 10 February 2016 | newspaper = The Guardian | access-date = 3 April 2016 | last1 = Mason | first1 = Rowena | last2 = Davies | first2 = Rob | archive-url = https://web.archive.org/web/20160402203007/http://www.theguardian.com/business/2016/feb/10/david-cameron-accused-failing-uk-steel-industry-blocking-eu-lesser-duty-proposal | archive-date = 2 April 2016 | url-status = live }}</ref> – ''[[The Daily Telegraph]]'' reported that the [[UK Government]]'s failure to back EU attempts to increase anti-dumping measure on imported steel had been the tipping point in Tata's decision to exit the UK steel business.<ref name="teudump">{{citation |url=https://www.telegraph.co.uk/news/2016/03/30/eu-row-over-deal-to-save-steel/ |title=EU row over deal to save steel |first1=Steven |last1=Swinford |first2=Ambrose |last2=Evans-Pritchard |work=The Daily Telegraph |date=30 March 2016 |access-date=31 March 2016 |archive-url=https://web.archive.org/web/20160401155434/http://www.telegraph.co.uk/news/2016/03/30/eu-row-over-deal-to-save-steel/ |archive-date=1 April 2016 |url-status=live }}</ref>

After a successful turnaround of the Long Products division led by Bimlendra Jha (executive chairman of Tata's European Long's business), the sale to [[Greybull Capital]] for a nominal £1 was agreed on 11 April 2016, with Greybull taking over assets and liabilities of the division. On completion of the sale Greybull was to rename the business "[[British Steel Limited|British Steel]]". At takeover the division employed approximately 5,000 persons, predominately in the UK.<ref name="longsale">Sources:
* {{cite news | title = Tata announces Scunthorpe plant deal | url = https://www.bbc.co.uk/news/business-36015797 | date = 11 April 2016 | publisher = BBC | access-date = 11 April 2016 | archive-url = https://web.archive.org/web/20160411122310/http://www.bbc.co.uk/news/business-36015797 | archive-date = 11 April 2016 | url-status = live }}
* {{cite news | url = http://www.europe.tata.com/Section/Article/tata-steel-long-products-sale?sectid=Q753bw1G5ro%3D | title = Tata Steel UK agrees sale and purchase agreement for long products Europe business | date = 11 April 2016 | publisher = Tata | type = press release | access-date = 11 April 2016 | archive-url = https://web.archive.org/web/20160422200044/http://www.europe.tata.com/Section/Article/tata-steel-long-products-sale?sectid=Q753bw1G5ro%3D | archive-date = 22 April 2016 | url-status = dead }}
* {{cite news | url = https://www.bloomberg.com/news/articles/2016-04-11/tata-selling-long-products-steel-business-to-greybull-capital | title = Tata Selling U.K. Steel Plant in Scunthorpe to Greybull | first1 = Thomas | last1 = Biesheuvel | first2 = Naomi | last2 = Christie | work = www.bloomberg.com | date = 11 April 2006 | access-date = 11 April 2016 | archive-url = https://web.archive.org/web/20160420204052/http://www.bloomberg.com/news/articles/2016-04-11/tata-selling-long-products-steel-business-to-greybull-capital | archive-date = 20 April 2016 | url-status = live }}
* {{cite news| title = Britain finds a buyer for one Tata steel plant, saving a third of jobs at risk| url = https://www.reuters.com/article/tata-steel-britain-idUSL5N17E1C0| date = 11 April 2016| first1 = Guy| last1 = Faulconbridge| first2 = Sarah| last2 = Young| work = www.reuters.com| access-date = 11 April 2016}}</ref> The sale was completed end of May 2016.<ref>{{citation| url = https://www.independent.co.uk/news/business/news/tata-steel-saves-4400-jobs-with-sale-of-scunthorpe-site-to-greybull-capital-a7059166.html| title = Tata Steel saves 4,400 jobs with sale of Scunthorpe site to Greybull Capital| first = Zlata| last = Rodionova| date = 1 June 2016| access-date = 1 June 2016| archive-url = https://web.archive.org/web/20160602124142/http://www.independent.co.uk/news/business/news/tata-steel-saves-4400-jobs-with-sale-of-scunthorpe-site-to-greybull-capital-a7059166.html| archive-date = 2 June 2016| url-status = live}}</ref>

Tata set a deadline of 28 May 2016 for bids for its remaining UK business.<ref>{{citation | url = https://www.ft.com/content/37e6eefe-00cf-11e6-ac98-3c15a1aa2e62 | title = Tata Steel sets deadline of May 28 for sale of British arm | first1 = Jim | last1 = Pickard | first2 = Peter | last2 = Campbell | first3 = Michael | last3 = Pooler | work = www.ft.com | date = 12 April 2016 | access-date = 4 May 2016 | archive-url = https://web.archive.org/web/20160516125940/http://www.ft.com/cms/s/0/37e6eefe-00cf-11e6-ac98-3c15a1aa2e62.html | archive-date = 16 May 2016 | url-status = live }}</ref> Liberty House confirmed it was to bid for Tata's remaining UK assets,<ref>{{citation | url = https://www.ft.com/content/00a3b3c6-0fae-11e6-839f-2922947098f0 | title = Liberty House confirms it will bid for Tata Steel | first = James | last = Wilson | date = 1 May 2016 | work = www.ft.com | access-date = 1 May 2016 | archive-url = https://web.archive.org/web/20160503201653/http://www.ft.com/cms/s/0/00a3b3c6-0fae-11e6-839f-2922947098f0.html | archive-date = 3 May 2016 | url-status = live }}</ref> and a management backed buyout, named ''Excalibur UK'' also submitted a bid.<ref>{{citation | url = http://www.walesonline.co.uk/business/business-news/excalibur-confirms-bid-buy-tata-11278716 | title = Excalibur confirms bid to buy Tata Steel | date = 3 May 2016 | first = Chris | last = Kelsey | work = www.walesonline.co.uk | access-date = 4 May 2016 | archive-url = https://web.archive.org/web/20160504141639/http://www.walesonline.co.uk/business/business-news/excalibur-confirms-bid-buy-tata-11278716 | archive-date = 4 May 2016 | url-status = live }}</ref> In early May 2016 Tata stated it was considering offers from seven bidders for the whole UK business,<ref>{{citation| url = https://www.bbc.co.uk/news/business-36248181| date = 9 May 2016| newspaper = BBC News| title = Tata Steel UK says seven bidders express interest| access-date = 9 May 2016| archive-url = https://web.archive.org/web/20160509181333/http://www.bbc.co.uk/news/business-36248181| archive-date = 9 May 2016| url-status = live}}</ref> taking forward only bids for the whole of the business.<ref name="seven">{{citation | url = https://www.theguardian.com/business/2016/may/09/tata-steel-seven-bidders-uk-operations | title = Tata Steel says seven firms in frame to bid for rest of UK operations | date = 9 May 2016 | first = Rob | last = Davies | newspaper = The Guardian | access-date = 10 May 2016 | archive-url = https://web.archive.org/web/20160510090736/https://www.theguardian.com/business/2016/may/09/tata-steel-seven-bidders-uk-operations | archive-date = 10 May 2016 | url-status = live }}</ref> Other bidders were rumoured to be [[JSW Steel]] (India), [[Nucor]] (US), [[Hebei Iron & Steel Group]] (China), [[ThyssenKrupp]] (Germany), private equity fund [[Endless (private equity)|Endless LLP]] (UK), and Greybull Capital.<ref name="seven"/><ref>{{citation | url = https://www.ft.com/content/4033cdd6-160d-11e6-b197-a4af20d5575e | title = Indian group emerges as late bidder for Tata Steel | first1 = Simon | last1 = Mundy | first2 = Michael | last2 = Pooler | first3 = Peggy | last3 = Hollinger | date = 10 May 2016 | work = www.ft.com | access-date = 10 May 2016 | archive-url = https://web.archive.org/web/20160512172141/http://www.ft.com/cms/s/0/4033cdd6-160d-11e6-b197-a4af20d5575e.html | archive-date = 12 May 2016 | url-status = live }}</ref><ref>{{citation | url = https://www.bloomberg.com/news/articles/2016-05-11/tata-steel-u-k-unit-said-to-attract-china-s-hebei-iron-steel | title = Tata Steel U.K. Unit Said to Attract China's Hebei Iron & Steel | date = 11 May 2016 | first1 = Swansy | last1 = Afonso | first2 = Vinicy | last2 = Chan | first3 = Siddharth Vikram | last3 = Philip | work = www.bloomberg.com | access-date = 11 May 2016 | archive-url = https://web.archive.org/web/20160511143426/http://www.bloomberg.com/news/articles/2016-05-11/tata-steel-u-k-unit-said-to-attract-china-s-hebei-iron-steel | archive-date = 11 May 2016 | url-status = live }}</ref><ref>{{citation| url = https://www.telegraph.co.uk/business/2016/05/11/turnaround-fund-endless-revealed-as-bidder-for-tatas-uk-steel-bu/| title = Turnaround fund Endless revealed as bidder for Tata's UK steel business| date = 11 May 2016| first1 = Ben| last1 = Marlow| first2 = Alan| last2 = Tovey| work = The Daily Telegraph| access-date = 12 May 2016| archive-url = https://web.archive.org/web/20160514015013/http://www.telegraph.co.uk/business/2016/05/11/turnaround-fund-endless-revealed-as-bidder-for-tatas-uk-steel-bu/| archive-date = 14 May 2016| url-status = live}}</ref> [[Wilbur Ross]] (USA) was also rumoured to be a late bidder for the assets.<ref>{{citation| url = https://www.telegraph.co.uk/business/2016/05/21/us-turnaround-king-shortlisted-as-saviour-for-tatas-steel-plants/| title = US turnaround king shortlisted as saviour for Tata's steel plants| date = 21 May 2016| first1 = Ben| last1 = Marlow| first2 = Alan| last2 = Tovey| work = The Daily Telegraph| access-date = 22 May 2016| archive-url = https://web.archive.org/web/20160524084435/http://www.telegraph.co.uk/business/2016/05/21/us-turnaround-king-shortlisted-as-saviour-for-tatas-steel-plants/| archive-date = 24 May 2016| url-status = live}}</ref>

In early July 2016 Tata paused the sale procedure in part to assess the effect of the vote to leave the EU ([[Brexit]]) in the [[2016 United Kingdom European Union membership referendum|UK EU membership referendum of 2016]];<ref name="bbcjuly2016">{{citation | url = https://www.bbc.co.uk/news/business-36748881 | title = Sale of Tata UK steel business on hold | date = 8 July 2016 | newspaper = BBC News | access-date = 10 July 2016 | archive-url = https://web.archive.org/web/20160710001012/http://www.bbc.co.uk/news/business-36748881 | archive-date = 10 July 2016 | url-status = live }}</ref> on 8 July it announced it was in discussion with other steelmakers, specifically [[ThyssenKrupp]] on the formation of a joint venture between their respective European steel businesses.<ref>{{citation | url = http://www.tatasteel.com/media/viewfile.asp?filename=PressRelease_press%20release_08.07.2016_33ea94f556.pdf&grpsiteid=1 | title = Tata Steel announces developments regarding the strategy for its European businesses | date = 8 July 2016 | work = www.tatasteel.com | type = press release | access-date = 10 July 2016 | archive-url = https://web.archive.org/web/20160822050059/http://www.tatasteel.com/media/viewfile.asp?filename=PressRelease_press%20release_08.07.2016_33ea94f556.pdf&grpsiteid=1 | archive-date = 22 August 2016 | url-status = live }}</ref> JSW Steel and Hebei Iron & Steel were also reported as potential joint venture partners.<ref>{{citation| url = http://news.sky.com/story/tata-joint-venture-attracts-asian-steelmakers-10496879| title = Tata Joint Venture Attracts Asian Steelmakers| date = 9 July 2016| work = news.sky.com| access-date = 10 July 2016| archive-url = https://web.archive.org/web/20160710150754/http://news.sky.com/story/tata-joint-venture-attracts-asian-steelmakers-10496879| archive-date = 10 July 2016| url-status = live}}</ref> In addition to the talks on a joint venture the company was also stated to be in talks to sell the pipe (Hartlepool) and EAF/speciality steel (South Yorkshire) businesses separately.<ref name="bbcjuly2016"/>

In November 2016 Tata and Liberty House signed a letter of intent on the sale of Tata's speciality steel business (Rotherham, Stocksbridge, Brinsworth) for £100 million.<ref>{{citation| url = http://www.tatasteeleurope.com/en/news/news/letter-of-intent-signed-for-potential-sale-of-tata-steel-uk-speciality-steels-business|type = press release| publisher = Tata Steel Europe| date = 28 November 2016| title = Letter of Intent signed for potential sale of Tata Steel UK's Speciality Steels business |access-date=19 December 2016}}</ref><ref>{{citation| url = https://www.bbc.co.uk/news/uk-england-south-yorkshire-38131741| title = Tata Steel announces buyer for specialist business| newspaper = BBC News| date = 28 November 2016| access-date = 19 December 2016| archive-url = https://web.archive.org/web/20161207170224/http://www.bbc.co.uk/news/uk-england-south-yorkshire-38131741| archive-date = 7 December 2016| url-status = live}}</ref> This sale was completed in February 2017 to form Liberty Speciality Steels and included the [[Wednesbury]] bright bar division and [[Hartlepool]] tubes division.<ref>{{cite news|url=https://www.ft.com/content/1bfe710a-eeca-11e6-930f-061b01e23655|title=Tata sells speciality steel to Liberty House for £100m|website=Financial Times|date=9 February 2017 |archive-url=https://web.archive.org/web/20190902165128/https://www.ft.com/content/1bfe710a-eeca-11e6-930f-061b01e23655|archive-date=2 September 2019|access-date=2 September 2019|url-status=live}}</ref>

In December 2016 Tata made commitments to: invest £1 billion over ten years into its British operations, and continue operating two blast furnaces at Port Talbot for at least 5 years; as well as promising to avoid compulsory redundancies in the next five years; at the same time an agreement was announced between unions and Tata leading to the closure of a defined benefit pension scheme.<ref>{{citation| url = http://www.tatasteeleurope.com/en/news/news/tata-steel-uk-reaches-agreement-with-the-trade-unions-to-progress-towards-the-closure-of-its-defined-benefit-pension-scheme-to-future-accrual-and-take| type = press release| date = 7 December 2016| publisher = Tata Steel Europe| title = Tata Steel UK reaches agreement with the trade unions to progress towards the closure of its defined benefit pension scheme to future accrual and take important steps towards a more sustainable future| access-date = 19 December 2016| archive-url = https://web.archive.org/web/20170117022738/http://www.tatasteeleurope.com/en/news/news/tata-steel-uk-reaches-agreement-with-the-trade-unions-to-progress-towards-the-closure-of-its-defined-benefit-pension-scheme-to-future-accrual-and-take| archive-date = 17 January 2017| url-status = live}}</ref><ref>{{citation| url = https://www.bbc.co.uk/news/uk-wales-38224787| title = Tata Steel makes commitment to secure Port Talbot future| date = 7 December 2016| work = BBC News Wales| access-date = 19 December 2016| archive-url = https://web.archive.org/web/20161210183704/http://www.bbc.co.uk/news/uk-wales-38224787| archive-date = 10 December 2016| url-status = live}}</ref>

In September 2017, Tata Steel Ltd reached an agreement to merge its European steel business with the German steel manufacturer [[ThyssenKrupp]] to form a joint venture headquartered in Amsterdam.<ref name="Monaghan">{{cite news |last1=Monaghan |first1=Angela |date=20 September 2017 |title=Tata Steel to merge European operations with ThyssenKrupp |work=The Guardian |url=https://www.theguardian.com/business/2017/sep/20/tata-steel-merge-thyssenkrupp-job-losses-port-talbot |url-status=live |access-date=2 October 2017 |archive-url=https://web.archive.org/web/20171003031001/https://www.theguardian.com/business/2017/sep/20/tata-steel-merge-thyssenkrupp-job-losses-port-talbot |archive-date=3 October 2017}}</ref> The agreement was later abandoned after the European Commission indicated it would not approve the venture.<ref>{{cite news |date=11 May 2019 |title=German steel giant ThyssenKrupp scraps Tata merger |publisher=The Local Germany |url=https://www.thelocal.de/20190511/german-steel-giant-thyssenkrupp-drops-tata-merger |url-status=live |access-date=11 September 2019 |archive-url=https://web.archive.org/web/20190921134528/https://www.thelocal.de/20190511/german-steel-giant-thyssenkrupp-drops-tata-merger |archive-date=21 September 2019}}</ref><ref>{{cite web |title=Press corner |url=https://ec.europa.eu/commission/presscorner/home/en |access-date=5 August 2021 |website=European Commission - European Commission }}</ref>

=== Present: Company liquidation ===
In November 2020 [[Tata Steel|Tata Steel Limited]] (the parent company) announced its plan to separate the European operations into two entities, one based in the UK and one in the Netherlands.<ref>{{cite web|date=16 November 2020|title=Tata Steel split raises concerns for Port Talbot future|url=https://www.argusmedia.com/en/news/2160237-tata-steel-split-raises-concerns-for-port-talbot-future|access-date=4 August 2021|website=www.argusmedia.com}}</ref><ref>{{cite web|title=Tata Steel in talks with SSAB over IJmuiden site; starts separation of UK assets {{!}} Metal Bulletin.com|url=https://www.metalbulletin.com/Article/3962283/Tata-Steel-in-talks-with-SSAB-over-IJmuiden-site-starts-separation-of-UK-assets.html|access-date=4 August 2021|website=www.metalbulletin.com|date=13 November 2020 }}</ref> In October 2021, Tata Steel Europe was officially split into a British and a Dutch branch; creating stand alone businesses in the Netherlands ([[Tata Steel Netherlands]]) and the UK (Tata Steel UK).<ref name=":0" /> The branches fall directly under Tata Steel as Tata Steel Europe as a company ceased to exist after the break up of European business.<ref>{{cite web |title=Tata Steel splits UK and Netherlands businesses {{!}} Metal Bulletin.com |url=https://www.metalbulletin.com/Article/4010066/Tata-Steel-splits-UK-and-Netherlands-businesses.html#:~:text=Tata%20Steel%20officially%20separated%20its,day%20earlier,%20the%20company%20said. |access-date=31 May 2022 |website=www.metalbulletin.com}}</ref><ref name=":02">{{cite web|title=Zelfstandig Tata Steel Nederland gaat voor groen staal in een schone omgeving {{!}} Tatasteel Omgeving|url=https://omgeving.tatasteel.nl/nieuws/2021/zelfstandig-tata-steel-nederland-gaat-voor-groen-staal-in-een-schone-omgeving.html|date=31 May 2022|archive-url=https://web.archive.org/web/20220531161206/https://omgeving.tatasteel.nl/nieuws/2021/zelfstandig-tata-steel-nederland-gaat-voor-groen-staal-in-een-schone-omgeving.html |access-date=31 May 2022|archive-date=31 May 2022 }}</ref> The split was a historic moment, after 22 years of the British-Dutch collaboration in the steel company.<ref>{{cite web |date=4 October 2021 |title=Tata Steel Netherlands splits from British counterpart |url=https://eurometal.net/tata-steel-netherlands-splits-from-british-counterpart/ |access-date=31 May 2022 |website=EUROMETAL }}</ref> Tata Steel IJmuiden aims to make the company more sustainable, and was pressured to do so by the Dutch government and society.<ref name=":02" /><ref name="aandeel-los2">{{cite web|title=Tata Steel Nederland losgekoppeld van Britse tak|url=https://www.deaandeelhouder.nl/nieuws/2021/10/01/tata-steel-nederland-losgekoppeld-van-britse-tak|date=1 October 2021|access-date=13 March 2022}}</ref><ref>{{cite web |date=1 June 2022 |title=Bericht van onze directievoorzitter Hans van den Berg |url=https://www.tatasteeljobs.nl/nieuwsberichten/2021/bericht-van-onze-ceo-hans-van-den-berg.html |access-date=1 June 2022 |website= |archive-url=https://web.archive.org/web/20220601095052/https://www.tatasteeljobs.nl/nieuwsberichten/2021/bericht-van-onze-ceo-hans-van-den-berg.html |archive-date=1 June 2022 |url-status=dead}}</ref> The British branch has been heavily loss-making for years, which was holding down the Dutch branch into fulfilling these plans.<ref name=":02" /><ref name="aandeel-los2" />

== Operations ==
=== Blast furnaces ===
At the beginning of 2016 Tata Steel Europe had three [[blast furnace]]s based steelmaking facilities;<ref name="oo">{{citation| title = Our Operations| url = http://www.tatasteeleurope.com/en/about-us/operations| access-date = 20 March 2016| publisher = Tata Steel Europe| archive-url = https://web.archive.org/web/20160329143930/http://www.tatasteeleurope.com/en/about-us/operations| archive-date = 29 March 2016| url-status = live}}</ref> the long products division was sold in April 2016 including the [[Scunthorpe Steelworks]].<ref name="longsale"/>

* Port Talbot, Wales ([[Port Talbot Steelworks]]) – [[Semi-finished casting products|slab]], hot and cold rolled coil, galvanised coil
* Tata Steel IJmuiden, Netherlands (former [[Koninklijke Hoogovens]]) – hot and cold rolled coil, galvanised and colour coated coil and tinplate

=== Steel mills ===
It also had [[Rolling (metalworking)|rolling mill]]s and steel product manufacturing sites situated at:<ref name="oo" />

; Flat products
* [[Shotton, Flintshire|Shotton]], Wales – galvanised and (plastic) coated sheet
* Ivôz-Ramet nr [[Liège]], Belgium – galvanised and (plastic) coated sheet
* [[Trostre]], South Wales ([[Trostre Steelworks]]) – [[Tinplate]] and packaging steels
* [[Duffel]], Belgium – polymer coated packaging steel Protact
* [[Louvroil]], [[Maubeuge]], France – colour coated coil
* [[Adapazarı]], Turkey – colour coated coil
* [[Llanwern]], Wales ([[Llanwern steelworks]]) – hot and cold rolled strip/coil, galvanised coil
* [[Düsseldorf]] and [[Trier]], Germany – electroplated strip
* [[Warren, Ohio]] and [[Bethlehem, Pennsylvania]], United States – electroplated strip
* [[Durango, Biscay|Durango]], Spain (Layde works) – narrow strip
* [[Walsall]], England – coated narrow strip

; Tube

* [[Corby]], England – tube
* [[Maastricht]], Netherlands – tube
* [[Oosterhout]], Netherlands – tube
* [[Zwijndrecht, Netherlands]] – tube

; Other

* [[Wednesbury]], England – bright bar
* Tata Steel Europe produce electrical steels via their subsidiary Cogent Power.<ref>{{cite web|url=http://www.corusgroup.com/en/products/electrical_steels/electrical_steels_general |title=Electrical Steels|access-date=18 November 2009| archive-url=https://web.archive.org/web/20091207033305/http://www.corusgroup.com/en/products/electrical_steels/electrical_steels_general |archive-date=7 December 2009 }}</ref> Grain-orientated sheet at Orb Works, Newport, South Wales; and non-grain orientated sheet at Surahammar, Sweden; a finishing works in [[Burlington, Ontario]], Canada.<ref name="oo"/>

===Former operations===
[[File:Scunthorpe-blast-furnaces-by-Alan-Murray-Rust.jpg|thumb|Scunthorpe Steelworks]]

* [[Ravenscraig steelworks]], at [[Motherwell]], slab, hot and cold rolled products, part of British Steel from 1967 until its closure in 1992.
* [[Teesside Cast Products]], blast furnaces at [[Lackenby]], Redcar, North Yorkshire, UK – mothballed 2010, sold 2011 to SSI, closed {{circa|2014}}
* Dalzell Works and [[Clydebridge Steelworks|Clydebridge Works]], at [[Motherwell]], Scotland, steel plate – mothballed 2015, sold to [[Liberty House (UK)|Liberty House]] 2016
* Aluminium division – primary production sold to [[Aleris]] 2006
* [[Ebbw Vale Steelworks]], integrated steel mill located in Ebbw Vale, South Wales. Iron and steel making ceased in the 1970s and redeveloped as a specialised tinplate works. Formerly owned by [[Richard Thomas & Baldwins]], part of British Steel and latterly Corus. Closed by Corus in 2002.
* Long product division – sold to [[Greybull Capital]] 2016, forming [[British Steel Limited]]
** [[Scunthorpe Steelworks]], England – primary blast furnace based production – bloom, billet, slab, rail, wire, rod and plate
** [[Teesside]], England ([[Teesside Beam Mill]]) – heavy sections
** [[Skinningrove Steelworks]], England – special sections
** Former [[Sogerail]] plant, Hayange, France – railway rails
* [[Rotherham]] Engineering Steels and Narrow Strip – sold February 2017 to [[Liberty House Group]] along with the [[Stocksbridge]] rolling mill

== See also ==
* [[Tata Steel Chess Tournament]]—Sponsor

== References ==
{{Reflist|35em}}

== External links ==
; Official websites
* {{Official website |http://tatasteeleurope.com|Tata Steel Europe Ltd.}}
* {{Official website|https://web.archive.org/web/20021129120912/http://www.corusgroup.com/home/index.cfm|Corus Group}} (archived)
; Other
* {{Cite web |title=A New Force in the Metals Industry – Background to the Proposed Merger |url=http://www.tatasteeleurope.com/static_files/StaticFiles/Functions/Media/Merger_Manifesto.pdf |archive-url=https://web.archive.org/web/20150416164741/http://www.tatasteeleurope.com/static_files/StaticFiles/Functions/Media/Merger_Manifesto.pdf |url-status=dead |archive-date=16 April 2015 |publisher=British Steel and Koninklijke Hoogovens |date=7 June 1999 |access-date=20 March 2016 }}
* {{Cite web |last=Bryant |first=Chris |date=30 March 2016 |title=Steelmaker's Megalomania Leads to Misery |url=https://www.bloomberg.com/gadfly/articles/2016-03-30/tata-steel-cannot-blame-china-for-british-failure |publisher=Bloomberg |access-date=30 March 2018}}

{{Tata Steel}}
{{Tata Group}}
{{Automotive industry in the United Kingdom}}
{{Construction industry in the United Kingdom}}
{{Authority control}}

[[Category:Tata Steel Europe| ]]
[[Category:1999 establishments in England]]
[[Category:2006 mergers and acquisitions]]
[[Category:British companies established in 1999]]
[[Category:British subsidiaries of foreign companies]]
[[Category:Building materials companies of the United Kingdom]]
[[Category:Companies formerly listed on the London Stock Exchange]]
[[Category: Companies formerly listed on Euronext Amsterdam]]
[[Category:Manufacturing companies established in 1999]]
[[Category:Steel companies of the Netherlands]]
[[Category:Steel companies of the United Kingdom]]

Kusalakumari

2026-03-15T22:38:15Z

FWQGina861152045: adding some bio v1

{{Short description|Indian actress and dancer (1937–2019)}}
{{Use dmy dates|date=July 2024}}
{{Use Indian English|date=December 2019}}
'''Thanjavur Damayanthi Kusalakumari''' (6 December 1937 - 7 March 2019) was an Indian actress and dancer. She featured in Tamil, Telugu and Malayalam language films.<ref name="starbiz">{{Cite news |last=Kusari |first=Kareena |date=8 March 2019 |title=Koondukili's Tamil Actress Kusalakumari Departs This Life On Wednesday At Age Of 83 |work=Starbiz |url=https://starbiz.com/regional-movies/koondukilis-tamil-actress-kusalakumari-departs-this-life-on-wednesday-at-age-of-83-4228 |url-status=live |access-date=13 December 2019 |archive-url=https://archive.today/20191213133633/https://starbiz.com/regional-movies/koondukilis-tamil-actress-kusalakumari-departs-this-life-on-wednesday-at-age-of-83-4228 |archive-date=13 December 2019}}</ref>

== Early life ==
Born in Thanjavur, Kusalakumari is a niece of [[T. R. Rajakumari]]. Her birth name is Kusalambal. Being born in an artistes family, she began learning Bharata Natyam at the age of 3. When she was 5 years old, the family moved to Chennai. She used to go to film shooting with her aunt T. R. Rajakumari.

== Film career ==
Kusalakumari began her film career as a child artiste. Though she has danced in films before, she got a character role in Avvaiyar as the child Avvaiyar. Her major role as the poor woman falling in love with [[Sivaji Ganesan]], was in ''[[Koondukili]]'', the only film Sivaji Ganesan and [[M. G. Ramachandran]] featured together. Later she acted as the younger sister of Sivaji Ganesan in ''[[Kalvanin Kadhali (1955 film)|Kalvanin Kadhali]]'', and then as the younger sister of [[K. R. Ramasamy (actor)|K. R. Ramasamy]] in ''[[Needhipathi]]''.

The competition dance with [[Kumari Kamala]] in [[Konjum Salangai]] brought fame to her as a dancer.

She began her film career in Telugu with [[Raju Peda]] as a dancer. The film featured [[N. T. Rama Rao]] in the main role and was a success. After that, she starred in many Telugu films both as dancer and in character roles.

She was paired with [[Prem Nazir]] in [[Malayalam|Malayalam-language]] film [[Seeta (1960 film)|Seeta]] in the title role. The film ran for more than 200 days. Another Malayalam film [[Mariakutty]] won the President's award.<ref>{{Cite news |last=R. C. Jayanthan |date=11 March 2016 |title=மறக்கப்பட்ட நடிகர்கள் 3: தென்னகம் கொண்டாடிய திறமை! - குசலகுமாரி |language=ta |work=The Hindu |url=http://tamil.thehindu.com/cinema/cinema-others/%E0%AE%AE%E0%AE%B1%E0%AE%95%E0%AF%8D%E0%AE%95%E0%AE%AA%E0%AF%8D%E0%AE%AA%E0%AE%9F%E0%AF%8D%E0%AE%9F-%E0%AE%A8%E0%AE%9F%E0%AE%BF%E0%AE%95%E0%AE%B0%E0%AF%8D%E0%AE%95%E0%AE%B3%E0%AF%8D-3-%E0%AE%A4%E0%AF%86%E0%AE%A9%E0%AF%8D%E0%AE%A9%E0%AE%95%E0%AE%AE%E0%AF%8D-%E0%AE%95%E0%AF%8A%E0%AE%A3%E0%AF%8D%E0%AE%9F%E0%AE%BE%E0%AE%9F%E0%AE%BF%E0%AE%AF-%E0%AE%A4%E0%AE%BF%E0%AE%B1%E0%AE%AE%E0%AF%88-%E0%AE%95%E0%AF%81%E0%AE%9A%E0%AE%B2%E0%AE%95%E0%AF%81%E0%AE%AE%E0%AE%BE%E0%AE%B0%E0%AE%BF/article8339997.ece |url-status=dead |access-date=14 December 2019 |archive-url=https://archive.today/20160404195136/http://tamil.thehindu.com/cinema/cinema-others/%E0%AE%AE%E0%AE%B1%E0%AE%95%E0%AF%8D%E0%AE%95%E0%AE%AA%E0%AF%8D%E0%AE%AA%E0%AE%9F%E0%AF%8D%E0%AE%9F-%E0%AE%A8%E0%AE%9F%E0%AE%BF%E0%AE%95%E0%AE%B0%E0%AF%8D%E0%AE%95%E0%AE%B3%E0%AF%8D-3-%E0%AE%A4%E0%AF%86%E0%AE%A9%E0%AF%8D%E0%AE%A9%E0%AE%95%E0%AE%AE%E0%AF%8D-%E0%AE%95%E0%AF%8A%E0%AE%A3%E0%AF%8D%E0%AE%9F%E0%AE%BE%E0%AE%9F%E0%AE%BF%E0%AE%AF-%E0%AE%A4%E0%AE%BF%E0%AE%B1%E0%AE%AE%E0%AF%88-%E0%AE%95%E0%AF%81%E0%AE%9A%E0%AE%B2%E0%AE%95%E0%AF%81%E0%AE%AE%E0%AE%BE%E0%AE%B0%E0%AE%BF/article8339997.ece |archive-date=4 April 2016}}</ref>

== Awards ==
* [[Kalaimamani]]
* Kalai Chelvam

== Later life ==
Kusalakumari did not marry. She lived with her brother T. D. Sekar in Chennai. The then Chief minister of Tamil Nadu [[J. Jayalalithaa]] learned of Kusalakumari's financial difficulties and sanctioned a monthly allowance of Rs.5000.{{Citation needed|date=July 2023}}

== Death ==
Kusalakumari died of old age (83) on 7 March 2019 in Chennai.<ref name="starbiz" />

== Filmography==
{| class="wikitable sortable"
|-
! Year
! Title
! Role
! Language
! Notes
|-
| 1944 || ''[[Mahamaya]]'' || Child Bala || Tamil || Debut (Baby Kusalambal)
|-
| 1948 || ''[[Chandralekha (1948 film)|Chandralekha]]'' || Dancer || Tamil ||
|-
| 1949 || ''[[Krishna Bakthi]]'' || Child dancer || Tamil ||
|-
| 1950 || ''[[Laila Majnu]]'' || Young Laila || Tamil ||
|-
| 1951 || ''[[Manamagal]]'' || || Tamil ||
|-
| 1951 || ''[[Pelli Koothuru]]'' || || Telugu ||
|-
| 1952 || ''[[Parasakthi (1952 film)|Parasakthi]]'' || Dancer || Tamil ||
|-
| 1952 || ''[[Kalyanam Panniyum Brahmachari]]'' || Dancer || Tamil ||
|-
| 1953 || ''[[Avvaiyar (film)|Avvaiyar]]'' || Child Avvaiyar || Tamil ||
|-
| 1953 || ''[[Marumagal]]'' || Dancer || Tamil ||
|-
| 1953 || ''[[Ammalakkalu]]'' || Dancer || Telugu ||
|-
| 1953 || ''[[Devadasu (1953 film)|Devadasu]]'' || Dancer || Telugu ||
|-
| 1954 || ''[[Koondukkili]]'' || Sokki || Tamil ||
|-
| 1954 || ''[[Bedara Kannappa]]'' || || Kannada ||
|-
| 1954 || ''[[Vedan Kannappa]]'' || || Tamil ||
|-
| 1954 || ''[[Nanban (1954 film)|Nanban]]'' || || Tamil ||
|-
| 1954 || ''[[Pona Machaan Thirumbi Vandhan]]'' || Chandra || Tamil ||
|-
| 1954 || ''[[Ratha Kanneer]]'' || Dancer || Tamil ||
|-
| 1954 || ''[[Raju Peda]]'' || Dancer || Telugu ||
|-
| 1954 || ''[[Sorgavasal]]'' || Dancer || Tamil ||
|-
| 1955 || ''[[Jayasimha (1955 film)|Jayasimha]]'' || Dancer || Telugu ||
|-
| 1955 || ''[[Donga Ramudu (1955 film)|Donga Ramudu]]'' || Dancer || Telugu ||
|-
| 1955 || ''[[Kalvanin Kadhali (1955 film)|Kalvanin Kadhali]]'' || Abirami || Tamil ||
|-
| 1955 || ''[[Kaveri]]'' || Dancer || Tamil ||
|-
| 1955 || ''[[Menaka]]'' || Dancer || Tamil ||
|-
| 1955 || ''[[Jayasimman]]'' || Dancer || Tamil ||
|-
| 1955 || ''[[Needhipathi]]'' || || Tamil ||
|-
| 1956 || ''[[Madurai Veeran]]'' || Dancer || Tamil ||
|-
| 1956 || ''[[Kudumba Vilakku]]'' || Dancer || Tamil ||
|-
| 1956 || ''[[Ilavelpu]]'' || Singari || Telugu ||
|-
| 1956 || ''[[Graha Devatha]]'' || || Malayalam ||
|-
| 1956 || ''[[Sahasaveerudu]]'' || || Telugu ||
|-
| 1957 || ''[[Aandi Petra Selvan]]'' || Dancer || Tamil ||
|-
| 1957 || ''[[Samaya Sanjeevi]]'' || || Tamil ||
|-
| 1957 || ''[[Sati Anasuya]]'' || Rati || Telugu ||
|-
| 1957 || ''[[Panduranga Mahatyam]]'' || Dancer || Telugu ||
|-
| 1958 || ''[[Mangalya Bhagyam]]'' || || Tamil ||
|-
| 1958 || ''[[Mariakutty]]'' || Betty || Malayalam ||
|-
| 1958 || ''[[Bhakta Markandeya]]'' || Dancer || Telugu ||
|-
| 1958 || ''[[Kadan Vaangi Kalyanam]]'' || Dancer || Tamil ||
|-
| 1959 || ''[[Kaveriyin Kanavan]]'' || Dancer || Tamil ||
|-
| 1959 || ''[[Mahishasura Mardini]]'' || || Kannada ||
|-
| 1959 || ''[[Mahishasura Mardini]]'' || || Telugu ||
|-
| 1959 || ''[[Nalla Theerpu]]'' || || Tamil ||
|-
| 1959 || ''[[Raja Sevai]]'' || || Tamil ||
|-
| 1959 || ''[[Rechukka Pagatichukka]]'' || || Telugu ||
|-
| 1960 || ''[[Mahakavi Kalidasu]]'' || Dancer || Telugu ||
|-
| 1960 || ''[[Bhatti Vikramarka]]'' || Dancer || Telugu ||
|-
| 1960 || ''[[Desingu Raja Katha]]'' || Dancer || Telugu ||
|-
| 1960 || ''[[Patti Vikramathithan]]'' || Dancer || Tamil ||
|-
| 1960 || ''[[Raja Desingu]]'' || Dancer || Tamil ||
|-
| 1960 || ''[[Rathinapuri Ilavarasi]]'' || || Tamil ||
|-
| 1960 || ''[[Seetha (1960 film)|Seeta]]'' || Sita || Malayalam ||
|-
| 1960 || ''[[Durga Mata]]'' || || Hindi ||
|-
| 1961 || ''[[Bhakta Kuchela]]'' || || Malayalam ||
|-
| 1961 || ''[[Bharya Bharthalu]]'' || || Telugu ||
|-
| 1961 || ''[[Ennai Paar]]'' || || Tamil ||
|-
| 1961 || ''[[Seeta Rama Kalyanam (1960 film)|Sita Rama Kalyanam]]'' || Rambha || Telugu ||
|-
| 1962 || ''[[Konjum Salangai]]'' || Kamavalli || Tamil ||
|-
| 1962 || ''[[Muripinche Muvvalu]]'' || || Telugu ||
|-
| 1962 || ''[[Mahathma Kabir]]'' || || Kannada ||
|-
| 1963 || ''[[Lava Kusa (1963 film)|Lava Kusa]]'' || Dancer || Telugu ||
|-
| 1963 || ''[[Sampoorna Ramayanam]]'' || Dancer || Tamil ||
|-
| 1964 || ''[[Ramudu Bheemudu]]'' || Dancer || Telugu ||
|-
| 1964 || ''[[Rishyasringar (1964 film)|Rishyasringar]]'' || || Tamil ||
|-
| 1964 || ''[[Oral Koodi Kallanayi]]'' || || Malayalam ||
|-
| 1964 || ''[[Sree Guruvayoorappan (1964 film)|Sree Guruvayoorappan]]'' || || Malayalam ||
|-
| 1968 || ''[[Harichandra (1968 film)|Harichandra]]'' || Dancer || Tamil ||
|-
| 1969 || ''[[Thirumal Perumai]]'' || Dancer || Tamil ||
|-
| 1972 || ''[[Kurathi Magan]]'' || || Tamil ||
|-
| 1976 || ''[[Manmadha Leelai (1976 film)|Manmadha Leelai]]'' || Rekha's mother || Tamil ||
|-
| 1977 || ''[[Meethi Meethi Baatein]]'' || || Hindi ||
|-
| 1977 || ''[[Nandha En Nila]]'' || || Tamil ||
|}

== References ==
{{reflist}}

[[Category:1937 births]]
[[Category:2019 deaths]]
[[Category:Actresses in Tamil cinema]]
[[Category:Actresses in Malayalam cinema]]
[[Category:20th-century Indian actresses]]
[[Category:Actresses in Telugu cinema]]
[[Category:Indian film actresses]]

Patalghar

2026-03-04T03:43:20Z

FWQGina861152045: minor cleanup

{{Use dmy dates|date=January 2020}}
{{Infobox film
| name = Patalghar
| image = PATALGHAR.jpg
| caption = DVD cover of Patalghar
| director = Abhijit Chowdhury
| producer = Niti Sonee Gourisaria
| writer = [[Shirshendu Mukhopadhyay]]
| starring = [[Soumitra Chatterjee]] [[Mita Vasisht]]
| music = [[Debojyoti Mishra]]
| cinematography = [[Abhik Mukhopadhyay]]
| editing = Arjun Gourisaria
| distributor =
| released = {{Film date|df=y|2003|02|21}}
| runtime = 141 minutes
| country = India
| language = Bengali
| budget =
}}
'''''Patalghar''''' ({{langx|bn|পাতাল ঘর}} "The Underground Chamber" ) is a [[Cinema of West Bengal|Bengali]]-language [[science fiction action film]] directed by Abhijit Chaudhuri based on the story of same name by [[Shirshendu Mukhopadhyay]].<ref>
{{Cite news
|url=http://articles.timesofindia.indiatimes.com/2003-02-19/kolkata/27268865_1_bengali-films-cinema-halls-satyajit-ray
|archive-url=https://web.archive.org/web/20121022154140/http://articles.timesofindia.indiatimes.com/2003-02-19/kolkata/27268865_1_bengali-films-cinema-halls-satyajit-ray
|url-status=dead
|archive-date=22 October 2012
|title=Ray's presence dominates Patalghar-Kolkata -Cities
|accessdate=17 December 2008
|work=[[The Times of India]]
|date=19 February 2003
}}
</ref><ref>
{{cite web
|url=http://ftvdb.bfi.org.uk/sift/title/720747?view=release
|archive-url=https://web.archive.org/web/20090131135118/http://ftvdb.bfi.org.uk/sift/title/720747?view=release
|url-status=dead
|archive-date=31 January 2009
|title=PATALGHAR (2002)
|publisher=ftvdb.bfi.org.uk
|accessdate=17 December 2008
}}
</ref>

==Plot==
150 years in the past, Aghor Sen, a genius scientist living in the village of Nischintipur invents a device that generates sound waves which can put any living being to sleep. The alien Vik exiled from the planet Nyapcha, lands with his space shuttle on the outskirts of Nischintipur. He gets to know about the machine & tries to steal it but Aghor puts him to sleep. With Aghor's death the instrument is lost.

150 years later i.e. in the present day Dr. Bhootnath Nondy finds Aghor Sen's diary mentioning this device. Bhootnath deciphers the diary at a science seminar announcing his plea to search for it. Begum, a gang leader, sends her goons after Bhootnath to get that machine. Aghar Sen's device is in his laboratory - Patalghar. To reach there, one must solve the mysterious rhymes mentioned in the diary. Suddenly foreigners wanting to buy houses assail Nischintipur. At this juncture, Begum and Bhootnath work together in search of the machine.

Kartik, a very intelligent & brave boy, lives with his uncle (Mama) Subuddhi. A lawyer reports to them that Kartik is the only legal heir of Aghor Sen's laboratory at Nischintipur. Thus the duo reached there. Begum asks them to sell their house but they bluntly refuse. Bhootnath develops a friendship with Karthik.

Meanwhile, Vik wakes up and starts running from pillar to post looking for the device which had put him to sleep. Subuddhi joins the theatre chief of the village and searches for a unique character who could depict Mahommadi Beg in the play. He meets Vik in the forest and selects him for the character.

Finally Bhootnath & Karthik unravel the path for the entrance of Patalghar and rediscover the machine. The Begum & her goons die in a duel with the alien Vik and finally Vik is once again put to sleep by the joint efforts of Bhootnath & Karthik by using the musical machine. Bhootnath flies of to Nyapcha with the unconscious Vik & Karthik remains on the earth inheriting the glorious legacy of Aghor Sen & Bhootnath Nandi. The great machine ultimately gets destroyed amidst all the chaos and havoc.

==Cast==
* Sourav Bandopadhay<ref>{{cite news |author= |title=Now, Tarun Kumar's grandson in films |url=https://timesofindia.indiatimes.com/entertainment/bengali/movies/news/Now-Tarun-Kumars-grandson-in-films/articleshow/12425023.cms |newspaper=[[The Times of India]] |date=11 January 2017 |access-date=5 May 2018 |archive-date=4 August 2018 |archive-url=https://web.archive.org/web/20180804101400/https://timesofindia.indiatimes.com/entertainment/bengali/movies/news/Now-Tarun-Kumars-grandson-in-films/articleshow/12425023.cms |url-status=live }}</ref> as Kartik
* [[Biplab Chatterjee]] as Vik
* [[Soumitra Chatterjee]] as Aghor Sen
* [[Ketaki Dutta]] as Pishima (Aghor Sen's Aunt)
* [[Monu Mukherjee]] as Gobinda Biswas
* [[Kharaj Mukhopadhyay]] as Subuddhi
* [[Joy Sengupta]] as Dr. Bhootnath Nandy
* [[Mita Vasisht]] as Begum
* [[Ramaprasad Banik]]
* Sunil Mukherjee as Lawyer
* Ratan Sarkhel as Goon

==Crew==
* Director Abhijit Chaudhuri
* Cameraman Abhik Mukhopadhyay
* Producer Niti Sonee Gourisaria
* Music Director [[Debojyoti Mishra]]
* Lyrics Rangan Chakraborty
* Editor Arjun Gourisaria
* Art Director Indranil Ghosh
* Executive Producer [[Bauddhayan Mukherji]]

==Awards==
* [[National Film Award (India)|National Film Award]]
** [[Indira Gandhi Award for Best Debut Film of a Director]]- Abhijit Chaudhuri
** [[National Film Award for Best Cinematography|Best Cinematography]]-[[Abhik Mukhopadhyay]]<ref>{{cite news |author= |title=The 50th National Film Awards |url=https://www.outlookindia.com/website/story/the-50th-national-film-awards/220927 |magazine=[[Outlook (Indian magazine)|Outlook]] |access-date=5 May 2018 |archive-date=17 March 2018 |archive-url=https://web.archive.org/web/20180317165208/https://www.outlookindia.com/website/story/the-50th-national-film-awards/220927 |url-status=live }}</ref>

==See also==
* [[Science fiction film of India]]

==References==
{{Reflist}}

==External links==
*{{IMDB title|0366886}}

{{National Film Award Best First Film of a Director}}

[[Category:2003 films]]
[[Category:2003 Bengali-language films]]
[[Category:Bengali-language science fiction films]]
[[Category:Indian science fiction films]]
[[Category:Indian children's films]]
[[Category:Bengali-language Indian films]]
[[Category:Films based on Indian novels]]
[[Category:2003 science fiction films]]
[[Category:Films whose cinematographer won the Best Cinematography National Film Award]]
[[Category:Best Debut Feature Film of a Director National Film Award winners]]
[[Category:Films based on works by Shirshendu Mukhopadhyay]]

Maa Annayya Bangaram

2026-03-03T17:48:26Z

FWQGina861152045: new the data first draft - done

{{Use dmy dates|date=February 2024}}
{{Use Indian English|date=February 2024}}
{{Infobox film
| name = Maa Annayya Bangaram
| image = Maa Annayya Bangaram Poster.jpg
| native_name =
| director = Jonnalagadda Srinivas
| producer = Natti Kumar
| writer = [[Paruchuri brothers]]
| screenplay =
| story = Bhupathi Raja
| starring = [[Rajasekhar (actor)|Rajasekhar]] [[Kamalinee Mukherjee|Kamalini Mukharjee]]
| music = [[S. A. Rajkumar]]
| cinematography = D Prasad Babu
| editing = Gautham Raju
| studio = Vishaka Talkies
| released = {{Film date|2010|07|31|df=yes}}
| runtime = 151 minutes
| country = [[India]]
| language = [[Telugu language|Telugu]]
}}

'''''Maa Annayya Bangaram''''' ({{Translation|My golden elder brother}}) is 2010 Indian [[Telugu language|Telugu]]-language family [[Drama (film and television)|drama film]], produced by Natti Kumar on Vishaka Talkies banner directed by Jonnalagadda Srinivas. Starring [[Rajasekhar (actor)|Rajashekar]], [[Kamalinee Mukherjee]] and music composed by [[S. A. Rajkumar]].{{citation needed|date=October 2024}}

== Cast ==
{{Cast listing|
* [[Rajasekhar (actor)|Rajasekhar]] as Sivaji
* [[Kamalinee Mukherjee]] as Manjula
* [[Rohit (actor)|Rohit]] as Bhargav, Sivaji's brother
* [[Aditya Om]] as Akash, Sivaji’s brother
* Yashwanth as Sivaji's brother
* Raj Kalyan as Sivaji's brother
* Ping Pong Surya as Sivaji's brother
* [[Master Bharath]] as Mahesh, Sivaji’s brother
* [[Brahmanandam]] as a thief
* [[Jaya Prakash Reddy]] as Parameshwar Rao, Sivaji’s uncle
* [[Chalapathi Rao]]
* [[Raghu Babu]] as Raghu Sivaji's friend
* [[Sayaji Shinde]] as Subba Raidu
* [[L. B. Sriram]]
* [[Surya (Telugu actor)|Surya]]
* [[Jhansi (TV anchor)|Jhansi]] as Nandini, Shivaji's sister
* [[Pavala Syamala]]
* [[Rama Prabha]]
* [[Uttej]]
* [[Suthi Velu]]
* [[Gundu Sudarshan]]
}}

== Production ==
The film was shot in [[Hyderabad]] while a few songs were canned in [[Switzerland]].<ref>{{Cite web|url=http://movies.rediff.com/slide-show/2010/aug/04/slide-show-1-south-interview-with-kamalinee-mukherjee.htm|title=Kamalinee: I just go with my instincts|date=4 August 2010|work=[[Rediff.com]]}}</ref> Filming was complete as of mid-2010.<ref>{{Cite web|url=https://www.newindianexpress.com/cities/thiruvananthapuram/2010/Aug/02/hitting-the-right-road-174739.html|title=Hitting the right road|work=[[The New Indian Express]]|date=2 August 2010|location=Thiruvanathapuram|access-date=22 December 2025}}</ref>

==Soundtrack==
{{Infobox album
| name = Maa Annayya Bangaram
| type = film
| artist = [[S. A. Rajkumar|SA Raj Kumar]]
| cover =
| alt =
| released = 2010
| recorded =
| venue =
| studio =
| genre = Soundtrack
| length = 29:00
| label = Shivaranjani Music
| producer = [[S. A. Rajkumar|SA Raj Kumar]]
| prev_title = [[Punnami Naagu (2009 film)|Punnami Naagu]]
| prev_year = 2009
| next_title = Mouna Raagam
| next_year = 2010
}}

The music was composed by [[S. A. Rajkumar]] and was released on Shivaranjani Music Company.<ref>{{Cite web|url=https://www.newindianexpress.com/entertainment/telugu/2010/jul/21/the-songs-are-aptly-suited-to-the-story-171608.html|title='The songs are aptly suited to the story'|date=21 July 2010|work=[[The New Indian Express]]}}</ref>

{{Track listing
| collapsed =
| headline =
| extra_column = Singer(s)
| total_length = 29:00
| all_writing =
| all_lyrics =
| all_music =
| title1 = Andham Nee Asalu
| lyrics1 =
| extra1 = [[Karthik (singer)|Karthik]], [[Priyadarshini (singer)|Priyadarshini]]
| length1 =3:47

| title2 =Gitchi Gitchi
| lyrics2 =
| extra2 = Priya, Saketh
| length2 = 4:14

| title3 =Inti Maharani
| lyrics3 =
| extra3 = Srinivas, Srividhya, Manasa, Murali
| length3 = 4:31

| title4 = Mallee Mallee
| lyrics4 =
| extra4 = Rajesh, Rita
| length4 = 3:29

| title5 = Sai Baba
| lyrics5 =
| extra5 = [[Tippu (singer)|Tippu]]
| length5 = 4:17

| title6 = Suryunike
| lyrics6 =
| extra6 = [[S. P. Balasubrahmanyam]], Murali
| length6 = 4:21
}}

==References==
{{reflist}}

== External links ==
* {{IMDb title|8751664}}
* [https://www.rottentomatoes.com/m/maa_annayya_bangaram ''Maa Annayya Bangaram'' on Rotten Tomatoes]

[[Category:2010 films]]
[[Category:2010 Telugu-language films]]
[[Category:2010 Indian films]]

The International School Bangalore

2026-03-03T09:57:33Z

FWQGina861152045: small cleanup intro as per guidelines and improved wording

#REDIRECT [[The International School, Bangalore]]

{{Redirect category shell|
{{R from move}}
}}

Kilinjalgal

2026-03-03T05:18:27Z

FWQGina861152045: edit

{{Use dmy dates|date=September 2021}}
{{Use Indian English|date=September 2021}}
{{Infobox film
| image = Kilinjalgal.jpg
| caption = Theatrical release poster
| director = [[Durai (director)|Durai]]
| writer = Durai
| producer = G. Lalitha
| starring = [[Mohan (actor)|Mohan]] [[Poornima Bhagyaraj]] [[R. Dilip|Dilip]]
| cinematography = V. Manohar
| editing = M. Vellaichamy R. Krishnamurthy
| music = [[T. Rajendar]]
| studio = Sunitha Cini Arts
| distributor = 
| released = {{Film date|1981|12|25|df=y|ref1=}}
| country = India
| language = Tamil
| budget = 
| gross = 
}}

'''''Kilinjalgal''''' ({{translation|Clams}}) is a 1981 Indian [[Tamil language|Tamil]]-language [[romance film]], written and directed by [[Durai (director)|Durai]]. The film stars [[Mohan (actor)|Mohan]], [[Poornima Bhagyaraj]] and [[R. Dilip|Dilip]]. It revolves around two lovers whose romance is opposed by their families due to differences in religion.

''Kilinjalgal'' was released on 25 December 1981. The film was a [[silver jubilee hit]] and ran for 175 days at the box office. The film was remade in Hindi again by Durai as ''Do Gulab''.<ref>{{cite web |last=Saravanan |title=Vani Jayaram's Tamil Film Songs Chronology |url=https://www.vanijairam.com/Pages/Vani1978.html |url-status=live |archive-url=https://web.archive.org/web/20250119092935/https://www.vanijairam.com/Pages/Vani1978.html |archive-date=19 January 2025 |access-date=24 May 2025 |website=vanijairam.com}}</ref>

== Plot ==
{{more plot|date=August 2022}}
Babu, a [[Hindus|Hindu]], falls in love with Julie, a [[Christianity in Tamil Nadu|Christian]]. However, both the families are against this love due to differences in religion. Despite heavy opposition, Babu and Julie remain adamant in their decision. Julie's father Stephen locks her in a room while Babu's father Manikkam also does not permit him to move out of his home. To everyone's shock, Julie commits suicide. Hearing this, Babu rushes to the crematorium and dies when Julie's corpse is being cremated.

== Cast ==
{{Cast listing|
*[[Mohan (actor)|Mohan]] as Babu
*[[Poornima Bhagyaraj]] as Julie
*[[R. Dilip|Dilip]] as Jana
*[[V. K. Ramasamy (actor)|V. K. Ramasamy]] as Station master
*[[V. Gopalakrishnan (actor)|V. Gopalakrishnan]] as Stephen
*[[Bayilvan Ranganathan]]
*[[G. Srinivasan (actor)|G. Srinivasan]] as Manikkam
*Gokulnath as Church Father
*Rajavelu as Inspector
*[[Sukumari]] as Stella
*[[S. N. Parvathy]] as Uma's mother
*[[Vanchiyoor Radha]] as Babu's mother
*[[Poornima (Telugu actress)|Poornima]] (credited as Sudha) as Usha
*[[Senthil]]
*[[Jolly Abraham]] in Guest appearance
}}

== Soundtrack ==
The music was composed by [[T. Rajendar]] who also wrote the lyrics.<ref>{{Cite web |title=Kilinjalgal |url=https://gaana.com/album/kilinjalgal-tamil |url-status=live |archive-url=https://web.archive.org/web/20210924054207/https://gaana.com/album/kilinjalgal-tamil |archive-date=24 September 2021 |access-date=24 September 2021 |website=[[Gaana (music streaming service)|Gaana]]}}</ref><ref>{{Cite web |title=Kilinjalgal Tamil Film EP vinyl Record by T.Rajendar |url=https://mossymart.com/product/kilinjalgal-tamil-film-ep-vinyl-record-by-t-rajendar/ |url-status=live |archive-url=https://web.archive.org/web/20210924054236/https://mossymart.com/product/kilinjalgal-tamil-film-ep-vinyl-record-by-t-rajendar/ |archive-date=24 September 2021 |access-date=24 September 2021 |website=Mossymart}}</ref> The song "Vizhigal Medaiyam" is set in [[Revati (raga)|Revati]] raga.<ref>{{Cite news |last=Mani |first=Charulatha |author-link=Charulatha Mani |date=15 February 2013 |title=Mystical Revathi |url=https://www.thehindu.com/features/friday-review/music/mystical-revathi/article4418462.ece |url-status=live |archive-url=https://web.archive.org/web/20201226101542/https://www.thehindu.com/features/friday-review/music/mystical-revathi/article4418462.ece |archive-date=26 December 2020 |access-date=18 June 2019 |work=[[The Hindu]]}}</ref>
{| class="wikitable" style="font-size:95%;"
! Song !! Singers !! Length
|-
| "Kilai Ella Marangalil Nizhal" || [[P. Jayachandran]] || 04:33
|-
| "Vizhigal Meydaiyam Imaigal" || Dr. Kalyan T Subrahmanyam, [[S. Janaki]] || 04:37
|-
| "Azhaginil Vilainthadu Mazhaienil" || [[S. P. Balasubrahmanyam]] || 04:31
|-
| "Chinna Chinna Kanna Sethi Sollum" || [[P. Susheela]] || 04:17
|}

== Release and reception ==
''Kilinjalgal'' was released on 25 December 1981.<ref>{{Cite web |last=கண்ணன் |first=சுரேஷ் |date=21 July 2020 |title=ரஜினி, கமல் உச்சத்தில் இருந்தபோது பிரகாசித்தவர்... கதாநாயகனாக 'கிளிஞ்சல்கள்'ல் சாதித்த 'மைக்' மோகன்! |url=https://cinema.vikatan.com/tamil-cinema/nostalgia-series-revisiting-mic-mohan-hit-movie-kilinjalgal |url-status=live |archive-url=https://web.archive.org/web/20211028105920/https://cinema.vikatan.com/tamil-cinema/nostalgia-series-revisiting-mic-mohan-hit-movie-kilinjalgal |archive-date=28 October 2021 |access-date=28 October 2021 |website=[[Ananda Vikatan]] |language=ta}}</ref><ref>{{Cite web |last=ராம்ஜி |first=வி. |date=1 January 2023 |title='காதல் தோற்பதில்லை... காதலர்கள்தான் தோற்கிறார்கள்' என்று சொன்ன 'கிளிஞ்சல்கள்!' |url=https://kamadenu.hindutamil.in/cinema/41-years-of-kilinjalgal |url-status=live |archive-url=https://web.archive.org/web/20230102085358/https://kamadenu.hindutamil.in/cinema/41-years-of-kilinjalgal |archive-date=2 January 2023 |access-date=2 January 2023 |website=[[Kamadenu magazine|Kamadenu]] |language=ta}}</ref> Nalini Sastry of ''[[Kalki (magazine)|Kalki]]'' called the story outdated.<ref>{{Cite magazine |last=சாஸ்திரி |first=நளினி |date=17 January 1982 |title=கிளிஞ்சல்கள் |url=https://kalkionline.com/kalkionline_archive/imagegallery/archiveimages/kalki/1982/jan/17-01-1982/p91.jpg |url-status=dead |archive-url=https://archive.today/20220808073616/https://kalkionline.com/kalkionline_archive/imagegallery/archiveimages/kalki/1982/jan/17-01-1982/p91.jpg |archive-date=8 August 2022 |access-date=8 August 2022 |magazine=[[Kalki (magazine)|Kalki]] |page=91 |language=ta}}</ref> The film was a [[silver jubilee hit]] and ran for 175 days at the box office.<ref>{{Cite news |last=Kumar |first=S. Shiva |date=21 March 2019 |title='Mike' Mohan: The unsung phenomenon |url=https://www.thehindu.com/entertainment/the-unsung-phenomenon/article26598463.ece |url-status=live |archive-url=https://web.archive.org/web/20201108001401/https://www.thehindu.com/entertainment/the-unsung-phenomenon/article26598463.ece |archive-date=8 November 2020 |access-date=24 September 2021 |work=[[The Hindu]]}}</ref><ref>{{Cite web |last=செல்வராஜ் |first=என். |date=March 20, 2017 |title=வெள்ளி விழா கண்ட தமிழ் திரைப்படங்கள் |url=http://puthu.thinnai.com/%e0%ae%b5%e0%af%86%e0%ae%b3%e0%af%8d%e0%ae%b3%e0%ae%bf-%e0%ae%b5%e0%ae%bf%e0%ae%b4%e0%ae%be-%e0%ae%95%e0%ae%a3%e0%af%8d%e0%ae%9f-%e0%ae%a4%e0%ae%ae%e0%ae%bf%e0%ae%b4%e0%af%8d-%e0%ae%a4%e0%ae%bf/ |url-status=live |archive-url=https://web.archive.org/web/20220528041211/http://puthu.thinnai.com/%e0%ae%b5%e0%af%86%e0%ae%b3%e0%af%8d%e0%ae%b3%e0%ae%bf-%e0%ae%b5%e0%ae%bf%e0%ae%b4%e0%ae%be-%e0%ae%95%e0%ae%a3%e0%af%8d%e0%ae%9f-%e0%ae%a4%e0%ae%ae%e0%ae%bf%e0%ae%b4%e0%af%8d-%e0%ae%a4%e0%ae%bf/ |archive-date=28 May 2022 |access-date=2022-07-14 |website=Thinnai}}</ref>

== References ==
{{reflist}}

== External links ==
* {{IMDb title}}
* {{Rotten Tomatoes}}

{{Durai}}

[[Category:1981 Indian films]]
[[Category:1981 romance films]]
[[Category:1981 Tamil-language films]]
[[Category:1981 films]]
[[Category:Films directed by Durai (director)]]
[[Category:Films scored by T. Rajendar]]
[[Category:Indian interfaith romance films]]
[[Category:Indian romance films]]
[[Category:Tamil films remade in other languages]]
[[Category:Tamil-language Indian films]]
[[Category:Tamil-language romance films]]

Saba Nayagan

2026-03-03T02:30:21Z

FWQGina861152045: Started info

{{short description|2023 film by C S Karthikeyan}}
{{Long plot|date=January 2025}}
{{Use dmy dates|date=December 2023}}
{{Use Indian English|date=December 2023}}
{{Infobox film
| name = Saba Nayagan
| image = Saba Nayagan.jpg
| alt =
| caption = Theatrical release poster
| director = C. S. Karthikeyan
| writer = C. S. Karthikeyan
| producer = Aravind Jayabalan Iyyappan Gnanavel Captain Megavanan Isaivanan
| starring = [[Ashok Selvan]] [[Karthika Muralidharan]] [[Chandini Chowdary]] [[Megha Akash]]
| cinematography = [[Balasubramaniem]] Dinesh Purushothaman Prabhu Rhagav
| editing = Ganesh Siva
| music = [[Leon James (composer)|Leon James]]
| studio = Clear Water Films INC. I Cinema Captain Mega Entertainment
| distributor = Clear Water Films INC. Captain Mega Entertainment
| released = {{Film date|2023|12|22|df=yes}}
| runtime =
| country = India
| language = Tamil
| gross =
}}
'''''Saba Nayagan''''' ({{Translation|Hero Saba}}) is a 2023 Indian [[Tamil language|Tamil]]-language [[Coming-of-age film|coming-of-age]] [[romantic comedy]] film written and directed by C. S. Karthikeyan in his directorial debut and produced by Aravind Jayabalan, Iyyappan Gnanavel and Captain Megavanan Isaivanan under the production banners Clear Water Films INC, I Cinema and Captain Mega Entertainment. The film stars [[Ashok Selvan]], [[Karthika Muralidharan]], [[Chandini Chowdary]] and [[Megha Akash]], in the lead roles and [[Mayilsamy]] (in his final film appearance after his death) and others in supporting roles. The film features music composed by [[Leon James (composer)|Leon James]] with cinematography handled by Balasubramaniem, Dinesh Purushothaman and Prabhu Rhagav and editing done by Ganesh Siva. The film was released theatrically on 22 December 2023, where it received positive reviews from critics and became a commercial success.

== Plot ==
'''In 2016 (Chennai)''' 
Saba is drunk and gets arrested in a public nuisance case by the police. Saba pleads to get released, but the sub-inspector lets the other guy out after hearing his love-failure story. So Saba tries to narrate his love story in order to get out of the police jeep. Saba shares his school love story.

('''In 2008 - Erode''')

Saba is in eleventh grade and had a crush on Eesha. He tries to convey his love to her, but he can't do it, as every single attempt he makes ends in failure. He gets disappointed when he finds out from his friends that she is in love with Ashwin, a twelfth-grade school senior. Later, his friends tell him that she is not in love with Ashwin, and she just talks with him casually due to her cousin's sister's request. 
'''In 2009''' 
On the farewell day of school, Saba hoped to convey his love to her, but he didn't because of his friend SS. Karthik gets heartbroken after Gayathri rejects his proposal. So Saba goes with SS Karthik in order to make his friend feel better. That's the last day he met her, and he didn't even speak with her during his school days. Later, he joins an engineering college in Coimbatore, where he meets Riya, and they eventually fall in love. After some moments, he introduced her to his friend Gokul in the hope that he could pass messages easily through him to her as Gokul was studying in the same department as her. But Gokul and Riya fell in love, so Saba became single again. 
'''In Chennai''' 
After completing his graduation, he meets Eesha again in his cousin's sister Divya's boutique. He gives her a fifty percent offer on her purchase, and she asks him where he completed his schooling, as she thinks she might have met him somewhere, so he replies that he has studied at SVB school. After knowing he was her schoolmate, she introduced him to Gayathri. Gayathri knows him already as he was a friend of SS Karthik in school days, so Gayathri tells Eesha that SS Karthik is a rogue, so he might not have completed his college and he might have arrears. At that moment, Aravinth tells them that SS Karthik is now studying cardiology. So Gayathri gets SS's phone number, and Eesha gets Aravinth's phone number. Later, he helps Eesha's sister Preethi choose a dress for a competition with the help of Divya, which made her win the competition, so Preethi arranges a treat as she promised. After that, Eesha and Aravinth meet each other, and they become closer eventually. Eesha invites Aravinth to her house and introduces her parents to him. She tells him that SS and Gayathri are going to meet today. Gayathri gets to know that SS is not a cardiology student because he can't save a man who was unconscious. After knowing that SS is pretending to be a cardiologist, Eesha slaps him in the face. Later, SS asks Saba to break up with Eesha, so Saba records a video saying it's over between them because she slapped his friend. The next day, he happens to see her in a saree, and he gets mesmerised by her. He doesn't want to end his friendship with her. SS gets angry that he didn't break his relationship with her, and seeing Saba's phone in her hand, he thinks that she may have seen that video of Saba telling her to break up, so he tells Saba that she has seen that video. She didn't see any video, as she didn't know the password for the phone. Out of curiosity, she asked what the video was. Saba tells her about his crush on her since school days. She reveals that he should have proposed to her in school because now she has a boyfriend. After hearing these things, everyone in the police Jeep gets disappointed and asks Saba to tell them what happened next. He starts to tell them that after that incident, he joined an MBA college, and there he met Megha and how they got closer and how they became lovers. After hearing the last one, all of them got happy because Saba finally got a happy ending in his love journey. The police jeep stops, and some goons try to attack the sub-inspector, but Saba saves him. The sub-inspector thanks Saba not for saving him from those goons but for making him understand what love is. He says that in college he has five friends, two of whom are committed to the rest of the two, so the friends suggested that he fall in love with the remaining one, Deepthi. So he is going to break up with her as things are not working between them. As told, sub-inspectors broke up with Deepthi.

Finally, all of the students who studied at SVB School gather in a hall for a reunion. It was revealed that Saba deliberately got arrested in order to make the sub-inspector Vishnu realise what a soulmate is. He did that because Deepthi is Eesha. Both Deepthi and Vishnu didn't really love that they were in a relationship for their college friends wishes. SS asks Saba why he lied to them that he studied MBA and fell in love with a girl named Megha. Saba replies to him that he lied to them to give them hope, as the people in the Jeep were disappointed after hearing his love failure story. Gayathri looks at SS like she did in their earlier school days. After the school correspondent speech, everyone steps out of the hall, but Deepthi and Saba stay. He turns back and looks at her.

== Cast ==
{{cast listing|
* [[Ashok Selvan]] as SB Aravindh "Saba"
* [[Karthika Muralidharan]] as Deepthi/Eesha
* [[Chandini Chowdary]] as Riya, Saba's college lover
* [[Megha Akash]] as Megha, Saba's MBA college lover
* [[Mayilsamy]] as [[Constable|Police Constable]] M. Suseendiran
* [[Michael Thangadurai]] as Police [[Sub-inspector|SI]] Vishnu Balaji, and Deepthi's college lover
* Udumalai Ravi as Police Constable K. Balaji
* Arun Kumar as SS Karthik "SS", Saba's best friend
* Jaiseelan Sivaram as Dinesh, Saba's best friend
* Sriram Krish as Siva Prakash
* Aneessh as Naveen, Saba's school friend
* Sherlin Seth as Gayathri, Deepthi's best friend
* Jay Adithya as Nandhu, Saba's School Junior and Riya's brother
* Arun Karthi
* Viviyasanth as Divya, Saba's cousin Sister
* Akshaya Hariharan as Preethi, Deepthi's younger sister
* Dr. L.M.Ramakrishnan as Himself, Saba's school correspondent
* [[Balaji Murugadoss (actor)|Balaji Murugadoss]] as Ashwin, Saba's school senior
* Sudhir Ravindranathan as Dharmaraj, School Maths teacher
* Manoharan Krishnan as Police [[Inspector]], Riya's father
* [[M. J. Shriram]] as Eesha's father
* Shravnitha Srikanth as Aparna, Saba's college crush
* Deepa Balu as Nandini, Saba's girlfriend in Singapore
* [[Tulasi (actress)|Tulasi Shivamani]] as Saba's mother
}}

== Production ==

The film was announced in July 2022 with Ashok Selvan in the lead. The film marked the directorial debut of C. S. Karthikeyan, who has previously worked as an assistant director of [[Kamal Haasan]] in [[Vishwaroopam]] and [[Vishwaroopam II]]. Leon James who had earlier worked with Ashok Selvan in [[Oh My Kadavule]] was signed as the music director. Filming commenced in 2022. The title was revealed as Saba Nayagan with first look and teaser releasing on 25 April 2023.<ref>{{Cite web |title=Ashok Selvan's new romcom titled Saba Nayagan |url=https://www.cinemaexpress.com/tamil/news/2023/apr/25/ashok-selvans-new-romcom-titled-saba-nayagan-42675.html |access-date=2023-12-03 |website=CinemaExpress |date=25 April 2023 |archive-date=25 April 2023 |archive-url=https://web.archive.org/web/20230425172917/https://www.cinemaexpress.com/tamil/news/2023/apr/25/ashok-selvans-new-romcom-titled-saba-nayagan-42675.html |url-status=live }}</ref> The trailer was released on 25 November 2023.

== Music ==
{{Infobox album
| name = Saba Nayagan
| type = Soundtrack
| artist = [[Leon James (composer)|Leon James]]
| cover =
| alt =
| released = 2023
| recorded = 2023
| venue =
| studio =
| genre = [[Feature film soundtrack]]
| length =
| language = [[Tamil language|Tamil]]
| label = [[Saregama]]
| producer = [[Leon James (composer)|Leon James]]
| prev_title = [[Single Shankarum Smartphone Simranum]]
| prev_year = 2023
| next_title = [[Laila (2025 film)|Laila]]
| next_year = 2025
| misc = {{singles
| name = Saba Nayagan
| type = soundtrack
| single1 = Babyma
| single1date = 25 November 2023
| single2 = Seemakaariye
| single2date = 5 December 2023
| single3 = Sikkikita
| single3date = 15 December 2023
}}
}}

The music of the film is composed by [[Leon James (composer)|Leon James]].<ref>{{cite web |title=Saba Nayagan Songs: Saba Nayagan MP3 Tamil Songs by Leon James Online Free on Gaana.com |url=https://gaana.com/album/saba-nayagan |website=[[Gaana (music streaming service)|Gaana]] |access-date=5 February 2024 |language=en |archive-date=5 February 2024 |archive-url=https://web.archive.org/web/20240205055532/https://gaana.com/album/saba-nayagan |url-status=live }}</ref> The first single <nowiki>''Babyma''</nowiki> was released on 25 November 2023.<ref>{{Cite web |title=Babyma song from Saba Nayagan out |url=https://www.cinemaexpress.com/tamil/news/2023/nov/26/babyma-song-from-saba-nayagan-out-49886.html |access-date=2023-12-03 |website=CinemaExpress |date=26 November 2023 |archive-date=3 December 2023 |archive-url=https://web.archive.org/web/20231203061539/https://www.cinemaexpress.com/tamil/news/2023/nov/26/babyma-song-from-saba-nayagan-out-49886.html |url-status=live }}</ref> The second single <nowiki>''Seemakaariye''</nowiki> was released on 5 December 2023. The third single <nowiki>''Sikkikita''</nowiki> was released on 15 December 2023.<ref>{{Cite web |title=Sikkikita song from Ashok Selvan's Saba Nayagan is out |url=https://www.cinemaexpress.com/tamil/news/2023/dec/15/sikkikita-song-from-ashok-selvanssaba-nayagan-is-out-50420.html |access-date=2023-12-18 |website=CinemaExpress |date=15 December 2023 |archive-date=18 December 2023 |archive-url=https://web.archive.org/web/20231218142126/https://www.cinemaexpress.com/tamil/news/2023/dec/15/sikkikita-song-from-ashok-selvanssaba-nayagan-is-out-50420.html |url-status=live}}</ref> The song "Avalukkena" from ''[[Server Sundaram]]'' was remixed for the film.

{{Track listing
| all_writing =
| headline = Track listing
| extra_column = Singer(s)
| title1 = Babyma
| length1 = 4:23
| lyrics1 = [[Ko Sesha]]
| extra1 = [[G. V. Prakash Kumar]], Sanjana Kalmanje
| title2 = Seemakaariye
| length2 = 4:00
| lyrics2 = [[Karthik Netha]]
| extra2 = [[Sanjith Hegde]]
| title3 = Sikkikita
| length3 = 3:14
| lyrics3 = [[Ku Karthik]]
| extra3 = [[Leon James (composer)|Leon James]]
| title4 = All Time Happy
| length4 = 3:45
| lyrics4 = Madras Miran
| extra4 = [[Arivu]], Gana Balachandar
| title5 = Enna Ponnu Da
| length5 = 2:44
| lyrics5 = GKB
| extra5 = Ajay Jameson
| title6 =
| length6 =
| lyrics6 =
| extra6 =
| total_length =
}}

==Release and reception ==

The film was initially slated for release on 15 December 2023.<ref>{{Cite web |title=Saba Nayagan gets release date |url=https://www.cinemaexpress.com/tamil/news/2023/nov/26/saba-nayagan-gets-release-date-49885.html |access-date=2023-12-03 |website=CinemaExpress |date=26 November 2023 |archive-date=3 December 2023 |archive-url=https://web.archive.org/web/20231203061537/https://www.cinemaexpress.com/tamil/news/2023/nov/26/saba-nayagan-gets-release-date-49885.html |url-status=live }}</ref><ref>{{Cite web |title=அசோக் செல்வனின் சபா நாயகன்: வெளியீட்டுத் தேதி அறிவிப்பு |url=https://www.dinamani.com/cinema/cinema-news/2023/nov/28/ashok-selvans-saba-nayagan-release-date-announced-4113150.amp |access-date=2024-02-05 |website=Dinamani |date=November 2023 |archive-date=5 February 2024 |archive-url=https://web.archive.org/web/20240205163332/https://www.dinamani.com/cinema/cinema-news/2023/nov/28/ashok-selvans-saba-nayagan-release-date-announced-4113150.amp |url-status=live |language=ta }}</ref> However, due to post-production and certification delays owing to Cyclone Michaung, the film was released theatrically on 22 December 2023.<ref>{{Cite web |title=Ashok Selvan's Saba Nayagan gets a new release date |url=https://www.cinemaexpress.com/tamil/news/2023/dec/12/ashok-selvans-saba-nayagan-gets-a-new-release-date-50313.html |access-date=2023-12-12 |website=CinemaExpress |date=12 December 2023 |archive-date=12 December 2023 |archive-url=https://web.archive.org/web/20231212170611/https://www.cinemaexpress.com/tamil/news/2023/dec/12/ashok-selvans-saba-nayagan-gets-a-new-release-date-50313.html |url-status=live}}</ref>

===Home media===
The streaming and satellite rights of the film were acquired by [[Disney+ Hotstar]] and [[Star Vijay]]. The film had its digital premiere on the streaming platform from 14 February 2024, coinciding [[Valentine's Day]].<ref>{{Cite web|date=18 January 2024|title=Tamil Film #SabaNayagan Will Premiere On February 14th On Disney+ Hotstar|url=https://twitter.com/cinemaa_world/status/1747965608950649155|website=[[Twitter]]|access-date=5 February 2024|archive-date=18 January 2024|archive-url=https://web.archive.org/web/20240118172654/https://twitter.com/cinemaa_world/status/1747965608950649155|url-status=live}}</ref>

=== Critical reception ===
The film opened to positive reviews from critics. Roopa Radhakrishnan of ''[[The Times of India]]'' gave 3 out of 5 stars and wrote "Ashok Selvan shines in this self-aware comedy that doesn’t let us take it too seriously."<ref>{{cite news |title=Saba Nayagan Movie Review : Ashok Selvan shines in this self-aware comedy that doesn't let us take it too seriously |url=https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/saba-nayagan/movie-review/106171847.cms |website=The Times of India |access-date=5 February 2024 |archive-date=7 January 2024 |archive-url=https://web.archive.org/web/20240107071042/https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/saba-nayagan/movie-review/106171847.cms |url-status=live }}</ref> Prashanth Vallavan of ''[[Cinema Express]]'' gave 2 out of 5 stars and wrote "''Saba Nayagan'' offers sporadic chuckles but it mostly grates on your patience with its idea of humour."<ref>{{cite web |title=Saba Nayagan Movie Review: Plays too safe with a relatable premise; resolutely unmemorable |url=https://www.cinemaexpress.com/tamil/review/2023/dec/22/saba-nayagan-movie-review-plays-too-safe-with-a-relatable-premise-resolutely-unmemorable-50609.amp |website=[[Cinema Express]] |date=3 December 2023 |access-date=5 February 2024 |archive-date=18 February 2024 |archive-url=https://web.archive.org/web/20240218100945/https://www.cinemaexpress.com/tamil/review/2023/dec/22/saba-nayagan-movie-review-plays-too-safe-with-a-relatable-premise-resolutely-unmemorable-50609.amp |url-status=live }}</ref>

== References ==
{{Reflist}}

== External links ==
* {{IMDb title|tt27610443}}

[[Category:2023 Tamil-language films]]
[[Category:2023 Indian films]]
[[Category:2023 films]]
[[Category:2023 directorial debut films]]
[[Category:Films scored by Leon James (composer)]]
[[Category:Tamil-language Indian films]]

Cosmopolitan (film)

2026-03-03T00:25:01Z

FWQGina861152045: put up new page!

{{EngvarB|date=April 2015}}
{{Use dmy dates|date=April 2015}}
{{Infobox film
| name = Cosmopolitan
| image = Cosmopolitanpostersmall.jpg

| caption =
| director = [[Nisha Ganatra]]
| producer = Brian Devine Jason Orans Jen Small
| writer = [[Sabrina Dhawan]] (screenplay) [[Akhil Sharma]] (short story)
| narrator =
| starring = [[Roshan Seth]] [[Carol Kane]] [[Madhur Jaffrey]] [[Purva Bedi]]
| music = [[Andrew Lockington]] (score) [[Chris Rael]] (songs)
| cinematography = Matthew Clark
| editing =
| studio = Gigantic Pictures [[KQEH|KTEH]]
| distributor = Gigantic Pictures [[Public Broadcasting Service|PBS]] [[ITVS]]
| released = {{Film date|2003| | |theatrical|2004| | |television}}
| runtime = 53 minutes
| country = United States
| language = English [[Hindi]]
| budget =
| gross =
}}
'''''Cosmopolitan''''' is a 2003 American [[independent film]] starring [[Roshan Seth]] and [[Carol Kane]], and directed by [[Nisha Ganatra]]. The film, based on an acclaimed short story by [[Akhil Sharma]] and written by screenwriter [[Sabrina Dhawan]] (''[[Monsoon Wedding]]''), is a cross-cultural [[romance (love)|romance]] between a confused and lonely middle-aged [[India]]n, who has lived in America for 20 years, and his exasperating, free-spirited blonde neighbour.

The film was released theatrically in 2003. It was televised nationally in 2004 on the [[Public Broadcasting Service|PBS]] series ''[[Independent Lens]]''.

==Plot==
In an American suburb in [[Northern New Jersey]], conservative, middle-aged Indian immigrant Gopal, a telephone-company engineer who has taken early retirement, is celebrating [[Diwali]] in November with his wife and grown daughter. His daughter suddenly tells him that she is leaving indefinitely to teach English in [[Mongolia]] with her German boyfriend. As Gopal recovers from this shock and tries to talk her out of it, largely on the grounds that she will be living in sin in his eyes, his wife Madhu announces that she is leaving him as well, and is taking up the spiritual life in an [[ashram]] in India.

Confused, mortified, bored, and directionless, newly single Gopal lies to his few Indian-American acquaintances about the situation, and refuses to answer his daughter's phone calls from Mongolia. He tries to cope with his emptiness by redecorating slightly, searching through the various corners of his small house, reading newspapers, and watching videos of [[Bollywood]] romance extravaganza films. Desperately lonely, he latches upon a copy of ''[[Cosmopolitan (magazine)|Cosmopolitan]]'' magazine that had belonged to his daughter, and takes a quiz gauging a man's suitability for a relationship – which reveals that he is a "Ditchable Dude".

In the midst of his distress and his Bollywood fantasies, Gopal's eccentric neighbor, the oddly attractive divorcée Mrs. Shaw – whom he had previously thought of as having loose morals (because of her one-night stands) and slovenly – appears at his door asking to borrow one of his rakes. This sets off a whole new set of fantasies on his part. A few nights later Gopal sees her on her porch nursing a drink, and after a tentative conversation, asks her to have Thanksgiving dinner with him at home the next day. While cleaning and straightening for the date, Gopal finds several more of his daughter's ''Cosmopolitan''s, and reads several articles on "What women want" from a man – evidently it is for them to "listen, listen, listen".

With the help of the advice gleaned from the pages of ''Cosmopolitan,'' and to some extent in spite of it, Gopal and Mrs. Shaw (Helen) hit it off, and develop a warm, tender, intimate relationship. Mrs. Shaw is a high school counselor, and therefore a good and empathetic listener herself, and Gopal confides in her about his childhood dreams and sorrows.

But the relationship does not go exactly as Gopal had planned. On Christmas Day, when Helen gently rebuffs his insistence on his long-term vision for the relationship, Gopal is very upset and shouts at her to leave. He then holes up sullen and frustrated in his house, refusing all attempts at communication from her, and is visibly angry when he sees she has a male visitor nearly a week later.

On New Year's Eve, Gopal discovers Helen has left a Christmas gift for him, and it is something very meaningful to him. He breaks down, and something in him shifts – regarding the relationship, his family, and himself.

==Cast and characters==
*[[Roshan Seth]] – Gopal, a retired middle-aged Indian immigrant, who has been in America 20 years, and who has been complacently wed since childhood in an [[Arranged marriage in India|arranged marriage]] to Madhu
*[[Carol Kane]] – Mrs. Shaw (Helen), Gopal's exasperating divorcée neighbour, who has conspicuous one-night stands and whose house and car are conspicuously unkempt in Gopal's eyes
*[[Madhur Jaffrey]] – Madhu, Gopal's wife
*[[Purva Bedi]] – Geetu, Gopal and Madhu's daughter, who has grown up in America and who is newly unemployed
*[[Yolande Bavan]] – Preema, Madhu's Indian-American friend, who is enthused about an [[Multi-level marketing|MLM]] (multi-level marketing scheme)
*Taj Crown – Harish, Preema's husband, who is also an MLM convert
*Neerja Sharma – Vandana, Preema and Harish's daughter
*[[Kal Penn]] – Vandana's fiancé, a [[pre-med]] student
*Niket Subhedar – Young Gopal, whose life in India revolves around [[cricket]]
*[[Stephen Barker Turner]] – Hans, Geetu's German boyfriend, who takes her off to Mongolia to teach English and live in a [[yurt]]

==Cast information==

Distinguished Indian actor [[Roshan Seth]], a 20-year veteran of major American and British films, including lead roles in ''[[Gandhi (film)|Gandhi]]'', ''[[Mississippi Masala]]'', ''[[Not Without My Daughter (film)|Not Without My Daughter]]'', ''[[My Beautiful Laundrette]]'', and ''[[Indiana Jones and the Temple of Doom]]'', was chosen for the starring role of Gopal, the suddenly single Indian patriarch. Seth had also played the groom's father in screenwriter [[Sabrina Dhawan]]'s 2001 film, ''[[Monsoon Wedding]]''.

[[Academy Award|Oscar]]-nominee [[Carol Kane]], familiar to many as Latka's wife Simka on the sitcom ''[[Taxi (TV series)|Taxi]]'', and noted also for her roles in ''[[Hester Street (film)|Hester Street]]'', ''[[Annie Hall]]'', ''[[The Princess Bride (film)|The Princess Bride]]'', and ''[[Scrooged]]'', was chosen to play Gopal's unconventional American neighbour, divorcée Mrs. Shaw. "There was no other (casting) choice" for Mrs. Shaw, said co-producer Jen Small, who had previously worked with Kane on the 1998 PBS film ''The First Seven Years''. Director [[Nisha Ganatra]] agreed: "We wanted to take advantage of Carol's incredible comic timing, and that way she has of making you laugh and breaking your heart at the same time."<ref name=AP>Byrne, Bridget. [http://chronicle.augusta.com/stories/053104/tel_LB0690-5.shtml "Carol Kane Dances into PBS' ''Cosmopolitan'' Romance."] ''[[Associated Press]]''. May 30, 2004.</ref>

To round out the major cast, Ganatra chose [[Merchant-Ivory]] actress [[Madhur Jaffrey]], who had been in her 1999 film ''[[Chutney Popcorn]]'', to play Gopal's disgruntled wife. Up-and-comer 18-year-old Indian-American actress [[Purva Bedi]] (''[[American Desi]]'') was cast as Gopal's daughter Geetu.

According to Ganatra, it was interesting watching Roshan Seth's and Carol Kane's conflicting acting styles. "Seth comes from the British school of theater acting and believes that his job is to deliver a consistent performance. Kane comes from the American school, where improvisation rules and a certain performance may not be duplicated. Seth wanted lots of rehearsals; Kane thought too much practice would make her performance stale."<ref>Walsh, Christine. [http://www.indianewengland.com/ME2/Audiences/dirmod.asp?sid=&nm=&type=Publishing&mod=Publications%3A%3AArticle&mid=8F3A7027421841978F18BE895F87F791&tier=4&id=607FF121B10C4735A4484B9A84A00EBF&AudID=Diversity%20%26%20Recruitment "''Cosmopolitan'' Sheds Light on First-Generation Confusion."] ''India New England''. November 1, 2004.</ref> Nevertheless, the two actors very much enjoyed working together.<ref>Kai, Suzanne. [http://asianconnections.com/a/?article_id=410 "Nisha Ganatra's ''Cosmopolitan'', starring Carol Kane and Roshan Seth, Airs This Month on PBS."] {{Webarchive|url=https://web.archive.org/web/20070907102756/http://www.asianconnections.com/a/?article_id=410 |date=7 September 2007 }} ''Asian Connections''. 31 May 2004.</ref><ref name=xfinity>Yang, Chi-Hui. [http://my.xfinity.com/blogs/tv/2013/11/08/a-conversation-with-nisha-ganatra-director-of-cosmopolitan/ "A Conversation With Nisha Ganatra, Director of ''Cosmopolitan''"]. ''[[Xfinity]]''. November 8, 2013.</ref>

==Script==
[[Akhil Sharma]]'s original short story "Cosmopolitan" initially appeared in ''[[The Atlantic Monthly]]'', in January 1997.<ref>Sharma, Akhil. [https://www.theatlantic.com/issues/97jan/9701fict/sharma.htm "Cosmopolitan."] ''[[The Atlantic Monthly]]''. January 1997.</ref> It was then anthologised and republished in the book ''The Best American Short Stories 1998'',<ref>Keillor, Garrison (ed). [https://www.amazon.com/dp/0395875145 ''The Best American Short Stories 1998.''] Houghton Mifflin, 1998. pp. 48–69.</ref> a selection of 20 short stories chosen by [[Garrison Keillor]].

Producers Jen Small, Jason Orans, and Brian Devine found "Cosmopolitan", which they considered "a little gem", in the 1998 anthology. They signed award-winning screenwriter [[Sabrina Dhawan]] (''[[Monsoon Wedding]]'') to adapt it for their newly formed New York-based independent production company, Gigantic Pictures. "The rights to short stories are more accessible financially for small companies; and you can add, where a novel demands cutting", says Small.<ref name="Filmmaker">Glucksman, Mary. [http://www.filmmakermagazine.com/spring2003/columns/in_focus.php" In Focus: Mary Glucksman Profiles Six New Feature Films in Production: ''Cosmopolitan.''] ''[[Filmmaker Magazine]]''. Spring 2003.</ref>

Of the differences between adapting short stories versus novels, co-producer Jason Orans said, "Short stories are usually structured differently than movies. While a movie should have a three-act structure, a short story is often an exploration of character via a single defining event. The challenge is to create new material which both serves the story and supports a three-act structure. With ''Cosmopolitan'', this meant [Sabrina Dhawan] adding a completely new first act to the story."<ref name="Q&A">[https://web.archive.org/web/20040606010629/http://www.pbs.org/independentlens/cosmopolitan/qa.html ''Cosmopolitan'': Filmmaker Q & A.] ''[[Independent Lens]]''. Retrieved June 29, 2009.</ref>

Director [[Nisha Ganatra]], whose previous credits included the multiple-award-winning ''[[Chutney Popcorn]]'', was also intrigued by Akhil Sharma's short story. In her words, "I thought, this is a story we haven't seen. Indian American filmmakers are making these stories that are very 'me, me, me' and the thing that I loved about ''Cosmopolitan'' is that it's about our parents and loneliness, and that I found was very universal and exciting."<ref>[https://web.archive.org/web/20040610193911/http://www.pbs.org/independentlens/cosmopolitan/film.html ''Cosmopolitan'': The Film.] ''[[Independent Lens]]''. Retrieved June 29, 2009.</ref>

Screenwriter Sabrina Dhawan adapted, expanded, and fleshed out Sharma's short story. The original short story was very focused on Gopal's loneliness, and his initial inability to make physical or emotional contact with anyone.<ref name=AP /> Dhawan kept and expanded the story's poignancy, while changing the focus to Gopal's relationship with Mrs. Shaw, giving the story specificity and universal relevance, and infusing it with wit.

==Score and soundtrack==
The score for the film was composed by Canadian-born composer [[Andrew Lockington]], with whom director Nisha Ganatra, a fellow Canadian, had worked once before, on the 2003 film ''Fast Food High.'' The instrumental score includes string quartet, piano (performed by Lockington), clarinet, [[bansuri|bansuri flute]], and [[tabla|tabla drum]]s.<ref>[http://www.aczoom.com/nisha/cosmopolitan/ccredits.html Official site – Credits]. Retrieved June 29, 2009.</ref>

The three Bollywood-parody songs, "Meri Desi Rani", "Come to Me", and "Destiny", were written, composed, and produced by eclectic New York Indo-pop pioneer [[Chris Rael]]. The songs were performed by Rael along with eight members of his Indo-pop band Church of Betty, and Rael also sang the male leads of the songs.

Two of Rael's three Bollywood-parody songs in the film have dance numbers. One Bollywood-parody dance number features Kane, and the main dance number features Kane and Seth. Of his dancing in the main Bollywood number, Roshan Seth confessed, "I'm really quite spastic when it comes to all that, and uncoordinated, but Carol was very funny and we somehow got through it."<ref>[https://www.npr.org/templates/story/story.php?storyId=1921753 "Indian-American Stories on Film: ''Cosmopolitan''"] (audio interview of Roshan Seth by Robert Siegel). [[NPR]]'s ''[[All Things Considered]]'', June 3, 2004</ref>

==Production==

===Funding===
According to co-producer Jason Orans, the production team "fell in love with the story and were determined to make it from the moment we found out the rights were available. However, we were writing grant proposals for over two years before any funding was promised."<ref name="Q&A" /> The team used the immigrant-adrift-in-America theme of the story to garner major funding from the [[Corporation for Public Broadcasting]]'s Diversity Initiative,<ref>[http://www.cpb.org/pressroom/release.php?prn=253 Pressroom: "New Public Television Projects Reveal Different Perspectives of Life in America Today."] ''[[Corporation for Public Broadcasting]]'' (Diversity Fund). June 25, 2002.</ref> and from the [[National Asian American Telecommunications Association]].<ref name="Filmmaker" /><ref>[http://caamedia.org/caam-funded-projects/ CAAM Funded Projects]. [[Center for Asian American Media]]. Retrieved October 4, 2016.</ref> Funding was also obtained from the [[National Endowment for the Arts]].<ref name="Official">[http://www.aczoom.com/nisha/cosmopolitan/ Official website]. Retrieved October 4, 2016.</ref>

===Filming===

Most of the film was shot in [[New Jersey]] in January 2003. The film's Bollywood street dance number was shot in New York City's [[Jackson Heights, Queens|Jackson Heights]], where colourful Indian-American signage helped make a ready-made outdoor set. Ganatra observes humorously that the outdoor dance number "kept getting pushed on the schedule because of weather, and we finally did it on the coldest day of the year with the poor actors in saris".<ref name="Filmmaker" />

A few shooting locations had to be changed, and often the replacement locations turned out to be more interesting than those originally planned. A scene meant to take place in a large major bookstore could not be achieved, so it was shot in a little sweets shop attached to a restaurant the filmmakers were already shooting in. Co-producer Jason Orans says, "This became one of my favorite shots in the film, very colorful, evocative, and (naturally) sweet."<ref name="Q&A" />

''Cosmopolitan'' was filmed in [[24P]] [[High-definition video|HD]]. For airing on PBS, the length of the film was trimmed by nearly three minutes; the television broadcast version and the DVD release run 53 minutes.<ref>Ganatra, Nisha. [http://www.aczoom.com/nisha/blog/2003/03/02/general/scrooged/ "Scrooged"]. Nisha Ganatra's blog. March 2, 2003.</ref>

==Release, broadcast, and home video==
''Cosmopolitan'' premiered on the opening night of the 2003 [[New York Indian Film Festival|Indo-American Arts Council Film Festival]], on November 5, 2003 at [[Lincoln Center]] in New York City.<ref>[http://www.iaac.us/Indian%20Diaspora%20Film%20Festival%202003/OpeningNight/Home.htm Opening Night Schedule], IAAC Film Festival 2003. [[Indo-American Arts Council]]. Retrieved June 29, 2009.</ref><ref name="Official"/><ref>Zuckerman, Alicia. [http://www.wnyc.org/story/85204-indian-diaspora-film-festival/ "Indian Diaspora Film Festival"]. ''[[WNYC|WNYC News]]''. November 5, 2003.</ref><ref>Rizvi, Salim. [https://news.bbc.co.uk/2/hi/south_asia/3230713.stm "New York hosts Indian film festival"]. ''[[BBC News]]''. November 5, 2003.</ref> It screened at [[South by Southwest]] in March 2004,<ref>[https://web.archive.org/web/20040414210215/http://sxsw.com/film/screenings/pages/1063.html SXSW 2004 Film Festival Screenings – ''Cosmopolitan'']. [[South by Southwest]]. March 2004.</ref> and also screened at other film festivals including the [[Mumbai Film Festival|Mumbai International Film Festival]] (2003),<ref>Bhasi, Ishara and [[Anupama Chopra]]. [http://archives.digitaltoday.in/indiatoday/20031208/uk-cinema.html "Recasting The Mould"]. ''[[India Today]]''. December 8, 2003. Retrieved October 4, 2016.</ref><ref>[http://www.rediff.com/movies/report/mami/20031121.htm "Down with Bollywood!"]. ''[[Rediff]]''. November 21, 2003.</ref><ref>Chatterjee, Shombit. [https://web.archive.org/web/20161005134702/http://www.sify.com/entertainment/movies/kannada/fullstory.php?id=13526754 "'I don't want Indians to feel invisible in US'"]. ''[[Sify]]''. July 21, 2004.</ref> the [[Indian Film Festival of Los Angeles]] (2004),<ref>[http://www.indianfilmfestival.org/archive/2004/film04.html IFFLA 2004 Film Schedule]. [[Indian Film Festival of Los Angeles]]. Retrieved October 4, 2016.</ref> the [[San Francisco International Asian American Film Festival]] (2004),<ref name=gigantic/><ref name="Official"/> the [[San Diego Film Festival]] (2004),<ref name=gigantic/> the [[San Diego Asian Film Festival]] (2004),<ref>Elliott, David. [http://legacy.sandiegouniontribune.com/uniontrib/20041018/news_mz1c18fest.html "Film fest at 5"] {{Webarchive|url=https://web.archive.org/web/20161005124919/http://legacy.sandiegouniontribune.com/uniontrib/20041018/news_mz1c18fest.html |date=5 October 2016 }}. ''[[San Diego Union Tribune]]''. October 18, 2004.</ref> the [[Woodstock Film Festival]] (2004),<ref>[http://woodstockfilmfestival.com/archives/2004schedule/features_2004.php Feature Narratives]. [[Woodstock Film Festival]]. 2004.</ref> the [[Wisconsin Film Festival]] (2005),<ref>[https://web.archive.org/web/20150910071859/http://2005.wifilmfest.org/film_details_1080.php ''Cosmopolitan'']. [[Wisconsin Film Festival]]. 2005.</ref><ref>[http://asianamerican.wisc.edu/documents/BRIDGES_2005.pdf#page=8 "2005 Asian American Film Series"]. ''BRIDGES: Asian American Studies Program Newsletter''. [[University of Wisconsin-Madison]]. May 2005. Issue No. 15. p. 8.</ref> the [[Ashland Independent Film Festival]] (2005),<ref>[http://www.ashlandfilm.org/Page.asp?NavID=724 Fourth Annual Festival]. [[Ashland Independent Film Festival]]. Retrieved October 4, 2016.</ref> and [[International Public Television Screening Conference|INPUT]] (2005).<ref name="Official"/> Other screenings have included the Dallas South Asian Film Festival (2004),<ref>[http://www.hometheaterforum.com/community/threads/3rd-annual-dallas-south-asian-film-festival-nov-5th-nov-8th.195099/ "3rd Annual Dallas South Asian Film Festival runs Nov 5th - Nov 8th"]. ''HomeTheaterForum.com''. November 5, 2004.</ref><ref>[http://xixax.com/index.php?topic=6898.0 "3rd Annual Dallas South Asian Film Festival runs Nov 5th - Nov 8th"]. ''Xixax.com''. November 5, 2004.</ref> the South Asian Film Festival ([[Orlando, Florida]], 2004),<ref>Boyar, Jay. [https://www.orlandosentinel.com/2004/04/23/south-asias-brightest-films-shine-at-festival/ "South Asia's Brightest Films Shine At Festival"]. ''[[Orlando Sentinel]]''. April 23, 2004.</ref> the Filmi South Asian Film Festival (2004),<ref>[http://ww1.utusan.com.my/utusan/info.asp?y=2004&dt=0809&pub=Utusan_Express&sec=Entertainment&pg=en_04.htm "Canada's Hollywood North turns Bollywood West"] {{Webarchive|url=https://web.archive.org/web/20161005134739/http://ww1.utusan.com.my/utusan/info.asp?y=2004&dt=0809&pub=Utusan_Express&sec=Entertainment&pg=en_04.htm |date=5 October 2016 }}. ''[[Utusan Malaysia]]''. August 9, 2004.</ref><ref>[http://www.southasianoutlook.com/issues/2004/august/event_calendar.html Window on Canada - Event Calendar: Movies]. ''SouthAsianOutlook.com''. August 2004.</ref> and the New Jersey Independent South Asian Cine Fest (2007).<ref>[http://www.ebpl.org/main/polNews.cfm?doctype_code=News&doc_id=3628 "Library to Host South Asian Film Festival on June 28"]. ''EBPL.org''. June 23, 2008.</ref>

The film was televised nationally beginning in June 2004 on the [[Public Broadcasting Service|PBS]] series ''[[Independent Lens]]''. The DVD is available from Gigantic Pictures on its official website.<ref name=gigantic>[http://www.giganticpictures.com/cosmopolitan.html ''Cosmopolitan''] {{Webarchive|url=https://web.archive.org/web/20090506022201/http://www.giganticpictures.com/cosmopolitan.html |date=6 May 2009 }}. ''GiganticPictures.com''. Retrieved October 4, 2016.</ref> The film is also available on streaming services such as [[Amazon Video]].<ref>[https://www.amazon.com/gp/product/B00BNW1AYY ''Cosmopolitan''] on Amazon. Retrieved October 4, 2016.</ref>

==Critical reception==
''Cosmopolitan'' was selected as one of 10 American PBS programs screened at [[International Public Television Screening Conference|INPUT]] 2005, an international conference on the best in public television. It was the only narrative film to have that distinction.<ref name="Official" /><ref>Abrash, Barbara. [https://archive.today/20120710195218/http://legacy.documentary.org/resources/zine.php?stage=3&articleID=108 "INPUT's Output: International Public Television Celebrated Amidst Creativity and Crisis."] ''Documentary Magazine'' (International Documentary Association). August 2005.</ref>

The film has received very favorable print reviews, and was variously described as "charming," "wry", "touching", and "hilarious" by ''[[Variety (magazine)|Variety]]'', ''[[Newsday]]'', ''[[Time Out New York]]'', and ''The Southeast Asian''.<ref name=gigantic/> The ''[[Boston Phoenix]]'' noted the film's "superb performances".<ref name="Official" /> ''New Beats'' remarked that screenwriter Dhawan and director Ganatra "capture the sense of suburban desolation in Gopal's world and the vivaciousness of Bollywood in the fantasy sequences. ... [D]epicting love so realistically with a sense of whimsy ... makes [the film] engaging."<ref>Chiu, David. [http://www.newbeats.com/cosmopolitan.html "''Cosmopolitan.''"] {{webarchive|url=https://web.archive.org/web/20080517085037/http://www.newbeats.com/cosmopolitan.html |date=17 May 2008 }} ''New Beats''. 2003.</ref>

The [[Associated Press]] called ''Cosmopolitan'' a "witty and tender depiction of mature romance".<ref name=AP /> And the ''[[Austin Chronicle]]'' wrote, "Director Nisha Ganatra has crafted a frothy yet poignant valentine to first-generation immigrants longing for their home country while forging a new life in their adopted one, and a celebration of the romantic lurking within even the most resigned-to-loneliness heart."<ref>[https://web.archive.org/web/20091106021108/http://www.itvs.org//shows/ataglance.php?showID=7508 At-a-Glance: ''Cosmopolitan'']. [[ITVS]]. Retrieved November 6, 2009.</ref>

Ronnie Sheib in ''[[Variety (magazine)|Variety]]'' noted the "friendly cross-cultural fireworks" between Roshan Seth and Carol Kane, and stated that "[c]hemistry between leads spikes in quirky arcs, with fantasy Bollywood musical sequences livening up tender moments." Calling the film "charming", he opined that the film "suffers slightly from tasteful restraint and numbers are often more pleasing in concept than execution", but also felt that the film "successfully sidesteps [a] rarified, over-literary small-screen look". Carol Kane as Mrs. Shaw is praised for her nuanced performance: "Such is the power of Kane's oddball sweetness that she is able to invest these scenes with amazing emotional resonance. Overweight and without makeup, Kane has a vulnerability that reads as a rare form of courage." And director Nisha Ganatra is noted for "ground[ing] Kane's feyness in workaday experience and middle-aged acceptance, making her the perfect vehicle for Seth's long-delayed voyage of self-discovery".<ref>Scheib, Ronnie. [https://www.variety.com/review/VE1117922658.html?categoryid=32&cs=1 "''Cosmopolitan''."] ''[[Variety (magazine)|Variety]]''. December 15, 2003.</ref>

==See also==
*[[Desi]]

==References==
{{reflist|2}}

==External links==
'''Official sites'''
*[http://www.aczoom.com/nisha/cosmopolitan/ Official website]
*[https://web.archive.org/web/20090506022201/http://www.giganticpictures.com/cosmopolitan.html Official website] – Gigantic Pictures
*[https://www.pbs.org/independentlens/documentaries/cosmopolitan/ Official website] – [[Public Broadcasting Service|PBS]], ''[[Independent Lens]]''
*{{IMDb title|id=0349249|title=Cosmopolitan}}
*[https://web.archive.org/web/20091106021108/http://www.itvs.org//shows/ataglance.php?showID=7508 At-a-Glance: ''Cosmopolitan''] ([[ITVS]])
*[https://web.archive.org/web/20040718173802/http://www.pbs.org/independentlens/cosmopolitan/credits.html Film Credits] (complete)
'''Interviews'''
*[https://web.archive.org/web/20070907102756/http://www.asianconnections.com/a/?article_id=410 Interview with Roshan Seth and Carol Kane]
*[https://www.npr.org/templates/story/story.php?storyId=1921753 7-minute audio interview with Roshan Seth] on [[NPR]]'s ''[[All Things Considered]]'', June 3, 2004
'''Media'''
* [https://www.youtube.com/watch?v=QNdTsIrPq3U Medley of "Meri Desi Rani", "Come to Me", and "Destiny"] – the three songs from the film by [[Chris Rael]]
*[https://web.archive.org/web/20081011145343/http://www.theatlantic.com//issues/97jan/9701fict/sharma.htm Text of Akhil Sharma's short story, "Cosmopolitan"]
{{Nisha Ganatra}}

[[Category:Films about Indian Americans]]
[[Category:Films about interracial romance]]
[[Category:2003 romantic comedy-drama films]]
[[Category:American independent films]]
[[Category:Films set in New Jersey]]
[[Category:2003 English-language films]]
[[Category:Films directed by Nisha Ganatra]]
[[Category:Films scored by Andrew Lockington]]
[[Category:Films with screenplays by Sabrina Dhawan]]
[[Category:Films based on American short stories]]
[[Category:2003 films]]
[[Category:2003 Hindi-language films]]
[[Category:American romantic comedy-drama films]]
[[Category:2003 independent films]]
[[Category:2003 American films]]
[[Category:Comedy-drama films about Asian Americans]]
[[Category:English-language romantic comedy-drama films]]
[[Category:English-language independent films]]

Atrangi Re

2026-03-02T04:29:56Z

FWQGina861152045: revised

{{short description|2021 film by Aanand L. Rai}}
{{Use Indian English|date=March 2020}}
{{use dmy dates|date=March 2020}}
{{Infobox film
| image = Atrangi Re film poster.jpg
| caption = Official release poster
| director = [[Aanand L. Rai]]
| writer = [[Himanshu Sharma]]
| producer = {{ubl|Aanand L. Rai|[[Himanshu Sharma]]|[[Bhushan Kumar]]|[[Krishan Kumar (actor)|Krishan Kumar]]}}
| starring = {{ubl|[[Dhanush]]|[[Sara Ali Khan]]|[[Akshay Kumar]]}}
| cinematography = [[Pankaj Kumar (cinematographer)|Pankaj Kumar]]
| editing = Hemal Kothari
| music = [[A. R. Rahman]]
| studio = {{ubl|[[T-Series (company)|T-Series Films]]|[[Colour Yellow Productions]]|[[Cape of Good Films]]}}
| distributor = [[Disney+ Hotstar]]
| released = {{Film date|df=yes|2021|12|24}}
| runtime = 137 minutes
| country = India
| language = Hindi
| budget = 
| gross = 
}}

'''''Atrangi Re''''' ({{translation|A person of eight colors}}) is a 2021 Indian [[Hindi]]-language [[Romance film|romantic]] [[comedy drama film]]<ref>{{cite web|title=Aanand L Rai on Sara Ali Khan's age gap with Atrangi Re co-stars Akshay Kumar-Dhanush: 'We have habit of judging people'|url=https://www.hindustantimes.com/entertainment/bollywood/aanand-l-rai-on-sara-ali-khan-s-age-gap-with-atrangi-re-co-stars-akshay-kumar-dhanush-we-have-habit-of-judging-people-101637810059850.html|website=[[Hindustan Times]] |date=25 November 2021|access-date=23 December 2021|archive-date=23 December 2021|archive-url=https://web.archive.org/web/20211223102930/https://www.hindustantimes.com/entertainment/bollywood/aanand-l-rai-on-sara-ali-khan-s-age-gap-with-atrangi-re-co-stars-akshay-kumar-dhanush-we-have-habit-of-judging-people-101637810059850.html|url-status=live}}</ref> directed by [[Aanand L Rai|Aanand L. Rai]] and written by [[Himanshu Sharma]]. Produced by [[T-Series (company)|T-Series Films]], [[Colour Yellow Productions]] and Cape of Good Films, the film stars [[Dhanush]], [[Sara Ali Khan]] and [[Akshay Kumar]] in the lead roles. The film tells the story of a girl named Rinku who is in love with a magician named Sajjad. She gets forcibly married off to Dr. Vishu. Vishu soon falls in love with Rinku but the love triangle gets weirder when Sajjad shows up.

The film's idea was conceived by Rai in 2013, after the release of ''[[Raanjhanaa]]''. He developed the screenplay with Sharma, exploring the subject of complexities of human emotions, especially love and was certain to cast Dhanush given the relativity of subject, script and time but the rest of the casting was eventual. As the project was officially announced in late-January 2020, the filming process began in March 2020 and completed within March 2021, despite losing out six months of filming in between owed to the [[COVID-19 pandemic in India]]. The film was shot across [[Varanasi]], parts of [[Bihar]], [[Delhi]], [[Agra]], [[Mumbai]], and few scenes in [[Madurai]], [[Karaikudi]]. The [[Film score|score]] and [[soundtrack album]] were composed by [[A. R. Rahman]], with lyrics written by [[Irshad Kamil]]. The cinematography and editing were performed by [[Pankaj Kumar (cinematographer)|Pankaj Kumar]] and Hemal Kothari, respectively.

After being rescheduled multiple times from its release dates, as a result of the [[COVID-19 lockdown in India|nationwide lockdown due to the pandemic]], the makers premiered the film through [[Disney+ Hotstar]] on 24 December 2021, thereby bypassing theatrical release. It was also dubbed and released in Tamil under the title ''Galatta Kalyaanam''. The film received mixed to positive reviews from critics, praising the unconventional plot, performances of the lead actors, direction, soundtrack and score, but criticised the incoherent screenplay and execution of overall storyline.

==Plot==
The story begins with Rinku Suryavanshi being chased by her family's goons at Siwan Junction [[Train station|railway station]] as she tries to elope with her long-term boyfriend. She is caught and beaten by her grandmother Dulhayen, who orders her to wed any bachelor to get Rinku off her hands. The following day, Rinku's aunt gives her drugged [[kheer]], which is meant for Rinku's parents' death anniversary.

S. Venkatesh Vishwanath "Vishu" Iyer, a [[Tamilian]] doctor briefly visiting with his friend Madhusudan "MS", a psychiatrist, gets kidnapped and drugged by Rinku's uncles who were actually aiming for MS, and the two are forcefully married. They travel to [[New Delhi]] by train, where they learn that both of them oppose the marriage and already have lovers: Vishu will be engaged to his friend Mandakini "Mandy" in two days, and Rinku's boyfriend, [[Performing arts|performing artist]] and magician Sajjad Ali Khan, will reach Delhi in a week. The two stay for a day in a hostel where Vishu lives and there, Rinku tells Vishu how her parents were immolated to death as a result of Dulhayen's conspiracy. The two reach [[Madurai]] for Vishu's wedding but Mandy sees a trending video showing their forced marriage, thus calling off the wedding; in the drama that ensues, Vishu angrily berates Mandy's father for misbehaving with Rinku, and leaves.

Angry and sad, Vishu returns to Delhi with Rinku and realizes he loves her. However, Sajjad has arrived, and Rinku runs off to meet him. Vishu sends MS to see that Rinku leaves safely; in a twist, it is revealed that Sajjad is imaginary and Rinku is mentally ill, talking and eloping with someone who is not there. Bewildered by this, MS speculates that Sajjad may be someone from Rinku's childhood, and Rinku's growing love for Vishu creates guilt in her because she has loved Sajjad for years, and if she loves Vishu, Sajjad will have no scope to exist. He runs to Vishu, who is in the operation theatre, and tells him about "Sajjad". They leave to find Rinku. Vishu meets Rinku on a train and manages to stop her by saying that he needs to file for divorce before leaving. Vishu then hastily concludes that the love story Rinku told him could be of her parents'.

Vishu and MS devise a plan to medicate Rinku and attempt to drive "Sajjad" away as MS feels that the more Rinku's mental health improves, the more "Sajjad" will become ill. One day, a drunk Rinku kisses Vishu on the cheek and "Sajjad" sees this. The latter tells Rinku to ask Vishu what sets him apart. Vishu, in retaliation, starts to break bottles on his head and is taken to the emergency room. As an apology, "Sajjad" confesses that he will make the [[Taj Mahal]] disappear for him. Vishu and his friends gather people and just when he is about to do so, MS gives Rinku her medicine and she sees that Sajjad's "magic trick" has failed. At night, she asks Vishu why everyone was clapping even though the Taj Mahal didn't disappear. Frustrated, Vishu confesses his love for Rinku, telling her that she is his wife and he is supposed to stand by her.

"Sajjad" feels threatened by Rinku's love for Vishu and attempts suicide. MS and Vishu, being doctors, take "Sajjad" to "operate" on him. MS tells Vishu to consider letting Rinku know that "Sajjad" died on the operating table but Vishu disagrees. The next day, while filing for divorce, Rinku refuses, saying she wants both "Sajjad" and Vishu. Vishu takes her to the [[Old Delhi railway station|Delhi Junction railway station]] to meet "Sajjad", who is "going to Japan" for a show as she can see "Sajjad" where she intends to. He also says that he will wait for her at the station until evening so she should elope with Sajjad or change her mind and return to him.

At the station, Rinku spots "Sajjad" with a little girl who he says is Rinku herself when she was a child. He says that she must go to Vishu, her soulmate, and that this time, he will no longer return. At this point, Rinku breaks down remembering her childhood. Eventually, it is revealed through a flashback that "Sajjad" is a real person, who, in fact, is her father; he had run away with her mother Manjari, married and had Rinku. However, the Suryavanshis filed a case and Sajjad was arrested. Rinku and Manjari were forcefully brought back home. Sajjad was released from jail and started performing in the circus. Manjari often secretly attended his shows with Rinku and they spent time together.

One day, just before Sajjad's [[firewalking]] performance, the Suryavanshis replaced the artificial fuel with real fuel, which [[Death by burning|immolated]] Sajjad. Among the audience, Manjari realises that Sajjad is burning and runs to him to save him, but both die together in the flames in front of little Rinku. This shapes up her [[paracosm]] with Sajjad all the way into adulthood, a fact that Vishu and MS had already realised, causing them to play along. This ends when "Sajjad" disappears and Rinku runs back to Vishu, who was distributing sweets to others saying that his wife has returned. The two finally reconcile and it is shown in parallel that Vishu is carrying Rinku, just like Sajjad would carry a young Rinku.

==Cast==
{{castlist|
*[[Dhanush]] as [[Doctor (title)|Dr.]] S. Venkatesh Vishwanath "Vishu" Iyer, Rinku's Husband, Mandy's ex-fiance
*[[Sara Ali Khan]] in a [[dual role]] as
** Rinku Sooryavanshi (Vishu's wife and Sajjad and Manjari's daughter)
*** Mannat Mishra as young Rinku
** Manjari Sooryavanshi (Sajjad's wife and Rinku's mother)
*[[Akshay Kumar]] as Sajjad Ali Khan, a magician, (Rinku's father and Manjari's husband)
*[[Seema Biswas]] as Dulhayen Suryavanshi (Rinku's grandmother)
*Ashish Verma as Dr. Madhusudan 'Madhu' alias (MS), (Vishu's best friend)
*[[Dimple Hayathi]] as Mandakini 'Mandy' Rao, Vishu's ex-fiancé
*[[Pankaj Jha]] as Rinku's uncle
*[[Ashok Banthia]] as Rinku's uncle
*Vijay Kumar as Matadin
*Anil Grover as Dablu
*Bharti Gola as Rinku's aunt
*[[Anand Babu]] as Vishu's father
*[[Nithya Ravindran]] as Vishu's mother
*[[G. Marimuthu]] as Mandy's father
*Jaya Swaminathan as Mandy's mother
*[[Gopal Dutt]] as a divorce lawyer
}}

==Production==

=== Development ===
During the production of ''[[Tanu Weds Manu: Returns]]'' (2015), writer [[Himanshu Sharma]] came up with the script idea to Rai, which did not materialise, and the latter went to work on other projects. Following the release of ''[[Zero (2018 film)|Zero]]'' (2018), Rai decided to revive the script which was based on human emotions,<ref name=":7">{{Cite web|date=23 December 2021 |title='Atrangi Re is fun but a very layered film with all its complexities,' says director Aanand L Rai|url=https://www.firstpost.com/entertainment/atrangi-re-is-fun-but-a-very-layered-film-with-all-its-complexities-says-director-aanand-l-rai-10230351.html|access-date=25 December 2021 |website=Firstpost|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224090641/https://www.firstpost.com/entertainment/atrangi-re-is-fun-but-a-very-layered-film-with-all-its-complexities-says-director-aanand-l-rai-10230351.html|url-status=live}}</ref> which he added: "It comes from just one thing [...] that is you are willing to fall in love. We are scared of falling in love because we are scared of getting hurt. The minute you get rid of that fear, you will understand people and their emotions better. I have been fortunate enough to meet people who are so willingly available with all their emotions."<ref name=":7" /> As per Rai, "when the story of ''Atrangi Re'' was discussed as an idea in 2014, Rai stated that only thing that was certain was [[Dhanush]], the rest of the casting happened gradually. For the character of Vishu, Rai wanted Dhanush to portray another colour of his. ''[[Raanjhanaa]]'' was about redemption, but ''Atrangi Re'', it is about a different kind of expression of love."<ref name=":8">{{Cite news|last=Kumar|first=Anuj|date=15 December 2021 |title=Aanand L. Rai on 'Atrangi Re' and his bond with Dhanush: 'He gets the same love as my daughter'|work=The Hindu|url=https://www.thehindu.com/entertainment/movies/aanand-l-rai-on-atrangi-re-and-his-bond-with-dhanush-he-gets-the-same-love-as-my-daughter/article37959894.ece|url-status=live|access-date=25 December 2021 |archive-url=https://web.archive.org/web/20211222142014/https://www.thehindu.com/entertainment/movies/aanand-l-rai-on-atrangi-re-and-his-bond-with-dhanush-he-gets-the-same-love-as-my-daughter/article37959894.ece|archive-date=22 December 2021}}</ref> He called the role "very layered role", citing example that "there are people who like to be silent and you don't know them at all, but then there are people like the character Vishu who are quiet, but you still understand them".<ref name=":8" /> Dhanush in an interview with ''[[Firstpost]]'' stated: "The director and writer attracted me to the project and that is all. I Rai to bring my madness to his character "Vishu" and that is what he tried.<ref name=":9">{{Cite web|date=21 December 2021 |title=Dhanush on Atrangi Re: 'Aanand L Rai told me to bring my madness to the character and that is what I have tried'|url=https://www.firstpost.com/entertainment/dhanush-on-atrangi-re-aanand-l-rai-told-me-to-bring-my-madness-to-the-character-and-that-is-what-i-have-tried-10226431.html|url-status=live|archive-url=https://web.archive.org/web/20211221161444/https://www.firstpost.com/entertainment/dhanush-on-atrangi-re-aanand-l-rai-told-me-to-bring-my-madness-to-the-character-and-that-is-what-i-have-tried-10226431.html|archive-date=21 December 2021|access-date=25 December 2021 |website=Firstpost|language=en}}</ref> On designing the character Rinku, Rai called it "beautiful, restless and innocent".<ref name=":8" /> Khan's age went in her favour, as the role required "somebody young and fresh, without baggage".<ref name=":8" />

The film was announced on 30 January 2020 under the title ''Atrangi Re''.<ref name=":1">{{Cite web|date=30 January 2020 |title=Sara Ali Khan, Akshay Kumar and Dhanush come together for Aanand L Rai's Atrangi Re|url=https://indianexpress.com/article/entertainment/bollywood/akshay-kumar-sara-ali-khan-and-dhanush-come-together-for-atrangi-re-6242158/|access-date=25 December 2021 |website=The Indian Express|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093727/https://indianexpress.com/article/entertainment/bollywood/akshay-kumar-sara-ali-khan-and-dhanush-come-together-for-atrangi-re-6242158/|url-status=live}}</ref> With Dhanush, Khan and Kumar were announced as the leading actors, Himanshu Sharma was signed to write the screenplay.<ref>{{Cite web|title=Dhanush, Sara Ali Khan, Akshay Kumar join hands for Aanand L Rai's Atrangi Re|url=https://www.cinemaexpress.com/stories/news/2020/jan/30/dhanush-sara-ali-khan-and-akshay-kumar-join-hands-for-anand-l-rais-atrangi-re-16784.html|access-date=24 December 2021|website=[[Cinema Express]]|date=30 January 2020 |language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093711/https://www.cinemaexpress.com/stories/news/2020/jan/30/dhanush-sara-ali-khan-and-akshay-kumar-join-hands-for-anand-l-rais-atrangi-re-16784.html|url-status=live}}</ref> Furthermore, [[A. R. Rahman]] was signed to compose the film's background score and soundtrack album and [[Irshad Kamil]] wrote lyrics to the original songs.<ref name=":10" /> This marked Rai's second collaboration with Rahman, Himanshu and Kamil after working together in ''Raanjhanaa'', as well as Rahman's first soundtrack for a production by both [[T-Series (company)|T-Series Films]] and [[Cape Of Good Films]].<ref name=":1" />

Speaking about the film and its storyline, Rai stated that the film cannot be classified in any specific genre.<ref name=":2">{{Cite web|date=12 February 2020|title=Atrangi Re will put Dhanush, Sara and Akshay in an unseen space: Aanand L Rai|url=https://indianexpress.com/article/entertainment/bollywood/atrangi-re-aanand-l-rai-film-dhanush-sara-ali-khan-akshay-kumar-roles-6264164/|access-date=25 December 2021 |website=The Indian Express|language=en|archive-date=20 November 2020 |archive-url=https://web.archive.org/web/20201120030825/https://indianexpress.com/article/entertainment/bollywood/atrangi-re-aanand-l-rai-film-dhanush-sara-ali-khan-akshay-kumar-roles-6264164/|url-status=live}}</ref> He added: "All the three characters are funnily weird and it's their emotional journey. I am always looking for partners who are as emotionally touched as I am with the story and all three of them are like that. Every character in this film has {{sic|i|t's}} own traits will put them in an unseen space."<ref name=":2" /> Rai decided to set the storyline in [[Bihar]] and [[Madurai]], in belief that the film will "be an amalgamation of two Indian cultures".<ref name="BihartoMadurai">{{Cite news|title=Akshay Kumar, Dhanush, Sara Ali Khan travel from Bihar to Madurai with Aanand L Rai for 'Atrangi Re' |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/akshay-kumar-dhanush-sara-ali-khan-travel-from-bihar-to-madurai-with-aanand-l-rai-for-atrangi-re/articleshow/74093307.cms|access-date=24 December 2021 |website=The Times of India|language=en}}</ref> It has been reported that the title was initially registered by [[Salman Khan]] under his production company, and gave the title to Rai under a condition that the film was directed by Rai himself. He expressed his gratitude to Khan for giving up the title.<ref>{{Cite web|title=Salman Khan Gave The Title 'Atrangi Re' To Aanand L Rai Under One condition- Find Out Here|url=https://www.outlookindia.com/website/story/entertainment-news-heres-why-salman-khan-gave-up-atrangi-re-title-for-aanand-l-rai/404156|access-date=24 December 2021|website=Outlook India|date=7 December 2021 |language=en|archive-date=21 December 2021|archive-url=https://web.archive.org/web/20211221172335/https://www.outlookindia.com/website/story/entertainment-news-heres-why-salman-khan-gave-up-atrangi-re-title-for-aanand-l-rai/404156|url-status=live}}</ref>

=== Casting ===
In March 2019, ''[[Filmfare]]'' reported [[Varun Dhawan]] to star in the film,<ref>{{Cite web|title=Exclusive! Varun Dhawan to star in Aanand L Rai's next film?|url=https://www.filmfare.com/news/bollywood/exclusive-varun-dhawan-to-star-in-aanand-l-rais-next-film-32753.html|access-date=25 December 2021 |website=filmfare.com|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093716/https://www.filmfare.com/news/bollywood/exclusive-varun-dhawan-to-star-in-aanand-l-rais-next-film-32753.html|url-status=live}}</ref> and [[Alia Bhatt]] was considered for the leading role.<ref>{{Cite news|title=Filmmaker Aanand L Rai to collaborate with Alia Bhatt for his next? |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/filmmaker-aanand-l-rai-to-collaborate-with-alia-bhatt-for-his-next/articleshow/69161129.cms|access-date=24 December 2021 |website=The Times of India|language=en}}</ref><ref>{{Cite web|date=3 May 2019|title=EXCLUSIVE: Zero director Aanand L Rai considers Alia Bhatt for his next|url=https://www.pinkvilla.com/entertainment/exclusives/exclusive-zero-director-aanand-l-rai-approaches-alia-bhatt-his-next-449150|access-date=24 December 2021|website=Pinkvilla|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093712/https://www.pinkvilla.com/entertainment/exclusives/exclusive-zero-director-aanand-l-rai-approaches-alia-bhatt-his-next-449150|url-status=live}}</ref> However, it did not come into fruition. In June 2019, Dhanush was reported to play the leading role, he discussed about the script with Rai, who was present at the promotional event of ''[[The Extraordinary Journey of the Fakir]]'' (2019) in [[Mumbai]].<ref>{{Cite news|title=Confirmed: Dhanush will be reuniting with 'Raanjhanaa' director Aanand L Rai for his next film|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/confirmed-dhanush-will-be-reuniting-with-raanjhanaa-director-aanand-l-rai-for-his-next-film/articleshow/69648399.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224094721/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/confirmed-dhanush-will-be-reuniting-with-raanjhanaa-director-aanand-l-rai-for-his-next-film/articleshow/69648399.cms|url-status=live}}</ref><ref>{{Cite web|title=What Dhanush Says About Next Bollywood Film With Aanand L Rai|url=https://www.ndtv.com/entertainment/what-dhanush-says-about-next-bollywood-film-with-aanand-l-rai-2048206|access-date=25 December 2021 |website=NDTV.com|archive-date=15 December 2020|archive-url=https://web.archive.org/web/20201215173757/https://www.ndtv.com/entertainment/what-dhanush-says-about-next-bollywood-film-with-aanand-l-rai-2048206|url-status=live}}</ref> This marked the second collaboration between the Rai and Dhanush, after ''[[Raanjhanaa]]'' (2013), also being the latter's debut in [[Bollywood]].<ref>{{Cite web|date=4 June 2019|title=Dhanush confirms he is reuniting with Raanjhanaa director Aanand L Rai for his next; Read Details|url=https://www.pinkvilla.com/entertainment/news/dhanush-confirms-he-reuniting-raanjhanaa-director-aanand-l-rai-his-next-read-details-454040|access-date=24 December 2021|website=Pinkvilla|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093711/https://www.pinkvilla.com/entertainment/news/dhanush-confirms-he-reuniting-raanjhanaa-director-aanand-l-rai-his-next-read-details-454040|url-status=dead}}</ref><ref>{{Cite web|date=4 June 2019|title=Dhanush to reunite with his Raanjhanaa director Aanand L Rai|url=https://indianexpress.com/article/entertainment/bollywood/dhanush-to-team-with-up-aanand-l-rai-for-a-film-5764867/|access-date=24 December 2021|website=The Indian Express|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093710/https://indianexpress.com/article/entertainment/bollywood/dhanush-to-team-with-up-aanand-l-rai-for-a-film-5764867/|url-status=live}}</ref> On casting Dhanush, Rai said that "I was trying to cast actors of the Hindi cinema but no one was in a condition to play such a rooted character written. When I met Dhanush in Mumbai and discussed the script in 10 minutes, he was fascinated by the narrative and agreed to do the film."<ref name=":8" />

In July 2019, [[Sara Ali Khan]] and [[Hrithik Roshan]] were considered for playing the other leading characters.<ref>{{Cite web|date=July 28, 2019|title=Hrithik Roshan, Sara Ali Khan and Dhanush to star in Aanand L Rai's next film?|url=https://www.indiatoday.in/movies/bollywood/story/hrithik-roshan-sara-ali-khan-and-dhanush-to-star-in-aanand-l-rai-s-next-film-1574421-2019-07-28|access-date=30 December 2021|website=India Today|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093713/https://www.indiatoday.in/movies/bollywood/story/hrithik-roshan-sara-ali-khan-and-dhanush-to-star-in-aanand-l-rai-s-next-film-1574421-2019-07-28|url-status=live}}</ref><ref>{{Cite web|date=28 July 2019 |title=Hrithik Roshan, Sara Ali Khan and Dhanush in Aanand L Rai's next?|url=https://indianexpress.com/article/entertainment/bollywood/hrithik-roshan-sara-ali-khan-and-dhanush-in-aanand-l-rai-next-5858009/|access-date=30 December 2021 |website=The Indian Express|language=en}}</ref> An article from ''[[Mumbai Mirror]]'', stated the film as "a love story revolving around the three lead characters".<ref name="Mankad 2019">{{Cite web|last=Mankad|first=Himesh|date=July 29, 2019|title=Heard this: Sara Ali Khan, Hrithik Roshan, Dhanush to star in Aanand L Rai's next?|url=https://mumbaimirror.indiatimes.com/entertainment/bollywood/heard-this-sara-ali-khan-hrithik-roshan-dhanush-to-star-in-aanand-l-rais-next/articleshow/70425504.cms|url-status=live|archive-url=https://web.archive.org/web/20200226124916/https://mumbaimirror.indiatimes.com/entertainment/bollywood/heard-this-sara-ali-khan-hrithik-roshan-dhanush-to-star-in-aanand-l-rais-next/articleshow/70425504.cms|archive-date=26 February 2020|access-date=25 December 2021 |website=Mumbai Mirror|language=en}}</ref> Roshan, denied his part in the film, saying that he was not contacted by Rai about his role in the film,<ref>{{Cite news |title=Exclusive! Hrithik Roshan: I've not been approached yet for Aanand L. Rai's movie |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/exclusive-hrithik-roshan-ive-not-been-approached-yet-for-aanand-l-rais-movie/articleshow/70453854.cms |access-date=30 December 2021 |website=The Times of India |language=en |last1=Shaikh |first1=Samina |archive-date=26 December 2021 |archive-url=https://web.archive.org/web/20211226023943/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/exclusive-hrithik-roshan-ive-not-been-approached-yet-for-aanand-l-rais-movie/articleshow/70453854.cms |url-status=live }}</ref> The team decided to approach [[Ajay Devgn]] for the other leading role before [[Akshay Kumar]] signed in as the third lead. Rai stated that His role was said to be an [[extended cameo]] which Rai had refuted and further stated that "it is a special character which is demanded for the narrative".<ref name="BihartoMadurai" /> In an interview with ''[[Bombay Times]]'', Kumar added: "I am thrilled to be working with Aanand L Rai, as I have always admired the way he has showcased his stories. When he narrated the film to me, I said 'yes' within 10 minutes. It is a challenging character to play, but at the same time, it is such a special role that my heart just couldn't say 'no' to it. I will remember it for the rest of my life."<ref name=":10">{{Cite web|date=30 January 2020 |title=Akshay Kumar confirms Aanand L Rai's Atrangi Re with Sara Ali Khan and Dhanush, says it is a 'challenging character'|url=https://www.hindustantimes.com/bollywood/akshay-kumar-confirms-aanand-l-rai-s-atrangi-re-with-sara-ali-khan-and-dhanush-says-it-is-a-challenging-character/story-gU87kzV68cV5YGcFcwpPrJ.html|access-date=25 December 2021 |website=Hindustan Times|language=en|archive-date=23 December 2021|archive-url=https://web.archive.org/web/20211223171201/https://www.hindustantimes.com/bollywood/akshay-kumar-confirms-aanand-l-rai-s-atrangi-re-with-sara-ali-khan-and-dhanush-says-it-is-a-challenging-character/story-gU87kzV68cV5YGcFcwpPrJ.html|url-status=live}}</ref> [[Dimple Hayathi]] underwent casting and look test for being paired alongside the character played by Dhanush in [[Mumbai]] by October 2020.<ref>{{Cite news|title=Dimple Hayati to act in Dhanush's Bollywood film Atrangi Re |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dimple-hayati-to-act-in-dhanushs-bollywood-film-atrangi-re/articleshow/77481955.cms|access-date=25 December 2021 |website=The Times of India|language=en|archive-date=19 July 2021|archive-url=https://web.archive.org/web/20210719051050/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dimple-hayati-to-act-in-dhanushs-bollywood-film-atrangi-re/articleshow/77481955.cms|url-status=live}}</ref><ref name=":7" />

As per Rai, on an unusual casting that drew criticism and curiosity, he stated that "I knew that Khan would be fitting in Rinku, because she has got all the potential to get the character right. Honesty, straightforwardness, innocence... are some of the qualities that were required to play Rinku and these come naturally to her. The way she has played the character I can't imagine anyone else doing it."<ref name=":7" /> Talking on character played by Kumar, Rai said: "Kumar is said to have a small role in the film but his belief in the director and Rai's "strong understanding of complex human emotions".<ref name=":7" /> [[Nimrat Kaur]] was considered to play a pivotal role, and was also present at the shooting schedule in [[Delhi]], however, her portion was not included in the film.<ref name="Madurai">{{Cite news|title=Akshay Kumar joins Sara Ali Khan, Dhanush, Nimrat Kaur for the last schedule of Aanand L Rai's 'Atrangi Re' in Delhi NCR|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/akshay-kumar-joins-sara-ali-khan-dhanush-nimrat-kaur-for-the-last-schedule-of-aanand-l-rais-atrangi-re-in-delhi-ncr/articleshow/79577480.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224100729/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/akshay-kumar-joins-sara-ali-khan-dhanush-nimrat-kaur-for-the-last-schedule-of-aanand-l-rais-atrangi-re-in-delhi-ncr/articleshow/79577480.cms|url-status=live}}</ref>

=== Filming ===
The team planned to begin shooting for the film at March 2020 and continue for 80–90 days, with the [[Bihar]] schedule being canned first and the rest of the shooting in [[Madurai]] will begin in mid-April 2020.<ref>{{Cite web|date=February 20, 2020|first=Himesh|last=Mankad|title=Double dose of Sara Ali Khan for Akshay Kumar and Dhanush in Atrangi Re|url=https://mumbaimirror.indiatimes.com/entertainment/bollywood/double-dose-of-sara-ali-khan-for-akshay-kumar-and-dhanush-in-atrangi-re/articleshow/74215504.cms|access-date=25 December 2021 |website=Mumbai Mirror|language=en|archive-date=15 November 2021|archive-url=https://web.archive.org/web/20211115183307/https://mumbaimirror.indiatimes.com/entertainment/bollywood/double-dose-of-sara-ali-khan-for-akshay-kumar-and-dhanush-in-atrangi-re/articleshow/74215504.cms|url-status=live}}</ref> However, filming began on 5 March 2020 at [[Varanasi]],<ref>{{Cite web|title=Akshay Kumar, Dhanush and Sara Ali Khan's Atrangi Re goes on floors today|url=https://www.filmfare.com/news/bollywood/akshay-kumar-dhanush-and-sara-ali-khans-atrangi-re-goes-on-floors-today-39413.html|access-date=25 December 2021 |website=filmfare.com|date=5 March 2020 |language=en|archive-date=11 March 2020|archive-url=https://web.archive.org/web/20200311144304/https://www.filmfare.com/news/bollywood/akshay-kumar-dhanush-and-sara-ali-khans-atrangi-re-goes-on-floors-today-39413.html|url-status=live}}</ref> where the first shot canned at [[Kashi railway station]], near [[Rajghat Besant School|Rajghat]].<ref name=":3">{{Cite news|title=Atrangi Re goes on floor at Kashi Railway Station |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-goes-on-floor-at-kashi-railway-station/articleshow/74494494.cms|access-date=25 December 2021 |website=The Times of India|language=en|archive-date=16 January 2021|archive-url=https://web.archive.org/web/20210116030956/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-goes-on-floor-at-kashi-railway-station/articleshow/74494494.cms|url-status=live|last1=Vohra |first1=Meera }}</ref> Filming was announced for a 20-day schedule, followed by scenes planned outskirts of Varanasi.<ref name=":3" /> Reports stated that "Khan plays a character from Bihar and will be seen in a double role in the film. A few scenes were shot on the railway track with water sprinklers creating a rain sequence. A chase scene was also shot, where Khan's character was chased by men on a vehicle. Dhanush and the film's writer, were also present during the shoot."<ref name=":3" /><ref>{{Cite web|date=12 May 2020|title=Exclusive: Sara Ali Khan is yet to shoot with Atrangi Re co-star Akshay Kumar, praises multi-talented Dhanush |website=[[Bollywood Hungama]]|url=https://www.bollywoodhungama.com/news/features/exclusive-sara-ali-khan-yet-shoot-atrangi-re-co-star-akshay-kumar-praises-multi-talented-dhanush/|access-date=25 December 2021 |language=en|archive-date=28 November 2020|archive-url=https://web.archive.org/web/20201128085020/https://www.bollywoodhungama.com/news/features/exclusive-sara-ali-khan-yet-shoot-atrangi-re-co-star-akshay-kumar-praises-multi-talented-dhanush/|url-status=live}}</ref> Filming was halted by 19 March 2020 due to [[COVID-19 pandemic in India|COVID-19 outbreak in India]].<ref>{{Cite web|date=30 November 2020 |title=Sara Ali Khan on Working with Aanand L Rai in 'Atrangi Re': It's Been a Spectacular Experience|url=https://www.news18.com/news/movies/was-different-but-passion-remained-unchanged-sara-ali-khan-on-filming-atrangi-re-amid-pandemic-3130679.html|access-date=25 December 2021 |website=News18|language=en|archive-date=25 December 2021|archive-url=https://web.archive.org/web/20211225171218/https://www.news18.com/news/movies/was-different-but-passion-remained-unchanged-sara-ali-khan-on-filming-atrangi-re-amid-pandemic-3130679.html|url-status=live}}</ref> Dhanush expressed the stagnation stating that "the entire first schedule went into us settling down and getting into the skin of the character, understanding the world of ''Atrangi Re''. But as we [Dhanush and Khan] were going to dive into the world, the lockdown happened. We didn't do anything for about six months and the stagnation was traumatic".<ref name=":9" />

In July 2020, it was reported that the film might restart shooting from October 2020. Rai had planned to shoot the film in real locations across Madurai, [[Delhi]] and [[Mumbai]], as other films were being shot at confined studio set-up due to the pandemic restrictions.<ref>{{Cite web|date=27 July 2020 |first=Divyanshi|last=Sharma|title=Atrangi Re: Akshay Kumar, Sara Ali Khan and Dhanush to resume shooting in October|url=https://www.indiatoday.in/movies/bollywood/story/atrangi-re-akshay-kumar-sara-ali-khan-and-dhanush-to-resume-shooting-in-october-1704815-2020-07-27|access-date=24 December 2021 |website=India Today|language=en}}</ref><ref>{{Cite web|date=27 July 2020|title=Atrangi Re: Akshay Kumar, Sara Ali Khan and Dhanush to resume shoot from October|url=https://indianexpress.com/article/entertainment/bollywood/atrangi-re-akshay-kumar-sara-ali-khan-dhanush-shoot-resume-from-october-aanand-l-rai-6525211/|access-date=24 December 2021 |website=The Indian Express|language=en}}</ref> The team planned to set up the shooting schedule at Madurai first and return to Delhi for continuation.<ref name="Varanasi">{{Cite news |title=Never realised that Covid-19 was such a big problem while shooting in Varanasi: Aanand L Rai |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/never-realised-that-covid-19-was-such-a-big-problem-while-shooting-in-varanasi-anand-l-rai/articleshow/77894890.cms |access-date=24 December 2021 |website=The Times of India |language=en |last1=Misra |first1=Iti Shree |archive-date=24 December 2021 |archive-url=https://web.archive.org/web/20211224102232/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/never-realised-that-covid-19-was-such-a-big-problem-while-shooting-in-varanasi-anand-l-rai/articleshow/77894890.cms |url-status=live }}</ref> Filming resumed on 5 October 2020, with the second schedule being shot at Madurai.<ref name=":4">{{Cite news|title=Dhanush resumes shooting for Bollywood film Atrangi Re in Madurai |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-resumes-shooting-for-bollywood-film-atrangi-re-in-madurai/articleshow/78493677.cms|access-date=25 December 2021 |website=The Times of India|language=en|archive-date=16 January 2021|archive-url=https://web.archive.org/web/20210116085904/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-resumes-shooting-for-bollywood-film-atrangi-re-in-madurai/articleshow/78493677.cms|url-status=live}}</ref> The schedule featuring Dhanush, Khan and Dimple Hayathi was canned for 15–20 days.<ref>{{Cite news|title=Dhanush stills from 'Atrangi Re' shooting spot goes viral|url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-stills-from-atrangi-re-shooting-spot-goes-viral/articleshow/78568435.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224100732/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-stills-from-atrangi-re-shooting-spot-goes-viral/articleshow/78568435.cms|url-status=live}}</ref><ref>{{Cite news|title=Dhanush reveals he missed shooting for films during the lockdown|url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-missed-shooting-for-films-during-the-lockdown/articleshow/78621617.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224103736/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-missed-shooting-for-films-during-the-lockdown/articleshow/78621617.cms|url-status=live}}</ref>

In November 2020, Dhanush and Sara resumed shooting for the final schedule in [[Delhi]].<ref>{{Cite news|title=Dhanush shoots for the final schedule of Atrangi Re |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-shoots-for-the-final-schedule-of-atrangi-re/articleshow/79370826.cms|access-date=24 December 2021 |website=The Times of India|language=en}}</ref><ref>{{Cite news|title=Dhanush shares a BTS picture from the sets of 'Atrangi Re' as he starts shooting for the final schedule in Delhi |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/dhanush-shares-a-bts-picture-from-the-sets-of-atrangi-re-as-he-starts-shooting-for-the-final-schedule-in-delhi/articleshow/79381234.cms|access-date=24 December 2021 |website=The Times of India|language=en}}</ref> After a five-day shoot in Delhi, the team moved to [[Greater Noida]] on 29 November 2020. Major part of movie was filmed at [[University of Delhi]]'s Gwyer Hall. A sequence featuring the lead actors, were shot at the outdoors of [[Sharda University]] with the students and locals featuring as extras.<ref>{{Cite news|title=Dhanush shoots for Atrangi Re in Greater Noida |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-shoots-for-atrangi-re-in-greater-noida/articleshow/79485923.cms|access-date=25 December 2021 |website=The Times of India|language=en|archive-date=19 March 2021|archive-url=https://web.archive.org/web/20210319021628/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-shoots-for-atrangi-re-in-greater-noida/articleshow/79485923.cms|url-status=live}}</ref> On 4 December, Akshay Kumar joined the shooting for the film at the location after completing the shooting for ''[[Bell Bottom (2021 film)|Bell Bottom]]'' (2021).<ref>{{Cite news|title=Akshay Kumar kick-starts shooting of 'Atrangi Re' with Sara Ali Khan: The joy brought by those three magic words is unmatched: Lights, Camera, Action|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/akshay-kumar-kick-starts-shooting-of-atrangi-re-with-sara-ali-khan-the-joy-brought-by-those-three-magic-words-is-unmatched-lights-camera-action/articleshow/79561455.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224100737/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/akshay-kumar-kick-starts-shooting-of-atrangi-re-with-sara-ali-khan-the-joy-brought-by-those-three-magic-words-is-unmatched-lights-camera-action/articleshow/79561455.cms|url-status=live}}</ref><ref>{{Cite web|date=4 December 2020 |title=Atrangi Re: Akshay Kumar joins Sara Ali Khan, shares first pic from sets|url=https://www.hindustantimes.com/bollywood/atrangi-re-akshay-kumar-joins-sara-ali-khan-shares-first-pic-from-sets/story-9PpxK4IH9VicxUTNGT6OZP.html|access-date=25 December 2021 |website=Hindustan Times|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093721/https://www.hindustantimes.com/bollywood/atrangi-re-akshay-kumar-joins-sara-ali-khan-shares-first-pic-from-sets/story-9PpxK4IH9VicxUTNGT6OZP.html|url-status=live}}</ref> The filming continued at [[Delhi NCR]], with the lead actors participating the schedule for 25 days in and around Delhi.<ref name="Madurai" /> On 21 December, the team shifted to shoot few sequences at [[Agra]];<ref>{{Cite news|title=Dhanush, Akshay Kumar & Sara Ali Khan to shoot at Taj Mahal for Atrangi Re|url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-akshay-kumar-sara-ali-khan-to-shoot-at-taj-mahal-for-atrangi-re/articleshow/79834620.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224095219/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-akshay-kumar-sara-ali-khan-to-shoot-at-taj-mahal-for-atrangi-re/articleshow/79834620.cms|url-status=live}}</ref><ref>{{Cite web|date=December 24, 2020|first=Siraj|last=Qureshi|title=With Dhanush's Atrangi Re, Agra back as Bollywood's favourite shooting spot|url=https://www.indiatoday.in/movies/bollywood/story/with-dhanush-s-atrangi-re-agra-back-as-bollywood-s-favourite-shooting-spot-1752731-2020-12-24|access-date=25 December 2021 |website=India Today|language=en|archive-date=15 January 2021|archive-url=https://web.archive.org/web/20210115161713/https://www.indiatoday.in/movies/bollywood/story/with-akshay-kumar-s-atrangi-re-agra-back-as-bollywood-s-favourite-shooting-spot-1752731-2020-12-24|url-status=live}}</ref> several sequences featuring the lead cast were shot at the [[Taj Mahal]],<ref>{{Cite news|title=Atrangi Re: Akshay Kumar shares a BTS video as he turns Salim; shoots at the Taj Mahal – watch video|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-akshay-kumar-shares-a-bts-video-as-he-turns-salim-shoots-at-the-taj-mahal-watch-video/articleshow/79834411.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224100725/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-akshay-kumar-shares-a-bts-video-as-he-turns-salim-shoots-at-the-taj-mahal-watch-video/articleshow/79834411.cms|url-status=live}}</ref><ref>{{Cite web|date=December 21, 2020|first=Jyoti|last=Kanyal|title=Akshay Kumar turns Shah Jahan as he shoots for Atrangi Re at Taj Mahal|url=https://www.indiatoday.in/movies/bollywood/story/akshay-kumar-turns-shah-jahan-as-he-shoots-for-atrangi-re-at-taj-mahal-1751562-2020-12-21|access-date=24 December 2021|website=India Today|language=en|archive-date=27 August 2024|archive-url=https://web.archive.org/web/20240827191717/https://www.indiatoday.in/movies/bollywood/story/akshay-kumar-turns-shah-jahan-as-he-shoots-for-atrangi-re-at-taj-mahal-1751562-2020-12-21|url-status=live}}</ref> including, one with a song shoot featuring Akshay.<ref>{{Cite news|title='Atrangi Re': Dhanush joins Akshay Kumar and Sara Ali Khan on sets, view pic|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-dhanush-joins-akshay-kumar-and-sara-ali-khan-on-the-sets-view-pic/articleshow/79842603.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093713/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-dhanush-joins-akshay-kumar-and-sara-ali-khan-on-the-sets-view-pic/articleshow/79842603.cms|url-status=live}}</ref> An estimate 150 people were gathered for the scene.<ref name=":5">{{Cite web|title=Aanand L Rai wraps up Atrangi Re shoot in Delhi|url=https://www.cinemaexpress.com/stories/news/2020/dec/30/aanand-lrai-wraps-up-atrangi-re-shoot-in-delhi-22006.html|url-status=live|archive-url=https://web.archive.org/web/20210516064442/https://www.cinemaexpress.com/stories/news/2020/dec/30/aanand-lrai-wraps-up-atrangi-re-shoot-in-delhi-22006.html|archive-date=16 May 2021|access-date=25 December 2021 |website=[[Cinema Express]]|date=30 December 2020 |language=en}}</ref> Later, few sequences were being shot at Ghatia Market.<ref>{{Cite web|date=28 December 2020|title=Aanand L Rai Announces the Wrap of 'Atrangi Re' Starring Akshay Kumar, Sara Ali Khan and Dhanush|url=https://www.news18.com/news/movies/aanand-l-rai-announces-the-wrap-of-atrangi-re-starring-akshay-kumar-sara-ali-khan-and-dhanush-3222464.html|url-status=live|archive-url=https://web.archive.org/web/20201228215709/https://www.news18.com/news/movies/aanand-l-rai-announces-the-wrap-of-atrangi-re-starring-akshay-kumar-sara-ali-khan-and-dhanush-3222464.html|archive-date=28 December 2020|access-date=25 December 2021 |website=News18|language=en}}</ref> On 29 December, Dhanush had completed shooting for his portions of the film.<ref>{{Cite news|title=Photos: Dhanush wraps up the shoot of his upcoming film 'Atrangi Re' co-starring Akshay Kumar and Sara Ali Khan|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/photos-dhanush-wraps-up-the-shoot-of-his-upcoming-film-atrangi-re-co-starring-akshay-kumar-and-sara-ali-khan/articleshow/80019287.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224100726/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/photos-dhanush-wraps-up-the-shoot-of-his-upcoming-film-atrangi-re-co-starring-akshay-kumar-and-sara-ali-khan/articleshow/80019287.cms|url-status=live}}</ref><ref>{{Cite web|date=31 December 2020|title=Atrangi Re cast and crew give warm send-off to Dhanush|url=https://indianexpress.com/photos/entertainment-gallery/team-atrangi-re-gives-warm-send-off-to-dhanush-7126172/|access-date=25 December 2021 |website=The Indian Express|language=en|archive-date=27 January 2021|archive-url=https://web.archive.org/web/20210127172005/https://indianexpress.com/photos/entertainment-gallery/team-atrangi-re-gives-warm-send-off-to-dhanush-7126172/|url-status=live}}</ref> In March 2021, a seven-day shooting schedule took place in [[Mumbai]], with the other lead actors joining the schedule.<ref>{{Cite news|title=Akshay Kumar turns magician on last day of 'Atrangi Re' shoot; thanks Dhanush and Sara Ali Khan for letting him be a part of this 'beautiful film'|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-akshay-kumar-turns-magician-as-he-announces-the-wrap-of-the-dhanush-and-sara-ali-khan-starrer/articleshow/81723811.cms|access-date=24 December 2021|website=The Times of India|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224100734/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-akshay-kumar-turns-magician-as-he-announces-the-wrap-of-the-dhanush-and-sara-ali-khan-starrer/articleshow/81723811.cms|url-status=live}}</ref> Filming was completed by 27 March 2021.<ref>{{Cite news|title=Dhanush completes shoot of Aanand L Rai's Atrangi Re |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/dhanush-completes-shoot-of-aanand-l-rais-atrangi-re/articleshow/80013350.cms|access-date=24 December 2021 |website=The Times of India|language=en}}</ref><ref>{{Cite web|title=Sara Ali Khan Wraps Atrangi Re With A Heartwarming Note For Akshay Kumar And Dhanush|url=https://www.ndtv.com/entertainment/sara-ali-khan-wraps-atrangi-re-with-a-heartwarming-note-for-akshay-kumar-and-dhanush-2400420|access-date=25 December 2021 |website=NDTV.com|archive-date=10 May 2021|archive-url=https://web.archive.org/web/20210510214436/https://www.ndtv.com/entertainment/sara-ali-khan-wraps-atrangi-re-with-a-heartwarming-note-for-akshay-kumar-and-dhanush-2400420|url-status=live}}</ref>

==Soundtrack==
{{main|Atrangi Re (Original Motion Picture Soundtrack)}}
The [[original soundtrack]] and [[film score]] to ''Atrangi Re'' was composed by [[A. R. Rahman]], in his first major album composition for a [[T-Series (company)|T-Series Films]] production as well as [[Cape Of Good Films]] production, with lyrics written by [[Irshad Kamil]]. Rahman, who would compose a second time for a feature film starring Kumar since ''[[Blue (2009 film)|Blue]]'' (2009), said that he created the soundtrack with the on-screen and off-screen personas of the lead actors in mind.<ref name=":0">{{Cite news|date=7 December 2021|title=AR Rahman on 'Atrangi Re': The way Sara dances, we had to give her a dance song!|work=The Hindu|publisher=The Press Trust of India Ltd.|url=https://www.thehindu.com/entertainment/movies/ar-rahman-on-atrangi-re-the-way-sara-dances-we-had-to-give-her-a-dance-song/article37880667.ece|access-date=24 December 2021|archive-date=15 December 2021|archive-url=https://web.archive.org/web/20211215060828/https://www.thehindu.com/entertainment/movies/ar-rahman-on-atrangi-re-the-way-sara-dances-we-had-to-give-her-a-dance-song/article37880667.ece|url-status=live}}</ref><ref>{{Cite news|title=Kept Akshay, Dhanush, Sara in mind while creating music for 'Atrangi Re', says AR Rahman|url=https://timesofindia.indiatimes.com/entertainment/hindi/music/news/kept-akshay-dhanush-sara-in-mind-while-creating-music-for-atrangi-re-says-ar-rahman/articleshow/88147019.cms|access-date=2021-12-23|website=The Times of India|language=en|archive-date=6 October 2023|archive-url=https://web.archive.org/web/20231006125710/https://timesofindia.indiatimes.com/entertainment/hindi/music/news/kept-akshay-dhanush-sara-in-mind-while-creating-music-for-atrangi-re-says-ar-rahman/articleshow/88147019.cms|url-status=live}}</ref> He further curated the songs and score with Rai's vision on bringing villages to life and offering an international perspective. As a result, he worked on [[Indian folk music|folk-classical]] based compositions for the film's songs.<ref name=":0" /> The music reflects the moods and sentiments of the characters as the film plot travels across India.<ref>{{Cite web|date=30 October 2020|title=Dhanush sings for AR Rahman for the first time|url=https://www.thenewsminute.com/article/dhanush-sings-ar-rahman-first-time-136499|access-date=31 October 2020|website=The News Minute|archive-date=1 November 2020|archive-url=https://web.archive.org/web/20201101042718/https://www.thenewsminute.com/article/dhanush-sings-ar-rahman-first-time-136499|url-status=live}}</ref>

The songs "Chaka Chak" and "Rait Zara Si" were released as singles, before the seven-song soundtrack album being released by [[T-Series (company)|T-Series]] on 6 December 2021.<ref>{{cite web|date=6 December 2021|title=Atrangi Re (Original Motion Picture Soundtrack)|url=https://www.jiosaavn.com/album/atrangi-re/wuWvsFNoE6Q_|work=JioSaavn|access-date=16 December 2021|archive-date=14 December 2021|archive-url=https://web.archive.org/web/20211214005702/https://www.jiosaavn.com/album/atrangi-re/wuWvsFNoE6Q_|url-status=live}}</ref> The release coincided with a promotional launch event held in [[Mumbai]] with the attendance of the cast and crew,<ref>{{Cite web|date=7 December 2021|title=AR Rahman, Akshay Kumar, Sara Ali Khan launch Atrangi Re music album|url=https://www.firstpost.com/entertainment/a-r-rahman-launches-music-of-atrangi-re-with-akshay-kumar-sara-ali-khan-10191871.html|access-date=24 December 2021|website=Firstpost|language=en|archive-date=1 October 2023|archive-url=https://web.archive.org/web/20231001004715/https://www.firstpost.com/entertainment/a-r-rahman-launches-music-of-atrangi-re-with-akshay-kumar-sara-ali-khan-10191871.html|url-status=live}}</ref><ref>{{Cite web|title=Atrangi Re launches its music album with an exclusive concert of A. R. Rahman|url=https://www.bollywoodhungama.com/news/features/atrangi-re-launches-music-album-exclusive-concert-r-rahman/|date=7 December 2021|website=Bollywood Hungama|access-date=8 December 2021|archive-date=8 December 2021|archive-url=https://web.archive.org/web/20211208025146/https://www.bollywoodhungama.com/news/features/atrangi-re-launches-music-album-exclusive-concert-r-rahman/|url-status=live}}</ref> and a musical concert by Rahman and his team.<ref>{{Cite web|title=Atrangi Re Music Launch: AR Rahman performs live; Akshay Kumar calls Aanand L Rai childlike|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-music-launch-ar-rahman-performs-live-akshay-kumar-calls-aanand-l-rai-childlike/articleshow/88137204.cms|date=7 December 2021|website=The Times of India|access-date=8 December 2021|archive-date=25 December 2021|archive-url=https://web.archive.org/web/20211225171249/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/atrangi-re-music-launch-ar-rahman-performs-live-akshay-kumar-calls-aanand-l-rai-childlike/articleshow/88137204.cms|url-status=live}}</ref><ref>{{Cite news|title=AR Rahman, Akshay Kumar, Sara Ali Khan and team 'Atrangi Re' launch the film's album with a special concert in Mumbai|url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/ar-rahman-akshay-kumar-sara-ali-khan-and-team-atrangi-re-launch-the-films-album-with-a-special-concert-in-mumbai/articleshow/88132970.cms|access-date=2021-12-23|website=The Times of India|language=en|archive-date=27 February 2022|archive-url=https://web.archive.org/web/20220227033833/https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/ar-rahman-akshay-kumar-sara-ali-khan-and-team-atrangi-re-launch-the-films-album-with-a-special-concert-in-mumbai/articleshow/88132970.cms|url-status=live}}</ref> The album received positive response with ''[[The Financial Express (India)|Financial Express]]'' summed up several critics' reviews, calling the soundtrack "heart-touching music rendered by veteran music composer A. R. Rahman".<ref>{{Cite web|title=Atrangi Re opens to warm reviews, actor Dhanush's magic and A R Rahman's Music win hearts|url=https://www.financialexpress.com/entertainment/atrangi-re-opens-to-warm-reviews-actor-dhanushs-magic-and-a-r-rahmans-music-win-hearts/2389161/|access-date=2021-12-28|website=The Financial Express|date=24 December 2021|language=en|archive-date=13 September 2022|archive-url=https://web.archive.org/web/20220913193157/https://www.financialexpress.com/entertainment/atrangi-re-opens-to-warm-reviews-actor-dhanushs-magic-and-a-r-rahmans-music-win-hearts/2389161/|url-status=live}}</ref> Rahman won [[International Indian Film Academy Awards|IIFA Awards]] for [[IIFA Award for Best Music Director|Best Music Director]] and [[IIFA Award for Best Background Score|Best Background Score]].

== Release ==
The film was earlier set for a theatrical release on [[Valentine's Day]] (14 February 2021),<ref>{{Cite web|date=5 March 2020|title=Atrangi Re to release on Valentine's weekend 2021|url=https://indianexpress.com/article/entertainment/bollywood/atrangi-re-to-release-on-valentines-weekend-2021-6301001/|access-date=24 December 2021|website=The Indian Express|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093714/https://indianexpress.com/article/entertainment/bollywood/atrangi-re-to-release-on-valentines-weekend-2021-6301001/|url-status=live}}</ref><ref>{{Cite web|date=30 January 2020|title=Akshay Kumar teams up with Sara Ali Khan, Dhanush for Atrangi Re; film to release on Valentine's Day 2021|url=https://www.firstpost.com/entertainment/akshay-kumar-teams-up-with-sara-ali-khan-dhanush-for-atrangi-re-film-to-release-on-valentines-day-2021-7975261.html|access-date=24 December 2021|website=Firstpost|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093712/https://www.firstpost.com/entertainment/akshay-kumar-teams-up-with-sara-ali-khan-dhanush-for-atrangi-re-film-to-release-on-valentines-day-2021-7975261.html|url-status=live}}</ref> as per the official announcement of the film.<ref name=":1" /> However, production delays due to the [[COVID-19 lockdown in India]] forced the makers to postpone the release to 6 August 2021.<ref>{{Cite web|date=19 February 2021|title=Aanand L Rai's Atrangi Re starring Akshay Kumar, Sara Ali Khan and Dhanush to release on August 6, 2021|website=[[Bollywood Hungama]]|url=https://www.bollywoodhungama.com/news/bollywood/aanand-l-rais-atrangi-re-starring-akshay-kumar-sara-ali-khan-dhanush-release-august-6-2021/|access-date=24 December 2021|language=en|archive-date=19 February 2021|archive-url=https://web.archive.org/web/20210219152857/https://www.bollywoodhungama.com/news/bollywood/aanand-l-rais-atrangi-re-starring-akshay-kumar-sara-ali-khan-dhanush-release-august-6-2021|url-status=live}}</ref><ref>{{Cite web|last=Sharma|first=Divyanshi|date=19 February 2021 |title=Akshay Kumar, Sara Ali Khan and Dhanush's Atrangi Re to release on August 6 in theatres|url=https://www.indiatoday.in/movies/bollywood/story/akshay-kumar-sara-ali-khan-and-dhanush-s-atrangi-re-to-release-on-august-6-in-theatres-1771080-2021-02-19 |url-status=live|archive-url=https://web.archive.org/web/20211224093716/https://www.indiatoday.in/movies/bollywood/story/akshay-kumar-sara-ali-khan-and-dhanush-s-atrangi-re-to-release-on-august-6-in-theatres-1771080-2021-02-19|archive-date=24 December 2021|access-date=25 December 2021 |website=India Today|language=en}}</ref> It did not release, as planned, due to the uncertainty prevailing over the reopening of theatres in [[Maharashtra]]. In September 2021, it was reported that the film might have a [[direct-to-digital]] release, despite the resumption of theatrical business in Maharashtra from October 2021.<ref>{{Cite news|title=Will Dhanush starrer 'Atrangi Re' release on a digital platform? Here's what the actor has to say |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/will-akshay-kumar-starrer-atrangi-re-release-on-a-digital-platform-heres-what-the-actor-has-to-say/articleshow/86580686.cms|access-date=24 December 2021 |website=The Times of India|language=en}}</ref> Akshay Kumar also hinted the possibilities of it, citing the saturation of big-budget theatrical release might impacts its collections, and further said that: "The film has a different subject and storyline, which has never been heard before. For me and Rai, the most suited platform must be chosen for the film."<ref>{{Cite web|date=29 September 2021 |title=Atrangi Re Likely to Get an OTT Release, Suggests Akshay Kumar|url=https://www.news18.com/news/movies/atrangi-re-likely-to-get-an-ott-release-suggests-akshay-kumar-4261025.html|url-status=live|archive-url=https://web.archive.org/web/20210929170335/https://www.news18.com/news/movies/atrangi-re-likely-to-get-an-ott-release-suggests-akshay-kumar-4261025.html|archive-date=29 September 2021|access-date=25 December 2021 |website=News18|language=en}}</ref><ref>{{Cite web|date=29 September 2021|first=Vibha|last=Maru|title=Atrangi Re might release on OTT, Akshay Kumar reveals|url=https://www.indiatoday.in/movies/bollywood/story/atrangi-re-might-release-on-ott-akshay-kumar-reveals-1858529-2021-09-29|access-date=30 December 2021|website=India Today|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093712/https://www.indiatoday.in/movies/bollywood/story/atrangi-re-might-release-on-ott-akshay-kumar-reveals-1858529-2021-09-29|url-status=live}}</ref> In mid-November 2021, the producers announced that the film will have a digital release through [[Disney+ Hotstar]] on the occasion of [[Christmas Eve]] (24 December 2021).<ref>{{Cite web|last=Jha|first=Lata|date=25 November 2021|title=Akshay Kumar, Dhanush, Sara Ali's 'Atrangi Re' to premiere on Disney+ Hotstar|url=https://www.livemint.com/industry/media/akshay-kumar-dhanush-sara-ali-s-atrangi-re-to-premiere-on-disney-hotstar-11637816669858.html|access-date=24 December 2021|website=mint|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224093713/https://www.livemint.com/industry/media/akshay-kumar-dhanush-sara-ali-s-atrangi-re-to-premiere-on-disney-hotstar-11637816669858.html|url-status=live}}</ref><ref>{{Cite web |date=23 November 2021 |title=Akshay Kumar, Dhanush, Sara Ali Khan's Atrangi Re to release on Disney+ Hotstar; see first looks |url=https://www.firstpost.com/entertainment/akshay-kumar-dhanush-sara-ali-khans-atrangi-re-to-release-on-disney-hotstar-see-first-looks-10158421.html |access-date=24 December 2021 |website=Firstpost |language=en |archive-date=24 December 2021 |archive-url=https://web.archive.org/web/20211224093710/https://www.firstpost.com/entertainment/akshay-kumar-dhanush-sara-ali-khans-atrangi-re-to-release-on-disney-hotstar-see-first-looks-10158421.html |url-status=live }}</ref> The film was also dubbed in [[Tamil language|Tamil]] and released under the title ''Galatta Kalyaanam'', and Sara Ali Khan's and Akshay Kumar's voice in the Tamil version was dubbed by popular playback singers [[Chinmayi Sripada|Chinmayi]] and [[Mano (singer)|Mano]] respectively. The title of the Tamil version was taken from [[Sivaji Ganesan]]'s [[Galatta Kalyanam|1968 film of the same name]]. The Tamil-version of the film was also released on the same day.{{cn|date=August 2024}}

== Reception ==

=== Audience viewership ===
According to a survey report, more than 28 million households have watched the film, making it the most viewed content on a digital platform during the week of 20–26 December 2021.<ref>{{Cite web|date=27 December 2021|title=The 5 Most Viewed Streaming Shows And Movies Of The Week|url=https://www.filmcompanion.in/streaming/best-shows-on-web-ott-december-week-4-atrangi-re-aarya-decoupled-aranyak-amazon-prime-disney-hotstar/|access-date=30 December 2021|website=[[Film Companion]]|archive-date=27 December 2021|archive-url=https://web.archive.org/web/20211227080821/https://www.filmcompanion.in/streaming/best-shows-on-web-ott-december-week-4-atrangi-re-aarya-decoupled-aranyak-amazon-prime-disney-hotstar/|url-status=live}}</ref> The film garnered the highest opening day viewership in their streaming service, thereby breaking the viewership records of ''[[Laxmii]]'' (2020), ''[[Hungama 2]]'' and ''[[Shiddat]]'' (2021).<ref>{{Cite web|date=December 28, 2021|first=Grace|last=Cyril|title=Atrangi Re beats Laxmii, Hungama 2 to become the most-watched film on release day|url=https://www.indiatoday.in/movies/bollywood/story/atrangi-re-beats-laxmii-hungama-2-to-become-the-most-watched-film-on-release-day-1893125-2021-12-28|access-date=30 December 2021|website=India Today|language=en|archive-date=30 December 2021|archive-url=https://web.archive.org/web/20211230052755/https://www.indiatoday.in/movies/bollywood/story/atrangi-re-beats-laxmii-hungama-2-to-become-the-most-watched-film-on-release-day-1893125-2021-12-28|url-status=live}}</ref><ref>{{Cite web|date=29 December 2021|title=Dhanush Starrer Atrangi Re Becomes Most Watched Film on Disney+Hotstar|url=https://www.news18.com/news/movies/dhanush-starrer-atrangi-re-becomes-most-watched-film-on-disneyhotstar-4604684.html|access-date=30 December 2021|website=News18|language=en|archive-date=30 December 2021|archive-url=https://web.archive.org/web/20211230052757/https://www.news18.com/news/movies/dhanush-starrer-atrangi-re-becomes-most-watched-film-on-disneyhotstar-4604684.html|url-status=live}}</ref>

=== Critical response ===
In his review for ''[[Filmfare]]'', Devesh Sharma gave a verdict, "an unusual love story buoyed by some fine performances and hummable music. Aanand L Rai has found his rhythm again with this entertaining film which also packs a message."<ref name=":11">{{Cite web|title=Atrangi Re Movie Review|url=https://www.filmfare.com/reviews/bollywood-movies/atrangi-re-movie-review-51881.html|access-date=25 December 2021 |website=filmfare.com|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224083212/https://www.filmfare.com/reviews/bollywood-movies/atrangi-re-movie-review-51881.html|url-status=live}}</ref> He assigned the film 3.5 stars (out of 5).<ref name=":11" /> In her review for the ''[[Hindustan Times]]'', Monika Kukreja stated it as "a refreshingly different and unique love story that so beautifully breaks through the clutter".<ref>{{Cite web|date=23 December 2021 |title=Atrangi Re movie review: Sara Ali Khan, Dhanush are soul of a unique love story, Akshay Kumar adds the Midas touch|url=https://www.hindustantimes.com/entertainment/bollywood/atrangi-re-movie-review-sara-ali-khan-dhanush-are-soul-of-a-unique-love-story-akshay-kumar-adds-the-midas-touch-101640267905282.html|access-date=25 December 2021 |website=Hindustan Times|language=en|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224074758/https://www.hindustantimes.com/entertainment/bollywood/atrangi-re-movie-review-sara-ali-khan-dhanush-are-soul-of-a-unique-love-story-akshay-kumar-adds-the-midas-touch-101640267905282.html|url-status=live}}</ref> Critics based at ''[[Bollywood Hungama]]'' gave the film 3 stars out of 5. They said, "On the whole, the film rests on a very unconventional plot. But it addresses a pertinent topic, that is, mental health which is tackled with sensitivity. Also, the performances, the musical score and several well-executed scenes turn the film into a watchable fare."<ref>{{Cite web|title=Atrangi Re Movie Review: ATRANGI RE addresses a pertinent topic, that is, mental health|url=https://www.bollywoodhungama.com/movie/atrangi-re/critic-review/atrangi-re-movie-review/atrangi-re-addresses-a-pertinent-topic-that-is-mental-health/|url-status=live|archive-url=https://web.archive.org/web/20211224100610/https://www.bollywoodhungama.com/movie/atrangi-re/critic-review/atrangi-re-movie-review/atrangi-re-addresses-a-pertinent-topic-that-is-mental-health/|archive-date=24 December 2021|access-date=25 December 2021 |website=[[Bollywood Hungama]]|date=24 December 2021 |language=en}}</ref> Hiren Kotwani, in his review for ''[[The Times of India]]'' gave 3.5 out of 5 stars, he wrote, "While there are parts of the movie that will leave you baffled and curious for more details, it's not to say that the film doesn't entirely entertain. Here's a unique story at hand, an interesting team of actors, a refreshing soundtrack and some fine performances."<ref name="kotwani">{{cite news|last=Kotwani|first=Hiren|date=24 December 2021|title=Atrangi Re Review: A unique concept that takes you on a funnily weird path|newspaper=The Times of India|url=https://timesofindia.indiatimes.com/web-series/reviews/hindi/atrangi-re/ottmoviereview/88016176.cms|url-status=live|access-date=2021-12-28|archive-url=https://web.archive.org/web/20211224175709/https://timesofindia.indiatimes.com/web-series/reviews/hindi/atrangi-re/ottmoviereview/88016176.cms|archive-date=24 December 2021}}</ref> Prateek Sur of ''[[Outlook (Indian magazine)|Outlook Magazine]]'', stated, "The twist is the triangular love story is what makes it worth a watch".<ref>{{Cite web|title='Atrangi Re' Movie Review: Dhanush Steals The Show In This Twisted Love Triangle|url=https://www.outlookindia.com/website/story/atrangi-re-movie-review-dhanush-steals-the-show-in-this-twisted-love-triangle/406751|access-date=30 December 2021|website=Outlook India|date=25 December 2021 |language=en|archive-date=25 December 2021|archive-url=https://web.archive.org/web/20211225194638/https://www.outlookindia.com/website/story/atrangi-re-movie-review-dhanush-steals-the-show-in-this-twisted-love-triangle/406751|url-status=live}}</ref> [[Sukanya Verma]] of [[Rediff.com]] gave 3 stars (out of 5) to the film saying, "Between its glamorous state of denial, hastily concocted back stories, dubious scientific solutions, ''[[Om Shanti Om]]''-esque high drama of a climax and a zigzag love story, ''Atrangi Re'' is as fascinating as it is foolhardy."<ref>{{Cite web|last=Verma|first=Sukanya|title=Atrangi Re Review|url=https://www.rediff.com/movies/review/atrangi-re-review/20211224.htm|access-date=30 December 2021|website=Rediff|language=en|archive-date=30 December 2021|archive-url=https://web.archive.org/web/20211230052801/https://www.rediff.com/movies/review/atrangi-re-review/20211224.htm|url-status=live}}</ref>

Manohar Basu while reviewing the film for [[Mid-Day]], assigned 2.5 stars out of 5, saying, "Atrangi Re is ridiculous. It is mind bogglingly frustrating, especially in the first hour, due to its disjointed and contrived plot [...] While admire Rai's courage to attempt a complex film that's so out-of-the-box. But what his film lacks is an in-depth understanding of mental health disorders — schizophrenia, bipolar disorder, which in 2021 is both ignorant and unacceptable."<ref>{{Cite web|date=25 December 2021 |title=Atrangi Re Movie Review: Vivid imagination, but what's really going on?|url=https://www.mid-day.com/entertainment/bollywood-news/article/atrangi-re-movie-review-vivid-imagination-but-whats-really-going-on-23206502|access-date=25 December 2021 |website=www.mid-day.com|language=en|archive-date=25 December 2021|archive-url=https://web.archive.org/web/20211225171231/https://www.mid-day.com/entertainment/bollywood-news/article/atrangi-re-movie-review-vivid-imagination-but-whats-really-going-on-23206502|url-status=live}}</ref> Avinash Ramachandran of ''[[The New Indian Express]]'' wrote, "Atrangi Re too deals with an all-encompassing love that crosses all physical and mental boundaries. Just like all their films, the concept too is a fascinating one even if it borders on the old-fashioned [...] However, despite a solid cast, brilliant music, and spectacular visuals, this time around the successful collaboration misses the target by quite a distance." He awarded the film 2.5 out of 5 stars.<ref>{{Cite web|title='Atrangi Re' movie review: Dhanush, AR Rahman shine in a rather insipid love triangle|url=https://www.newindianexpress.com/entertainment/review/2021/dec/25/atrangi-re-movie-review-dhanush-ar-rahman-shine-in-a-rather-insipid-love-triangle-2399442.html|access-date=25 December 2021 |website=The New Indian Express|date=25 December 2021 |archive-date=25 December 2021|archive-url=https://web.archive.org/web/20211225171221/https://www.newindianexpress.com/entertainment/review/2021/dec/25/atrangi-re-movie-review-dhanush-ar-rahman-shine-in-a-rather-insipid-love-triangle-2399442.html|url-status=live}}</ref> [[Saibal Chatterjee]] of [[NDTV India|''NDTV'']] awarded the film a score of 2 stars (out of 5) stating, "''Atrangi Re'', demands an unconscionable degree of willing suspension of disbelief as is it lets go off all semblance of logic. The contrived storyline is intended to tug at our heartstrings — all it does is lurch from one difficult-to-digest situation to another to establish the depth of Rinku's love for Sajjad and the strength of Vishu's resolve in a 'unique' love triangle that for the most part goes round in baffling and tedious circles."<ref>{{Cite web|title=Atrangi Re Review: Sara Ali Khan Is Suitably Spry But Dhanush Steals The Show|url=https://www.ndtv.com/entertainment/atrangi-re-review-sara-ali-khan-is-suitably-spry-but-dhanush-steals-the-show-2-stars-out-of-5-2668814|access-date=25 December 2021 |website=NDTV.com|archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224084442/https://www.ndtv.com/entertainment/atrangi-re-review-sara-ali-khan-is-suitably-spry-but-dhanush-steals-the-show-2-stars-out-of-5-2668814|url-status=live}}</ref>

[[Anupama Chopra]] of ''[[Film Companion]]'' wrote, "The story takes unexpected turns. It hopscotches across the country and touches on myriad subjects, while the film is about the transformative power of love. Aanand and Himanshu celebrate the purity of the emotion and the beauty in being atrangi or eccentric. The ambition is laudable but the result is a bit of a mess."<ref name="Chopra">{{Cite web|last=Chopra|first=Anupama|date=24 December 2021|title=Atrangi Re Review: The Ambition Is Big, But It Doesn't Translate|url=https://www.filmcompanion.in/reviews/bollywood-review/atrangi-re-review-hotstar-akshay-kumar-sara-ali-khan-dhanush-the-ambition-is-big-but-it-doesnt-translate/|website=[[Film Companion]]|access-date=23 October 2023|archive-date=31 October 2023|archive-url=https://web.archive.org/web/20231031201457/https://www.filmcompanion.in/reviews/bollywood-review/atrangi-re-review-hotstar-akshay-kumar-sara-ali-khan-dhanush-the-ambition-is-big-but-it-doesnt-translate/|url-status=live}}</ref> Rahul Desai, writing for the same website, panned the film, saying, "The film is the kind of bewildering disaster that nearly turns failure into an artform."<ref name="Chopra"/> [[Shubhra Gupta]] of ''[[The Indian Express]]'' stated, "The film was meant to be a meaningful magical mystery tour, but ends up as a misfire".<ref name=":6">{{Cite web|date=24 December 2021 |title=Atrangi Re movie review: Sara Ali Khan-Akshay Kumar's magical mystery tour is a misfire. But thank God for Dhanush|url=https://indianexpress.com/article/entertainment/movie-review/atrangi-re-movie-review-sara-ali-khan-akshay-kumar-dhanush-7687989/|url-access=registration|url-status=live|archive-url=https://web.archive.org/web/20211224062609/https://indianexpress.com/article/entertainment/movie-review/atrangi-re-movie-review-sara-ali-khan-akshay-kumar-dhanush-7687989/|archive-date=24 December 2021|access-date=25 December 2021 |website=The Indian Express|language=en}}</ref> Anuj Kumar of ''[[The Hindu]]'' wrote, "In a bid to move beyond the obvious, director Aanand L Rai has bloated a beautiful little thought into a contrived mess, along with a disturbing depiction of mental illness. Even Dhanush can't save this weird take on love."<ref name=":thehindu">{{Cite news|last=Kumar|first=Anuj|date=24 December 2021 |title='Atrangi Re' movie review: Even Dhanush can't save this weird take on love|language=en-IN|work=The Hindu|url=https://www.thehindu.com/entertainment/movies/atrangi-re-movie-review-even-dhanush-cant-save-this-weird-take-on-love/article38028562.ece|access-date=25 December 2021 |archive-date=24 December 2021|archive-url=https://web.archive.org/web/20211224221436/https://www.thehindu.com/entertainment/movies/atrangi-re-movie-review-even-dhanush-cant-save-this-weird-take-on-love/article38028562.ece|url-status=live}}</ref> In his review for [[Mint (newspaper)|''Mint'']], Uday Bhatia stated the film as "messy and incoherent, which boldly goes to places it has no idea how to escape from".<ref>{{Cite web|date=24 December 2021 |title=Atrangi Re review: Jung and foolish|url=https://lifestyle.livemint.com//how-to-lounge/movies-tv/atrangi-re-review-jung-and-foolish-111640343495871.html|url-status=live|archive-url=https://web.archive.org/web/20211224143642/https://lifestyle.livemint.com/how-to-lounge/movies-tv/atrangi-re-review-jung-and-foolish-111640343495871.html|archive-date=24 December 2021|access-date=25 December 2021 |website=Mintlounge|language=en}}</ref>

==Accolades==
{| class="wikitable plainrowheaders sortable"
|-
!scope="col"| Year
!scope="col"| Award
!scope="col"| Category
!scope="col"| Nominee(s)
!scope="col"| Result
! scope="col" class="unsortable"| {{Abbr|Ref.|Reference(s)}}
|-
!scope="row" rowspan="6"| 2022
| rowspan="6" | [[67th Filmfare Awards]]
| [[Filmfare Award for Best Actor|Best Actor]]
| [[Dhanush]]
| {{Nom}}
| rowspan="6" |<ref>{{cite web|url=https://navbharattimes.indiatimes.com/movie-masti/news-from-bollywood/nominations-for-the-67th-wolf777news-filmfare-awards-2022-see-complete-list/articleshow/93644118|title=67th Filmfare Awards Nominations List: फिल्‍मफेयर अवॉर्ड्स के नॉमिनेशंस की हुई घोषणा, यहां देख‍िए पूरी लिस्‍ट|publisher=[[Navbharat Times]]|access-date=20 August 2022}}</ref>
|-
|[[Filmfare Award for Best Music Director|Best Music Director]]
|[[A. R. Rahman]]
|{{Nom}}
|-
|[[Filmfare Award for Best Lyricist|Best Lyricist]]
|[[Irshad Kamil]] for "Rait Zara Si"
|{{Nom}}
|-
| [[Filmfare Award for Best Male Playback Singer|Best Male Playback Singer]]
|[[Arijit Singh]] for "Rait Zara Si"
|{{Nom}}
|-
| [[Filmfare Award for Best Female Playback Singer|Best Female Playback Singer]]
|[[Shreya Ghoshal]] for "Chaka Chak"
|{{Nom}}
|-
|[[Filmfare Award for Best Choreography|Best Choreography]]
|[[Vijay Ganguly]] for "Chaka Chak"
|{{Won}}
|}

== References ==
{{Reflist}}

==External links==
* {{IMDb title|9766332}}
* {{Bollywood Hungama movie|atrangi-re}}
{{Films by Aanand L. Rai}}

[[Category:2021 films]]
[[Category:2021 Hindi-language films]]
[[Category:2021 direct-to-video films]]
[[Category:Disney+ Hotstar original films]]
[[Category:Indian romantic drama films]]
[[Category:Films postponed due to the COVID-19 pandemic]]
[[Category:Film productions suspended due to the COVID-19 pandemic]]
[[Category:Films scored by A. R. Rahman]]
[[Category:Films shot in Agra]]
[[Category:Films shot in Delhi]]
[[Category:Films shot in Bihar]]
[[Category:Films shot in Varanasi]]
[[Category:Films shot in Mumbai]]
[[Category:Films shot in Madurai]]
[[Category:2021 romantic drama films]]
[[Category:Films set in hospitals]]
[[Category:Films set in Madurai]]
[[Category:Films set in Bihar]]
[[Category:Films about mental disorders]]
[[Category:Films directed by Aanand L. Rai]]
[[Category:Indian nonlinear narrative films]]
[[Category:Films about magic (illusion)]]
[[Category:T-Series (company) films]]
[[Category:Films about schizophrenia]]
[[Category:Indian interfaith romance films]]
[[Category:Films set in Delhi]]
[[Category:Cape of Good Films films]]
[[Category:Colour Yellow Productions films]]

HarperCollins

2026-02-14T20:56:28Z

FWQGina861152045: minor edit

{{short description|British-American publishing company}}
{{Use dmy dates|date=January 2026}}
{{Use British English|date=October 2025}}
{{Infobox company
| name = HarperCollins Publishers LLC
| logo = Harpercollins-logo.svg
| image = 195 Bwy south sun jeh.jpg
| image_caption = HarperCollins' headquarters at [[195 Broadway]]
| trading_name = HarperCollins
| type = [[Subsidiary]]
| industry = [[Publishing industry|Publishing]]
| founded = {{start date and age|1987|df=y}}
| founders = [[James Harper (publisher)|James Harper]] and John Harper
| hq_location = [[The News Building (London)|The News Building]], [[London]], England, United Kingdom [[195 Broadway]], [[New York City]], [[New York (State)|New York]], United States
| locations =
| area_served = Worldwide
| revenue = {{Increase}} [[United States dollar|US$]]2.15 billion (2025)<ref name=pw2025>{{cite news|url=https://www.publishersweekly.com/pw/by-topic/industry-news/financial-reporting/article/98350-harpercollins-profits-rose-10-in-fiscal-2025.html|title=HarperCollins Profits Rose 10% in Fiscal 2025|work=[[Publishers Weekly]]|first=Jim|last=Milliot|date=6 August 2025|access-date=16 October 2025|archive-date=24 August 2025|archive-url=https://web.archive.org/web/20250824231332/https://www.publishersweekly.com/pw/by-topic/industry-news/financial-reporting/article/98350-harpercollins-profits-rose-10-in-fiscal-2025.html|url-status=live}}</ref>
| profit = {{Increase}} US$296 million (2025)<ref name=pw2025 />
| num_employees = 4,000 (2025)<ref name=aboutus>{{Cite web|url=https://www.harpercollins.com/pages/aboutus|title=About Us|access-date=16 October 2025|publisher=HarperCollins}}</ref>
| parent = [[News Corp]]
| subsid = [[#Imprints|List of HarperCollins imprints]]
| website = {{URL|harpercollins.com}} {{URL|harpercollins.co.in}}
{{URL|harpercollins.co.uk}}
{{URL|harpercollins.com.au}}
{{URL|harpercollins.ca}}
{{URL|harpercollins.co.nz}}
}}

'''HarperCollins Publishers LLC''' is a British-American [[multinational corporation|multinational]] [[publishing]] [[conglomerate (company)|conglomerate]] that is considered to be one of the "[[Big Five (publishers)|Big Five]]" English-language publishers, along with [[Penguin Random House]], [[Hachette Book Group USA|Hachette]], [[Macmillan Publishers|Macmillan]], and [[Simon & Schuster]]. HarperCollins is headquartered in London and New York City and is a subsidiary of [[News Corp]].

The company's name is derived from a combination of the firm's predecessors. [[Harper & Brothers]], founded in 1817 in New York, merged with Row, Peterson & Company in 1962 to form [[Harper & Row]], which was acquired by News Corp in 1987. The [[Scotland|Scottish]] publishing company [[William Collins, Sons]], founded in 1819 in [[Glasgow]], was acquired by News Corp in 1987 and merged with Harper & Row to form HarperCollins. The logo for the firm combines the fire from Harper's torch and the water from Collins' fountain.

HarperCollins operates publishing groups in the United States, Canada, the United Kingdom, Australia, New Zealand, Brazil, India, and China, and publishes under various [[imprint (trade name)|imprint]]s.

Brian Murray has served as the company's president and chief executive since 2008.<ref>{{cite news |url=https://observer.com/2008/06/its-official-jane-friedman-out-at-harpercollins-her-deputy-up-effective-immediately/ |title=It's Official: Jane Friedman Out at HarperCollins, Her Deputy Up 'Effective Immediately' |last=Neyfakh |first=Leon |date=4 June 2008 |work=[[The New York Observer]] |access-date=26 November 2010 |archive-date=2 May 2012 |archive-url=https://web.archive.org/web/20120502191421/http://www.observer.com/2008/06/its-official-jane-friedman-out-at-harpercollins-her-deputy-up-effective-immediately/ |url-status=live }}</ref>

==History==
[[File:The news building SE1.jpg|thumb|[[The News Building (London)|The News Building]], HarperCollins' headquarters in London]]
{{Main|Harper (publisher)|William Collins, Sons}}
The earliest of the publishing firms that comprise HarperCollins was founded in 1817 by [[James Harper (publisher)|James Harper]] and his brother John, initially operating under the name J & J Harper. They were later joined by two other brothers, Joseph Wesley and [[Fletcher Harper]], with the firm becoming Harper & Brothers in 1833.

Harper & Brothers originated several notable magazine publications in the nineteenth century that would later be sold or discontinued, including ''[[Harper's Magazine]]'', ''[[Harper's Weekly]]'', ''[[Harper's Bazaar]]'', and ''[[Harper's Young People]]''.

In 1962, Harper & Brothers merged with Row, Peterson & Company to become [[Harper & Row]]. The firm acquired [[Thomas Y. Crowell Co.]] and [[J. B. Lippincott & Co.]] in the 1970s, with Crowell and the trade operations of Lippincott merged into Harper & Row in 1980. In 1988, Harper & Row purchased the religious publisher [[Zondervan]], including subsidiary [[Marshall Pickering]].

William Collins, Sons was established in [[Glasgow]] in 1819 by [[Presbyterian]] schoolmaster [[William Collins (publisher)|William Collins]]. The firm's early emphasis was on religion and education, but diversified over time, making a significant move into fiction in 1917 under the leadership of [[Godfrey Collins]].

The [[Collins Crime Club]] imprint published many works in the [[Golden Age of Detective Fiction]], including novels by [[Agatha Christie]] and [[Rex Stout]]. The religious imprint Fount would be home to [[C. S. Lewis]]. Collins would become the [[British Commonwealth]] publisher for a number of popular American juvenile series and authors, including [[The Hardy Boys]], [[Nancy Drew]], and [[Dr. Seuss]].

In November 2024, HarperCollins signed a licensing agreement with Microsoft to provide book content for training generative AI models, becoming the first major book publisher to do so.<ref>{{Cite web |last=Mauran |first=Cecily |date=2024-11-20 |title=Microsoft and HarperCollins partner up to train AI models on books |url=https://mashable.com/article/microsoft-harpercollins-strike-licensing-deal-train-ai-models-non-fiction |access-date=2025-05-29 |website=Mashable |language=en}}</ref>

===Mergers and acquisitions===
[[Rupert Murdoch]]'s [[News Corporation]] acquired Harper & Row in March 1987.<ref>{{Cite web |date=March 31, 1987 |title=Murdoch to Buy Harper & Row for $300 Million : Media Baron's Purchase of Book Publisher Will Leave Few Independents in Field |url=https://www.latimes.com/archives/la-xpm-1987-03-31-fi-1385-story.html |access-date=January 5, 2025 |website=Los Angeles Times}}</ref> News Corp had owned a 40% stake in Collins since 1981 and became the sole owner in 1989. News Corp merged the two publishers in 1989, combining the name as HarperCollins and creating a logo with a stylized depiction of flames atop waves derived from the torch logo for Harper & Row and the fountain logo for Collins.

In 1990, HarperCollins sold [[J. B. Lippincott & Co.]], its medical publishing division, to the [[Netherlands|Dutch]] publisher [[Wolters Kluwer]].<ref>{{cite news |issn=0362-4331 |last=Cohen |first=Roger |title=J.B. Lippincott Is Sold For Over $250 Million |work=[[The New York Times]] |access-date=10 November 2019 |date=22 May 1990 |url=https://www.nytimes.com/1990/05/22/business/j-b-lippincott-is-sold-for-over-250-million.html |archive-date=16 January 2021 |archive-url=https://web.archive.org/web/20210116163818/https://www.nytimes.com/1990/05/22/business/j-b-lippincott-is-sold-for-over-250-million.html |url-status=live }}</ref>

In 1996, HarperCollins sold [[Scott Foresman]] and HarperCollins College to [[Pearson plc|Pearson]], which merged them with [[Addison-Wesley|Addison-Wesley Longman]].<ref>{{cite news |last=Gilpin |first=Kenneth N. |title=Pearson to Buy a Publisher From News Corp. |url=https://www.nytimes.com/1996/02/10/business/pearson-to-buy-a-publisher-from-news-corp.html |work=The New York Times |date=10 February 1996 |issn=0362-4331 |access-date=10 November 2019 |archive-date=16 January 2021 |archive-url=https://web.archive.org/web/20210116163820/https://www.nytimes.com/1996/02/10/business/pearson-to-buy-a-publisher-from-news-corp.html |url-status=live }}</ref>

News Corporation purchased the Hearst Book Group, consisting of [[William Morrow & Company]] and [[Avon Books]], in 1999. These imprints are now published under the rubric of HarperCollins.<ref>{{cite press release |url=http://www.newscorp.com/news/news_077.html |title=News Corporation Announces Plans To Acquire William Morrow & Company And Avon Books From The Hearst Corporation |publisher=News Corporation |location=New York |date=17 June 1999 |access-date=6 August 2012 |archive-url=https://web.archive.org/web/20061209220010/http://www.newscorp.com/news/news_077.html |archive-date=9 December 2006}}</ref> HarperCollins bought educational publisher [[Letts and Lonsdale]] in March 2010.<ref>{{Cite web|last=Jones|first=Philip|title=Letts sold to HarperCollins {{!}} The Bookseller|url=https://www.thebookseller.com/news/letts-sold-harpercollins|date=4 March 2010|access-date=30 January 2022|website=www.thebookseller.com|archive-date=30 January 2022|archive-url=https://web.archive.org/web/20220130191746/https://www.thebookseller.com/news/letts-sold-harpercollins|url-status=live}}</ref>

In 2011, HarperCollins announced they had agreed to acquire the publisher [[Thomas Nelson (publisher)|Thomas Nelson]].<ref>{{cite magazine |date=31 October 2011 |title=HarperCollins to Acquire Thomas Nelson |magazine=[[Publishers Weekly]] |url=http://www.publishersweekly.com/pw/by-topic/industry-news/industry-deals/article/49334-harpercollins-to-acquire-thomas-nelson.html |access-date=7 November 2011 |archive-date=17 July 2012 |archive-url=https://web.archive.org/web/20120717234635/http://www.publishersweekly.com/pw/by-topic/industry-news/industry-deals/article/49334-harpercollins-to-acquire-thomas-nelson.html |url-status=live }}</ref> The purchase was completed on 11 July 2012, with an announcement that Thomas Nelson would operate independently given the position it has in Christian book publishing.<ref>{{cite press release |url=http://www.thomasnelsoncorporate.com/2012/07/harpercollins-finalizes-acquisition-of-thomas-nelson/ |title=HarperCollins Finalizes Acquisition of Thomas Nelson |first=Casey |last=Francis |publisher=Thomas Nelson, Inc. |date=11 July 2012 |access-date=6 August 2012 |archive-date=14 September 2012 |archive-url=https://web.archive.org/web/20120914034518/http://www.thomasnelsoncorporate.com/2012/07/harpercollins-finalizes-acquisition-of-thomas-nelson/ |url-status=live }}</ref> Both Thomas Nelson and [[Zondervan]] were then organized as imprints, or "keystone publishing programs," under a new division, HarperCollins Christian Publishing.<ref>{{cite web|url=http://www.harpercollinschristian.com/info/|title=Company Information {{!}} HarperCollins Christian Publishing|website=HarperCollins Company Information|publisher=HarperCollins|access-date=24 September 2015|archive-date=16 January 2021|archive-url=https://web.archive.org/web/20210116163901/https://www.harpercollinschristian.com/about/company-profile/|url-status=live}}</ref><ref>{{cite web|url=http://corporate.harpercollins.com/us/harpercollins-imprints/christian-publishing|title=Christian Publishing|website=HarperCollins Corporate|publisher=HarperCollins|access-date=24 September 2015|archive-date=15 September 2015|archive-url=https://web.archive.org/web/20150915055604/http://corporate.harpercollins.com/us/harpercollins-imprints/christian-publishing|url-status=live}}</ref> Key roles in the reorganization were awarded to former Thomas Nelson executives.<ref>{{cite news|last1=Greenfield|first1=Jeremy|title=Reorganization at HarperCollins Christian Publishing Leaves Mix of Zondervan and Thomas Nelson Execs in Charge|url=http://www.digitalbookworld.com/2012/reorganization-at-harpercollins-christian-publishing-leaves-mix-of-zondervan-and-thomas-nelson-execs-in-charge/|access-date=24 September 2015|work=Digital Book World|publisher=F+W Media|date=5 September 2012|quote=While the senior executive appointments announced today by HarperCollins in a statement come from both houses, the most important roles seem to have been reserved for former Thomas Nelson executives: the new chief financial officer, head of e-media, head of sales and head of communications, for instance, are all former Thomas Nelson executives.|archive-date=25 September 2015|archive-url=https://web.archive.org/web/20150925135052/http://www.digitalbookworld.com/2012/reorganization-at-harpercollins-christian-publishing-leaves-mix-of-zondervan-and-thomas-nelson-execs-in-charge/|url-status=dead}}</ref>

In 2012, HarperCollins acquired part of the trade operations of [[John Wiley & Son]] in Canada.<ref>{{Cite web| title = Wiley stops publishing Canadian business books: Roseman {{!}} The Star| work = thestar.com| access-date = 1 January 2019| url = https://www.thestar.com/business/personal_finance/2013/05/22/wiley_stops_publishing_canadian_business_books_roseman.html| first = Ellen| last = Roseman| date = 22 May 2013| archive-date = 16 January 2021| archive-url = https://web.archive.org/web/20210116163818/https://www.thestar.com/business/personal_finance/2013/05/22/wiley_stops_publishing_canadian_business_books_roseman.html| url-status = live}}</ref>

In 2014, HarperCollins acquired Canadian romance publisher [[Harlequin Enterprises]] for C$455 million.<ref>{{cite web|url=https://www.forbes.com/sites/jeremygreenfield/2014/05/02/news-corp-buys-harlequin-worlds-biggest-romance-book-publisher-three-reasons|title=Three Reasons News Corp Bought Harlequin, World's Biggest Romance Book Publisher|first=Jeremy|last=Greenfield|website=Forbes|date=2 May 2014|access-date=20 September 2018|archive-date=16 January 2021|archive-url=https://web.archive.org/web/20210116163856/https://www.forbes.com/sites/jeremygreenfield/2014/05/02/news-corp-buys-harlequin-worlds-biggest-romance-book-publisher-three-reasons/|url-status=live}}</ref>{{Anchor|Amacom}}

In 2018, HarperCollins acquired the business publisher [[Amacom]] from the [[American Management Association]].<ref>{{Cite web| last = Milliot| first = Jim| title = HC Buys AMACOM Books| work =[[Publishers Weekly]]| date = 2 March 2018| access-date = 14 April 2019| url = https://www.publishersweekly.com/pw/by-topic/industry-news/industry-deals/article/76194-hc-buys-amacom-books.html| archive-date = 14 April 2019| archive-url = https://web.archive.org/web/20190414225538/https://www.publishersweekly.com/pw/by-topic/industry-news/industry-deals/article/76194-hc-buys-amacom-books.html| url-status = live}}</ref>

In 2020, HarperCollins acquired the children's publishers Egmont Books UK, Egmont Poland and Schneiderbuch Germany from the [[Egmont Group]].<ref>{{cite magazine|url=https://www.thebookseller.com/news/harpercollins-completes-egmont-acquisition-1201871|title=HarperCollins completes Egmont acquisition|magazine=[[The Bookseller]]|first=Mark|last=Chandler|date=1 May 2020|access-date=6 May 2020|archive-date=8 August 2020|archive-url=https://web.archive.org/web/20200808010028/https://www.thebookseller.com/news/harpercollins-completes-egmont-acquisition-1201871|url-status=live}}</ref>

On 29 March 2021, HarperCollins announced that it would acquire HMH Books & Media, the trade publishing division of [[Houghton Mifflin Harcourt]], for $349 million. The deal would allow HMH to pay down its debt and focus on digital education.<ref>{{cite news |last1=Cimilluca |first1=Jeffrey A. Trachtenberg and Dana |title=News Corp to Buy Houghton Mifflin Harcourt's Consumer-Publishing Arm for $349 Million |url=https://www.wsj.com/articles/news-corp-nears-deal-to-buy-houghton-mifflin-harcourt-s-consumer-publishing-arm-11616970992 |access-date=18 April 2021 |work=The Wall Street Journal |date=29 March 2021 |archive-date=18 April 2021 |archive-url=https://web.archive.org/web/20210418034239/https://www.wsj.com/articles/news-corp-nears-deal-to-buy-houghton-mifflin-harcourt-s-consumer-publishing-arm-11616970992 |url-status=live }}</ref> The deal was completed on 10 May.<ref>{{cite press release|title=News Corp Completes Acquisition of Houghton Mifflin Harcourt Books & Media Segment|url=https://www.businesswire.com/news/home/20210510005535/en/News-Corp-Completes-Acquisition-of-Houghton-Mifflin-Harcourt-Books-Media-Segment|publisher=[[News Corp]]|via=[[Business Wire]]|date=10 May 2021|access-date=12 May 2021|archive-date=12 May 2021|archive-url=https://web.archive.org/web/20210512135716/https://www.businesswire.com/news/home/20210510005535/en/News-Corp-Completes-Acquisition-of-Houghton-Mifflin-Harcourt-Books-Media-Segment|url-status=live}}</ref> As of 7 July 2021, HMH's adult books will be published as Mariner Books, while HMH's children's books will be published as Clarion Books.<ref>{{Cite web|title=HC Adopts Interim Branding for HMH Titles|url=https://www.publishersweekly.com/pw/newsbrief/index.html?record=3293|date=8 June 2021|access-date=29 January 2022|website=[[Publishers Weekly]]|language=en|archive-date=16 January 2022|archive-url=https://web.archive.org/web/20220116181427/https://www.publishersweekly.com/pw/newsbrief/index.html?record=3293|url-status=live}}</ref>

In 2021, HarperCollins acquired the British publisher Pavilion Books.<ref>{{cite web|url=https://www.thebookseller.com/news/harpercollins-completes-its-acquisition-pavilion-books-1292278|title=HarperCollins completes acquisition of Pavilion Books|website=The Bookseller|first=Sian |last=Bayley|date=1 December 2021|access-date=24 December 2022|archive-date=24 December 2022|archive-url=https://web.archive.org/web/20221224140849/https://www.thebookseller.com/news/harpercollins-completes-its-acquisition-pavilion-books-1292278|url-status=live}}</ref>

In 2022, HarperCollins acquired Cider Mill Press.<ref>{{cite news|url=https://www.prnewswire.com/news-releases/harpercollins-focus-acquires-cider-mill-press-book-publishers-301638985.html|title=HarperCollins Focus acquires Cider Mill Press Book Publishers|work=[[PR Newswire]]|date=3 October 2022|access-date=24 October 2022|archive-date=24 October 2022|archive-url=https://web.archive.org/web/20221024033618/https://www.prnewswire.com/news-releases/harpercollins-focus-acquires-cider-mill-press-book-publishers-301638985.html|url-status=live}}</ref>

On 16 July 2025, HarperCollins announced that it has acquired the French and German [[Crunchyroll EMEA|Crunchyroll]] manga publishing business, with the acquisition being closed on 30 September 2025.<ref>{{Cite web |last=Stewart |first=Sophia |date=2025-07-16 |title=HarperCollins Acquires Crunchyroll's Publishing Operations in France, Germany |url=https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/98224-harpercollins-acquires-crunchyroll-s-publishing-operations-in-france-germany.html |access-date=2025-08-02 |website=[[Publishers Weekly]] |language=en}}</ref><ref>{{cite web |title=Annonces commerciales detail — bodacc.fr |url=https://www.bodacc.fr/pages/annonces-commerciales-detail/?q.id=id:A20250222719 |website=www.bodacc.fr |access-date=11 December 2025 |language=fr}}</ref>

===Management history===
Brian Murray,<ref>{{cite web |url=http://corporate.harpercollins.com/about-us/leadership-team |title=HarperCollins Publishers: Leadership Team |access-date=23 October 2015 |archive-date=22 December 2013 |archive-url=https://web.archive.org/web/20131222215847/http://corporate.harpercollins.com/about-us/leadership-team |url-status=live }}</ref> the current CEO of HarperCollins, succeeded [[Jane Friedman]] who was chief executive from 1997 to 2008. Notable management figures include Lisa Sharkey, current senior vice president and director of creative development and Barry Winkleman from 1989 to 1994.

In October 2025, the company appointed Kate Elton as its UK and Ireland interim chief executive following Charlie Redmayne's resignation.<ref>{{Cite web |last=Rees |first=Jon |date=2025-10-07 |title=Kate Elton to lead HarperCollins UK after CEO Charlie Redmayne resigns |url=https://www.thetimes.com/business-money/companies/article/kate-elton-to-lead-harpercollins-uk-after-ceo-charlie-redmayne-resigns-h06b9ldmp |access-date=2025-10-09 |website=www.thetimes.com |language=en}}</ref>

===''United States v. Apple Inc.''===
In April 2012, the United States Department of Justice filed ''[[United States v. Apple (2012)|United States v. Apple Inc.]]'', naming [[Apple Inc.|Apple]], HarperCollins, and four other major publishers as defendants. The suit alleged that they conspired to fix prices for [[e-books]], and weaken [[Amazon (company)|Amazon.com]]'s position in the market, in violation of [[United States antitrust law|antitrust law]].<ref name="washington post DOJ sues">{{cite news |author=Mui, Ylan Q. and Hayley Tsukayama |title=Justice Department sues Apple, publishers over e-book prices |url=https://www.washingtonpost.com/business/economy/justice-department-files-suit-against-apple-publishers-report-says/2012/04/11/gIQAzyXSAT_story.html |newspaper=[[The Washington Post]] |date=11 April 2012 |access-date=1 June 2014 |archive-date=6 October 2014 |archive-url=https://web.archive.org/web/20141006074356/http://www.washingtonpost.com/business/economy/justice-department-files-suit-against-apple-publishers-report-says/2012/04/11/gIQAzyXSAT_story.html |url-status=live }}</ref>

In December 2013, a federal judge approved a settlement of the antitrust claims, in which HarperCollins and the other publishers paid into a fund that provided credits to customers who had overpaid for books due to the [[Price fixing|price-fixing]].<ref name="usatoday settlements rolling out">{{cite news |author=Molina, Brett |title=E-book price fixing settlements rolling out |url=https://www.usatoday.com/story/tech/2014/03/25/amazon-settlements-ebooks/6869033/ |work=[[USA Today]] |date=25 March 2014 |access-date=1 June 2014 |archive-date=24 December 2019 |archive-url=https://web.archive.org/web/20191224210523/https://www.usatoday.com/story/tech/2014/03/25/amazon-settlements-ebooks/6869033/ |url-status=live }}</ref>

===US warehouse closings===
On 5 November 2012, HarperCollins announced to employees privately and then later in the day publicly that it was closing its remaining two US warehouses, to merge shipping and warehousing operations with [[RR Donnelley|R. R. Donnelley]] in Indiana. The Scranton, Pennsylvania, warehouse closed in September 2013 and a Nashville, Tennessee, warehouse, under the name Thomas Nelson (which distributes the religious arm of HarperCollins/Zondervan Books), in the winter of 2013. Several office positions and departments continued to work for HarperCollins in Scranton, but in a new location.<ref>{{cite news |last=Murray |first=Brian |url=http://www.bizjournals.com/chicago/news/2012/11/06/harpercollins-to-close-warehouses-in.html |title=HarperCollins to close warehouses in deal with R.R. Donnelley |website=Chicago Business Journal |date=6 November 2012 |access-date=7 November 2012 |archive-date=4 December 2020 |archive-url=https://web.archive.org/web/20201204014715/https://www.bizjournals.com/chicago/news/2012/11/06/harpercollins-to-close-warehouses-in.html |url-status=live }}</ref>

The Scranton warehouse closing eliminated about 200 jobs, and the Nashville warehouse closing eliminated up to 500 jobs; the exact number of distribution employees is unknown.<ref>{{cite news |url=http://www.tennessean.com/article/20130814/BUSINESS02/308140115/2095/BUSINESS02 |title= HarperCollins Publishers to sell Nashville distribution center |work=The Tennessean |first=Getahn|last=Ward |date=14 August 2003}}</ref>

HarperCollins previously closed two US warehouses, one in Williamsport, Pennsylvania, in 2011 and another in Grand Rapids, Michigan, in 2012.<ref>{{cite magazine |url=http://www.publishersweekly.com/pw/by-topic/industry-news/manufacturing/article/47183-harper-donnelley-in-wide-ranging-supply-chain-deal.html |title=Harper, Donnelley in Wide Ranging Supply Chain Deal |magazine=[[Publishers Weekly]]|first=Jim |last=Milliot |date=12 May 2011 |access-date=7 November 2012 |archive-date=7 October 2021 |archive-url=https://web.archive.org/web/20211007042942/https://www.publishersweekly.com/pw/by-topic/industry-news/manufacturing/article/47183-harper-donnelley-in-wide-ranging-supply-chain-deal.html |url-status=live }}</ref> "We have taken a long-term, global view of our print distribution and are committed to offering the broadest possible reach for our authors," said HarperCollins Chief Executive Brian Murray, according to ''Publishers Weekly''. "We are retooling the traditional distribution model to ensure we can competitively offer the entire HarperCollins catalog to customers regardless of location." Company officials attribute the closings and mergers to the rapidly growing demand for e-book formats and the decline in print purchasing.<ref>{{cite news |last1=Murray |first1=Brian |title=HarperCollins to close warehouses in deal with R.R. Donnelley |url=https://www.bizjournals.com/chicago/news/2012/11/06/harpercollins-to-close-warehouses-in.html |work=[[Chicago Business Journal]] |date=6 November 2012}}</ref>

===Internet Archive lawsuit===
In June 2020, HarperCollins was one of a group of publishers who sued the [[Internet Archive]], arguing that its collection of e-books was denying authors and publishers revenue and accusing the library of "willful mass copyright infringement".<ref>{{cite web|url=https://www.nytimes.com/2020/06/01/books/internet-archive-emergency-library-coronavirus.html|title=Publishers Sue Internet Archive Over Free E-Books|date=1 June 2020|access-date=12 June 2020|work=[[The New York Times]]|first=Elizabeth A.|last=Harris|archive-date=12 June 2020|archive-url=https://web.archive.org/web/20200612122012/https://www.nytimes.com/2020/06/01/books/internet-archive-emergency-library-coronavirus.html|url-status=live}}</ref>

===Lindsay Lohan lawsuit===
In September 2020, HarperCollins sued [[Lindsay Lohan]] for entering into a book deal and collecting a $350,000 advance for a tell-all memoir that never materialized.<ref>{{Cite web|last=Trepany|first=Charles|title=Lindsay Lohan sued by HarperCollins for collecting $365K advance but never writing book|url=https://www.usatoday.com/story/entertainment/books/2020/09/10/lindsay-lohan-sued-book-advance-harpercollins/3462822001/|date=10 September 2020|access-date=11 September 2020|website=USA TODAY|language=en-US|archive-date=11 September 2020|archive-url=https://web.archive.org/web/20200911123311/https://www.usatoday.com/story/entertainment/books/2020/09/10/lindsay-lohan-sued-book-advance-harpercollins/3462822001/|url-status=live}}</ref>

===Anne Frank's betrayal===
A 2022 book written by [[Rosemary Sullivan]], with HarperCollins as main publisher, designated Jewish notary [[Arnold van den Bergh]] as the most likely suspect in [[Anne Frank]]'s betrayal. The conclusion was challenged by experts. The notary's family members threatened a lawsuit and started a foundation. The Dutch publisher withdrew the book, but HarperCollins has not taken any definitive decision.<ref>{{Cite news|work=de Volkskrant|title=Hoe 'Het verraad van Anne Frank' tot stand kwam, een explosieve conclusie trok en uit de handel werd gehaald|language=nl |date=2022 |archive-url=https://web.archive.org/web/20220925113359/https://www.volkskrant.nl/kijkverder/v/2022/reconstructie-het-verraad-van-anne-frank~v568314/|archive-date=25 September 2022|url=https://www.volkskrant.nl/kijkverder/v/2022/reconstructie-het-verraad-van-anne-frank~v568314/|last=Beukers|first=Gijs|url-access=subscription|access-date=25 September 2022|url-status=dead}}</ref> {{Update inline|date=January 2026}}

===UAW strike===
{{Main|2022–2023 HarperCollins strike}}

On 10 November 2022, approximately 250 unionized workers at HarperCollins began an indefinite strike.<ref name="Limbong">{{Cite web |last=Limbong |first=Andrew |date=10 November 2022 |title=Workers at HarperCollins Publishers begin strike |url=https://www.npr.org/2022/11/10/1135741557/workers-at-harpercollins-publishers-begin-strike |access-date=14 November 2022 |website=NPR |language=en-US |archive-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114060427/https://www.npr.org/2022/11/10/1135741557/workers-at-harpercollins-publishers-begin-strike |url-status=live }}</ref><ref>{{Cite news |last1=Alter |first1=Alexandra |last2=Harris |first2=Elizabeth A. |date=10 November 2022 |title=HarperCollins Workers Strike for Better Pay and Benefits |language=en-US |work=The New York Times |url=https://www.nytimes.com/2022/11/10/books/harpercollins-strike.html |access-date=2 December 2022 |archive-url=https://web.archive.org/web/20221110144613/https://www.nytimes.com/2022/11/10/books/harpercollins-strike.html |archive-date=10 November 2022 |issn=0362-4331}}</ref> Local 2110 of the [[United Auto Workers]] (UAW) union includes people in design, marketing, publicity, and sales for the company. The UAW union made the decision to strike after drawn-out negotiations between it and HarperCollins, which resulted in members "working without a contract since April."<ref>{{Cite web |last=Trachtenberg |first=Jeffry A. |date=10 November 2022 |title=HarperCollins Union Goes on Indefinite Strike Over Pay and Benefits |url=https://www.wsj.com/articles/harpercollins-union-goes-on-indefinite-strike-over-pay-and-benefits-11668096539 |access-date=14 November 2022 |website=WSJ |language=en-US |archive-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114074501/https://www.wsj.com/articles/harpercollins-union-goes-on-indefinite-strike-over-pay-and-benefits-11668096539 |url-status=live }}</ref> According to a spokesperson, HarperCollins "has agreed to a number of proposals that the UAW is seeking to include in a new contract" and "is disappointed an agreement has not been reached" but "will continue to negotiate in good faith."<ref name="Limbong" />

On 21 December 2022 the local put their in-person picketing on "pause" to give strikers an opportunity to spend time with their loved ones.<ref>{{Cite tweet |user=hcpunion |number=1605658133921091584 |title=In-Person Strike Paused}}</ref>{{better source needed|reason=social media|date=January 2023}} The picketing resumed as scheduled on 3 January 2023.<ref>{{Cite tweet |user=hcpunion |number=1610278638636916737 |title=HCP New Year's resolution}}</ref>{{better source needed|reason=social media|date=January 2023}}

After three months of negotiations, the union agreed to a new contract with HarperCollins on 16 February 2023.
<ref name="Italie">{{Cite web |last=Italie |first=Hillel |date=16 February 2023 |title=HarperCollins union approves contract, ends 3-month strike |url=https://apnews.com/article/harpercollins-union-strike-ends-0a94238718879066d9b21af6266be526 |access-date=23 February 2023 |website=APNews.com |language=en-US |archive-date=23 February 2023 |archive-url=https://web.archive.org/web/20230223165837/https://apnews.com/article/harpercollins-union-strike-ends-0a94238718879066d9b21af6266be526 |url-status=live }}</ref>
Under the new terms, the annual starting pay of HarperCollins employees has increased from $45,000 to $47,500 upon ratification, and is set to rise to $50,000 by 2025. Additionally, full-time employees in the union will receive a lump sum payment of $1,500.<ref name="Italie" /> The contract also allows workers making less than $60,000 to file for two hours of overtime pay per week without approval from a manager, and puts measures in place to compensate junior-level staff for diversity and inclusion work which is typically unpaid in the industry.<ref name="Dwyer Harris">{{cite web |last1=Dwyer |first1=Kate |last2=Harris |first2=Elizabeth A. |title=Unionized HarperCollins Employees Are Back To Work After A 3-Month Strike |url=https://www.nytimes.com/2023/02/21/books/harpercollins-strike-ends.html |website=[[The New York Times]] |date=21 February 2023 |access-date=23 February 2023 |archive-date=23 February 2023 |archive-url=https://web.archive.org/web/20230223023141/https://www.nytimes.com/2023/02/21/books/harpercollins-strike-ends.html |url-status=live }}</ref>

The workers returned to their duties on 21 February.<ref name="Dwyer Harris" />

==Noted books==
HarperCollins maintains the backlist of many of the books originally published by its many merged imprints, in addition to having picked up new authors since the merger. Authors published originally by Harper include [[Mark Twain]], the [[Brontë sisters]], and [[William Makepeace Thackeray]]. Authors published originally by Collins include [[H. G. Wells]] and [[Agatha Christie]]. HarperCollins also acquired the publishing rights to [[J. R. R. Tolkien|J. R. R. Tolkien's]] work in 1990 when [[George Allen & Unwin|Unwin Hyman]] was bought. Following is a list of some of the more noted books and series published by HarperCollins and their various imprints and merged publishing houses.
{{dynamic list}}

* ''[[The Hobbit]]'', [[J. R. R. Tolkien]] (1937) (originally published by [[George Allen & Unwin]])
* ''[[The Lord of the Rings]]'', J. R. R. Tolkien (1954–1955) (originally published by George Allen & Unwin)
* ''[[The Art of Loving]]'', [[Erich Fromm]] (1956)
* ''[[Master and Commander]]'', [[Patrick O'Brian]] (1970) (adapted into the 2003 film ''[[Master and Commander: The Far Side of the World]]'')
* the ''[[The Blessing Way|Leaphorn and Chee books]]'', [[Tony Hillerman]] (1970–2006)
* ''[[The Silmarillion]]'', J. R. R. Tolkien (ed. [[Christopher Tolkien]] with [[Guy Gavriel Kay]]) (1977) (originally published by George Allen & Unwin)
* ''[[Collins English Dictionary]]'' (1979), a major dictionary<ref>{{cite news| url=https://www.independent.co.uk/news/uk/home-news/mumpreneur-leads-collins-english-dictionary-entries-2365895.html |archive-url=https://ghostarchive.org/archive/20220509/https://www.independent.co.uk/news/uk/home-news/mumpreneur-leads-collins-english-dictionary-entries-2365895.html |archive-date=9 May 2022 |url-access=subscription |url-status=live | location=London | work=The Independent | first=Lucinda | last=Cameron | date=5 October 2011 | title=Mumpreneur leads Collins English Dictionary entries}}</ref>
* [[Sharpe (novel series)|''Sharpe'' series]], [[Bernard Cornwell]] (1981–2006)
* ''[[Frida: A Biography of Frida Kahlo]]'', Hayden Herrera (1983), adapted into the 2002 film ''[[Frida (2002 film)|Frida]]''
* ''[[The History of Middle-earth]]'' series, J. R. R. Tolkien (ed. Christopher Tolkien) (1983–1996)
* ''[[Weaveworld]]'', [[Clive Barker]] (1987)
* the [[Paladin Poetry Series]] (1987–1993)
* ''[[The Alchemist (novel)|The Alchemist]]'', [[Paulo Coelho]], (1988) (first published in Portuguese as ''O Alquimista'', 1988)
* subsequent novels in the ''[[Take Back Plenty]]'' series, [[Colin Greenland]] (1990+)
* ''Where There's a Will: Who Inherited What and Why'', [[Stephen M. Silverman]] (1991)
* ''[[Dorothy Wordsworth]]'s Illustrated Lakeland Journals'' (1991, Diamond Books)
* ''[[The Language of the Genes]]'', [[Steve Jones (biologist)|Steve Jones]] (1993)
* ''[[The Gifts of the Body]]'', [[Rebecca Brown (author)|Rebecca Brown]] (1994)
* ''[[Microserfs]]'', [[Douglas Coupland]] (1995)
* ''[[Thoughts]]'', [[Tionne Watkins]] (1999)
* ''[[Śukasaptati#History|Shuka Saptati: Seventy tales of the Parrot]]'' a new translation from the Sanskrit by [[A. N. D. Haksar]] (2000)
* ''[[First They Killed My Father|First They Killed My Father: A Daughter of Cambodia Remembers]]'', [[Loung Ung]] (2000)
* ''[[Bel Canto (novel)|Bel Canto]]'', [[Ann Patchett]] (2001)
* ''[[A Theory of Relativity]]'', [[Jacquelyn Mitchard]] (2001)
* recent volumes in the ''[[Discworld]]'' series by [[Terry Pratchett]] (books from 2001 to present)
* ''[[American Gods]]'', [[Neil Gaiman]] (2001)
* ''[[Boonville (novel)|Boonville]]'', [[Robert Mailer Anderson]] (2003 reprint)
* ''[[Quicksilver (Stephenson novel)|Quicksilver]]'', [[Neal Stephenson]] (2003)
* ''[[Don Quixote]]'', a new translation by [[Edith Grossman]] (2003, [[Ecco Press|Ecco]])
* ''[[Acquainted with the Night (book)|Acquainted with the Night]]'', [[Christopher Dewdney]] (2004)
* ''[[State of fear]]'', by [[Michael Crichton]] (2004)
* ''[[Darkhouse]]'', [[Alex Barclay]] (2005)
* ''[[Anansi Boys]]'', Neil Gaiman (2005)
* ''[[The Hot Kid]]'', [[Elmore Leonard]] (2005)
* ''[[Freaky Green Eyes]]'', by [[Joyce Carol Oates]] (2006)
* ''[[Next (Crichton novel)|Next]]'', [[Michael Crichton]] (2006)
* ''[[Domicilium Decoratus]]'', [[Kelly Wearstler]] (2006) {{ISBN|0-06-089798-8}}
* ''[[Pretty Little Liars (book series)|Pretty Little Liars]]'', [[Sara Shepard]] (2006)
* ''[[Mister B. Gone]]'', [[Clive Barker]] (Harper) (2007)
* ''[[Loving Natalee: A Mother's Testament of Hope and Faith]]'', [[Beth Holloway]] (2007) (about [[Natalee Holloway]])
* ''[[The Raw Shark Texts]]'', [[Steven Hall (author)|Steven Hall]] (2007)
* ''[[The Children of Húrin]]'', J. R. R. Tolkien (ed. Christopher Tolkien) (2007)
* ''[[The Family: The Secret Fundamentalism at the Heart of American Power]]'', [[Jeff Sharlet (writer)|Jeff Sharlet]] (2008)
* ''[[Going Rogue: An American Life]]'', [[Sarah Palin]] (2009)
* ''[[Pirate Latitudes]]'', Michael Crichton (2009) (posthumous publication)
* ''[[Wolf Hall]]'', [[Hilary Mantel]] (2009)
* ''[[Shattered (Casey book)|Shattered: The True Story of a Mother's Love, a Husband's Betrayal, and a Cold-Blooded Texas Murder]]'', [[Kathryn Casey]] (2010)
* ''[[Micro (novel)|Micro]]'', Michael Crichton (2011) (posthumous publication)
* ''[[The Dressmaker of Khair Khana]]'', [[Gayle Tzemach Lemmon]] (2011)
* ''[[A Shot at History: My Obsessive Journey to Olympic Gold]]'' by [[Abhinav Bindra]] (2011)
* ''[[Go Set a Watchman]]'', [[Harper Lee]] (2015)
* ''[[The Poppy War]]'', [[R. F. Kuang]] (2018)
* ''[[Inside the Tablighi Jamaat]]'', [[Ziya Us Salam]] (2020)

===Harper children's books===
Children's book editor [[Ursula Nordstrom]] was the director of Harper's Department of Books for Boys and Girls from 1940 to 1973, overseeing the publication of classics such as ''[[Goodnight Moon]]'', ''[[Where the Wild Things Are]]'', ''[[The Giving Tree]]'', ''[[Charlotte's Web]]'', [[Beverly Cleary]]'s series starring [[Ramona (novel series)|Ramona Quimby]], and ''[[Harold and the Purple Crayon]]''. They were the publishing home of [[Maurice Sendak]], [[Shel Silverstein]], and [[Margaret Wise Brown]].<ref>Marcus, Leonard S (editor) (1998). ''Dear Genius: The Letters of Ursula Nordstrom'' HarperTrophy: New York. {{ISBN|0-06-446235-8}}</ref> In 1998, Nordstrom's personal correspondence was published as ''Dear Genius: The Letters of Ursula Nordstrom'' (illustrated by [[Maurice Sendak]]), edited by [[Charlotte Zolotow]]. Zolotow began her career as a [[stenographer]] to Nordstrom, became her ''protégé'', and went on to write more than 80 books and edit hundreds of others, including Nordstrom's ''The Secret Language'' and the works of [[Paul Fleischman]]. Zolotow later became head of the children's books department, and went on to become the company's first female vice president.

''[[The Chronicles of Narnia]]'' series by [[C. S. Lewis]], while not originally published by a merged imprint of HarperCollins, was acquired by the publisher.<ref>{{Cite web|title=HarperCollins Signs Deal With The C.S. Lewis Company|url=https://www.writerswrite.com/harpercollins-signs-deal-with-the-3212001288|date=21 March 2001|access-date=30 January 2022|website=Writers Write|language=en|archive-date=30 January 2022|archive-url=https://web.archive.org/web/20220130192234/https://www.writerswrite.com/harpercollins-signs-deal-with-the-3212001288|url-status=live}}</ref>

HarperCollins has published these notable children's books:
{{dynamic list}}
* the [[I Can Read!]] series for beginning readers, including the ''[[Amelia Bedelia]]'' ([[Peggy Parish]]), ''[[Frog and Toad]]'' ([[Arnold Lobel]]) and [[Little Bear (book series)|''Little Bear'']] ([[Else Holmelund Minarik]] and [[Maurice Sendak]]) books
* the [[Warriors (novel series)|''Warriors'' series]] (2003–present)
* the ''[[Pretty Little Liars (book series)|Pretty Little Liars]]'' series, by [[Sara Shepard]] (2007–present)
* ''[[A Series of Unfortunate Events]]'', [[Lemony Snicket]]
* ''[[A Taste of Blackberries]]'', [[Doris Buchanan Smith]] (1973)
* [[Skulduggery Pleasant|''Skulduggery Pleasant'' series]], [[Derek Landy]]
* ''[[Bart Simpson's Guide to Life]]'' (1993)
* international rights to [[Dr. Seuss]] (inherited from Collins; 1950s–present)
* ''[[Love That Dog]]'', [[Sharon Creech]] (2001)
* ''[[The Giving Tree]]'', [[Shel Silverstein]] (1964)
* ''[[Where the Sidewalk Ends (book)]]'', Shel Silverstein (1974)
* ''[[The Saga of Darren Shan]]'', [[Darren Shan]] (2000–2004)
** ''[[Cirque du Freak (manga)|Cirque du Freak]]'' [[manga]] series, Darren Shan and [[Takahiro Arai]] (2006–2009)
* ''[[The Dangerous Book for Boys]]'', [[Conn Iggulden|Conn]] and Hal Iggulden (2006)
* ''[[Sabriel]]'', [[Garth Nix]] (1995)
* ''[[A Barrel of Laughs, a Vale of Tears]]'', [[Jules Feiffer]] (1995)
* ''[[Mister God, This Is Anna]]'', Fynn (pseudonym of [[Sydney Hopkins]]) (1974)
* the ''[[Little House on the Prairie]]'' series, [[Laura Ingalls Wilder]] (1932–2006)
* ''[[The Wolves in the Walls]]'', [[Neil Gaiman]] and [[Dave McKean]] (2003)
* ''[[Monster (Walter Dean Myers novel)|Monster]]'', [[Walter Dean Myers]] (1999)
* ''[[Coraline]]'', [[Neil Gaiman]] and [[Dave McKean]] (2002)
* ''[[Surviving the Applewhites]]'', [[Stephanie S. Tolan]] (2002)
* ''[[The Gollywhopper Games]]'' (2008)
* ''[[Ruby Redfort]]'' (series), [[Lauren Child]] (2011)
* ''[[Divergent (book)|Divergent]]'', [[Veronica Roth]] (2011)
* ''[[Survivors (novel series)|Survivors]]'' series (2012–2019)
* ''[[The School for Good and Evil]]'', [[Soman Chainani]] (2013–present)
* ''[[Splat the Cat]]'', Rob Scotton (2007–present)
* ''[[The Secret Zoo]]'', Bryan Chick (2010–2023)
* ''[[Charlotte's Web]]'', [[E. B. White]] (2015)<ref>{{Cite web|last=Bill|first=Neto|date=19 April 2021|title=Fiction Genres|url=https://ebooksdiscounts.com/literary-genres/fiction-genres/|url-status=usurped|access-date=19 April 2021|website=eBooks Discounts|archive-date=28 March 2022|archive-url=https://web.archive.org/web/20220328052246/https://ebooksdiscounts.com/literary-genres/fiction-genres/}}</ref>
* ''Little Penguin'', Tadgh Bentley (2015–present)
* ''[[Elinor Wonders Why]]'' adapted books (2021–present)

==Imprints==
HarperCollins has more than 120 book [[imprint (trade name)|imprint]]s, most of which are based in the United States.<ref>{{Cite web|title=HarperCollins Publishers: World-Leading Book Publisher|url=https://harpercollinscom.kinsta.cloud/|access-date=29 January 2022|website=HarperCollins Publishers: World-Leading Book Publisher|language=en-US|archive-date=29 January 2022|archive-url=https://web.archive.org/web/20220129003501/https://harpercollinscom.kinsta.cloud/|url-status=live}}</ref> Collins still exists as an imprint, chiefly for wildlife and natural history books, field guides, as well as for English and bilingual dictionaries based on the [[Bank of English]], a large [[text corpus|corpus]] of contemporary English texts.

HarperCollins' imprints, including current and defunct imprints prior to various mergers, include:

===Current===
====Adult====
{{Columns-list|colwidth=30em|
* [[List of Amistad Press books|Amistad Press]], primarily books of African-American interest, named for the storied ship ''[[La Amistad]]''; launched as an independent imprint in 1986 by [[Charles F. Harris]] (1934–2015), it merged with HarperCollins in 1999.<ref>[http://www.thehistorymakers.com/biography/charles-f-harris-40 "Media Makers: Charles F. Harris" (interview date: 6/8/2005, 7/28/2005 and 8/2/2005)] {{Webarchive|url=https://web.archive.org/web/20160820193912/http://www.thehistorymakers.com/biography/charles-f-harris-40 |date=20 August 2016 }}, The History Makers.</ref><ref>{{cite web|last=Weber|first=Bruce|url=https://www.nytimes.com/2015/12/23/books/charles-f-harris-81-dies-led-effort-to-publish-work-by-black-writers.html|title=Charles F. Harris, 81, Dies; Led Effort to Publish Work by Black Writers|newspaper=The New York Times|date=22 December 2015|access-date=6 February 2021|archive-date=5 January 2021|archive-url=https://web.archive.org/web/20210105031905/https://www.nytimes.com/2015/12/23/books/charles-f-harris-81-dies-led-effort-to-publish-work-by-black-writers.html|url-status=live}}</ref><ref>{{cite web|last=Harris|first=Hamil R.|url=http://www.blackenterprise.com/mag/black-publishing-giant-sold/|title=Black publishing giant sold|website=[[Black Enterprise]]|date=1 February 2000|archive-url=https://web.archive.org/web/20130413080901/http://www.blackenterprise.com/mag/black-publishing-giant-sold/|archive-date=13 April 2013}}</ref>
* [[Harlequin Enterprises]]
** Carina Press
** Graydon House Books
** Hanover Square Press
** Harlequin Teen
** Harlequin Kimani Arabesque
** Harlequin Kimani TRU
** Harlequin Kimani Press
** Harlequin Luna
** HQN
** Mira
** Park Row Books
** Rogue Angel
** Silhouette Special Releases
** Spice
** Worldwide Mystery
* [[Harper (publisher)|Harper]]
** Broadside Books (American conservative imprint)<ref>{{Cite web| last = Bosman| first = Julie| title = HarperCollins to Start Conservative Imprint, Broadside Books| work = Media Decoder Blog| access-date = 3 April 2019| date = 27 September 2010| url = https://mediadecoder.blogs.nytimes.com/2010/09/27/harpercollins-to-start-conservative-imprint-broadside-books/| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403174859/https://mediadecoder.blogs.nytimes.com/2010/09/27/harpercollins-to-start-conservative-imprint-broadside-books/| url-status = live}}</ref>
** [[Ecco Press|Ecco]]
** Harper Business<ref>{{Cite web| last = Lewis| first = Mark| title = HarperBusiness Takes Its Own Advice| work = Forbes| access-date = 3 April 2019| url = https://www.forbes.com/2002/10/03/1003harper/| date = 3 October 2002| archive-date = 25 June 2021| archive-url = https://web.archive.org/web/20210625122244/https://www.forbes.com/2002/10/03/1003harper/| url-status = live}}</ref><ref>{{Cite web| last = Deahl| first = Rachel| title = Ross Promises to Revive Collins Business| work = Publishers Weekly| date = 30 July 2007| access-date = 3 April 2019| url = https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/8239-ross-promises-to-revive-collins-business.html| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403160951/https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/8239-ross-promises-to-revive-collins-business.html| url-status = live}}</ref><ref>{{Cite news| issn = 0362-4331| last = Rich| first = Motoko| title = HarperCollins Restructures and Dismisses 2 Top Executives| work = The New York Times| access-date = 3 April 2019| date = 10 February 2009| url = https://www.nytimes.com/2009/02/11/books/11harp.html| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403160944/https://www.nytimes.com/2009/02/11/books/11harp.html| url-status = live}}</ref>
** Fontana Books
** Harper Hardcover
** Harper Paperbacks
*** Bourbon Street Books
** [[Harper Perennial]], originally Perennial Library
*** Harper Perennial Modern Classics
** HarperLuxe (Large print)<ref>{{cite web|url=http://www.largeprintreviews.com/harperluxe.html|title=HarperLuxe: A New Take on Large Print|last=Caviness|first=Rochelle|date=22 December 2006|work=largeprintreviews.com|access-date=14 December 2015|archive-date=30 October 2015|archive-url=https://web.archive.org/web/20151030053611/http://www.largeprintreviews.com/harperluxe.html|url-status=live}}</ref>
** HarperImpulse (Digital first imprint)
** HarperTrue (Non Fiction digital first)
** [[HarperOne]]<ref>{{cite web|url=http://www.harperone.com/|title=HarperOne: Imprint of HarperCollins Publishers|author=World Archipelago|work=harperone.com|access-date=24 May 2010|archive-date=14 March 2007|archive-url=https://web.archive.org/web/20070314213657/http://www.harperone.com/|url-status=live}}</ref>
** HarperVia (international books)<ref>{{cite web|url=https://www.harpercollins.com/pages/harpervia|title=HarperVia - Books That Take You Everywhere - HarperCollins|author=|access-date=2025-10-28|archive-date=2025-09-27|archive-url=https://web.archive.org/web/20250927045228/https://www.harpercollins.com/pages/harpervia|url-status=live}}</ref>
** HarperVoyager, formerly Voyager, HarperCollins's worldwide science-fiction and fantasy imprint, combining the UK imprint HarperCollins Science Fiction & Fantasy (which had inherited the sci-fi and fantasy list of Collins's Grafton Books and its predecessors (Granada, [[Panther Books|Panther]]), as well as [[J. R. R. Tolkien|J. R. R. Tolkien's]] books from the acquisition of [[Allen & Unwin#George Allen & Unwin in the UK|George Allen & Unwin]]) and the US imprint Eos (from the acquisition of [[Avon Books]], which incorporated the former [[Harper Prism]])
** [[Mariner Books]]
** Killer Reads (digital first Crime & Thriller imprint)
** One More Chapter Books (Digital first Crime & Thriller imprint)
** HarperWave
** Harper Muse<ref>{{Cite web| last = Reid| first = Calvin| title = HarperCollins Focus Debuts New Fiction Imprint| work = Publishers Weekly| date = 24 February 2021| access-date = 12 March 2021| url = https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/85663-harpercollins-focus-debuts-new-fiction-imprint.html| archive-date = 3 March 2021| archive-url = https://web.archive.org/web/20210303113130/https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/85663-harpercollins-focus-debuts-new-fiction-imprint.html| url-status = live}}</ref>
* HarperCollins Focus<ref>{{Cite web| title = Imprints| url = https://www.harpercollinsfocus.com/imprints/| access-date = 14 February 2022| archive-date = 14 February 2022| archive-url = https://web.archive.org/web/20220214192145/https://www.harpercollinsfocus.com/imprints/| url-status = live}}</ref>
** Blink
** Harper Celebrate
** Harper Horizon
** HarperCollins Leadership<ref>{{Cite web| last1 = Wenner| first1 = Emma| last2 = Milliot| first2 = Jim| title = HarperCollins Launching a New Business Imprint| work = Publishers Weekly| date = 5 October 2017| access-date = 3 April 2019| url = https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/74973-harpercollins-launching-a-new-business-imprint.html| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403154859/https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/74973-harpercollins-launching-a-new-business-imprint.html| url-status = live}}</ref>
*** Amacom
** Harper Muse
* HarperCollins UK
** 4th Estate/Fourth Estate<ref>{{cite web|url=http://www.harpercollins.co.uk/about-harpercollins/imprints/4th-estate|title=4th Estate|publisher=HarperCollins|access-date=18 January 2014|archive-url=https://web.archive.org/web/20140208063551/http://www.harpercollins.co.uk/about-harpercollins/imprints/4th-estate|archive-date=8 February 2014}}</ref>
** [[Collins Bartholomew]]
** HarperFiction
*** The Borough Press<ref name="borough">{{cite web |title=About us |url=http://www.boroughpress.co.uk/about-us/ |website=The Borough Press |publisher=Harper Collins |access-date=1 September 2018 |quote=... HarperFiction’s literary fiction imprint, The Borough Press |archive-date=1 September 2018 |archive-url=https://web.archive.org/web/20180901113435/http://www.boroughpress.co.uk/about-us/ |url-status=live }}</ref>
** HarperNonFiction
*** HarperCollins
*** HarperElement
*** Mudlark
*** Thorsons
** HQ
** Pavilion Books<ref>[https://www.pavilionbooks.com/about/ About Pavilion] {{Webarchive|url=https://web.archive.org/web/20230410032118/https://www.pavilionbooks.com/about/ |date=10 April 2023 }}, pavilionbooks.com. Retrieved 10 April 2023.</ref> (formerly Anova Books)<ref>{{Cite web |last=Farrington |first=Joshua |date=21 December 2014 |title=Anova to rebrand as Pavilion |url=https://www.thebookseller.com/news/anova-rebrand-pavilion |url-status=live |archive-url=https://web.archive.org/web/20250427001702/https://www.thebookseller.com/news/anova-rebrand-pavilion |archive-date=27 April 2025 |access-date=25 October 2025 |website=[[The Bookseller]]}}</ref>
** [[William Collins, Sons|William Collins]]
* [[William Morrow and Company|William Morrow]]
** [[Avon (publisher)|Avon]]
*** Avon Red
*** Avon Romance
*** Mischief (digital imprint)
** Custom House (since 2015, led by Geoff Shandler)<ref>{{cite web | url=https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/68330-harpercollins-unveils-custom-house-geoff-shandler-s-new-imprint.html | title=HarperCollins Unveils Custom House, Geoff Shandler's New Imprint | work=[[Publishers Weekly]] | date=9 October 2015 | access-date=5 October 2019 | author=Deahl, Rachel | archive-date=21 December 2019 | archive-url=https://web.archive.org/web/20191221075736/https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/68330-harpercollins-unveils-custom-house-geoff-shandler-s-new-imprint.html | url-status=live }}</ref>
** Dey Street (formerly It Books)<ref>{{Cite web| last = Deahl| first = Rachel| title = HC Rebrands It Books, Renames Dey Street| date = 13 March 2014| access-date = 3 April 2019| url = https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/61391-hc-rebrands-it-books-renames-dey-street.html| work = Publishers Weekly| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403175035/https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/61391-hc-rebrands-it-books-renames-dey-street.html| url-status = live}}</ref>
** Witness
** William Morrow Paperbacks
** Morrow Cookbooks, a highly respected series of cookbooks
}}

====Children====
{{div col}}
* HarperCollins Children's Books
** Harper Festival, a publisher of novelty books founded in 1992<ref>{{Cite journal| issn = 0000-0019| volume = 239| issue = 23| pages = 34–35| last = Maughan| first = Shannon| title = New Harper Festival program celebrates books| journal = Publishers Weekly| access-date = 15 November 2020| date = 18 May 1992| url = http://go.gale.com/ps/i.do?p=LitRC&sw=w&issn=00000019&v=2.1&it=r&id=GALE%7CA12280933&sid=googleScholar&linkaccess=abs}}</ref>
** HarperTeen<ref>{{cite web|url=http://www.harperteen.com/|title=Search Results: HarperCollins Publishers|author=World Archipelago|work=harperteen.com|access-date=31 May 2009|archive-date=12 May 2009|archive-url=https://web.archive.org/web/20090512101525/http://www.harperteen.com/|url-status=live}}</ref>
** HarperTeen Impulse (digital imprint)
** HarperTrophy
** Harper Fire
** HarperAlley (comic imprint)
** Amistad
** Balzer + Bray (2009–2024; when Alessandra Balzer and Donna Bray moved to Macmillan Publishers)
** Storytide
** Collins
** Clarion Books
** Greenwillow Books
** [[Heartdrum]]<ref>{{Cite web |url=https://www.cbc.ca/radio/unreserved/unreserved-reads-author-richard-van-camp-s-best-book-picks-of-2019-1.5392871/heartdrum-harpercollins-launches-new-imprint-dedicated-to-indigenous-stories-1.5392872 |title=Heartdrum: HarperCollins launches new imprint dedicated to Indigenous stories |date=13 December 2019 |access-date=13 December 2022 |website=cbc.ca |last=Muzyka |first=Kyle |archive-date=13 December 2022 |archive-url=https://web.archive.org/web/20221213140455/https://www.cbc.ca/radio/unreserved/unreserved-reads-author-richard-van-camp-s-best-book-picks-of-2019-1.5392871/heartdrum-harpercollins-launches-new-imprint-dedicated-to-indigenous-stories-1.5392872 |url-status=live }}</ref>
** HMH Books for Young Readers
** Katherine Tegen Books
** [[Walden Pond Press]]
** Blink Young Adult
* Farshore (formerly [[Egmont Books#Egmont UK / Farshore|Egmont UK]])
** Electric Monkey
{{div col end}}

====Christian====
{{div col}}
* [[Thomas Nelson (publisher)|Thomas Nelson]]
** Grupo Nelson
** Nelson Books
** Tommy Nelson
** W Publishing Group
* [[Zondervan]]
** Editorial Vida
** Zonderkidz
** Zondervan Academic
** Zondervan Reflective
{{div col end}}

====Audio====
* HarperAudio
* [[Caedmon Audio|Caedmon]], audiobooks
* HarperCollins Children's Audio

====Bureau====
* [[HarperCollins Speakers Bureau]]

====Digital====
* HarperCollins e-Books
* HarperCollins Productions

====Digital first====
* One More Chapter

====Film and television====
* [[3000 Pictures]] (joint venture with [[Sony Pictures]])

===Defunct===
{{Columns-list|colwidth=30em|
* Unwin Hyman (formerly [[Allen & Unwin]], which is now an independent Australian publisher)
* [[Angus & Robertson]]
* The [[Julie Andrews]] Collection
* Avon A
* Cliff Street Books
* Collins Press
* [[List of Collins GEM books|Collins GEM]]
* Diamond Books
* Eos Books, science fiction/fantasy, formerly an [[Avon Books]] imprint
* Flamingo
* Fontana Books / Fontana Press (see [[Fontana Modern Masters]])
* Harper & Brothers
* Harper & Row
* Harper Design<ref>{{Cite web| last = Milliot| first = Jim| title = Harper Design Closed Among More Layoffs at HarperCollins| work = Publishers Weekly| date = 28 April 2023| access-date = 9 May 2024| url = https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/92147-harper-design-closed-as-part-of-new-hc-cuts.html}}</ref>
* Harper Perennial Modern Thought
* [[Harper Prism]], science fiction imprint (merged with Eos)
* Harper San Francisco, with a focus on religious and spiritual books (now [[HarperOne]])
* Harper Torch
* Harper Trophy, children's book imprint
* Harper True
* HarperCollins West
* HarperSport
* [[Daniel Lothrop|Lothrop]], [[Lee & Shepard]]
* [[Marshall Pickering]]
* Moonstone
* [[New Naturalist]]
* Rayo (a Latino-focused imprint)<ref>{{Cite web| title = HarperCollins Launches Rayo, Hispanic-focused Imprint| work = The Write News| date = 23 August 2000| access-date = 3 April 2019| url = https://www.writenews.com/harpercollins-launches-rayo-hispanic-focused-82320003| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403161427/https://www.writenews.com/harpercollins-launches-rayo-hispanic-focused-82320003| url-status = live}}</ref><ref>{{Cite web| last = Williams| first = Emily| title = Whatever Happened to US Spanish-language Publishing?| work = Publishing Perspectives| access-date = 3 April 2019| date = 29 June 2010| url = https://publishingperspectives.com/2010/06/whatever-happened-to-us-spanish-language-publishing-2/| archive-date = 3 April 2019| archive-url = https://web.archive.org/web/20190403161434/https://publishingperspectives.com/2010/06/whatever-happened-to-us-spanish-language-publishing-2/| url-status = live}}</ref>
* [[ReganBooks]]
* Salamander
* Thorsons
}}

==Business strategy==
[[File:ASA conference 2008 - 31.JPG|thumb|2008 conference booth]]

===Web approach===
In 2008, HarperCollins launched a browsing feature on its website where customers can read selected excerpts from books before purchasing, on both desktop and mobile browsers.<ref name=":1">{{cite web |last=Nicole |first=Kristen |title=HarperCollins (Finally) Offers Free Books Online |url=https://mashable.com/archive/harpercollins-free-previews |website=Mashable |date=10 February 2008 |access-date=3 April 2022 |archive-date=3 April 2022 |archive-url=https://web.archive.org/web/20220403001854/https://mashable.com/archive/harpercollins-free-previews |url-status=live }}</ref><ref>Pace, Andrew K. "Technically Speaking". American Libraries 2006 April: 80.</ref><ref>{{cite web |last=Nicole |first=Kristen |title=HarperCollins Offers Books on the iPhone |url=https://mashable.com/archive/harpercollins-iphone |website=Mashable |date=15 August 2007 |access-date=3 April 2022 |archive-date=3 April 2022 |archive-url=https://web.archive.org/web/20220403001855/https://mashable.com/archive/harpercollins-iphone |url-status=live }}</ref> This functionality gave the publisher's website the ability to compete with physical bookstores, in which customers can typically look at the book itself, and [[Amazon (company)|Amazon's]] use of excerpts ("teasers") for online book purchasers.<ref name=":1"/>

At the beginning of October 2013, the company announced a partnership with online digital library [[Scribd]]. The official statement revealed that the "majority" of the HarperCollins US and HarperCollins Christian catalogs will be available in Scribd's subscription service. Chantal Restivo-Alessi, chief digital officer at HarperCollins, explained to the media that the deal represents the first time that the publisher has released such a large portion of its catalog.<ref>{{cite web|title=With HarperCollins Deal, Scribd Unveils Its Bid To Become The Netflix For Books|url=https://techcrunch.com/2013/10/01/scribd-harpercollins-book-subscriptions/?ncid=tcdaily|work=TechCrunch|publisher=AOL Inc|access-date=1 October 2013|first=Anthony|last=Ha|date=1 October 2013|archive-date=1 August 2020|archive-url=https://web.archive.org/web/20200801115419/https://techcrunch.com/2013/10/01/scribd-harpercollins-book-subscriptions/?ncid=tcdaily|url-status=live}}</ref>

HarperCollins formerly operated ''authonomy'', an online community of authors, from 2008 to 2015. The website offered an alternative to the traditional "[[slushpile|slush pile]]" approach for handling unsolicited manuscripts sent to a publisher with little chance of being reviewed. Using authonomy, authors could submit their work for [[peer review]] and ranking by other members; the five highest-ranked manuscripts each month would be read by HarperCollins editors for potential publication. The site was closed after authors "learned to game the system" to earn top-five rankings, and fewer authonomy titles were selected to be published.<ref>{{Cite news|url=https://www.theguardian.com/books/2015/aug/20/authonomy-writing-community-closed-by-harpercollins|title=Authonomy writing community closed by HarperCollins|last=Flood|first=Alison|date=20 August 2015|work=The Guardian|access-date=24 January 2020|language=en-GB|issn=0261-3077|archive-date=15 May 2020|archive-url=https://web.archive.org/web/20200515071306/https://www.theguardian.com/books/2015/aug/20/authonomy-writing-community-closed-by-harpercollins|url-status=live}}</ref>

From 2009 to 2010, HarperCollins operated [[BookArmy]], a social networking site.

===Speakers Bureau===
The '''HarperCollins Speakers Bureau''' (also known as HCSB) is the first lecture agency to be created by a major publishing house.<ref name="mcgee"/> It was launched in May 2005<ref name="mcgee">McGee, Celia. [https://www.nytimes.com/2007/06/04/business/media/04speakers.html?ref=business "A Way to Give Authors a Lucrative Second Platform."] {{Webarchive|url=https://web.archive.org/web/20220427223842/https://www.nytimes.com/2007/06/04/business/media/04speakers.html?ref=business |date=27 April 2022 }} ''The New York Times'', 4 June 2007. Retrieved 23 February 2009.</ref> as a division of HarperCollins to book paid speaking engagements for the authors HarperCollins, and its sister companies, publish. Andrea Rosen is the director.<ref>Donadio, Rachel. [https://www.nytimes.com/2008/07/27/books/review/Donadio-t.html "More Bang for the Book."] {{Webarchive|url=https://web.archive.org/web/20220427223841/https://www.nytimes.com/2008/07/27/books/review/Donadio-t.html |date=27 April 2022 }} ''The New York Times'', 27 July 2008. Retrieved 23 February 2009.</ref>

Some of the notable authors the HCSB represents include [[Carol Alt]], [[Dennis Lehane]], [[Gregory Maguire]],<ref>{{cite web |last=Nawotka |first=Edward |title=As Speakers' Bureaus Grow, Booksellers Cast Wary Eye |url=https://www.publishersweekly.com/pw/print/20071112/7349-as-speakers-bureaus-grow-booksellers-cast-wary-eye.html |website=Publishers Weekly |access-date=3 April 2022 |date=12 November 2007 |archive-date=3 April 2022 |archive-url=https://web.archive.org/web/20220403002359/https://www.publishersweekly.com/pw/print/20071112/7349-as-speakers-bureaus-grow-booksellers-cast-wary-eye.html |url-status=live }}</ref> [[Danny Meyer]], [[Mehmet Oz]], [[Sidney Poitier]], [[Ted Sorensen]], and [[Kate White (writer)|Kate White]].

===HarperAcademic===
HarperAcademic is the academic marketing department of HarperCollins. HarperAcademic provides instructors with the latest in adult titles for course adoption at the high school and college level, as well as titles for first-year and other common read programs at academic institutions. They also attend several major academic conferences to showcase new titles for academic professionals.

HarperAcademic Calling, a podcast produced by the department, provides interviews with authors of noteworthy titles.

===HarperStudio===
HarperCollins announced HarperStudio in 2008 as a "new, experimental unit... that will eliminate the traditional profit distributions to authors. The long-established author advances and bookseller returns has not proved to be very profitable to either the author or the publisher. The approach HarperStudio is now taking is to offer little or no advance, but instead to split the profit 50% (rather than the industry standard 15%), with the author." The division was headed by Bob Miller, previously the founding publisher of [[Disney Hyperion|Hyperion]], the adult books division of the [[Walt Disney Company]].<ref>{{cite news|url=https://www.nytimes.com/2008/04/04/business/04harper.html?_r=1&oref=slogin|title=New HarperCollins Unit to Try to Cut Writer Advances|author=Rich, Motoko|newspaper=New York Times|date=4 April 2008|access-date=4 April 2008|archive-date=27 April 2022|archive-url=https://web.archive.org/web/20220427223845/https://www.nytimes.com/2008/04/04/business/04harper.html?_r=1&oref=slogin|url-status=live}}</ref><ref>{{cite web|url=https://news.yahoo.com/s/ap/20080403/ap_en_bu/books_publisher_switch|title=Hyperion publisher goes to HarperCollins|author=Italie, Hillel|publisher=Associated Press|date=3 April 2008|access-date=4 April 2008 |archive-url = https://web.archive.org/web/20080408064317/http://news.yahoo.com/s/ap/20080403/ap_en_bu/books_publisher_switch  |archive-date =8 April 2008}}</ref> HarperStudio folded in March 2010 after Miller left for [[Workman Publishing]].<ref>{{cite news|url=http://latimesblogs.latimes.com/jacketcopy/2010/04/that-was-fast-say-goodbye-to-harper-studio.html|title=That was fast: say goodbye to Harper Studio|author=Kellogg, Carolyn|newspaper=Los Angeles Times|date=2 April 2010|access-date=18 November 2010|archive-date=7 April 2022|archive-url=https://web.archive.org/web/20220407151146/https://latimesblogs.latimes.com/jacketcopy/2010/04/that-was-fast-say-goodbye-to-harper-studio.html|url-status=live}}</ref>

===HarperCollins India===
HarperCollins Publishers India Pvt Ltd. is a wholly owned subsidiary of HarperCollins Worldwide. It came into being in 1992.

==Controversies==
===''If I Did It''===
{{main|If I Did It}}

''If I Did It'' was a book written by [[O. J. Simpson]] about his alleged murder of [[Nicole Simpson]], which was planned as a HarperCollins title, and which attracted considerable controversy and a legal battle over publication.

===Ben Collins===
In August 2010, the company became embroiled in a legal battle with the [[BBC]] after a book it was due to publish, later identified as the forthcoming autobiography of racing driver [[Ben Collins (racing driver)|Ben Collins]] (no relation to the publishers), revealed the identity of [[The Stig]] from ''[[Top Gear (2002 TV series)|Top Gear]]''.<ref>{{cite news|url=https://www.bbc.co.uk/news/entertainment-arts-11108795|title=Top Gear boss lambasts Stig book plans|date=27 August 2010|work=[[BBC Online]]|access-date=26 November 2010|archive-date=13 November 2010|archive-url=https://web.archive.org/web/20101113014947/http://www.bbc.co.uk/news/entertainment-arts-11108795|url-status=live}}</ref> In his blog, ''Top Gear'' executive producer [[Andy Wilman]] accused HarperCollins of "hoping to cash in" on the BBC's [[intellectual property]], describing the publishers as "a bunch of chancers".<ref>{{cite web|last=Wilman|first=Andy|url=http://transmission.blogs.topgear.com/2010/08/27/the-stig-he-is-ours/|title=The Stig. He's ours|date=27 August 2010|work=Transmission|access-date=26 November 2010|archive-url=https://web.archive.org/web/20100827184835/http://transmission.blogs.topgear.com/2010/08/27/the-stig-he-is-ours/|archive-date=27 August 2010}}</ref> On 1 September, the BBC's request for an injunction preventing the book from being published was turned down, effectively confirming the book's revelation that "The Stig" was indeed Collins.<ref>{{cite news|url=https://www.bbc.co.uk/news/entertainment-arts-11151777|title=Stig court case: BBC loses battle over Ben Collins book|date=1 September 2010|work=[[BBC Online]]|access-date=26 November 2010|archive-date=1 September 2010|archive-url=https://web.archive.org/web/20100901191445/http://www.bbc.co.uk/news/entertainment-arts-11151777|url-status=live}}</ref>

===''East and West''===
The company became embroiled in controversy in 1998 after it was revealed it blocked [[Chris Patten]]'s (the last British governor of Hong Kong) book ''[[East and West (book)|East and West]]'' after a direct intervention by the then-CEO of [[News International]], [[Rupert Murdoch]].<ref>{{cite news|url=http://news.bbc.co.uk/2/hi/world/analysis/61122.stm|title=Rupert Murdoch Faces Authors' Revolt.|date=1 March 1998|work=Transmission|access-date=16 January 2015|archive-date=11 October 2017|archive-url=https://web.archive.org/web/20171011234759/http://news.bbc.co.uk/2/hi/world/analysis/61122.stm|url-status=live}}</ref> It was later revealed by Stuart Proffitt, the editor who had worked on the book for HarperCollins, that this intervention was designed to appease the Chinese authorities—of whom the book was critical—as Murdoch intended to extend his business empire into China and did not wish to cause problems there by allowing the book to be published.<ref>{{cite news| url=https://www.independent.co.uk/life-style/bookworm-who-turned-1147399.html |archive-url=https://ghostarchive.org/archive/20220509/https://www.independent.co.uk/life-style/bookworm-who-turned-1147399.html |archive-date=9 May 2022 |url-access=subscription |url-status=live| date=28 February 1998|work=[[The Independent]]|access-date=23 January 2012|location=London|first=David|last=Lister|title=Bookworm who turned}}</ref>

Murdoch's intervention caused both Proffitt's resignation from the company and outrage from the international media apart from affiliated companies. Chris Patten later published with [[Macmillan Publishing]], initially in America, where it carried the logo "The book that Rupert Murdoch refused to publish".<ref>{{cite news| url=https://www.telegraph.co.uk/news/uknews/leveson-inquiry/9033316/Leveson-inquiry-Rupert-Murdoch-dropped-Lord-Pattens-book-to-curry-favour-with-Chinese.html |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/news/uknews/leveson-inquiry/9033316/Leveson-inquiry-Rupert-Murdoch-dropped-Lord-Pattens-book-to-curry-favour-with-Chinese.html |archive-date=11 January 2022 |url-access=subscription |url-status=live| date=23 January 2012|work=[[The Daily Telegraph]]|access-date=23 January 2012|location=London|title=Leveson inquiry: Rupert Murdoch 'dropped Lord Patten's book to curry favour with Chinese'}}{{cbignore}}</ref> After a successful legal campaign against HarperCollins, Patten went on to publish the book in the UK in September 1998 after accepting a sum of £500,000 and receiving an apology from Rupert Murdoch.<ref>{{cite news|url=https://www.bbc.co.uk/news/av/uk-16682122|date=23 January 2012|work=[[BBC News]]|access-date=23 January 2012|title=Rupert Murdoch blocked my book, says Lord Patten|archive-date=23 January 2012|archive-url=https://web.archive.org/web/20120123175801/http://www.bbc.co.uk/news/uk-16682122|url-status=live}}</ref>

===Ebooks===
In March 2011, HarperCollins announced it would distribute [[ebooks]] to libraries with [[Digital rights management|DRM]] enabled to delete the item after being lent 26 times.<ref>{{cite news | url=http://mediadecoder.blogs.nytimes.com/2011/02/27/a-limit-on-lending-e-books/?scp=1&sq=HarperCollins&st=cse | work=The New York Times | first=Julie | last=Bosman | title=A Limit on Lending E-Books | date=27 February 2011 | access-date=8 March 2011 | archive-date=3 July 2021 | archive-url=https://web.archive.org/web/20210703133906/https://mediadecoder.blogs.nytimes.com/2011/02/27/a-limit-on-lending-e-books/?scp=1&sq=HarperCollins&st=cse | url-status=live }}</ref><ref>{{cite news | url=https://www.theguardian.com/books/2011/mar/06/ebooks-on-borrowed-time | location=London | work=The Guardian | first=Patrick | last=Kingsley | title=Ebooks On Borrowed Time | date=6 March 2011 | access-date=11 December 2016 | archive-date=27 September 2016 | archive-url=https://web.archive.org/web/20160927213519/https://www.theguardian.com/books/2011/mar/06/ebooks-on-borrowed-time | url-status=live}}</ref> HarperCollins has drawn criticism of this plan, in particular its likening of ebooks, which are purely digital, to traditional paperback trade books, which wear over time.<ref>{{cite news | url=https://www.theguardian.com/technology/2011/mar/08/ebooks-harpercollins-26-times | location=London | work=The Guardian | first=Cory | last=Doctorow | title=Ebooks: durability is a feature, not a bug | date=8 March 2011 | access-date=11 December 2016 | archive-date=26 November 2016 | archive-url=https://web.archive.org/web/20161126095008/https://www.theguardian.com/technology/2011/mar/08/ebooks-harpercollins-26-times | url-status=live}}</ref><ref>{{cite news |url=https://www.theguardian.com/books/2011/mar/01/restrictions-library-ebook-loans |location=London |work=The Guardian |first=Benedicte |last=Page |title=Fury over 'stupid' restrictions to library ebook loans |date=1 March 2011 |access-date=11 December 2016 |archive-date=27 September 2016 |archive-url=https://web.archive.org/web/20160927201314/https://www.theguardian.com/books/2011/mar/01/restrictions-library-ebook-loans |url-status=live}}</ref>

===Omission of Israel from an atlas===
In December 2014, ''[[The Tablet]]'' reported that an atlas published for Middle East schools did not label Israel on a map of the Middle East.<ref>{{cite news |url=https://www.jpost.com/Middle-East/Israel-wiped-off-the-map-in-Middle-East-atlases-386265 |title=Israel wiped off the map in Middle East atlases |date=31 December 2014 |newspaper=[[The Jerusalem Post]] |access-date=31 December 2014 |archive-date=3 July 2021 |archive-url=https://web.archive.org/web/20210703130859/https://www.jpost.com/Middle-East/Israel-wiped-off-the-map-in-Middle-East-atlases-386265 |url-status=live }}</ref> A representative for [[Collins Bartholomew]], a subsidiary of HarperCollins that specializes in maps, explained that including Israel would have been "unacceptable" to their customers in the [[Arab states of the Persian Gulf]] and the omission was in line with "local preferences".<ref>Terrence McCoy, [https://www.washingtonpost.com/news/morning-mix/wp/2015/01/02/harpercollins-omits-israel-from-maps-for-mideast-schools-citing-local-preferences/?tid=hp_mm&hpid=z3 "HarperCollins omits Israel from maps for Mideast schools, citing 'local preferences{{'"}}] {{Webarchive|url=https://web.archive.org/web/20220116181433/https://www.washingtonpost.com/news/morning-mix/wp/2015/01/02/harpercollins-omits-israel-from-maps-for-mideast-schools-citing-local-preferences/?tid=hp_mm&hpid=z3 |date=16 January 2022 }}, ''The Washington Post'', 2 January 2015.</ref> The company later apologized and destroyed all the books.<ref>{{cite web |last=Flood |first=Alison |url=https://www.theguardian.com/books/2015/jan/05/middle-east-atlas-israel-anger |title=Middle East atlas omitting Israel to be pulped following widespread anger |date=5 January 2015 |website=[[theguardian.com]] |access-date=5 January 2015 |archive-date=27 April 2022 |archive-url=https://web.archive.org/web/20220427224420/https://www.theguardian.com/books/2015/jan/05/middle-east-atlas-israel-anger |url-status=live }}</ref>

===''What the (Bleep) Just Happened?''===
HarperCollins announced in January 2017 that they would discontinue selling copies of [[Monica Crowley]]'s book ''[[What the (Bleep) Just Happened?]]'', due to allegations of plagiarism.<ref name=":0">{{cite web |last=Kaczynski |first=Andrew |date=10 January 2017 |title=HarperCollins pulls Trump pick Monica Crowley's book amid plagiarism revelations |url=https://money.cnn.com/2017/01/10/media/kfile-harper-collins-monica-crowley/index.html |website=CNNMoney |access-date=12 January 2017 |archive-date=12 January 2017 |archive-url=https://web.archive.org/web/20170112010539/http://money.cnn.com/2017/01/10/media/kfile-harper-collins-monica-crowley/index.html |url-status=live }}</ref> The 2012 book had lifted passages from a number of sources including columns, news articles and think tank reports.<ref name=":0" /> HarperCollins said in a statement to [[CNN]]'s ''[[Andrew Kaczynski|KFile]]'', "The book which has reached the end of its natural sales cycle, will no longer be offered for purchase until such time as the author has the opportunity to source and revise the material."<ref name=":0" />

==See also==
{{portal|Companies|Books|United Kingdom|United States}}
* [[Books in the United States]]
* [[Books in the United Kingdom]]
* [[COBUILD]] – a research facility set up by Collins in conjunction with the [[University of Birmingham]]
* ''[[Harper's Magazine]]'' – a separately owned magazine, although begun by the original Harper & Brothers
* [[List of largest UK book publishers]]

==References==
{{reflist}}

==External links==
* {{official website|https://www.harpercollins.com/}}
* [http://archiveswest.orbiscascade.org/ark:/80444/xv72943 Greenwillow Books records, 1974–2014]
* {{Open Library publisher|HarperCollins Publishers|HarperCollins}}
* [https://www.youtube.com/@HarperCollinsPublishersUS HarperCollins Publishers] on [[YouTube]]
* [https://www.youtube.com/@HarperCollinsPublishersIndia HarperBroadcast] (HarperCollins Publishers India) on YouTube
* [https://www.youtube.com/@HarperCollinsChildrensBooks HarperCollins Children's Books] on YouTube

{{News Corporation}}
{{BIG6 PUBLISHERS USA}}
{{Authority control}}

[[Category:HarperCollins books| ]]
[[Category:Book publishing companies of the United Kingdom]]
[[Category:Book publishing companies of the United States]]
[[Category:American subsidiaries of foreign companies]]
[[Category:British subsidiaries of foreign companies]]
[[Category:1989 establishments in New York City]]
[[Category:Book publishing companies based in New York (state)]]
[[Category:1989 establishments in England]]
[[Category:Book publishing companies based in London]]
[[Category:News Corporation subsidiaries]]
[[Category:Publishing companies based in New York City]]
[[Category:Publishing companies based in London]]
[[Category:Publishing companies established in 1989]]

Monica Gill

2026-01-31T15:16:50Z

FWQGina861152045: quick update

{{short description|American model, actress and beauty pageant title holder}}
{{BLP sources|date=August 2017}}
{{EngvarB|date=October 2025}}
{{Use dmy dates|date=October 2025}}
{{Infobox person
| name = Monica Gill
| image = Monica Gill at completion bash of Paltan.jpg
| caption = Monica Gill at completion bash of Paltan
| birth_date = {{birth based on age as of date|24|2013|11|27}}<ref name="IT"/>
| birth_place =
| education = [[University of Massachusetts Amherst]]<ref name="Monica">{{cite news |last1=Walters |first1=Bethan |date=21 March 2021 |title=Monica Gill: From the Pageant Stage to the Big Screen |url=https://lokmarg.com/monica-gill-from-the-pageant-stage-to-the-big-screen/ |work=Lokmarg |access-date=31 October 2025}}</ref>
| title = [[Miss India USA|Miss India USA 2013]] [[Miss India Worldwide|Miss India Worldwide 2014]]<ref name="Greening 2015">{{cite web |last=Greening |first=Danielle |title=Meet the 7 Finalists of India's Next Top Model |website=DESIblitz |date=23 August 2015 |url=https://www.desiblitz.com/content/final-7-contestants-indias-next-top-model |access-date=16 June 2016}}</ref>
| term = June 2014 – November 2015
| partner = Gurshawn Sahota ({{abbr|e.|engaged}} 2018 -2021)<ref name="twoyears"/>
| website =
}}
'''Monica Gill''' is an American model, actress and beauty pageant titleholder. She won the [[Miss India Worldwide 2014]] on 21 June 2014.<ref>{{cite web |last=Francis |first=Sneha May |title=UAE to Bollywood: Miss India Worldwide Monica Gill's dream |website=Emirates 24|7 |date=16 June 2016 |url=http://www.emirates247.com/entertainment/uae-to-bollywood-miss-india-worldwide-monica-gill-s-dream-2014-06-28-1.554621 |access-date=16 June 2016}}</ref><ref>{{cite web |last=from |first=IANS |title=Monica Gill from US is Miss India Worldwide 2014 |website=The Times of India |date=21 June 2014 |url=http://timesofindia.indiatimes.com/nri/nri-achievers/Monica-Gill-Miss-India-Worldwide-2014/articleshow/36932695.cms |access-date=16 June 2016}}</ref><ref>{{cite web |last=Pennington |first=Roberta |title=American Monica Gill wins Miss India Worldwide in UAE |website=The National |date=21 June 2014 |url=http://www.thenational.ae/uae/tourism/american-monica-gill-wins-miss-india-worldwide-in-uae |archive-url=https://archive.today/20160803185221/http://www.thenational.ae/uae/tourism/american-monica-gill-wins-miss-india-worldwide-in-uae |url-status=dead |archive-date=3 August 2016 |access-date=16 June 2016}}</ref> She is also [[Miss India USA]] winner on 26 November 2013 while serving as Miss India New England.<ref>{{cite web |last=Chitnis |first=Deepak |title=Boston student Monica Gill crowned Miss India USA 2013 |website=The American Bazaar |date=27 November 2013 |url=https://www.americanbazaaronline.com/2013/11/27/boston-student-monica-gill-crowned-miss-india-usa-2013/ |access-date=16 June 2016}}</ref><ref name="IT">{{cite web |title=Monica Gill crowned Miss India USA 2013 |website=India Today |date=27 November 2013 |url=https://www.indiatoday.in/lifestyle/whats-hot/story/monica-gill-crowned-miss-india-usa-2013-218825-2013-11-26 |access-date=16 June 2016}}</ref><ref>{{cite news |last1=PTI |title=Monica Gill crowned Miss India USA 2013 |url=https://economictimes.indiatimes.com/nri/nris-in-news/monica-gill-crowned-miss-india-usa-2013/articleshow/26428492.cms |access-date=28 March 2021 |work=The Economic Times |date=26 November 2013}}</ref> In 2015, she [[India's Next Top Model (cycle 1)|participated]] in [[MTV India]] show ''[[India's Next Top Model]]''.

== Career ==
Gill was working in pharmaceuticals trying to figure out if she wanted to pursue her medical career. After winning Miss India Worldwide USA, Gill decided to pursue Bollywood in India. Her pageant win opened up many doors in the Indian film industry including a meeting with [[Tips Industries|Tips]] that lead to a three-film deal. Gill was originally hoping to land roles in Bollywood but her [[Hindi]]-speaking skills were an issue. Coming from [[Punjabis|Punjabi]] family, Gill was fluent in speaking Punjabi and decided to pursue [[Cinema of the Punjab|Punjabi films]] instead. Gill landed a talent agent in Mumbai and went to acting school before making her film debut.<ref name=":2">{{Cite web |title=Monica Gill on Making It in Punjabi Cinema, Finding Love, & Her Wedding! {{!}} Interview (Ep. 29) | date=7 July 2020 |url=https://www.youtube.com/watch?v=sId-H1DNUCs |via=YouTube |access-date=8 April 2021}}</ref>{{better source needed|date=August 2021}}

Gill made her Punjabi film debut in the 2016 [[Tips Industries Limited|Tips']] film ''[[Ambarsariya]]'' opposite [[Diljit Dosanjh]].<ref>{{cite news |author=Cities |title=Sonam Bajwa, Parul Gulati, Monica Gill: Punjabi actresses who we would love to see in Bollywood |website=The Indian Express |date=28 May 2016 |url=http://indianexpress.com/photos/entertainment-gallery/sonam-bajwa-parul-gulati-monica-gill-punjabi-actresses-love-to-see-in-bollywood-2823194/ |access-date=16 June 2016}}</ref> That year, she went on to star in three back to back blockbuster Punjabi films. The following year, she made her [[Bollywood|Hindi film]] debut in the 2017 film ''[[Firangi]]''. In 2018, she was seen in the Hindi film ''[[Paltan (film)|Paltan]]'', where she played love interest to [[Harshvardhan Rane]].<ref>{{cite web |title=Monica Gill Says, Movie 'Panj Khaab' Has A Special Story Line |website=ptcpunjabi.co.in |date=13 October 2017 |url=http://www.ptcpunjabi.co.in/monica-gill-says-movie-panj-khaab-has-a-special-story-line/ |access-date=10 February 2018}}</ref><ref name=":0">{{cite news |title=Monica Gill to play Harshvardhan Rane's love interest in J P Dutta's Paltan |url=https://www.deccanchronicle.com/entertainment/bollywood/090218/monica-gill-harshvardhan-rane-love-interest-j-p-dutta-paltan-movie.html |work=[[Deccan Chronicle]] |date=9 February 2018 |language=en}}</ref> In 2019, she acted in Punjabi-language period drama ''Yaara Ve''.<ref name=":1" /> Monica supported the [[2020–2021 Indian farmers' protest]].<ref>{{cite news |title=Monica Gill reposts tweets shared by International stars supporting farmers' protest |url=https://timesofindia.indiatimes.com/entertainment/punjabi/movies/news/monica-gill-reposts-tweets-shared-by-international-stars-supporting-farmers-protest/articleshow/80683504.cms |access-date=21 March 2021 |work=The Times of India |date=4 February 2021 |language=en}}</ref>

== Personal life ==
Gill met Gurshawn Sahota, a California-based dentist at her cousin's wedding. The couple maintained a long-distance relationship, getting engaged in 2018. Gill moved back home with her parents to plan her wedding but due to the pandemic, their wedding has been on hold until it is safe to hold inperson events.<ref name="twoyears">{{cite news |title=Monica Gill shares loved up pictures with fiance Gurshawn Sahota; says '2 years ago today, my rishta got pakka' |url=https://timesofindia.indiatimes.com/entertainment/punjabi/movies/news/monica-gill-shares-loved-up-pictures-with-fiance-gurshawn-sahota-says-2-years-ago-today-my-rishta-got-pakka/articleshow/79277791.cms |access-date=21 March 2021 |work=The Times of India |date=12 February 2021 |language=en}}</ref><ref name=":2" /><ref>{{cite news |title=Couple goals: Monica Gill's birthday wish posts for fiance Gurshwan Sahota are pure gold |url=https://timesofindia.indiatimes.com/entertainment/punjabi/movies/news/couple-goals-monica-gills-birthday-wish-posts-for-fiance-gurshwan-sahota-are-pure-gold/articleshow/70751591.cms |access-date=21 March 2021 |work=The Times of India |date=20 August 2019 |language=en}}</ref>

Gill and Sahota parted ways due to irreconcilable differences in Nov 2021.<ref>{{Cite news |last=Vashist |first=Neha |date=15 March 2022 |title=Breaking! Monica Gill and Gurshawn Sahota part ways - Exclusive! |url=https://timesofindia.indiatimes.com/entertainment/punjabi/movies/news/breaking-monica-gill-and-gurshawn-sahota-part-ways/articleshow/90216450.cms |work=The Times of India |access-date=7 February 2023 |issn=0971-8257}}</ref>

== Filmography ==
{| class="wikitable sortable"
|+
! Year
! Film
! Role
! Language
! Notes
! Reference
|-
|rowspan="3"|2016 || ''[[Ambarsariya]]'' || Kirat || rowspan="3" |[[Punjabi language|Punjabi]]
|Punjabi debut || <ref>{{cite web |title=Exclusive Interview with Monica Gill on Ambarsariya |website=SimplyBhangra.com |date=11 April 1958 |url=https://simplybhangra.com/interviews/9873-exclusive-interview-with-monica-gill-on-ambarsariya.html |access-date=16 June 2016}}</ref>
|-
| ''[[Kaptaan (film)|Kaptaan]]'' || Preeti || || <ref>{{cite web |last=Service |first=Tribune News |title=Aye Aye Kaptaan! |website=Trinuneindia News Service |date=16 June 2016 |url=http://www.tribuneindia.com/news/life-style/aye-aye-kaptaan/112862.html |access-date=16 June 2016}}</ref>
|-
| ''[[Sardaar Ji 2|Sardaarji 2]]'' || Soni || || <ref>{{cite web |last=from |first=TOI |title='Sardaar Ji 2' trailer: Diljit Dosanjh is the funniest farmer you will ever meet |website=The Times of India |date=18 May 2016 |url=https://timesofindia.indiatimes.com/entertainment/punjabi/movies/news/Sardaar-Ji-2-trailer-Diljit-Dosanjh-is-the-funniest-farmer-you-will-ever-meet/articleshow/52328817.cms |access-date=16 June 2016}}</ref>
|-
| rowspan="2" | 2017|| ''[[Firangi (2017 film)|Firangi]]'' || Shyamali||[[Hindi]]
|Hindi debut|| <ref>{{cite news |title=Monika Gill on Firangi co-star Kapil Sharma: He doesn't treat people differently |url=https://indianexpress.com/article/entertainment/bollywood/monika-gill-on-firangi-co-star-kapil-sharma-4961985/ |access-date=2 December 2020 |work=The Indian Express |date=30 November 2017 |language=en}}</ref>
|-
| ''[[Sat Shri Akaal England]]'' || Geet|| Punjabi || ||<ref>{{cite web |title=Ammy Virk and Monica Gill together in Sat Shri Akaal England |website=punjabimania.com |date=6 May 2017 |url=http://punjabimania.com/ammy-virk-and-monica-gill-together-in-sat-shri-akaal-england/ |archive-url=https://web.archive.org/web/20170506083846/http://punjabimania.com/ammy-virk-and-monica-gill-together-in-sat-shri-akaal-england/ |url-status=dead |archive-date=6 May 2017 |access-date=10 February 2018}}</ref>
|-
|2018
|| ''[[Paltan (film)|Paltan]]''||Harjot Kaur || Hindi || ||<ref name=":0" />
|-
|2019
|| ''Yaara Ve''||Naseebo|| Punjabi || ||<ref name=":1">{{cite news |title=Yaara Ve Trailer Review: This Rakesh Mehta directorial seems to be releasing at just the right time! |url=https://www.in.com/entertainment/regional/yaara-ve-trailer-review-this-rakesh-mehta-directorial-seems-to-be-releasing-at-just-the-right-time-339635.htm |access-date=18 March 2019 |work=[[In.com]] |date=18 March 2019 |archive-date=12 March 2019 |archive-url=https://web.archive.org/web/20190312011806/https://www.in.com/entertainment/regional/yaara-ve-trailer-review-this-rakesh-mehta-directorial-seems-to-be-releasing-at-just-the-right-time-339635.htm |url-status=dead }}</ref>
|-
|2024
||''[[Ucha Dar Babe Nanak Da]]'' || || Punjabi || ||<ref>{{cite news |title=Ucha Dar Babe Nanak Da |url=https://timesofindia.indiatimes.com/entertainment/punjabi/movie-details/ucha-dar-babe-nanak-da/movieshow/111752426.cms |work=The Times of India|access-date=31 October 2025}}</ref>
|-
|}

==References==
{{reflist}}

==External links==
{{commons category}}
*{{IMDb name|8033021}}
* {{Instagram|monica_gill1}}

{{authority control}}

{{DEFAULTSORT:Gill, Monica}}
[[Category:Living people]]
[[Category:1980s births]]
[[Category:American female models]]
[[Category:American film actresses]]
[[Category:American actresses of Indian descent]]
[[Category:American people of Punjabi descent]]
[[Category:Actresses from Boston]]
[[Category:Actresses in Hindi cinema]]
[[Category:Actresses in Punjabi cinema]]
[[Category:American expatriate actresses in India]]
[[Category:Year of birth missing (living people)]]
[[Category:21st-century American actresses]]
[[Category:University of Massachusetts Amherst alumni]]

Shimla Lok Sabha constituency

2026-01-27T06:30:31Z

FWQGina861152045: added a article - done

{{Use dmy dates|date=February 2017}}
{{Use Indian English|date=February 2017}}
{{Short description|Lok Sabha constituency in Himachal Pradesh}}
{{Infobox Indian constituency
| type = LS
| name = Shimla {{Small|HP-4}}
|map_image = {{Maplink|frame=yes|plain=y|frame-width=300|frame-height=300|frame-align=center|type=shape|from=Lok Sabha constituencies/2019/Himachal Pradesh/Shimla.map}}
|map_caption = Interactive Map Outlining Shimla Lok Sabha constituency
| established = 1962
| mp = [[Suresh Kumar Kashyap]]
| party = {{Party index link|Bharatiya Janata Party}}
| alliance = {{Party index link|National Democratic Alliance}}
| latest_election_year = [[2024 Indian general election|2024]]
| state = [[Himachal Pradesh]]
|reservation= SC
|assembly_cons = 17: [[Arki (Vidhan Sabha constituency)|Arki]], [[Nalagarh (Vidhan Sabha constituency)|Nalagarh]], [[Doon (Vidhan Sabha constituency)|Doon]], [[Solan (Vidhan Sabha constituency)|Solan]], [[Kasauli (Vidhan Sabha constituency)|Kasauli]], [[Pachhad (Vidhan Sabha constituency)|Pachhad]], [[Nahan (Vidhan Sabha constituency)|Nahan]], [[Sri Renukaji (Vidhan Sabha constituency)|Sri Renukaji]], [[Paonta Sahib (Vidhan Sabha constituency)|Paonta Sahib]], [[Shillai (Vidhan Sabha constituency)|Shillai]], [[Chopal (Vidhan Sabha constituency)|Chopal]], [[Theog (Himachal Pradesh Assembly constituency)|Theog]], [[Kasumpati (Vidhan Sabha constituency)|Kasumpti]], [[Shimla (Vidhan Sabha constituency)|Shimla]], [[Shimla Rural (Vidhan Sabha constituency)|Shimla Rural]], [[Jubbal-Kotkhai (Vidhan Sabha constituency)|Jubbal-Kotkhai]], [[Rohru (Vidhan Sabha constituency)|Rohru]]
}}

'''Shimla Lok Sabha constituency''' (formerly, '''Simla Lok Sabha constituency''') is one of the four [[Lok Sabha]] (parliamentary) constituencies in [[Himachal Pradesh]] state in northern [[India]]. The seat is reserved for the candidates belonging to the [[Scheduled Castes]].<ref name="ceo">{{cite web|url=http://ceohimachal.nic.in/BKGROUND/PC%20wise%20Result%20of%20H.P.pdf|title=Parliamentary Constituency Wise Result of H.P. of Lok Sabha Elections-2009|publisher=Chief Electoral Officer, Himachal Pradesh website|accessdate=5 November 2010|url-status=dead|archiveurl=https://web.archive.org/web/20110721163528/http://ceohimachal.nic.in/BKGROUND/PC%20wise%20Result%20of%20H.P.pdf|archivedate=21 July 2011|df=dmy-all}}</ref>

==Assembly segments==
Shimla vidhan Sabha constituency presently comprises the following 17 [[Vidhan Sabha]] (legislative assembly) segments:<ref name="ceo"/>
{| class="wikitable sortable"
! No
!Name
!District
! Member
! colspan="2"| Party
! colspan="2" | Leading
{{small|(in 2024)}}
|-
|50
|[[Arki (Vidhan Sabha constituency)|Arki]]
| rowspan="5" |[[Solan district|Solan]]
|[[Sanjay Awasthy]]
|{{Party name with color|Indian National Congress|rowspan=5}}
|{{Party name with color|Bharatiya Janata Party|rowspan=15}}
|-
|51
|[[Nalagarh (Vidhan Sabha constituency)|Nalagarh]]
|[[Hardeep Singh Bawa]]
|-
|52
|[[Doon (Vidhan Sabha constituency)|Doon]]
|Ram Kumar
|-
|53
|[[Solan (Vidhan Sabha constituency)|Solan]] (SC)
|[[Dhani Ram Shandil]]
|-
|54
|[[Kasauli (Vidhan Sabha constituency)|Kasauli]] (SC)
|Vinod Sultanpuri
|-
|55
|[[Pachhad (Vidhan Sabha constituency)|Pachhad]] (SC)
| rowspan="5" |[[Sirmaur district|Sirmaur]]
|[[Reena Kashyap]]
|{{Party name with color|Bharatiya Janata Party}}
|-
|56
|[[Nahan (Vidhan Sabha constituency)|Nahan]]
|Ajay Solanki
|{{Party name with color|Indian National Congress|rowspan=2}}
|-
|57
|[[Sri Renukaji (Vidhan Sabha constituency)|Sri Renukaji]] (SC)
|Vinay Kumar
|-
|58
|[[Paonta Sahib (Vidhan Sabha constituency)|Paonta Sahib]]
|Sukh Ram Chaudhary
|{{Party name with color|Bharatiya Janata Party}}
|-
|59
|[[Shillai (Vidhan Sabha constituency)|Shillai]]
|Harshwardhan Chauhan
|{{Party name with color|Indian National Congress}}
|-
|60
|[[Chopal (Vidhan Sabha constituency)|Chopal]]
| rowspan="7" |[[Shimla district|Shimla]]
|[[Balbir Singh Verma]]
|{{Party name with color|Bharatiya Janata Party}}
|-
|61
|[[Theog (Himachal Pradesh Assembly constituency)|Theog]]
|[[Kuldeep Singh Rathore]]
|{{Party name with color|Indian National Congress|rowspan=6}}
|-
|62
|[[Kasumpati (Vidhan Sabha constituency)|Kasumpti]]
|Aniruddh Singh
|-
|63
|[[Shimla (Vidhan Sabha constituency)|Shimla]]
|Harish Janartha
|-
|64
|[[Shimla Rural (Vidhan Sabha constituency)|Shimla Rural]]
|[[Vikramaditya Singh (Himachal Pradesh politician)|Vikramaditya Singh]]
|-
|65
|[[Jubbal-Kotkhai (Vidhan Sabha constituency)|Jubbal-Kotkhai]]
|Rohit Thakur
|{{Party name with color|Indian National Congress|rowspan=2}}
|-
|67
|[[Rohru (Vidhan Sabha constituency)|Rohru]] (SC)
|Mohan Lal Brakta
|-
|}

== Members of Parliament ==
{| class="wikitable sortable"
!Year
!Name<ref name="election1977">{{cite web |title=General Election, 1977 (Vol I, II) |url=https://old.eci.gov.in/files/file/4116-general-election-1977-vol-i-ii/ |access-date=31 December 2021 |publisher=[[Election Commission of India]]}}</ref><ref name="election1999">{{cite web |title=General Election, 1999 (Vol I, II, III) |url=https://old.eci.gov.in/files/file/4125-general-election-1999-vol-i-ii-iii/ |access-date=31 December 2021 |publisher=[[Election Commission of India]]}}</ref>
!colspan=2|Party
|-
|[[1962 Indian general election|1962]]
|rowspan=2|[[Virbhadra Singh]]
| {{Full party name with color|Indian National Congress|rowspan=4}}
|-
|[[1967 Indian general election|1967]]
|-
|1967^
|rowspan=2|[[Pratap Shivram Singh|Pratap Singh]]
|-
|[[1971 Indian general election|1971]]
|-
|[[1977 Indian general election|1977]]
|[[Balak Ram Kashyap]]
|{{Full party name with color| Bharatiya Lok Dal}}
|-
|[[1980 Indian general election|1980]]
|rowspan=6|[[Krishan Dutt Sultanpuri]]
|{{Full party name with color|Indian National Congress}}
|-
|[[1984 Indian general election|1984]]
| {{Full party name with color|Indian National Congress|rowspan=5}}
|-
|[[1989 Indian general election|1989]]
|-
|[[1991 Indian general election|1991]]
|-
|[[1996 Indian general election|1996]]
|-
|[[1998 Indian general election|1998]]
|-
|[[1999 Indian general election|1999]]
|rowspan=2|[[Dhani Ram Shandil]]
|{{Full party name with color|Himachal Vikas Congress}}
|-
|[[2004 Indian general election|2004]]
|{{Full party name with color|Indian National Congress}}
|-
|[[2009 Indian general election|2009]]
|rowspan=2|[[Virender Kashyap]]
| {{Full party name with color|Bharatiya Janata Party|rowspan=4}}
|-
|[[2014 Indian general election|2014]]
|-
|[[2019 Indian general election|2019]]
|rowspan=2|[[Suresh Kumar Kashyap|Suresh Kashyap]]
|-
|[[2024 Indian general election|2024]]
|}
^ by poll

==Election results==
===2024===
{{Election box begin | title=[[2024 Indian general election]]: [[Shimla]]}}
{{Election box winning candidate with party link|
|candidate= [[Suresh Kumar Kashyap]]
|party= Bharatiya Janata Party
|votes= 5,19,748
|percentage= 53.58
|change={{down}}12.77
}}
{{Election box candidate with party link|
|candidate= [[Vinod Sultanpuri]]
|party= Indian National Congress
|votes= 4,28,297
|percentage= 44.16
|change={{up}}13.66
}}
{{Election box candidate with party link
|party = None of the above (India)
|candidate = None of the Above
|votes = 5,930
|percentage = 0.61
|change =
}}
{{Election box majority|
|votes = 91,451
|percentage = 9.42
|change =
}}
{{Election box turnout|
|votes = 9,71,315
|percentage =71.70
|change =
}}
{{Election box hold with party link
|winner = BJP
|loser =
|swing =
}}
{{Election box end}}

=== 2019 ===
{{Election box begin | title=[[2019 Indian general elections]]: Shimla<ref name=election2019>{{cite web |url=https://old.eci.gov.in/files/category/1551-general-election-2019-including-vellore-pc/ |title=General Election 2019 |publisher=[[Election Commission of India]] |access-date= 22 October 2021}}</ref>}}
{{Election box winning candidate with party link||party=Bharatiya Janata Party|candidate=[[Suresh Kumar Kashyap]]|votes=6,06,183|percentage=66.35|change={{increase}}14.05}}
{{Election box candidate with party link||party=Indian National Congress|candidate=[[Dhani Ram Shandil]]|votes=2,78,668|percentage=30.50|change={{decrease}}10.39}}
{{Election box candidate with party link||party=None of the above|candidate=[[None of the Above]]|votes=8,357|percentage=0.91|change={{decrease}}0.15}}
{{Election box majority||votes=3,27,515|percentage=35.85|change={{increase}}24.44}}
{{Election box turnout||votes=9,15,149|percentage=72.68|change={{increase}}8.71}}
{{Election box hold with party link|
|winner = Bharatiya Janata Party
|swing =
}}
{{Election box end}}

=== 2014 ===
{{Election box begin | title=[[2014 Indian general elections]]: Shimla<ref name=election2014>{{cite web |url=https://www.eci.gov.in/files/file/2857-constituency-wise-detailed-result/ |title=General Election 2014 |publisher=[[Election Commission of India]] |access-date= 22 October 2021}}</ref>}}
{{Election box winning candidate with party link||party=Bharatiya Janata Party|candidate=[[Virender Kashyap]]|votes=3,85,973|percentage=52.30|change={{increase}}1.88}}
{{Election box candidate with party link||party=Indian National Congress|candidate=Mohal Lal Brakta|votes=3,01,786|percentage=40.89|change={{decrease}}5.10}}
{{Election box candidate with party link||party=Aam Aadmi Party|candidate=Subhash Chander|votes=14,233|percentage=1.93|change=''New''}}
{{Election box candidate with party link||party=Communist Party of India (Marxist)|candidate=Jagat Ram|votes=11,434|percentage=1.55|change=}}
{{Election box candidate|
|party = [[Independent politician|IND.]]
|candidate = Virender Kumar Kashyap
|votes = 6,173
|percentage = 0.84
|change =
}}
{{Election box candidate with party link||party=none of the above|candidate=None of the Above|votes=7,787|percentage=1.06|change=}}
{{Election box majority||votes=84,187|percentage=11.41|change={{increase}}6.98}}
{{Election box turnout||votes=7,37,756|percentage=63.97|change={{increase}}8.24}}
{{Election box hold with party link|
|winner = Bharatiya Janata Party
|loser = Indian National Congress
|swing =
}}
{{Election box end}}

===2009===
{{Election box begin| title=[[2009 Indian general elections]]: Shimla<ref name=election2009>{{cite web |url=https://old.eci.gov.in/files/category/98-general-election-2009/ |title=General Election 2009 |publisher=[[Election Commission of India]] |access-date= 22 October 2021}}</ref>}}
{{Election box winning candidate with party link||party=Bharatiya Janata Party|candidate=[[Virender Kashyap]]|votes=3,10,946|percentage=50.42|change={{increase}}12.02}}
{{Election box candidate with party link||party=Indian National Congress|candidate=[[Dhani Ram Shandil]]|votes=2,83,619|percentage=45.99|change={{increase}}6.05}}
{{Election box candidate with party link||party=Bahujan Samaj Party|candidate=Somnath|votes=8,160|percentage=1.32|change={{decrease}}20.33}}
{{Election box majority||votes=27,327|percentage=4.43|change={{increase}}2.89}}
{{Election box turnout||votes=6,16,684|percentage=55.73|change={{increase}}3.84}}
{{Election box gain with party link|
|winner = Bharatiya Janata Party
|loser = Indian National Congress
|swing = {{increase}}5.59
}}
{{Election box end}}

=== 2004 ===
{{Election box begin | title=[[2004 Indian general elections]]: Simla<ref name=election2004>{{cite web |url=https://www.eci.gov.in/files/file/4126-general-election-2004-vol-i-ii-iii/ |title=General Election 2004 |publisher=[[Election Commission of India]] |access-date= 22 October 2021}}</ref>}}
{{Election box winning candidate with party link||party=Indian National Congress|candidate=[[Dhani Ram Shandil]]|votes=2,11,182|percentage=39.94|change=}}
{{Election box candidate with party link||party=Bharatiya Janata Party|candidate=Hira Nand Kashyap|votes=2,03,002|percentage=38.40|change=}}
{{Election box candidate with party link||party=Bahujan Samaj Party|candidate=Som Nath|votes=1,14,471|percentage=21.65|change=}}{{Election box majority||votes=8,180|percentage=1.54|change=}}
{{Election box turnout||votes=528,655|percentage=51.89|change=}}
{{Election box gain with party link|
|winner = Indian National Congress
|loser = Himachal Vikas Congress
|swing =
}}
{{Election box end}}

==See also==
* [[Shimla district]]
* [[List of constituencies of the Lok Sabha]]

==References==
{{reflist}}

{{Lok Sabha constituencies of Himachal Pradesh}}

{{coord|31.1|77.2|display=title}}

{{DEFAULTSORT:Shimla (Lok Sabha Constituency)}}
[[Category:Lok Sabha constituencies in Himachal Pradesh]]
[[Category:Shimla district]]
[[Category:Solan district]]
[[Category:Sirmaur district]]

Ashok Chhotelal Agarwal

2026-01-13T04:39:06Z

FWQGina861152045: info

{{Short description|Indian judge (1937–2019)}}
{{Use dmy dates|date=June 2022}}
{{Use Indian English|date=June 2022}}
'''Ashok Chhotelal Agarwal''' (27 August 1937 – 23 February 2019) was an Indian judge and former Chief Justice of [[Madras High Court]].

==Career==
Agarwal was born in 1937. He passed B.A., [[LL.B]]. from [[ILS Law College]], [[Pune]] in 1960<ref name=":0">{{Cite web|last=Emmanuel|first=Meera|title=Madras High Court mourns sudden demise of former Chief Justice AC Agarwal|url=https://www.barandbench.com/news/madras-hc-mourns-demise-chief-justice-ac-agarwal|access-date=2021-06-01|website=Bar and Bench - Indian Legal news|date=3 April 2019 |language=en}}</ref> and started practice in lower courts of [[Bombay]], [[Maharashtra]].<ref>{{Cite book|last=Court|first=India Supreme|url=https://books.google.com/books?id=3xumQFFOFAcC&q=Ashok+Chhotelal+Agarwal|title=Judges of the Supreme Court and the High Courts as on ...|date=2005|publisher=Ministry of Law, Justice and Company Affairs, Department of Justice, Government of India|language=en}}</ref> In 1974 he was appointed Assistant Government Pleader on the Appellate Side of the [[Bombay High Court]]. On 21 November 1986, Agarwal was appointed additional judge of the Bombay High Court. He became a permanent judge on 12 June 1987.<ref>{{Cite web|last=High Court of Bombay|first=Hon'ble Former Justices|title=MR. A.C. Agarwal|url=https://bombayhighcourt.nic.in/jshowpuisne.php?bhcpar=amdldGlkPTI0NyZwYWdlbm89MTM=|url-status=live|access-date=1 June 2021|archive-url=https://web.archive.org/web/20210602215411/https://bombayhighcourt.nic.in/jshowpuisne.php?bhcpar=amdldGlkPTI0NyZwYWdlbm89MTM= |archive-date=2021-06-02 }}</ref> Justice Agarwal was transferred to the Madras High Court on 24 May 1999 as the Chief Justice and retired from there on 26 August 1999.<ref>{{Cite web|title=Madras High Court {{!}} Former Chief Justices|url=http://www.hcmadras.tn.nic.in/cjlist.html|access-date=2021-06-01|website=www.hcmadras.tn.nic.in}}</ref> After the retirement, in October 1999 he became Chairman of the [[Central Administrative Tribunal]] (CAT), [[New Delhi]].<ref name=":0" />

==References==
{{Reflist}}

{{authority control}}

{{DEFAULTSORT:Agarwal, Ashok Chhotelal}}
[[Category:1937 births]]
[[Category:2019 deaths]]
[[Category:Chief justices of the Madras High Court]]
[[Category:Judges of the Bombay High Court]]
[[Category:20th-century Indian judges]]
[[Category:20th-century Indian lawyers]]

{{India-law-bio-stub}}

EOS-10

2026-01-09T16:28:07Z

FWQGina861152045: put up a data!

{{Short description|Earth observation satellite of India}}
{{Use Indian English|date=January 2026}}
{{Use dmy dates|date=January 2026}}
{{Infobox spaceflight
| name = Oceansat-3A
| names_list = EOS-10 / Oceansat-3A
| image = PSLV-C54, EOS-6 (aka Oceansat-3) - Oceansat-3 on PSLV fourth stage.webp
| image_caption = Image of [[Oceansat-3]] (Oceansat-3A is similar)
| image_size = 220px
| mission_type = [[Earth observation satellite|Earth observation]] [[Oceanography]]
| operator = [[ISRO]]
| COSPAR_ID =
| SATCAT =
| website = https://www.isro.gov.in/
| mission_duration =
| spacecraft = OceanSat-3
| spacecraft_type =
| spacecraft_bus = [[IRS-1]]
| manufacturer = [[ISRO]]
| launch_mass = {{cvt|1117|kg}}
| dry_mass =
| dimensions =
| power =
| launch_date = Q1 2026
| launch_rocket = [[Polar Satellite Launch Vehicle]], ([[PSLV-N1]])
| launch_site = [[Satish Dhawan Space Centre]]
| launch_contractor = [[ISRO]]
| entered_service =
| disposal_type =
| deactivated =
| last_contact =
| orbit_reference = [[Geocentric orbit]]
| orbit_regime = [[Sun-synchronous orbit]]
| orbit_periapsis =
| orbit_apoapsis =
| orbit_inclination =
| orbit_period =
| apsis = gee
| instruments = Oceansat Scatterometer (OSCAT-3), The Ocean Colour Monitor (OCM-3), a Sea Surface Temperature Monitor (SSTM) and the ARGOS-4 data collection system
| programme = '''[[Indian Remote Sensing Programme|EOS series]]'''
| previous_mission = [[EOS-N1]]
| next_mission =
| programme2 = [[Earth observation satellite|Oceansat series]]
| previous_mission2 = [[Oceansat-3]]
| next_mission2 =
}}

'''EOS-10''' (also known as '''Oceansat-3A''') is an [[Earth observation satellite|Earth observation]] satellite, which is the fourth satellite in the [[Oceansat]] series made by [[ISRO]]. It is planned to be launched in Q1 2026 using a [[PSLV]] rocket from [[Satish Dhawan Space Centre]]. The satellite aims to improve the existing [[remote sensing]] capabilities related to the field of [[oceanography]].<ref>{{cite web|title = Oceansat 3, 3A|url = https://space.skyrocket.de/doc_sdat/oceansat-3.htm|work = Gunter's Space Page|accessdate = 2019-12-09}}</ref><ref name="ceosdb">{{cite web |url=http://database.eohandbook.com/database/agencysummary.aspx?agencyID=11 |title=CEOS EO Handbook – AGENCY SUMMARY - ISRO |work=[[CEOS]] |date=October 2022 |access-date=1 December 2022}}</ref><ref>{{Cite web |title=WMO OSCAR {{!}} Satellite: OceanSat-3A |url=https://space.oscar.wmo.int/satellites/view/oceansat_3a |access-date=2025-11-26 |website=space.oscar.wmo.int}}</ref>

== Launch ==
Oceansat-3A will be launched from Satish Dhawan Space Centre in Q1 2026. It will be launched aboard a PSLV-XL rocket configuration, aboard the [[PSLV-N1]] mission along with IMJS.<ref>{{cite web |title=Oceansat-3 - eoPortal |url=https://www.eoportal.org/satellite-missions/oceansat-3#eop-additional-articles-section |website=www.eoportal.org |access-date=9 November 2023 |date=5 December 2022}}</ref><ref>{{Cite web |title=EOS-10 & IMJS {{!}} PSLV-CA {{!}} Next Spaceflight |url=https://nextspaceflight.com/launches/details/8035/ |access-date=2025-11-16 |website=nextspaceflight.com |language=en}}</ref><ref>{{Cite web |title=Oceansat-3A {{!}} PSLV-XL {{!}} Next Spaceflight |url=https://nextspaceflight.com/launches/details/7763/ |access-date=2025-11-16 |website=nextspaceflight.com |language=en}}</ref><ref>{{Cite web |title=ISRO plans four major satellite launches this year |url=https://www.tribuneindia.com/news/india/isro-plans-four-major-satellite-launches-this-year/ |access-date=2025-11-26 |website=The Tribune |language=en}}</ref>

== References ==
{{Reflist}}

{{IRS satellites}}
{{Indian spacecraft}}

[[Category:Earth observation satellites of India]]
[[Category:ISRO satellites]]
[[Category:Oceanographic satellites]]

{{Spacecraft-stub}}

2017 Bengaluru Open – Singles

2026-01-02T21:33:13Z

FWQGina861152045:

{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{Tennis events|2017|Bengaluru Open|
| champ = {{flagicon|IND}} [[Sumit Nagal]]
| runner = {{flagicon|GBR}} [[Jay Clarke (tennis)|Jay Clarke]]
| score = 6–3, 3–6, 6–2
| edition =
| type = singles doubles
| before_year = 2015
| before_name = Bangalore Challenger
}}

{{main article|2017 Bengaluru Open}}

[[James Ward (tennis)|James Ward]] was the defending champion but chose not to defend his title.

[[Sumit Nagal]] won the title after defeating [[Jay Clarke (tennis)|Jay Clarke]] 6–3, 3–6, 6–2 in the final.

==Seeds==
{{columns-list|colwidth=30em|
# {{flagicon|SLO}} [[Blaž Kavčič]] ''(quarterfinals)''
# {{flagicon|ESP}} [[Adrián Menéndez Maceiras]] ''(first round)''
# {{flagicon|IND}} [[Yuki Bhambri]] ''(semifinals)''
# {{flagicon|SWE}} [[Elias Ymer]] ''(second round)''
# {{flagicon|IND}} [[Ramkumar Ramanathan]] ''(second round)''
# {{flagicon|USA}} [[Evan King]] ''(first round)''
# {{flagicon|SRB}} [[Peđa Krstin]] ''(first round, retired)''
# {{flagicon|KAZ}} [[Aleksandr Nedovyesov]] ''(second round)''
}}

==Draw==
{{Draw key}}

===Finals===
{{4TeamBracket-Tennis3
| RD1=Semifinals
| RD2=Final

| team-width=175

| RD1-seed1=
| RD1-team1='''{{flagicon|IND}} [[Sumit Nagal]]'''
| RD1-score1-1='''6'''
| RD1-score1-2='''6'''
| RD1-score1-3=
| RD1-seed2=3
| RD1-team2={{flagicon|IND}} [[Yuki Bhambri]]
| RD1-score2-1=4
| RD1-score2-2=0
| RD1-score2-3=

| RD1-seed3= 
| RD1-team3='''{{flagicon|GBR}} [[Jay Clarke (tennis)|Jay Clarke]]'''
| RD1-score3-1='''6'''
| RD1-score3-2='''6'''
| RD1-score3-3=
| RD1-seed4=
| RD1-team4={{flagicon|TPE}} [[Yang Tsung-hua]]
| RD1-score4-1=3
| RD1-score4-2=4
| RD1-score4-3=

| RD2-seed1= 
| RD2-team1='''{{flagicon|IND}} [[Sumit Nagal]]'''
| RD2-score1-1='''6'''
| RD2-score1-2=3
| RD2-score1-3='''6'''
| RD2-seed2=
| RD2-team2={{flagicon|GBR}} [[Jay Clarke (tennis)|Jay Clarke]]
| RD2-score2-1=3
| RD2-score2-2='''6'''
| RD2-score2-3=2
}}

===Top half===
{{16TeamBracket-Compact-Tennis3
| RD1=First round
| RD2=Second round
| RD3=Quarterfinals
| RD4=Semifinals

| RD1-seed01=1
| RD1-team01='''{{flagicon|SLO}} [[Blaž Kavčič|B Kavčič]]'''
| RD1-score01-1='''6'''
| RD1-score01-2=60
| RD1-score01-3='''78'''
| RD1-seed02=
| RD1-team02={{flagicon|BIH}} [[Tomislav Brkić|T Brkić]]
| RD1-score02-1=2
| RD1-score02-2='''77'''
| RD1-score02-3=66

| RD1-seed03=WC
| RD1-team03={{flagicon|IND}} [[Vishnu Vardhan|V Vardhan]]
| RD1-score03-1=3
| RD1-score03-2=3
| RD1-score03-3=
| RD1-seed04=
| RD1-team04='''{{flagicon|ESP}} [[Mario Vilella Martínez|M Vilella Martínez]]'''
| RD1-score04-1='''6'''
| RD1-score04-2='''6'''
| RD1-score04-3=

| RD1-seed05=
| RD1-team05='''{{flagicon|IND}} [[Sumit Nagal|S Nagal]]'''
| RD1-score05-1='''6'''
| RD1-score05-2='''6'''
| RD1-score05-3=
| RD1-seed06=Q
| RD1-team06={{flagicon|IND}} [[Vijay Sundar Prashanth|VS Prashanth]]
| RD1-score06-1=2
| RD1-score06-2=0
| RD1-score06-3=

| RD1-seed07=
| RD1-team07='''{{flagicon|GBR}} [[Brydan Klein|B Klein]]'''
| RD1-score07-1='''6'''
| RD1-score07-2=1
| RD1-score07-3=
| RD1-seed08=7
| RD1-team08={{flagicon|SRB}} [[Peđa Krstin|P Krstin]]
| RD1-score08-1=4
| RD1-score08-2=0r
| RD1-score08-3=

| RD1-seed09=3
| RD1-team09='''{{flagicon|IND}} [[Yuki Bhambri|Y Bhambri]]'''
| RD1-score09-1='''6'''
| RD1-score09-2='''6'''
| RD1-score09-3=
| RD1-seed10=
| RD1-team10={{flagicon|IND}} [[Sriram Balaji|S Balaji]]
| RD1-score10-1=3
| RD1-score10-2=3
| RD1-score10-3=

| RD1-seed11=LL
| RD1-team11={{flagicon|JPN}} [[Naoki Nakagawa|N Nakagawa]]
| RD1-score11-1=65
| RD1-score11-2=3
| RD1-score11-3=
| RD1-seed12=
| RD1-team12='''{{flagicon|ESP}} [[Pedro Martínez (tennis)|Pedro Martínez]]'''
| RD1-score12-1='''77'''
| RD1-score12-2='''6'''
| RD1-score12-3=

| RD1-seed13=
| RD1-team13={{flagicon|FRA}} [[Geoffrey Blancaneaux|G Blancaneaux]]
| RD1-score13-1=62
| RD1-score13-2=3
| RD1-score13-3=
| RD1-seed14=
| RD1-team14='''{{flagicon|AUS}} [[Marc Polmans|M Polmans]]'''
| RD1-score14-1='''77'''
| RD1-score14-2='''6'''
| RD1-score14-3=

| RD1-seed15=
| RD1-team15='''{{flagicon|IND}} [[Prajnesh Gunneswaran|P Gunneswaran]]'''
| RD1-score15-1='''6'''
| RD1-score15-2='''6'''
| RD1-score15-3=
| RD1-seed16=6
| RD1-team16={{flagicon|USA}} [[Evan King|E King]]
| RD1-score16-1=4
| RD1-score16-2=4
| RD1-score16-3=

| RD2-seed01=1
| RD2-team01='''{{flagicon|SLO}} [[Blaž Kavčič|B Kavčič]]'''
| RD2-score01-1='''6'''
| RD2-score01-2=3
| RD2-score01-3='''6'''
| RD2-seed02=
| RD2-team02={{flagicon|ESP}} [[Mario Vilella Martínez|M Vilella Martínez]]
| RD2-score02-1=4
| RD2-score02-2='''6'''
| RD2-score02-3=3

| RD2-seed03=
| RD2-team03='''{{flagicon|IND}} [[Sumit Nagal|S Nagal]]'''
| RD2-score03-1='''6'''
| RD2-score03-2=4
| RD2-score03-3='''7'''
| RD2-seed04=
| RD2-team04={{flagicon|GBR}} [[Brydan Klein|B Klein]]
| RD2-score04-1=4
| RD2-score04-2='''6'''
| RD2-score04-3=5

| RD2-seed05=3
| RD2-team05='''{{flagicon|IND}} [[Yuki Bhambri|Y Bhambri]]'''
| RD2-score05-1='''6'''
| RD2-score05-2='''77'''
| RD2-score05-3=
| RD2-seed06=
| RD2-team06={{flagicon|ESP}} [[Pedro Martínez (tennis)|P Martínez]]
| RD2-score06-1=2
| RD2-score06-2=60
| RD2-score06-3=

| RD2-seed07=
| RD2-team07={{flagicon|AUS}} [[Marc Polmans|M Polmans]]
| RD2-score07-1=2
| RD2-score07-2='''77'''
| RD2-score07-3=1
| RD2-seed08=
| RD2-team08='''{{flagicon|IND}} [[Prajnesh Gunneswaran|P Gunneswaran]]'''
| RD2-score08-1='''6'''
| RD2-score08-2=61
| RD2-score08-3='''6'''

| RD3-seed01=1
| RD3-team01={{flagicon|SLO}} [[Blaž Kavčič|B Kavčič]]
| RD3-score01-1=3
| RD3-score01-2=4
| RD3-score01-3=
| RD3-seed02=
| RD3-team02='''{{flagicon|IND}} [[Sumit Nagal|S Nagal]]'''
| RD3-score02-1='''6'''
| RD3-score02-2='''6'''
| RD3-score02-3=

| RD3-seed03=3
| RD3-team03='''{{flagicon|IND}} [[Yuki Bhambri|Y Bhambri]]'''
| RD3-score03-1='''7'''
| RD3-score03-2='''6'''
| RD3-score03-3=
| RD3-seed04=
| RD3-team04={{flagicon|IND}} [[Prajnesh Gunneswaran|P Gunneswaran]]
| RD3-score04-1=5
| RD3-score04-2=2
| RD3-score04-3=

| RD4-seed01=
| RD4-team01='''{{flagicon|IND}} [[Sumit Nagal|S Nagal]]'''
| RD4-score01-1='''6'''
| RD4-score01-2='''6'''
| RD4-score01-3=
| RD4-seed02=3
| RD4-team02={{flagicon|IND}} [[Yuki Bhambri|Y Bhambri]]
| RD4-score02-1=4
| RD4-score02-2=0
| RD4-score02-3=
}}

===Bottom half===
{{16TeamBracket-Compact-Tennis3
| RD1=First round
| RD2=Second round
| RD3=Quarterfinals
| RD4=Semifinals

| RD1-seed01=5
| RD1-team01='''{{flagicon|IND}} [[Ramkumar Ramanathan|R Ramanathan]]'''
| RD1-score01-1=4
| RD1-score01-2='''6'''
| RD1-score01-3='''6'''
| RD1-seed02=
| RD1-team02={{flagicon|FRA}} [[Hugo Grenier|H Grenier]]
| RD1-score02-1='''6'''
| RD1-score02-2=4
| RD1-score02-3=3

| RD1-seed03=
| RD1-team03='''{{flagicon|GBR}} [[Jay Clarke (tennis)|J Clarke]]'''
| RD1-score03-1='''6'''
| RD1-score03-2='''6'''
| RD1-score03-3=
| RD1-seed04=Q
| RD1-team04={{flagicon|IND}} Sidharth Rawat
| RD1-score04-1=3
| RD1-score04-2=3
| RD1-score04-3=

| RD1-seed05=
| RD1-team05={{flagicon|JPN}} [[Kaichi Uchida|K Uchida]]
| RD1-score05-1=3
| RD1-score05-2=4
| RD1-score05-3=
| RD1-seed06=
| RD1-team06='''{{flagicon|CRO}} [[Ante Pavić|A Pavić]]'''
| RD1-score06-1='''6'''
| RD1-score06-2='''6'''
| RD1-score06-3=

| RD1-seed07=WC
| RD1-team07={{flagicon|IND}} Suraj Prabodh
| RD1-score07-1=4
| RD1-score07-2=62
| RD1-score07-3=
| RD1-seed08=4
| RD1-team08='''{{flagicon|SWE}} [[Elias Ymer|E Ymer]]'''
| RD1-score08-1='''6'''
| RD1-score08-2='''77'''
| RD1-score08-3=

| RD1-seed09=8
| RD1-team09='''{{flagicon|KAZ}} [[Aleksandr Nedovyesov|A Nedovyesov]]'''
| RD1-score09-1='''6'''
| RD1-score09-2='''6'''
| RD1-score09-3=
| RD1-seed10=Q
| RD1-team10={{flagicon|CRO}} [[Matej Sabanov|M Sabanov]]
| RD1-score10-1=4
| RD1-score10-2=1
| RD1-score10-3=

| RD1-seed11=WC
| RD1-team11={{flagicon|IND}} Dalwinder Singh
| RD1-score11-1=3
| RD1-score11-2=4
| RD1-score11-3=
| RD1-seed12=LL
| RD1-team12='''{{flagicon|FRA}} [[Antoine Escoffier|A Escoffier]]'''
| RD1-score12-1='''6'''
| RD1-score12-2='''6'''
| RD1-score12-3=

| RD1-seed13=
| RD1-team13='''{{flagicon|TPE}} [[Yang Tsung-hua|T-h Yang]]'''
| RD1-score13-1='''77'''
| RD1-score13-2=3
| RD1-score13-3=
| RD1-seed14=
| RD1-team14={{flagicon|ESP}} [[Bernabé Zapata Miralles|B Zapata Miralles]]
| RD1-score14-1=61
| RD1-score14-2=0r
| RD1-score14-3=

| RD1-seed15=Q
| RD1-team15='''{{flagicon|CRO}} [[Borna Gojo|B Gojo]]'''
| RD1-score15-1='''6'''
| RD1-score15-2=1
| RD1-score15-3='''7'''
| RD1-seed16=2
| RD1-team16={{flagicon|ESP}} [[Adrián Menéndez Maceiras|A Menéndez Maceiras]]
| RD1-score16-1=3
| RD1-score16-2='''6'''
| RD1-score16-3=5

| RD2-seed01=5
| RD2-team01={{flagicon|IND}} [[Ramkumar Ramanathan|R Ramanathan]]
| RD2-score01-1='''77'''
| RD2-score01-2=2
| RD2-score01-3=4
| RD2-seed02=
| RD2-team02='''{{flagicon|GBR}} [[Jay Clarke (tennis)|J Clarke]]'''
| RD2-score02-1=65
| RD2-score02-2='''6'''
| RD2-score02-3='''6'''

| RD2-seed03=
| RD2-team03='''{{flagicon|CRO}} [[Ante Pavić|A Pavić]]'''
| RD2-score03-1='''6'''
| RD2-score03-2=62
| RD2-score03-3='''77'''
| RD2-seed04=4
| RD2-team04={{flagicon|SWE}} [[Elias Ymer|E Ymer]]
| RD2-score04-1=3
| RD2-score04-2='''77'''
| RD2-score04-3=65

| RD2-seed05=8
| RD2-team05={{flagicon|KAZ}} [[Aleksandr Nedovyesov|A Nedovyesov]]
| RD2-score05-1=3
| RD2-score05-2='''6'''
| RD2-score05-3=3
| RD2-seed06=LL
| RD2-team06='''{{flagicon|FRA}} [[Antoine Escoffier|A Escoffier]]'''
| RD2-score06-1='''6'''
| RD2-score06-2=2
| RD2-score06-3='''6'''

| RD2-seed07=
| RD2-team07='''{{flagicon|TPE}} [[Yang Tsung-hua|T-h Yang]]'''
| RD2-score07-1=2
| RD2-score07-2='''6'''
| RD2-score07-3='''6'''
| RD2-seed08=Q
| RD2-team08={{flagicon|CRO}} [[Borna Gojo|B Gojo]]
| RD2-score08-1='''6'''
| RD2-score08-2=4
| RD2-score08-3=2

| RD3-seed01=
| RD3-team01='''{{flagicon|GBR}} [[Jay Clarke (tennis)|J Clarke]]'''
| RD3-score01-1='''6'''
| RD3-score01-2=4
| RD3-score01-3='''77'''
| RD3-seed02=
| RD3-team02={{flagicon|CRO}} [[Ante Pavić|A Pavić]]
| RD3-score02-1=2
| RD3-score02-2='''6'''
| RD3-score02-3=61

| RD3-seed03=LL
| RD3-team03={{flagicon|FRA}} [[Antoine Escoffier|A Escoffier]]
| RD3-score03-1=4
| RD3-score03-2=4
| RD3-score03-3=
| RD3-seed04=
| RD3-team04='''{{flagicon|TPE}} [[Yang Tsung-hua|T-h Yang]]'''
| RD3-score04-1='''6'''
| RD3-score04-2='''6'''
| RD3-score04-3=

| RD4-seed01=
| RD4-team01='''{{flagicon|GBR}} [[Jay Clarke (tennis)|J Clarke]]'''
| RD4-score01-1='''6'''
| RD4-score01-2='''6'''
| RD4-score01-3=
| RD4-seed02=
| RD4-team02={{flagicon|TPE}} [[Yang Tsung-hua|T-h Yang]]
| RD4-score02-1=3
| RD4-score02-2=4
| RD4-score02-3=
}}

==References==
*[http://www.protennislive.com/posting/2017/7808/mds.pdf Main Draw]
*[http://www.protennislive.com/posting/2017/7808/qs.pdf Qualifying Draw]

{{DEFAULTSORT:2017 Bengaluru Open - Singles}}
[[Category:2017 ATP Challenger Tour|Bengaluru Open - Singles]]
[[Category:Bengaluru Open|2017 Singles]]

Banda Lok Sabha constituency

2025-12-20T23:05:00Z

FWQGina861152045: stub...

{{Short description|Lok Sabha Constituency in Uttar Pradesh}}
{{Use dmy dates|date=April 2019}}
{{Use Indian English|date=April 2019}}
{{Infobox Indian constituency
| type = LS
|name = Banda {{Small|UP-48}}
|map_image = {{Maplink|frame=yes|plain=y|frame-width=300|frame-height=300|frame-align=center|type=shape|from=Lok Sabha constituencies/2019/Uttar Pradesh/Banda.map}}
|map_caption = Interactive Map Outlining Banda Lok Sabha constituency
| state = [[Uttar Pradesh]]
| established =1957
| assembly_cons = [[Baberu Assembly constituency|Baberu]] [[Naraini Assembly constituency|Naraini]] [[Banda, Uttar Pradesh Assembly constituency|Banda]] [[Chitrakoot, Uttar Pradesh Assembly constituency|Chitrakoot]] [[Manikpur Assembly constituency|Manikpur]]
| latest_election_year =[[2024 Indian general election|2024]]
| reservation =None
| mp = [[Krishna Devi Shivshanker]]
| party = [[Samajwadi Party]]
| preceded_by = [[R. K. Singh Patel]]
}}
'''Banda Lok Sabha Constituency''' 48 is one of the 80 parliamentary [[constituency]] in [[Uttar Pradesh]] state in northern [[India]]. Bundelkhand region

==Assembly segments==
Banda Lok Sabha constituency comprises five [[Vidhan Sabha]] (legislative assembly) segments. These are:
{|class="wikitable sortable"
!No
!Name
!District
!Member
! colspan="2" |Party
! colspan="2" |2024 Lead
|-
|233
|[[Baberu Assembly constituency|Baberu]]
| rowspan="3" |[[Banda district (India)|Banda]]
|[[Vishambhar Singh Yadav]]
|{{party name with color|Samajwadi Party}}
|{{party name with color|Samajwadi Party|rowspan=2}}
|-
|234
|[[Naraini Assembly constituency|Naraini]] (SC)
|[[Ommani Verma]]
|{{party name with color|Bharatiya Janata Party|rowspan=2}}
|-
|235
|[[Banda, Uttar Pradesh Assembly constituency|Banda]]
|[[Prakash Dwivedi]]
|{{party name with color|Bharatiya Janata Party}}
|-
|236
|[[Chitrakoot, Uttar Pradesh Assembly constituency|Chitrakoot]]
| rowspan="2" |[[Chitrakoot district|Chitrakoot]]
|Anil Pradhan Patel
|{{party name with color|Samajwadi Party}}
|{{party name with color|Samajwadi Party|rowspan=2}}
|-
|237
|[[Manikpur Assembly constituency|Manikpur]]
|Avinash Chandra Dwivedi
|{{party name with color|Apna Dal (Soneylal)}}
|-
|}

== Members of Parliament ==
{| class="wikitable sortable"
! Year
! Member
! colspan="2"| Party
|-
|[[1957 Indian general election|1957]]
|[[Dinesh Singh (Uttar Pradesh politician)|Dinesh Singh]]
| {{Full party name with color|Indian National Congress|rowspan=2}}
|-
|[[1962 Indian general election|1962]]
|[[Savitri Nigam]]
|-
|[[1967 Indian general election|1967]]
|[[Jageshwar Yadav]]
|{{Full party name with color|Communist Party of India}}
|-
|[[1971 Indian general election|1971]]
|[[Ram Ratan Sharma]]
|{{Full party name with color|Bharatiya Jana Sangh}}
|-
|[[1977 Indian general election|1977]]
|[[Ambika Prasad Pandey]]
|{{Full party name with color|Janata Party}}
|-
|[[1980 Indian general election|1980]]
|Ramnath Dubey
|{{Full party name with color|Indian National Congress (I)}}
|-
|[[1984 Indian general election|1984]]
|Bhishma Deo Dubey
|{{Full party name with color|Indian National Congress}}
|-
|[[1989 Indian general election|1989]]
|[[Ram Sajeevan]]
|{{Full party name with color|Communist Party of India}}
|-
|[[1991 Indian general election|1991]]
|[[Prakash Narain Tripathi]]
|{{Full party name with color|Bharatiya Janata Party}}
|-
|[[1996 Indian general election|1996]]
|[[Ram Sajeevan]]
|{{Full party name with color|Bahujan Samaj Party}}
|-
|[[1998 Indian general election|1998]]
|Ramesh Chandra Dwivedi
|{{Full party name with color|Bharatiya Janata Party}}
|-
|[[1999 Indian general election|1999]]
|[[Ram Sajeevan]]
|{{Full party name with color|Bahujan Samaj Party}}
|-
|[[2004 Indian general election|2004]]
|[[Shyama Charan Gupta]]
| {{Full party name with color|Samajwadi Party|rowspan=2}}
|-
|[[2009 Indian general election|2009]]
|[[R. K. Singh Patel]]
|-
|[[2014 Indian general election|2014]]
|[[Bhairon Prasad Mishra]]
| {{Full party name with color|Bharatiya Janata Party|rowspan=2}}
|-
|[[2019 Indian general election|2019]]
|[[R. K. Singh Patel]]
|-
|[[2024 Indian general election|2024]]
|[[Krishna Devi Shivshanker]]
|{{Full party name with color|Samajwadi Party}}
|}

==Election results==
=== 2024 ===
{{Election box begin | title=[[2024 Indian general election]]: Banda<ref name="Banda Constituency Lok Sabha Election Result 2024">{{cite news |title=Banda Constituency Lok Sabha Election Result 2024 |url=https://timesofindia.indiatimes.com/elections/lok-sabha-constituencies/uttar-pradesh/banda |access-date=22 March 2025 |publisher=The Times of India |date=4 June 2024 |archive-url=https://web.archive.org/web/20250322151515/https://timesofindia.indiatimes.com/elections/lok-sabha-constituencies/uttar-pradesh/banda |archive-date=22 March 2025 |language=en}}</ref><ref name="2024 Loksabha Elections Results - Banda">{{cite news |title=2024 Loksabha Elections Results - Banda |url=https://results.eci.gov.in/PcResultGenJune2024/candidateswise-S2448.htm |access-date=22 March 2025 |publisher=Election Commission of India |date=4 June 2024 |archive-url=https://web.archive.org/web/20250322151516/https://results.eci.gov.in/PcResultGenJune2024/candidateswise-S2448.htm |archive-date=22 March 2025}}</ref> }}
{{Election box winning candidate with party link||candidate=[[Krishna Devi Shivshanker Patel]]|party=Samajwadi Party|votes=4,06,567 |percentage=38.94|change={{down}}1.56}}
{{Election box candidate with party link||candidate=[[R. K. Singh Patel]]|party=Bharatiya Janata Party|votes=3,35,357 |percentage=32.12|change={{down}}14.08}}
{{Election box candidate with party link||candidate=Mayank Dwivedi|party=Bahujan Samaj Party|votes=2,45,745|percentage=23.54|change={{up}}23.54}}
{{Election box candidate with party link|
|party = NOTA
|candidate = [[None of the Above]]
|votes =13,235
|percentage = 1.27
|change =''N/A''
}}
{{Election box majority|
|votes = 71,210
|percentage = 6.82
|change ={{up}}1.13
}}
{{Election box turnout|
|votes = 10,44,132
|percentage = 59.75
|change ={{down}}1.05
}}
{{Election box gain with party link|
|winner = Samajwadi Party
|loser =Bharatiya Janata Party
|swing =
}}{{Election box end}}

=== 2019 ===
{{Election box begin | title=[[2019 Indian general elections]]: Banda}}
{{Election box winning candidate with party link||candidate=[[R. K. Singh Patel]]|party=Bharatiya Janata Party|votes=4,77,926|percentage=46.20|change=}}
{{Election box candidate with party link||candidate=[[Shyama Charan Gupta]]|party=Samajwadi Party|votes=4,18,988|percentage=40.50|change=}}
{{Election box candidate with party link||party=Indian National Congress|candidate=[[Bal Kumar Patel]]|votes=75,438|percentage=7.29|change=}}
{{Election box candidate with party link||candidate=Chhote Lal Yadav|party=Pragatisheel Samajwadi Party (Lohiya)|votes=12,747|percentage=1.23|change=}}
{{Election box candidate with party link||party=Communist Party of India|candidate=Mhendra prathap Varma|votes=10,349|percentage=1.00|change=}}
{{Election box majority||votes=58,938|percentage=5.69|change=}}
{{Election box turnout||votes=10,34,912|percentage=60.80|change=}}
{{Election box hold with party link|
|winner =Bharatiya Janata Party
|loser =
|swing =
}}
{{Election box end}}

=== General election 2014 ===
{{Election box begin | title=[[2014 Indian general elections]]: [[Banda district (India)|Banda]]}}
{{Election box candidate with party link|
|candidate = [[Bhairon Prasad Mishra]]
|party = Bharatiya Janata Party
|votes = 3,42,066
|percentage = 39.84
|change =
}}

{{Election box candidate with party link|
|candidate = [[R. K. Singh Patel]]
|party = Bahujan Samaj Party
|votes = 2,26,278
|percentage = 26.3
|change =
}}
{{Election box candidate with party link|
|party = Samajwadi Party
|candidate = [[Bal Kumar Patel]]
|votes = 1,89,730
|percentage = 22.10
|change =
}}
{{Election box candidate with party link|
|candidate = Vivek Kumar Singh
|party = Indian National Congress
|votes = 36,650
|percentage = 4.27
|change =
}}
{{Election box candidate with party link|
|candidate = Ramchandra Saras
|party = Communist Party of India (Marxist)
|votes = 15,156
|percentage = 1.77
|change =
}}
{{Election box candidate with party link|
|candidate = Amar Singh Rathaur
|party = Aam Aadmi Party
|votes = 6,439
|percentage = 0.75
|change =
}}

{{Election box candidate with party link|
|candidate = Pappu Yadav
|party = Janata Dal (United)
|votes = 2,436
|percentage = 0.28
|change =
}}
{{Election box majority|
|votes = 1,15,788
|percentage = 13.49
|change =
}}
{{Election box turnout|
|votes = 8,58,689
|percentage = 53.61
|change =
}}
{{Election box gain with party link|
|winner = Bharatiya Janata Party
|loser = Samajwadi Party
|swing =
}}{{Election box end}}

==See also==
* [[Banda, Uttar Pradesh|Banda]]
* [[List of constituencies of the Lok Sabha]]

==References==
{{Reflist}}

==External links==
* [https://resultuniversity.com/election/banda-lok-sabha Banda Parliamentary Constituency results]
* [https://www.indiaelections2014.info/parliament/2019/states/uttar_pradesh/banda/lok_sabha_parliamentary_election_2019_results.html Banda lok sabha constituency election 2019 result]

{{Lok Sabha constituencies of Uttar Pradesh}}
{{Chitrakoot division topics}}

{{Coord|25.48|80.34|display=title}}

{{DEFAULTSORT:Banda Lok Sabha constituency}}
[[Category:Lok Sabha constituencies in Uttar Pradesh]]
[[Category:Banda district, India]]

Hemidactylus aemulus

2025-12-16T04:00:43Z

FWQGina861152045: adding the pg needs work

{{Short description|Species of lizard}}
{{Speciesbox
| status =
| genus = Hemidactylus
| species = aemulus
| authority = Kumar, Srinivasulu, & Srinivasulu, 2022
| synonyms =
}}

'''''Hemidactylus aemulus''''' is a species of [[gecko]]. It is [[endemic]] to [[India]].<ref name=RDB>{{NRDB species|genus=Hemidactylus|species=aemulus}}</ref>

==References==
{{Reflist}}

{{Taxonbar|from=Q113561048}}

[[Category:Hemidactylus]]
[[Category:Reptiles described in 2022]]
[[Category:Endemic reptiles of India]]
{{Hemidactylus-stub}}

Hunterian transliteration

2025-12-04T04:23:31Z

FWQGina861152045: Article updated with improved flow

{{Short description|Indian transliteration system}}
{{Use dmy dates|date=July 2022}}
The '''Hunterian transliteration''' system is the "national system of [[romanization]] in [[India]]" and the one officially adopted by the [[Government of India]].<ref name="ref04xufam">{{Citation | title=Technical reference manual for the standardization of geographical names | author=United Nations Group of Experts on Geographical Names, United Nations Department of Economic and Social Affairs | year=2007 | publisher=United Nations Publications, 2007 | isbn=978-92-1-161500-5 | url=https://books.google.com/books?id=mh8u32ANQxAC | quote=... ISO 15919 ... There is no evidence of the use of the system either in India or in international cartographic products ... The Hunterian system is the actually used national system of romanization in India ...}}</ref><ref name="ref48luvep">{{Citation | title=United Nations Regional Cartographic Conference for Asia and the Far East, Volume 2 | author=United Nations Department of Economic and Social Affairs | year=1955 | publisher=United Nations, 1955 | url=https://books.google.com/books?id=QKsvAAAAYAAJ | quote=... In India the Hunterian system is used, whereby every sound in the local language is uniformly represented by a certain letter in the Roman alphabet ...}}</ref><ref name="ref65puqac">{{Citation | title=Indian scientific & technical publications, exhibition 1960: a bibliography | author=National Library (India) | year=1960 | publisher=Council of Scientific & Industrial Research, Government of India, 1960 | url=https://books.google.com/books?id=8VYEAQAAIAAJ | quote=... The Hunterian system of transliteration, which has international acceptance, has been used ...}}</ref> Hunterian transliteration was sometimes also called the ''Jonesian transliteration system'' because it derived closely from a previous transliteration method developed by [[William Jones (philologist)|William Jones]] (1746–1794).<ref>{{cite journal|first=William|last=Jones|title=A Dissertation on the Orthography of Asiatick Words in Roman Letters|journal=Asiatick Researches|year=1786|volume=1|pages=1–56|url=https://archive.org/stream/asiaticresearche01asia#page/n19/mode/2up}}</ref><ref name="ref21qerez">{{Citation | title=Notes and queries | year=1883 | publisher=Oxford University Press, 1883 | url=https://books.google.com/books?id=UkcAAAAAYAAJ | quote=... What is now culled the Jonesian or Hunterian system is due primarily to Sir Charles Wilkins ... The original Jonesian system had its merits; but the ignorance of phonology which prevailed in those days prevents it from being accepted as a scientific instrument for the reproduction of sounds outside the limited range ...}}</ref> Upon its establishment, the [[Sahitya Akademi]] (India's National Academy of Letters) also adopted the Hunterian method, with additional adaptations, as its standard method of maintaining its bibliography of Indian-language works.<ref name="ref24debum">{{Citation | title=Five decades: the National Academy of Letters, India: a short history of Sahitya Akademi | author=D. S. Rao | year=2004 | publisher=Sahitya Akademi, 2004 | isbn=9788126020607 | url=https://books.google.com/books?id=12pjAAAAMAAJ | quote=... The Bibliography was to be in Roman script with annotations in English, so that it could serve as a tool of reference both in India and abroad. The Hunterian system of transliteration was to be adopted with suitable modifications. Every language section was to be divided into 8 major categories: 1. General works, eg important bibliographies, general encyclopaedias, dictionaries; 2. Philosophy and Religion, containing works of literary significance ...}}</ref>

==History==
[[File:Huntadapt04.png|thumb|right|[[Max Muller]]'s 1866 [[anusvara]] transliterations]]
The original precursor to the Hunterian system was a transliteration method developed by [[Charles Wilkins]], who is sometimes called the "father of [[Devanagari]] typography" because he was also the creator of the first Devanagari typeface.<ref name="ref21qerez"/><ref name="ref70zofim">{{Citation | title=Typography of Devanagari, Volume 1 | author=Bapurao S. Naik | year=1971 | publisher=Directorate of Languages, Government of Maharashtra, India, 1971 | url=https://books.google.com/books?id=VZfgAAAAMAAJ | quote=... Sir Charles Wilkins:The Father of Devanagari Typography. Charles Wilkins (born in 1749-50) arrived in India in 1770 and joined the service of the East India Company ...}}</ref> William Jones, who also founded the [[Asiatic Society]], further developed the transliteration method.<ref name="ref21qerez"/> It was given a more complete form in the late nineteenth century by [[William Wilson Hunter]], then Surveyor General of India.<ref name="ref26vazop">{{Citation | title=Life of Sir William Wilson Hunter, K.C.S.I., M.A., LL.D., a vice-president of the Royal Asiatic society, etc | author=Francis Henry Skrine | year=1901 | author-link=Francis Henry Skrine | publisher=Longmans, Green, and co., 1901 | url=https://books.google.com/books?id=a1O21Ciyid0C | quote=... phonetic or 'Sir Roger Dowler method' ... The Secretary of State and the great majority of his councillors gave an unqualified support to the Hunterian system ...}}</ref> When it was proposed, it immediately met with opposition from supporters of the phonetic Dowler system, which climaxed in a dramatic showdown in an India Council meeting on 28 May 1872 where the new Hunterian method carried the day. The Hunterian method was inherently simpler and extensible to several Indic scripts because it systematized [[grapheme]] transliteration, and it came to prevail and gain government and academic acceptance.<ref name="ref26vazop"/> Opponents of the grapheme transliteration model continued to mount unsuccessful attempts at reversing government policy until the turn of the century, with one critic calling appealing to "the Indian Government to give up the whole attempt at scientific (i.e. Hunterian) transliteration, and decide once and for all in favour of a return to the old phonetic spelling."<ref name="ref31xuvad">{{Citation | title=The Fortnightly, Volume 68 | year=1897 | publisher=Chapman and Hall, 1897 | url=https://books.google.com/books?id=NwoeAQAAIAAJ | quote=... the Indian Government to give up the whole attempt at scientific (i.e. Hunterian) transliteration, and decide once and for all in favour of a return to the old phonetic spelling ...}}</ref>

==Additional languages and adaptations==
Over time, the Hunterian method extended in reach to cover several Indic scripts, including [[Burmese script|Burmese]] and [[Tibetan script|Tibetan]].<ref name="ref49pihug">{{Citation | title=Modernization of Burmese | author=Mînn Latt Yêkháun | year=1966 | publisher=Oriental Institute in Academia, Publishing House of the Czechoslovak Academy of Sciences, 1966 | url=https://books.google.com/books?id=Iy5kAAAAMAAJ | quote=... There does exist a system df transcribing Burmese words in roman letters, one that is called the 'Government', or the 'Hunterian' method ...}}</ref><ref name="ref82hecix">{{Citation | title=Mapping and compilation | author=Kunwar Krishan Rampal | year=1993 | publisher=Concept Publishing Company, 1993 | isbn=978-81-7022-414-3 | url=https://books.google.com/books?id=aurHGtGvKGIC | quote=... The Hunterian system has rules for transliteration into English the names form Hindi, Urdu, Arabic, Burmese, Chinese and Tibetan origin. These rules are described in Chapter VI, Survey of India, Handbook of Topographical Mapping ...}}</ref> The Hunterian system was used to establish writing systems that used the Latin alphabet for some Indian languages that were previously not associated with a written script, such as [[Mizo language|Mizo]]. In the case of Mizo, the Hunterian-based writing system "has proved hugely successful."<ref name="ref39jamep">{{Citation | title=Administration of justice in Mizoram | author=Ram Narayan Prasad, Prithwipati Chakraborty | date=January 2006 | publisher=Mittal Publications, 2006 | isbn=978-81-8324-059-8 | url=https://books.google.com/books?id=O-llviDkGAAC | quote=... The first Christian Missionaries who came to Mizoram, namely the Revd. James Herbert Lorrain and the Revd. Frederick William Savidge, devised an alphabet using Roman lettering and based on the Hunterian system. It was later modified slightly, but in principle it has remained the same and has proved highly successful ...}}</ref> Provisions for [[schwa deletion in Indo-Aryan languages]] were also made where applicable, e.g. the Hindi {{lang|hi|कानपुर}} is transliterated as ''kānpur'' (and not ''kānapura'') but the Sanskrit {{lang|sa|क्रम}} is transliterated as ''krama'' (and not ''kram''). The system has undergone some evolution over time. For instance, long vowels were marked with an [[acute accent]] in the original version, but this was later replaced in the 1954 Government of India update with a [[Macron (diacritic)|macron]].<ref name="rotcsa">{{Citation | title=The Romanization of Toponyms in the Countries of South Asia | access-date=2011-02-27 | url=http://www.eki.ee/wgrs/wgr06_5.htm | quote=... In the late 19th century sources, the system marks long vowels with an acute accent, and renders the letters k and q both as k. However, when the system was again published in 1954, alterations had been made. Long vowels were now marked with a macron and the q-k distinction was maintained ...}}</ref> Thus, {{lang|hi|जान}} ('life') was previously romanized as ''ján'' but began to be romanized as ''jān''. Additional diacritics have been proposed for various purposes, such as disambiguating [[Urdu alphabet|Urdu]] letters which map to a single Devanagari grapheme (e.g. {{lang|ur|ث ,س}} and {{lang|ur|ص}} which all map to {{lang|hi|स}}).<ref name="ref78jiriv">{{Citation | title=A dictionary, Hindustani and English: to which is added a reversed part, English and Hindustani | author=Duncan Forbes | year=1848 | publisher=W.H. Allen, 1848 | url=https://books.google.com/books?id=7klIAAAAYAAJ | quote=... ب ब b ...}}</ref> Some languages of the region are [[Tonal languages|tonal]], such as Mizo and [[Punjabi language|Punjabi]], and accent marks over vowels have been repurposed to indicate tone for some of them.

==Vowels==
[[File:Huntadapt03.png|thumb|150px|right|An 1848 adaptation of the Jonesian/Hunterian system with both Devanagari and Perso-Arabic characters]]
Main [[Hindustani language|Hindustani]] vowels with their various representations:<ref name="ref04xufam"/><ref name="soi1896jsh">{{Citation | title=Handbook of Professional Instructions for the Topographical Branch | author=Lt. Col. St. George Corbet Gore | publisher=Survey of India Department, 1896 | quote=... क k ख kh ग g घ gh ...}}</ref>
{| class="wikitable"
|- class="Unicode"
! [[Devanagari]]
! [[Urdu alphabet|Urdu]] {{NoteTag|name=nastaliq|This will only display in the [[Nastaliq]] script if you have a suitable Urdu font installed. If this {{lang|ur|نستعلیق}} and this {{lang|fa|نستعلیق}} looks like any of {{nastaliq|{{lang|ur|نستعلیق}}}} or {{nastaliq|{{lang|fa|نستعلیق}}}}, then you are probably seeing it written in the [[Naskh (script)|Naskh]] script.}}
! [[IPA for Hindi|IPA]]
! Hunterian
! Proposed diacritic forms
! Notes
|-
| {{lang|inc-Deva|अ}} || {{lang|inc-Aran|{{Nastaliq|ا}}}} || {{IPA|hi|ə|}} || {{Transliteration|inc|hunterian|a}} || a ||
|-
| {{lang|inc-Deva|आ}} || {{lang|inc-Aran|{{Nastaliq|آ}}}} || aː || a || ā ||
|-
| {{lang|inc-Deva|इ}} || {{lang|inc-Aran|{{Nastaliq|اِ}}}} || ɪ || i || i ||
|-
| {{lang|inc-Deva|ई}} || {{lang|inc-Aran|{{Nastaliq|ی}}}} || iː || i || ī ||
|-
| {{lang|inc-Deva|उ}} || {{lang|inc-Aran|{{Nastaliq|اُ}}}} || ʊ || u || u ||
|-
| {{lang|inc-Deva|ऊ}} || {{lang|inc-Aran|{{Nastaliq|او}}}} || uː || u || ū ||
|-
| {{lang|inc-Deva|ऋ}} || {{lang|inc-Aran|{{Nastaliq|رِ}}}} || ɾɪ, ɻ̍ || ri || ṛĭ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ॠ}} || {{lang|inc-Aran|{{Nastaliq|رِ}}}} || ɾiː, ɻ̍ː || ri || ṟĭ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ए}} || {{lang|inc-Aran|{{Nastaliq|اے}}}} || eː || e || ē ||
|-
| {{lang|inc-Deva|ऐ}} || {{lang|inc-Aran|{{Nastaliq|اے}}}} || ɛː, ai, æ || ai || ai || Rarely {{IPA|hi|æ|}} in Standard Hindi, but diphthongal pronunciation {{IPA|hi|ai|}} (like the 'i' in b'''i'''ke) in Bihari/Eastern Hindi<ref>{{cite book|last1=Manjari|first1=Ohala|title=Handbook of the International Phonetic Association: A Guide to the Use of the International Phonetic Alphabet: Hindi|date=1999|publisher=International Phonetic Association|url=https://archive.org/details/rosettaproject_hin_phon-3}}</ref><ref name="ref11derom">{{Citation | title=The Indo-Aryan languages | author=George Cardona | date=26 July 2007 | publisher=Psychology Press, 2003 | isbn=978-0-7007-1130-7 | url=https://books.google.com/books?id=jPR2OlbTbdkC | quote=... Table 7.1 Vowel Phonemes ... ai (ऐ) [æ] low front unrounded; diphthongal pronunciations in eastern and nonstandard dialects ... ...}}</ref>
|-
| {{lang|inc-Deva|ओ}} || {{lang|inc-Aran|{{Nastaliq|او}}}} || oː || o || ō ||
|-
| {{lang|inc-Deva|औ}} || {{lang|inc-Aran|{{Nastaliq|او}}}} || ɔː, au || au || au || Pronounced as the diphthong {{IPA|hi|au|}} (like 'ou' in h'''ou'''se) in Bihari/Eastern Hindi
|-
| {{lang|inc-Deva|अं}} || {{lang|inc-Aran|{{Nastaliq|ں}}}}, {{lang|inc-Aran|{{Nastaliq|ن}}}}, {{lang|inc-Aran|{{Nastaliq|م}}}} || ŋ, m || n, m || ṅ, ṁ || Differentiation between dental and labial anusvara
|-
| {{lang|inc-Deva|अः}} || {{lang|inc-Aran|{{Nastaliq|ح}}}} || h || h || ḥ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ऍ}} || {{lang|inc-Aran|{{Nastaliq|اے}}}} || æ || || || No Hunterian symbol defined; almost never written phonetically in Hindi except for loanwords; more rigorous usage in Nepali
|-
| {{lang|inc-Deva|ऑ}} || {{lang|inc-Aran|{{Nastaliq|او}}}} || ɒ || || || No Hunterian symbol defined; sound occurs in words like {{lang|inc-Deva|गौना}} ({{IPA|ne|gɒnaː|}}; 'engagement'), but never written phonetically except for loanwords
|}

==Consonants==
[[File:Huntadapt01.png|thumb|100px|right|An 1879 Hunterian adaptation that uses italics]]
[[File:Huntadapt02.png|thumb|100px|right|An 1895 Hunterian adaptation that uses diacritics]]
[[File:Huntadapt05.png|thumb|100px|right|Many devices have been used to represent [[halant]]s including small slashes]]
In the Hunterian system, implicit [[schwa]]s are denoted by the transliterated schwa vowel in Devanagari, ''a'' (अ), and excluded as necessary under [[Schwa deletion in Indo-Aryan languages|schwa deletion rules]]. Aspirations are represented by ''h''.<ref name="ref04xufam"/><ref name="soi1896jsh"/> Retroflex graphemes are often represented by a diacritic dot under the Latin consonant that represents the equivalent dental graphemes in proposals<ref name="ref50gamug">{{Citation | title=The transliteration of oriental alphabets | author=James Burgess | year=1895 | publisher=E.J. Brill, 1895 | url=https://books.google.com/books?id=MBYuAAAAYAAJ | quote=... the use of c alone for this sound ... though it may be easy for specialists to attach an arbitrary sound to a letter, the public can hardly be expected ... Every map and geographical text book has adopted 'ch', as does the roll of every Indian regiment and every revenue record ... chh is the analogous aspirate of this, unless we adopt for it čh ... Table: The Principal Indian Alphabets ...}}</ref> (some of which predate even the Hunterian method),<ref name="ref99xaxuz">{{Citation | title=Romanized school dictionary: English and Urdu | author=Calcutta School-Book Society | year=1861 | publisher=Calcutta School-Book Society Press, 1861 | url=https://books.google.com/books?id=V1UWAAAAYAAJ | quote=... Anglo-Urdu Alphabet ... ḍ bad ... ḳh loch ...}}</ref><ref name="ref36foxoj">{{Citation | title=A Sanskrit grammar for beginners | author=Max Muller | year=1866 | publisher=Longmans, Green & Co., 1866 | url=https://books.google.com/books?id=KqYIAAAAQAAJ | quote=... ड ḍ ढ ḍh ...}}</ref> though this has not officially been accepted by the Indian government. [[Virama|Halants]] are indicated by either leaving out a vowel after the transliterated consonant<ref name="tohmnhdfr">{{Citation | title=Transliteration of Hindi, Marathi & Nepali | url=http://transliteration.eki.ee/pdf/Hindi-Marathi-Nepali.pdf | quote=... ◌् halanta vowelless vowelless ...}}</ref> or, in new proposals (not formally approved by the Indian government), with a period after the applicable consonant (e.g. जल्दी – ''jal.di''). Initially, italics were sometimes used to differentiate consonants such as ख ("kh") and ख़ ("''kh''"),<ref name="ref80jocaq">{{Citation | title=The journal of the Royal Geographic Society of London, Volume 49 | author=Royal Geographical Society (Great Britain) | year=1879 | publisher=J. Murray, 1879 | url=https://books.google.com/books?id=8GAjohZMHlcC&pg=PA194 | quote=... the italic sign to mark certain peculiarities in the consonants ...}}</ref> but later macrons and diacritics began to be used more extensively.


{| class="wikitable"
|-
! [[Devanagari]]
! [[Urdu alphabet|Urdu]] {{NoteTag|name=nastaliq}}
! [[IPA for Hindi|IPA]]
! Hunterian
! Proposed diacritic forms {{citation needed|reason=where are these from?|date=March 2020}}
! Notes
|-
| {{lang|inc-Deva|क}} || {{lang|inc-Aran|{{Nastaliq|ک}}}} || k || k || k ||
|-
| {{lang|inc-Deva|ख}} || {{lang|inc-Aran|{{Nastaliq|کھ}}}} || kʰ || kh || kh ||
|-
| {{lang|inc-Deva|ग}} || {{lang|inc-Aran|{{Nastaliq|گ}}}} || g || g || g ||
|-
| {{lang|inc-Deva|घ}} || {{lang|inc-Aran|{{Nastaliq|گھ}}}} || ɡʱ || gh || gh ||
|-
| {{lang|inc-Deva|ङ}} || {{lang|inc-Aran|{{Nastaliq|ن}}}} || ŋ || n || ṅ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|च}} || {{lang|inc-Aran|{{Nastaliq|چ}}}} || tʃ || ch || ch ||
|-
| {{lang|inc-Deva|छ}} || {{lang|inc-Aran|{{Nastaliq|چھ}}}} || tʃʰ || chh || cẖ, čh<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ज}} || {{lang|inc-Aran|{{Nastaliq|ج}}}} || dʒ || j || j ||
|-
| {{lang|inc-Deva|झ}} || {{lang|inc-Aran|{{Nastaliq|جھ}}}} || dʒʱ || jh || jh ||
|-
| {{lang|inc-Deva|ञ}} || {{lang|inc-Aran|{{Nastaliq|ن}}}} || ɲ || n || ñ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ट}} || {{lang|inc-Aran|{{Nastaliq|ٹ}}}} || ʈ || t || ṭ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ठ}} || {{lang|inc-Aran|{{Nastaliq|ٹھ}}}} || ʈʰ || th || ṭh<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ड}} || {{lang|inc-Aran|{{Nastaliq|ڈ}}}} || ɖ || d || ḍ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ढ}} || {{lang|inc-Aran|{{Nastaliq|ڈھ}}}} || ɖʱ || dh || ḍh<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|ण}} || {{lang|inc-Aran|{{Nastaliq|ن}}}} || ɳ || n || ṇ<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|त}} || {{lang|inc-Aran|{{Nastaliq|ت}}}} || t̪ || t || t ||
|-
| {{lang|inc-Deva|थ}} || {{lang|inc-Aran|{{Nastaliq|تھ}}}} || t̪ʰ || th || th ||
|-
| {{lang|inc-Deva|द}} || {{lang|inc-Aran|{{Nastaliq|د}}}} || d̪ || d || d ||
|-
| {{lang|inc-Deva|ध}} || {{lang|inc-Aran|{{Nastaliq|دھ}}}} || d̪ʱ || dh || dh ||
|-
| {{lang|inc-Deva|न}} || {{lang|inc-Aran|{{Nastaliq|ن}}}} || n || n || n ||
|-
| {{lang|inc-Deva|प}} || {{lang|inc-Aran|{{Nastaliq|پ}}}} || p || p || p ||
|-
| {{lang|inc-Deva|फ}} || {{lang|inc-Aran|{{Nastaliq|پھ}}}} || pʰ || ph || ph ||
|-
| {{lang|inc-Deva|ब}} || {{lang|inc-Aran|{{Nastaliq|ب}}}} || b || b || b ||
|-
| {{lang|inc-Deva|भ}} || {{lang|inc-Aran|{{Nastaliq|بھ}}}} || bʱ || bh || bh ||
|-
| {{lang|inc-Deva|म}} || {{lang|inc-Aran|{{Nastaliq|م}}}} || m || m || m ||
|-
| {{lang|inc-Deva|य}} || {{lang|inc-Aran|{{Nastaliq|ی}}}} || j || y || y ||
|-
| {{lang|inc-Deva|र}} || {{lang|inc-Aran|{{Nastaliq|ر}}}} || r || r || r ||
|-
| {{lang|inc-Deva|ल}} || {{lang|inc-Aran|{{Nastaliq|ل}}}} || l || l || l ||
|-
| {{lang|inc-Deva|व}} || {{lang|inc-Aran|{{Nastaliq|و}}}} || v, ʋ, w || v, w || v || In Marathi, {{IPA|mr|w|}}, except {{IPA|mr|v|}} before {{IPA|mr|i|}}; {{IPA|hi|v|}}, {{IPA|hi|ʋ|}}, {{IPA|hi|w|}} allophony in Hindi
|-
| {{lang|inc-Deva|श}} || {{lang|inc-Aran|{{Nastaliq|ش}}}} || ʃ || sh || sh || In Nepali, {{IPA|ne|s|}} or {{IPA|ne|sh|}} can be used
|-
| {{lang|inc-Deva|ष}} || {{lang|inc-Aran|{{Nastaliq|ش}}}} || ʃ, ʂ || sh || ṣh<ref name="ref50gamug"/> || Commonly pronounced {{IPA|hi|ʃ|}} in Hindi; {{IPA|sa|ʂ|}} in Sanskrit and in Hindi before retroflex consonants
|-
| {{lang|inc-Deva|स}} || {{lang|inc-Aran|{{Nastaliq|س}}}} || s || s || s ||
|-
| {{lang|inc-Deva|ह}} || {{lang|inc-Aran|{{Nastaliq|ح}}}} || ɦ || h || h ||
|-
| {{lang|inc-Deva|क़}} || {{lang|inc-Aran|{{Nastaliq|ق}}}} || q || q || q ||
|-
| {{lang|inc-Deva|ख़}} || {{lang|inc-Aran|{{Nastaliq|خ}}}} || x || kh || ḳh, k͟h<ref name="ref78jiriv"/> ||
|-
| {{lang|inc-Deva|ग़}} || {{lang|inc-Aran|{{Nastaliq|غ}}}} || ɣ || gh || g͟h<ref name="ref78jiriv"/> ||
|-
| {{lang|inc-Deva|ड़}} || {{lang|inc-Aran|{{Nastaliq|ڑ}}}} || ɽ || r || ṛ<ref name="ref78jiriv"/> ||
|-
| {{lang|inc-Deva|ढ़}} || {{lang|inc-Aran|{{Nastaliq|ڑھ}}}} || ɽʱ || rh || ṛh<ref name="ref78jiriv"/> ||
|-
| {{lang|inc-Deva|फ़}} || {{lang|inc-Aran|{{Nastaliq|ف}}}} || f || f || f ||
|-
| {{lang|inc-Deva|ज़}} || {{lang|inc-Aran|{{Nastaliq|ز}}}} || z || z || z ||
|-
| {{lang|inc-Deva|झ़}} || {{lang|inc-Aran|{{Nastaliq|ژ}}}} || ʒ || zh || zh ||
|-
| {{lang|inc-Deva|क्ष}} || {{lang|inc-Aran|{{Nastaliq|کش}}}} || kʃ, kʂ || ksh || kṣh<ref name="ref50gamug"/> ||
|-
| {{lang|inc-Deva|त्र}} || {{lang|inc-Aran|{{Nastaliq|تر}}}} || t̪r || tr || tr ||
|-
| {{lang|inc-Deva|ज्ञ}} || {{lang|inc-Aran|{{Nastaliq|گیہ}}}} || gj, dʑɲ || gy, jn || gy, jñ || Commonly pronounced {{IPA|hi|gj|}} in Hindi and {{IPA|sa|dʑɲ|}} in Sanskrit and occasionally in Hindi. Transliterated as {{transliteration|sa|hunterian|gy}} for Hindi and {{transliteration|sa|hunterian|jn}} for Sanskrit.
|-
| {{lang|inc-Deva|श्र}} || {{lang|inc-Aran|{{Nastaliq|شر}}}} || ʃr || shr || shr ||
|}

==Examples==

'''Example''': मैं अपने संबंधी से कारख़ाने में मिला और उसने मुझे चाय पिलाई। वह बारिश के कारण फ़सलों को हुए नुक़सान की वजह से चिंतित था। मैंने उसे अपनी ख़बर सुनाई। क्योंकि मुझे निकलना था, इसीलिए कुछ देर बाद मैंने क्षमा माँगी और वहाँ से रवाना हुआ।

With diacritics: {{transliteration|hi|mãĩ apne sambandhī se kārk͟hāne mẽ milā aur usne mujhe chāy pilāī. vo bāriś ke kāraṇ faslõ ko hue nuqsān kī vajah se cintit thā. maĩne use apnī k͟habar sunāī. kyõki mujhe nikalnā thā, isilie kuchh der bād mãĩne kṣhamā māṅgī aur vahā̃ se ravānā huā.}}

Without any diacritics: {{transliteration|hi|main apne sambandhi se karkhane men mila aur usne mujhe chay pilayi. wo barish ke karan faslon ko hue nuqsan ki vajah se chintit tha. maine use apni khabar sunayi. kyonki mujhe nikalna tha, isilie kuchh der bad maine kshama mangi aur vahan se ravana hua.}}

Notes: संबंधी can interchangeably be written in two different ways: संबंधी and सम्बन्धी. चिंतित can also be written as चिंतित and चिन्तित.

'''Example''': इस साल ग्रीष्मकालीन वर्षा ज़्यादा होने से अमरूद और बेर की क़िल्लत देखी गई। मज़े की बात यह है कि सेब और ख़ुबानी की क़ीमतें कम हैं क्योंकि उत्तराखंड में गोदाम भरें हैं.

With diacritics: {{transliteration|hi|is sāl grīṣmkālīn varṣā zyādā hone se amrūd aur ber kī qillat dekhī gaī. maze kī bāt ye hai ki seb aur k͟hubānī kī qīmtẽ kam hãĩ kyõki uttarākhaṇḍ mẽ godām bharẽ haĩ.}}

Without any diacritics: {{transliteration|hi|is sal grishmkalin varsha zyada hone se amrud aur ber ki qillat dekhi gayi. maze ki bat ye hai ki seb aur khubani ki qimten kam hain kyonki uttarakhand men godam bharen hain.}}

Notes: उत्तराखंड can interchangeably be written in two different ways: उत्तराखंड and उत्तराखण्ड.

==Criticism==
The Hunterian system has faced criticism over the years for not producing phonetically accurate results and being "unashamedly geared towards an English-language receiver audience."<ref name="rotcsa"/> Specifically, the lack of differentiation between [[retroflex consonant|retroflex]] and [[dental consonant|dental]] consonants (e.g. द and ड are both represented by ''d'') has come in for repeated criticism and inspired several proposed modifications of Hunterian, including using a diacritic below retroflexes (e.g. making द=''d'' and ड=''ḍ'', which is more readable but requires diacritic printing) or capitalizing them (e.g. making द=''d'' and ड=''D'', which requires no diacritic printing but is less readable because it mixes small and capital letters in words).<ref name="ref06revip">{{Citation | title=Indian surveyor, Volumes 33-34 | author=Institution of Surveyors (India) | year=1991 | publisher=Institution of Surveyors., 1991 | url=https://books.google.com/books?id=2_BVAAAAMAAJ | quote=... Suggested by Mr. GS Oberoi, Director, Survey of India, in lieu of the existing table 'Hunterian System of Transliteration' which does not distinguish between द and ड, र and ड़, त and ट ...}}</ref>

==See also==
*[[William Wilson Hunter]]
*[[Devanagari transliteration]]
*[[ISO 15919]]
*[[International Alphabet of Sanskrit Transliteration]]
*[[Mizo language#Writing system|Mizo language writing system]]

== Notes ==
{{NoteFoot}}

==References==
{{Reflist}}

[[Category:Hindustani orthography]]
[[Category:Romanization of Brahmic]]
[[Category:Hindi]]
[[Category:Sanskrit transliteration]]
[[Category:Writing systems introduced in the 19th century]]

Tulung La

2025-11-15T20:22:15Z

FWQGina861152045: added new page - done

{{Use British English|date=September 2012}}
{{Use dmy dates|date=July 2021}}
{{Infobox Mountain Pass
| name = Tulung La
| photo =
| photo_width =
| photo_caption =
| elevation = {{convert|17250|ft}}
| traversed =
| location = [[Tsona County]], [[Tibet Autonomous Region|Tibet]], [[China]] - [[Tawang district|Tawang]], [[Arunachal Pradesh]], [[India]]
| range = [[Himalaya]]
| map = China Tibet#India Arunachal Pradesh
| label_position = top
| coordinates = {{coord|27.8825|92.2511|type:pass|format=dms|display=inline,title}}
| topo =
| mapframe = yes
| mapframe-zoom = 10
| mapframe-wikidata = yes
}}

'''Tulung La'''{{efn|Alternative spellings: '''Tulang La''',{{sfnp|Bailey, Exploration on the Tsangpo|1914|p=579}} '''Talung La''',{{sfnp|Bailey, Exploration on the Tsangpo|1914|loc=attached map}} and '''Tu Lung La'''.{{sfnp|Mehra, The McMahon Line and After|1974|p=232}}}}
({{bo|t=ཐུ་ལུང་ལ་|w=thu lung la}})<ref>{{Cite web |title=Geographical names of Tibet AR (China): Tibet Autonomous Region |website=KNAB Place Name Database |publisher=Institute of the Estonian Language |date=2018-06-03 |url=https://www.eki.ee/knab/valik/cn54.htm}}</ref>
is a border pass between the [[Tsona County]] in the [[Tibet Autonomous Region|Tibet]] region of China and India's [[Tawang district]] in [[Arunachal Pradesh]]. It is in the eastern part of the two districts, close to the [[Gori Chen]] cluster of mountains, on a watershed between the [[Tsona Chu]] river in Tibet and the [[Tawang Chu]] in the Tawang district. The watershed ridge forms the border between Tibet and India as per the [[McMahon Line]].{{sfnp|Bailey, Exploration on the Tsangpo|1914|p=579}}{{sfnp|Arpi, 1962 and the McMahon Line Saga|1997|pp=96–97}} Tulung La provided an invasion route to China during the 1962 [[Sino-Indian War]]. It is also the scene of occasional clashes between the two sides.

== History ==

===1914: McMohan line as Indo-China border===

During the 1914 [[Simla Convention]] conference, the British Indian foreign secretary [[Henry McMahon]] and the Tibetan plenipotentiary [[Lonchen Shatra]] negotiated the mutual boundary between the two countries, which came to be known as the [[McMahon Line]]. McMahon summarised the decision as follows:{{sfnp|Mehra, The McMahon Line and After|1974|p=232}}
{{blockquote|the boundary line ...follows the crest of the mountain range which runs from peak 21431 through Tu Lung La and Menlaka-thong La to the Bhutan border. This is the highest mountain range in this tract of country. To the north of it are people of Tibetan descent, to the south the inhabitants are of Bhutanese and Aka extraction. It is unquestionably the correct boundary.{{sfnp|Mehra, The McMahon Line and After|1974|p=232}}}}
The [[Republic of China]], which did not sign the Simla Convention, disavowed the McMahon boundary by around 1935, and so has the [[People's Republic of China]] that succeed it. The [[Sino-Indian border dispute|border dispute]] continues between China and India to the present day.

===1962 Indo-China war===

In 1962, China launched a [[Sino-Indian War|war]] on India, invading the Tawang district from the north. Tulung La was one of the passes through which the Chinese forces came in. They went via Poshing La and threatened the road route between [[Bomdila]] and the [[Se La]] pass, an action that made the Indian positions at Se La untenable.{{sfnp|Johri, Chinese Invasion of NEFA|1965|pp=148–149, 191}}<ref>{{Citation |last=Hoffmann |first=Steven A. |title=India and the China Crisis |url=https://books.google.com/books?id=BpSRwC5_EPUC&pg=PA189 |pages=188–190 |year=1990 |publisher=University of California Press |isbn=978-0-520-06537-6}}</ref><ref>{{Citation |last=Kapadia |first=Harish |title=Into the Untravelled Himalaya: Travels, Treks, and Climbs |url=https://books.google.com/books?id=-5l1RhMStxgC&pg=PA55 |page=55 |year=2005 |publisher=Indus Publishing |isbn=978-81-7387-181-8 |author-link=Harish Kapadia}}</ref> India lost the war. But China withdrew to the former positions at the end of the war, declaring that it would work on the border settlement through negotiations. As of {{CURRENTYEAR}}, no settlement has yet been reached.

===1975 Tulung La ambush ===
{{anchor | 1975 | Ambush }}

In October 1975, there was a clash at the Tulung La pass. The Chinese border troops fired on an Indian patrol belonging to [[Assam Rifles]], killing four out of the six men. According to India, the Chinese ambushed Indian troops 500 metres south of Tulung La and the clash took place on Indian territory. China denied the claim, and blamed the Indian troops who were said to have entered Chinese territory and initiated the clash.<ref>{{Cite news |last=Krishnan |first=Ananth |date=2020-06-14 |title=1975: Last firing on the India-China border |language=en-IN |work=The Hindu |url=https://www.thehindu.com/news/national/forgotten-in-fog-of-war-the-last-firing-on-the-india-china-border/article31827344.ece |access-date=2022-12-29 |issn=0971-751X}}</ref><ref>India-China Clash on '62 Battle Site, ''The New York Times'', 3 November 1975. {{ProQuest|120269057}}</ref><ref>Clash in Himalayas Confirmed by China; Indians Are Blamed, ''The New York Times'', 4 November 1975. {{ProQuest|120262764}}</ref> The Indian military officer who went to receive the bodies a week later, opined that the soldiers were likely not killed in the shooting, but were subsequently tortured to death.<ref>{{Cite news |last=Krishnan |first=Ananth |date=2020-09-20 |title=Torture, not firing, behind China border deaths in 1975, recalls veteran |language=en-IN |work=The Hindu |url=https://www.thehindu.com/news/national/torture-not-firing-behind-china-border-deaths-in-1975-recalls-veteran/article32654100.ece |access-date=2022-12-29 |issn=0971-751X}}</ref> In November 2020, the Chhetri War Memorial was set up at Tulung La to commemorate the slain soldiers, inaugurated by the Arunachal Pradesh chief minister [[Pema Khandu]].<ref>{{Cite web |last=Deka |first=Bitopan |date=2020-11-03 |title=Chhetri War Memorial inaugurated: Know the Indian heroes who fought China in 1975 |url=http://www.eastmojo.com/arunachal-pradesh/2020/11/03/chhetri-war-memorial-inaugurated-know-the-indian-heroes-who-fought-china-in-1975/ |access-date=2022-12-29 |website=EastMojo |language=en-US}}</ref>

The 1975 Tulung La incident was reminiscent of other peacetime firing incidents prior to the 1962 war, viz., the 1959 [[Longju|Longju incident]] and the 1959 [[Kongka Pass|Kongka Pass incident]], which vitiated the relations between the two countries to such an extent that the war became inevitable.<ref>{{Citation |last=Hoffmann |first=Steven A. |title=Perceived Hostility and the Indian Reaction to China |date=October–December 1973 |journal=India Quarterly |volume=20 |issue=4 |pages=283–299 |doi=10.1177/097492847302900401 |jstor=45070057 |s2cid=152421080}}</ref> However, after 1975, there were no further firing incidents. In 1993, India and China signed a [[Border Peace and Tranquility Agreement]], prohibiting the use of firearms in the vicinity of the border.

== Geography ==
[[File:Nyamjang Chu and Tawang Chu rivers mapped by Morshead and Bailey, 1913.jpg|thumb|right|265px|Map of Tsona Dzong and the Tawang region by Bailey and Morshead, showing "Talung La".]]

Tulung La is at the northeastern corner of the [[Tawang district]]. The British political officer [[Frederick Marshman Bailey|F. M. Bailey]], who travelled through Tibet in 1912–1913, observed a "main Himalayan range" that runs from the high peaks of [[Namcha Barwa]] in an unbroken line till Tulung La. He observed that it continues west towards the border of Bhutan but in a somewhat "broken" way,{{sfnp|Bailey, Exploration on the Tsangpo|1914|p=579}} passing through Milakatong La mentioned earlier by Indian explorer [[Nain Singh]] (now recognised as [[Bum La Pass]]).{{sfnp|Bailey, Exploration on the North-East Frontier|1914|loc=p. 16: "The main Himalayan range would appear to run west from Gori Chen through the Tulung La (17,250 feet) and thence through the Mila Katong La [possibly Bum La] (14,210 feet) which Nain Singh crossed."}}

To the north of Tulung La rises one of the headwaters of Seti Chu, a tributary of [[Tsona Chu]], which it joins near the town of Lampug (Langpo). Another headwater of Seti Chu comes from Pen La, connecting the valley to that of the [[Subansiri River|Subansiri]] valley. To the south of Tulung La is one of the headwaters of Goshu Chu (also called Goro Chu), which joins two other rivers near Mago ({{coord|27.6876|92.2072|name=Mago}}) to form [[Tawang Chu]]. One of the three rivers, Gorjo Chu, comes from the southeast, providing an alternative route into the West Kameng district via Tse La.{{sfnp|Johri, Chinese Invasion of NEFA|1965|pp=90–92}}

The Tulung La ridge runs west-southwest dividing the waters of Seti Chu in the north and the Tawang Chu tributaries in the south. It runs till a location called [[Yangtse, India|Yangtse]], where Tsona Chu runs break through the ridge line, and receives the spectacular [[Chumi Gyatse Falls]] falling down a near vertical cliff of the ridge. The entire ridgeline between Tulung La and Yangtse has also been called the "Yangtse ridge" in recent times.

==Transport==

[[Tawang district#Transport|Tawang-Mago-Chuna-Tulung La Road]] (TMCTL Road) as part of [[Arunachal Frontier Highway]], rises from Tawang (6,000 ft) to [[Thingbu]] [[Community development block|HQ]] and [[Mago, Tawang|Mago]] in the east, and [[Chuna, Arunachal|Chuna]] and Tulung La further northeast, was turned into black-topped motorable road in 2025. Earlier it was a narrow mule track.<ref name=tmc1>[https://www.timesnownews.com/opinion/india/magochuna-link-how-bros-latest-road-ensures-troop-mobility-and-strengthens-indias-border-preparedness-article-152647933 ], Times Now News, 3 Sept 2025.</ref>

== See also ==
* [[Bum La Pass]]
* [[Chumi Gyatse Falls]]
* [[2022 Yangtse clash]]

== Notes ==
{{notelist}}

== References ==
{{reflist}}

== Bibliography ==
* {{Cite book |last=Arpi |first=Claude |title=1962 and the McMahon Line Saga |publisher=Lancer Publishers LLC |isbn=978-1-935501-57-2 |url=https://books.google.com/books?id=F-Lmt7J-vYgC&pg=PA97 |ref={{sfnref|Arpi, 1962 and the McMahon Line Saga|1997}}}}
* {{Citation |last=Bailey |first=F. M. |title=Exploration on the Tsangpo or Upper Brahmaputra |url=https://archive.org/details/sim_geographical-journal_1914-10_44_4/page/341 |journal=Geographical Journal |volume=44 |issue=4 |pages=341– |date=October 1914 |doi=10.2307/1778591 |jstor=1778591 |ref={{sfnref|Bailey, Exploration on the Tsangpo|1914}} |via=archive.org}}
* {{Citation |last=Bailey |first=F. M. |title=Report on an Exploration on the North-East Frontier, 1913 |url=https://archive.org/details/ExplorationOnTheNorthEastFrontier1913 |place=Simla |publisher=Government Monotype Press |year=1914 |ref={{sfnref|Bailey, Exploration on the North-East Frontier|1914}} |via=archive.org}}
* {{Citation |last=Johri |first=Sitaram |title=Chinese Invasion of NEFA |url=https://archive.org/details/dli.pahar.3345 |year=1965 |publisher=Himalaya Publications |ref={{sfnref|Johri, Chinese Invasion of NEFA|1965}} |via=archive.org}}
* {{Citation |last=Mehra |first=Parshotam |title=The McMahon Line and After: A Study of the Triangular Contest on India's North-eastern Frontier Between Britain, China and Tibet, 1904-47 |url=https://archive.org/details/dli.pahar.3459 |year=1974 |publisher=Macmillan |isbn=9780333157374 |ref={{sfnref|Mehra, The McMahon Line and After|1974}} |via=archive.org}}

{{Mountain passes of China}}
{{Mountain passes of India}}
{{Authority control}}

[[Category:China–India border crossings]]
[[Category:Mountain passes of Arunachal Pradesh]]
[[Category:Mountain passes of Tibet]]
[[Category:Mountain passes of China]]
[[Category:Mountain passes of India]]
[[Category:Mountain passes of the Himalayas]]
[[Category:Borders of Arunachal Pradesh]]

Uzair Khan

2025-11-07T22:15:44Z

FWQGina861152045: content fix

{{short description|Pakistani politician}}
{{Infobox officeholder
| name = Uzair Khan
| honorific-suffix =
| image =
| office = Member of the [[National Assembly of Pakistan]]
| term_start = 27 January 2014
| term_end = 31 May 2018
| constituency = [[Constituency NA-69|NA-69 (Khushab)]]
| nationality = Pakistani
| birth_date = {{Birth date and age|1980|08|13|df=y}}
| birth_place = [[Khushab]], [[Punjab (Pakistan)|Punjab]], [[Pakistan]]
| otherparty = [[Pakistan Muslim League (N)]]
| parents = [[Sumaira Malik]] (mother)
| relatives = [[Amir Mohammad Khan]] (great-grand father)
| native_name = {{nq|عزیر خان}}
}}

'''Malik Uzair Khan''' ({{Langx|ur|{{Nastaliq|ملک محمد عزیر خان}}}}) is a Pakistani politician who had been a member of the [[National Assembly of Pakistan]] from January 2014 to May 2018.

==Early life==
He was born to [[Sumaira Malik]].<ref name="dawn/23jan2014" />

==Political career==
He was elected to the [[National Assembly of Pakistan]] as a candidate of [[Pakistan Muslim League (N)]] from [[Constituency NA-69|Constituency NA-69 (Khushab-I)]] in by-election held in 2014. He received 92,805 votes and defeated [[Umer Aslam Awan]], a candidate of [[Pakistan Tehreek-e-Insaf]].<ref>{{cite news|title=Kashmir envoys: diplomatic tactics or appeasement for reluctant allies?|url=https://www.dawn.com/news/1281533|access-date=4 March 2017|work=DAWN.COM|date=2 September 2016|language=en|url-status=live|archive-url=https://web.archive.org/web/20170305115057/https://www.dawn.com/news/1281533|archive-date=5 March 2017}}</ref><ref name="dawn/23jan2014">{{cite news|title=By-polls: PML-N wins NA-69 Khushab, PTI claims PK-50 Haripur|url=https://www.dawn.com/news/1082163|access-date=27 March 2017|work=DAWN.COM|date=23 January 2014|language=en|url-status=live|archive-url=https://web.archive.org/web/20170305115029/https://www.dawn.com/news/1082163|archive-date=5 March 2017}}</ref><ref>{{cite news|title=PML-N wins NA-69 by-election|url=https://www.dawn.com/news/1082366/pml-n-wins-na-69-by-election|access-date=4 March 2017|work=DAWN.COM|date=24 January 2014|language=en|url-status=live|archive-url=https://web.archive.org/web/20170305191759/https://www.dawn.com/news/1082366/pml-n-wins-na-69-by-election|archive-date=5 March 2017}}</ref><ref>{{cite news|title=Sumera now campaigning for son|url=https://www.dawn.com/news/1053345|access-date=4 March 2017|work=DAWN.COM|date=1 November 2013|language=en|url-status=live|archive-url=https://web.archive.org/web/20170305115111/https://www.dawn.com/news/1053345|archive-date=5 March 2017}}</ref><ref>{{cite news|title=All set for close contest in Khushab by-election|url=https://www.dawn.com/news/1079550|access-date=4 March 2017|work=DAWN.COM|date=10 January 2014|language=en|url-status=live|archive-url=https://web.archive.org/web/20170305192129/https://www.dawn.com/news/1079550|archive-date=5 March 2017}}</ref><ref>{{cite news|title=PTI workers protest outside ECP building against 'rigging'|url=https://www.dawn.com/news/1083162/pti-workers-protest-outside-ecp-building-against-rigging|access-date=4 March 2017|work=DAWN.COM|date=28 January 2014|language=en|url-status=live|archive-url=https://web.archive.org/web/20170305192132/https://www.dawn.com/news/1083162/pti-workers-protest-outside-ecp-building-against-rigging|archive-date=5 March 2017}}</ref> The seat became vacant after his mother [[Sumaira Malik]] who won in 2013 general election was disqualified to continue in office because of fake degree case.<ref>{{cite news|title=Procuring a fake degree: Top court disqualifies PML-N's Sumaira Malik - The Express Tribune|url=https://tribune.com.pk/story/623944/procuring-a-fake-degree-top-court-disqualifies-pml-ns-sumaira-malik/|access-date=27 March 2017|work=The Express Tribune|date=29 October 2013|url-status=live|archive-url=https://web.archive.org/web/20170328021013/https://tribune.com.pk/story/623944/procuring-a-fake-degree-top-court-disqualifies-pml-ns-sumaira-malik/|archive-date=28 March 2017}}</ref>

==References==
{{reflist|30em}}

{{DEFAULTSORT:Khan, Uzair}}
[[Category:Living people]]
[[Category:Politicians from Punjab, Pakistan]]
[[Category:Pakistani MNAs 2013–2018]]
[[Category:1980 births]]
[[Category:Pakistan Muslim League (N) MNAs]]

{{MuslimN-MNA-stub}}

Arvind Krishna Mehrotra

2025-10-16T15:52:35Z

FWQGina861152045: expanded content

{{Short description|Indian writer (born 1947)}}
{{Use dmy dates|date=September 2019}}
{{BLP sources|date=September 2008}}
{{Infobox writer/Wikidata
|fetchwikidata=ALL
|image_upright=yes
}}
[[File:Arvind Krishna Mehrotra at his Dehradun home - 2018.jpg|thumb|Arvind Krishna Mehrotra at his Dehradun home, May 2018. ]]
'''Arvind Krishna Mehrotra''' (born 1947<ref>{{cite LCAuth|id=n86138256}}</ref>) is an Indian [[poet]], [[anthologist]], [[literary critic]] and [[translation|translator]].

== Biography ==
Arvind Krishna Mehrotra was born in [[Lahore]] in 1947. He has published six collections of [[poetry]] in English and two of [[translation]] — a volume of Prakrit love poems, ''The Absent Traveller'', recently reissued in Penguin Classics, and ''[[Songs of Kabir]]'' ([[NYRB Classics]]). His ''Oxford India Anthology of Twelve Modern Indian Poets'' (1992) has been very influential. He has edited several books, including ''History of Indian Literature in English'' ([[Columbia University Press]], 2003) and ''Collected Poems in English'' by Arun Kolatkar ([[Bloodaxe Books]], 2010). His collection of essays ''Partial Recall: Essays on Literature and Literary History'' was published by Permanent Black in 2012. A second book of essays, ''Translating the Indian Past'' (Permanent Black), appeared in 2019.

Mehrotra was nominated for the post of Professor of Poetry at the [[University of Oxford]] in 2009.<ref>[http://india.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=15316&x=1 Biography at Poetry International Web] {{webarchive |url=https://web.archive.org/web/20100128082419/http://india.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=15316&x=1 |date=28 January 2010 }}</ref> He came second behind [[Ruth Padel]], who later resigned over allegations of a smear campaign against Trinidadian poet [[Derek Walcott]] (who had himself earlier withdrawn from the election process).<ref>{{cite news| url=http://timesofindia.indiatimes.com/World/Indians-Abroad/Arvind-Mehrotra-loses-Oxfords-Professor-of-Poetry-election/articleshow/4541378.cms | work=The Times Of India | title=Arvind Mehrotra loses Oxford's Professor of Poetry election - The Times of India}}</ref><ref name="Soofi 2014">{{cite web | last=Soofi | first=Mayank Austen | title=Arvind Krishna Mehrotra: Allahabad's prodigal poet | website=Livemint | date=29 November 2014 | url=http://www.livemint.com/Leisure/NBAFvOxrFLQKFtvOeoXvPM/Arvind-Krishna-Mehrotra-Allahabads-prodigal-poet.html | accessdate=9 February 2017}}</ref>

Mehrotra has translated more than 200 literary works from ancient [[Prakrit]] language, and from [[Hindi]], [[Bengali language|Bengali]] and [[Gujarati language|Gujarati]].<ref>{{cite news|title="Academia In India Is Not Something About Which You Can Have Any Illusions": An Interview With Arvind Krishna Mehrotra|url=http://www.caravanmagazine.in/vantage/interview-with-arvind-krishna-mehrotra|date=13 January 2016|publisher=[[The Caravan]]|first=Ishan|last=Marvel}}</ref>

== Bibliography ==

=== Poetry collections ===
*Mehrotra, A. K. (1984). Middle earth. [[Three Crowns Books]]. Delhi: [[Oxford University Press]].
*Mehrotra, A. K. (1976). Nine enclosures. Bombay: Clearing House.
*Mehrotra, A. K. (1982). Distance in statute miles. Bombay: Clearing House.
*Mehrotra, A K. (1998). The transfiguring places: poems. Delhi: Ravi Dayal Publisher.
*Mehrotra, A. K. (2014). Collected Poems 1969-2014. Delhi: [[Penguin India]].
*Mehrotra, A. K. (2016). Collected Poems. Artarmon NSW: Giramondo.
*Mehrotra, A.K. (2020) Selected Poems and Translations/NYRB Poets. New York: New York Review Books.

=== Edited books ===

*Mehrotra, A. K. (2003). History of Indian literature in English. [[New York City|New York]]: [[Columbia University Press]].
*Mehrotra, A. K. (1992). The Oxford India anthology of twelve modern Indian poets. Delhi: Oxford University Press. [http://www.cse.iitk.ac.in/~amit/books/mehrotra-1993-oxford-india-anthology.html excerpts]
**Translated into German as Mehrotra, A. K. (2006). Indische Dichter der Gegenwart eine Anthologie englischsprachiger Lyrik Indiens. Heidelberg: Verl. Das Wunderhorn.
*Weissbort, D., & Mehrotra, A. K. (1993). Periplus: poetry in translation. Delhi: Oxford University Press.
*Mehrotra, A. K. (2007). The last bungalow: writings on Allahabad. [[New Delhi]]: [[Penguin Books]].

=== Translation ===

*Mehrotra, A. K. (1991). The Absent Traveller: Prākrit love poetry from the Gāthāsaptaśatī of Sātavāhana Hāla. Delhi: Ravi Dayal Publisher.
*Mehrotra, A. K. (2011). [[Songs of Kabir]]. New York: NYRB Classics.
*Mehrotra, A.K. with [[Sara Rai]] (2019). Blue Is Like Blue: Stories by Vinod Kumar Shukla. Delhi: HarperCollins.

=== Editor of literary magazines ===
* ''damn you/a magazine of the arts.'' [[Allahabad]], [[India]]: 1964-1968.
*''Ezra.'' Bombay, India: Ezra-Fakir Press, 1966-1969.
*''Fakir.'' Bombay, India: Ezra-Fakir Press, 1966.

==See also==
{{portal|Biography|India|Literature|Poetry|}}
*[[Indian English Poetry]]
*[[Indian poetry in English]]
*[[Indian English Literature]]
*[[Indian literature]]
*[[List of Indian poets]]

==References==
<references/>

==External links==
* Poetry Centre, Smith College [http://www.smith.edu/poetrycenter/poets/amehrotra.html ]
* [https://web.archive.org/web/20100128082419/http://india.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=15316&x=1 Poems and Bio at Poetry International Web]
* Interview with Bharat Iyer [http://www.eclectica.org/v17n1/iyer.html An Interview with Arvind Krishna Mehrotra—by Bharat Iyer—Eclectica Magazine v16n2]
* Poetry Archive [http://www.poetryarchive.org/poet/arvind-krishna-mehrotra Arvind Krishna Mehrotra]
* Interview with Laetitia Zecchini, '[https://www.academia.edu/39141796/_We_were_like_cartographers_mapping_the_city_An_interview_with_Arvind_Krishna_Mehrotra We were like Cartographers, Mapping the City]', Journal of Postcolonial Writing, 2017
* Guide to the Arvind Krishna Mehrotra Papers 1960-2014 [https://rmc.library.cornell.edu/EAD/htmldocs/RMM08511.html Guide to the Arvind Krishna Mehrotra papers, 1960-2014.]

==Further reading==
Among the published works giving an analysis of his poetry are:
*Lakshmi Raghunandan. (1990). Contemporary Indian poetry in English: with special emphasis on [[Nissim Ezekiel]], Kamala Das, [[R. Parthasarathy]], and A.K. Ramanujan : other poets assessed are [[Arun Kolatkar]], [[Shiv K. Kumar]], [[Keki N. Daruwalla]], [[Jayanta Mahapatra]], and Arvind Krishna Mehrotra. New Delhi: Reliance Pub. House.

Bruce King, (1987, revised edition 2001) Modern Indian Poetry in English. Delhi: Oxford University Press.

He is interviewed in the following works:
*De Souza, E. (1999). Talking poems: conversations with poets. Delhi: Oxford University Press.

;Reviews :
*{{cite news| url=https://www.nytimes.com/2011/05/29/books/review/book-review-songs-of-kabir-by-translated-by-arvind-krishna-mehrotra.html?_r=1| title=Rebirth of a Poet| work=The New York Times| author=August Kleinzahler| date= 27 May 2011}}

==External links==
*[https://www.poetryarchive.org/poet/arvind-krishna-mehrotra Arvind Krishna Mehrotra] at the [[Poetry Archive]]
*[https://www.poetryinternational.org/pi/poet/15316 Arvind Krishna Mehrotra] at [[Poetry International Web|Poetry International]]

{{Authority control}}

{{DEFAULTSORT:Mehrotra, Arvind Krishna}}
[[Category:1947 births]]
[[Category:English-language Indian poets]]
[[Category:Living people]]
[[Category:21st-century Indian poets]]
[[Category:Indian male poets]]
[[Category:International Writing Program alumni]]
[[Category:21st-century Indian male writers]]
[[Category:Translators from Bengali]]
[[Category:20th-century Indian translators]]
[[Category:21st-century Indian translators]]
[[Category:Translators from Gujarati]]
[[Category:Translators from Hindi]]
[[Category:20th-century Indian poets]]

Vaniyar

2025-08-16T11:18:07Z

FWQGina861152045: Made redirect

#REDIRECT [[Vanniyar]]

Paikbheri

2025-07-22T07:50:41Z

FWQGina861152045: small changes

{{Use Indian English|date=January 2023}}
{{Use dmy dates|date=June 2023}}
{{Infobox settlement
| name = Paikbheri
| native_name = 
| native_name_lang =
| other_name = Paik Bheri
| nickname =
| settlement_type = Village
| image_skyline =
| image_alt =
| image_caption =
| pushpin_map = India West Bengal # India
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in West Bengal, India
| coordinates = {{coord|22.1025|N|87.7234|E|display=inline,title}}
| subdivision_type = Country
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[West Bengal]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Purba Medinipur district|Purba Medinipur]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type =
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_rank =
| area_total_km2 =
| elevation_footnotes =
| elevation_m =
| population_total = 1124
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Bengali language|Bengali]], [[English language|English]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 721601
| area_code_type = Telephone/[[Subscriber trunk dialing|STD]] code
| area_code = 03228
| registration_plate =
| blank1_name_sec1 = [[Lok Sabha]] constituency
| blank1_info_sec1 = [[Kanthi (Lok Sabha constituency)|Kanthi]]
| blank2_name_sec1 = [[Vidhan Sabha]] constituency
| blank2_info_sec1 = [[Bhagabanpur (Vidhan Sabha constituency)|Bhagabanpur]]
| website = {{URL|purbamedinipur.gov.in/}}
| footnotes =
}}
'''Paikbheri''' (also written as Paik Bheri) is a village in the [[Bhagabanpur I]] [[Community development blocks in India|CD block]] in the [[Egra subdivision]] of the [[Purba Medinipur district]] in the state of [[West Bengal]], [[India]].

==Geography==
{{OSM Location map
| width=350| height=300| zoom=10
| coord={{coord|21|58|0|N|87|37|0|E}}| float=left|caption='''Cities and towns in Egra subdivision of Purba Medinipur district''' M: municipal city/ town, CT: census town, R: rural/ urban centre. H: historical/ religious centre. Owing to space constraints in the small map, the actual locations in a larger map may vary slightly
|mark-coord1={{coord|21|54|0|N|87|31|48|E}} | label-pos1=right|label1=Egra | numbered1=M| mark-title1= [[Egra]] (M)|label-color1=#800000 |label-size1=13| mark-size1=13|shape1=l-circle|shape-color1=#800000|shape-outline1=white|label-offset-x1=2
|mark-coord2={{coord|22|3|47|N|87|36|8|E}} | label-pos2=left|label2=Amarshi Kasba | numbered2=CT| mark-title2= [[Amarshi Kasba]] (CT)|shape-color2=#C40000
|mark-coord3={{coord|22|5|50|N|87|44|40|E}} | label-pos3=left|label3=Benudia | numbered3=CT| mark-title3= [[Benudia]] (CT)|shape-color3=#C40000
|mark-coord4={{coord|22|3|37|N|87|47|58|E}} | label-pos4=left|label4=Hincha Gerya | numbered4=CT| mark-title4= [[Hincha Gerya]] (CT)|shape-color4=#C40000
|mark-coord5={{coord|22|1|17|N|87|32|42|E}} | label-pos5=left|label5= Patashpur| numbered5=R| mark-title5= [[Patashpur]] (R)|shape-color5=#C40000
|mark-coord6={{coord|22|6|30|N|87|45|34|E}} | label-pos6=top|label6= Bhagabanpur| numbered6=R| mark-title6= [[Bhagabanpur]] (R)|shape-color6=#C40000
|mark-coord7={{coord|21|59|11|N|87|36|8|E}} | label-pos7=left|label7= Pratapdighi| numbered7=R| mark-title7= [[Pratapdighi]] (R)|shape-color7=#C40000
|mark-coord8={{coord|21|52|32|N|87|35|4|E}} | label-pos8=left|label8= Madhabpur| numbered8=R| mark-title8= [[Madhabpur, Purba Medinipur]] (R)|shape-color8=#C40000
|mark-coord9={{coord|22|2|40|N|87|48|0|E}} | label-pos9=left|label9= Tethi Bari| numbered9=R| mark-title9= [[Tethi Bari]] (R)|shape-color9=#C40000
|mark-coord10={{coord|22|1|2|N|87|48|41|E}} | label-pos10=left|label10= Kismat Bajkul| numbered10=R| mark-title10= [[Kismat Bajkul]] (R)|shape-color10=#C40000
|mark-coord11={{coord|22|4|59|N|87|39|55|E}} | label-pos11=right|label11= Palpara| numbered11=R| mark-title11= [[Palpara, Purba Medinipur]] (R)|shape-color11=#C40000
|mark-coord12={{coord|22|4|41|N|87|38|46|E}} | label-pos12=left|label12= Golara Nij| numbered12=R| mark-title12= [[Golara Nij]] (R)|shape-color12=#C40000
|mark-coord13={{coord|21|53|29|N|87|38|26|E}} | label-pos13=right|label13= Gangadharbar| numbered13=R| mark-title13= [[Gangadharbar]] (R)|shape-color13=#C40000
|mark-coord14={{coord|21|48|30|N|87|29|53|E}} | label-pos14=right|label14= Ramchandrapur| numbered14=R| mark-title14= [[Ramchandrapur, Purba Medinipur]] (R)|shape-color14=#C40000
|mark-coord15={{coord|22|1|50|N|87|48|40|E}} | label-pos15=left|label15= Kajlagarh| numbered15=R| mark-title15= [[Kajlagarh]] (R)|shape-color15=#C40000
|mark-coord16={{coord|22.110011|N|87.555306|E}}| label16=Haldi River| label-color16 = #77A1CB| label-angle16=-5| label-pos16=right| label-size16=10| mark-size16=0| mark-title16=none
|mark-coord17={{coord|22|6|49|N|87|43|24|E}} | label-pos17=left|label17= Paikbheri| numbered17=H| mark-title17= Paikbheri (H)|shape-color17=black| label-size17=13|label-color17=black 
|mark-coord18={{coord|21|49|59|N|87|27|9|E}} | label-pos18=right|label18= Panchrol| numbered18=H| mark-title18= [[Panchrol]] (H)| shape-color18=#AA6666
|mark-coord19={{coord|21|51|12|N|87|28|3|E}} | label-pos19=right|label19= Alangiri| numbered19=H| mark-title19= [[Alangiri]] (H)| shape-color19=#AA6666}}

===Location===
Paikbheri is located at {{coord|22.1025|N|87.7234|E|display=inline}}.

===Urbanisation===
96.96% of the population of Egra subdivision live in the rural areas. Only 3.04% of the population live in the urban areas, and that is the lowest proportion of urban population amongst the four subdivisions in Purba Medinipur district.<ref>{{cite web | url = http://wbpspm.gov.in/publications/District%20Statistical%20Handbook | title = District Statistical Handbook 2014 Purba Medinipur | work = Table 2.2 | publisher = Department of Planning and Statistics, Government of West Bengal | access-date = 12 August 2020 | archive-date = 21 January 2019 | archive-url = https://web.archive.org/web/20190121045803/http://www.wbpspm.gov.in/publications/District%20Statistical%20Handbook | url-status = dead }}</ref>

Note: The map alongside presents some of the notable locations in the subdivision. All places marked in the map are linked in the larger full screen map.

==Demographics==
According to the [[2011 Census of India]], Paikbheri had a total population of 1,124, of which 577 (51%) were males and 547 (49%) were females. There were 985 persons in the age range of 0–6 years. The total number of literate persons in Paikbheri was 910 (92.39% of the population over 6 years).<ref>{{cite web| url = http://censusindia.gov.in/pca/cdb_p190ca_census/Houselisting-housing-WB.html |title = CD block Wise Primary Census Abstract Data(PCA) | work= West Bengal – District-wise CD blocks|publisher= Registrar General and Census, India | access-date = 12 August 2020}}</ref>

==Culture==
[[David McCutchion|David J. McCutchion]] mentions the Shyama Sundara temple as a plain ''flat-roofed'' structure with ''[[Bengal temple architecture#Ratna temple|pancha-ratna]]'' superstructure measuring 28’9" x 25’7" and possibly built in 1730. There is a ''char-chala'' [[porch]] measuring 19’4" sq plus 17’9" sq attached to a deul.<ref>McCutchion, David J., ''Late Mediaeval Temples of Bengal'', first published 1972, reprinted 2017, pages 67, 71. The Asiatic Society, Kolkata, {{ISBN| 978-93-81574-65-2}}</ref>

==Paikbheri picture gallery==
<gallery widths="230px" heights="180px">
File:Shyama Sundara Deul and Shyama Sundara flat roofed temple at Paikbheri under Purba Medinipur district in West Bengal 02.jpg|Shyma Sundara deul and flat-roofed temple
File:Shyama Sundara Deul at Paikbheri under Purba Medinipur district in West Bengal 03.jpg|Shyama Sundara deul with char-chala porch in front
File:Shyama Sundara flat roofed temple with panacharatna at Paikbheri under Purba Medinipur district in West Bengal 02.jpg|Shyama Sundara flat-roofed temple with pancha-ratna
</gallery>

==References==
{{reflist}}

==External links==
{{commons category|Paikbheri, Bhagabanpur I CD block}}

{{Purba Medinipur District}}
{{Temple towns in West Bengal}}

[[Category:Villages in Purba Medinipur district]]

Anand Ranga

2025-06-28T10:58:00Z

FWQGina861152045:

{{Short description|Indian film director}}
{{Notability|Biography|date=December 2022}}
{{Use dmy dates|date=January 2019}}
{{Use Indian English|date=January 2019}}
{{Infobox person
| name = Anand Ranga
| image =
| birth_date = {{Birth date and age|df=yes|1975|05|23}}
| birth_place = [[Hyderabad, India|Hyderabad]], [[Andhra Pradesh]], India
| occupation = Film director
| spouse = [[Sowmya Sharma]]
}}
'''Anand Ranga''' is a [[film director]] who works in [[Telugu film industry|Telugu film Industry]].<ref>{{cite web | url=http://www.idlebrain.com/celeb/interview/anandranga.html | title=Anand Ranga Interview | publisher=IdleBrain.com | date=10 July 2009 | accessdate=17 January 2019 }}</ref>

==Personal life and career==
Anand Ranga was born and raised in [[Hyderabad]]. He graduated in computers and then went on to do [[Diploma]] in Film Technology, specializing in direction and screenplay writing from Film & Television Institute of Tamil Nadu, Chennai.<ref>{{Cite web |url=http://www.cinegoer.com/telugu-cinema/video-interviews/interview-with-director-anand-ranga.html |title=Interview with Director Anand Ranga - Video Interviews & Specials - CineGoer.com |access-date=2011-03-25 |archive-url=https://web.archive.org/web/20110223134049/http://www.cinegoer.com/telugu-cinema/video-interviews/interview-with-director-anand-ranga.html |archive-date=2011-02-23 |url-status=dead }}</ref> He directed his debut Telugu feature film ''[[Oy! (film)|Oy!]]'' in 2009.<ref>{{Cite web|title=Film Director Anand Ranga » TeluguMall.com|url=http://telugumall.com/?tag=film-director-anand-ranga|url-status=dead|archive-url=https://web.archive.org/web/20110517112453/http://telugumall.com/?tag=film-director-anand-ranga|archive-date=2011-05-17|access-date=2011-03-25}}</ref> He started a production house called Random Thoughts has produced two films ''DK Bose'' (2015) & ''Poga'' (2014).<ref>{{Cite web|url=http://gurufilms.in/team.html|title=Gurufilms.in|access-date=25 March 2011|archive-date=25 April 2021|archive-url=https://web.archive.org/web/20210425132510/http://gurufilms.in/team.html|url-status=dead}}</ref>

Ranga is married to Telugu film dubbing artist [[Sowmya Sharma]] and lives in Hyderabad.<ref>{{cite web|date=2010-05-23|title=Anand Ranga weds Sowmya Sharma|url=http://www.idlebrain.com/news/functions/wedding-anandranga.html|publisher=Idle Brain|accessdate=2017-05-24}}</ref>

== Filmography ==

=== Director ===

* ''[[Oy! (film)|Oy!]]'' (2009)
* ''[[Shootout at Alair]]'' (2020) (series)
* ''[[Vyavastha]]'' (2023) (series- Zee5)

=== Additional screenplay, executive producer and songs director ===

* ''[[Kaadhali (2017 film)|Kaadhali]]'' (2017)

== References ==
{{reflist}}

{{DEFAULTSORT:Ranga, Anand}}
[[Category:1975 births]]
[[Category:Living people]]
[[Category:Telugu film directors]]
[[Category:Film directors from Hyderabad, India]]

Bandha (yoga)

2025-06-19T02:03:58Z

FWQGina861152045: basic cleaned up layout for clarity

{{short description|Locks and internal mudras in traditional yoga}}
[[File:Mode of action of Mudras.svg|thumb|upright=1.25|Mode of action of bandhas and mudras, serving to trap energy-fluids (breath, prana, bindu, amrita) and thus help to unblock the central [[sushumna]] channel.]]
A '''bandha''' ({{langx|sa|बंध}}) is a [[kriyā]] in [[Hatha Yoga]], being a kind of internal [[Mudra (Yoga)|mudra]] described as a "body lock,"<ref>{{cite book | last1=Mallinson | first1=James |author1-link=James Mallinson (author) |last2=Singleton |first2=Mark |author2-link=Mark Singleton (yoga scholar) | title=[[Roots of Yoga]] | publisher=Penguin Books | year=2017 | isbn=978-0-241-25304-5 | oclc=928480104 |pages=230–231, 237–242}}</ref><ref>[http://www.sacred-texts.com/hin/hyp/index.htm Sanskrit text and English translation of the Pancham Sinh edition] at [[sacred-texts.com]] ([https://archive.org/stream/HathaYogaPradipika-SanskritTextWithEnglishTranslatlionAndNotes#page/n1/mode/2up archive.org]) pp. 95-127</ref> to lock the vital energy into the body. ''Bandha'' literally means bond, fetter, or "catching hold of".<ref name=Iyengar435>Iyengar, 1976: pp.435–437</ref><ref name="Iyengar, 1976: p.525">Iyengar, 1976: p.525</ref>{{sfn | Monier-Williams | 1964 | p=[http://www.sanskrit-lexicon.uni-koeln.de/cgi-bin/monier/serveimg.pl?file=/scans/MWScan/MWScanjpg/mw0720-baddhR.jpg 720]}}

==''Maha Bandha''==
'''Mahā Bandha''' ("the great lock") combines all the other three bandhas, namely:<ref>{{cite book |last=Maheshwarananda |first=Paramhans Swami |title=Yoga in daily Life - The System |date=2000 |publisher=Ibera Verlag - European University Press |isbn=3-85052-000-5 |page=429 |url=http://www.yogaindailylife.org/system/en/ |chapter=Maha Bandha |chapter-url=http://www.yogaindailylife.org/system/en/bandhas/maha-bandha}}</ref>

* Mula Bandha, contraction of the [[perineum]]
* Uddiyana bandha, contraction of the [[human abdomen|abdomen]] into the [[human rib cage|rib cage]]
* Jalandhara Bandha, tucking the chin close to the chest

In [[Ashtanga (vinyasa) yoga#Bandhas|Ashtanga Yoga]], these three Bandhas are considered to be one of the three key principles of yoga practice.<ref>{{cite web |url=http://www.ashtangayogashala.net/index.php?option=com_content&task=view&id=116&Itemid=162 |title=Ashtanga Yoga Shala NYC - On Pranayama, Bandha and Drishti |website=Ashtangayogashala.net |access-date=26 November 2018 |archive-url=https://web.archive.org/web/20181126221634/http://www.ashtangayogashala.net/index.php?option=com_content&task=view&id=116&Itemid=162 |archive-date=26 November 2018 |url-status=dead }}</ref>

==''Mula bandha''==

'''''Mūla bandha''''' is a primary ''bandha'' in traditional [[yoga]]. The earliest textual mention of ''mūla bandha'' is in the 12th century Shaiva [[Nath]]a text ''[[Goraksha Śataka|Gorakṣaśataka]]'' which defines it as a yogic technique to achieve mastery of breath and to awaken the goddess [[Kundalini|Kuṇḍalinī]].<ref>Mallinson 2012, p.261</ref>

===Etymology===

Mula Bandha ([[Sanskrit]]: मूल बंध) is from ''Mūla'', meaning variously root, base,<ref>Iyengar, 1976: p.515</ref> beginning, foundation,<ref name="Iyengar, 1976: p.459">Iyengar, 1976: p.459</ref> origin or cause.<ref name=Iyengar435/>

===Description===

''[[Goraksha Śataka|Gorakṣhaśataka]]'' defines ''mūla bandha'' as:
{{Blockquote|[The yogi] forces the downward-moving ''apāna'' breath to move upwards by means of contraction. Yogis call this ''mūla bandha'', "the root lock." When ''apāna'' has turned upwards and reached the orb of fire, then the flame, fanned by the wind, rises high. As a result, fire and ''apāna'' reach ''[[Prana|prāṇa]]'', which is hot by nature. The overheated ''[[Prana|prāṇa]]'' creates a blaze in the body, which heats the sleeping [[Kundalini|Kuṇḍalinī]] and wakes her up. Like a snake struck by a stick, she hisses and straightens herself. As if entering a snake-hole, she enters the Brahmā ''[[Nadi (yoga)|naḍi]]''. Therefore, yogis should maintain the regular practice of ''mūla bandha''. ''Gorakṣaśataka''{{sfn|Mallinson|2012|p=269}}}}

[[B. K. S. Iyengar|Iyengar]] defines Mūla Bandha as "A posture where the body from the [[anus]] to the [[navel]] is contracted and lifted up and towards the spine".<ref name="Iyengar, 1976: p.525"/> This is qualified in that the actual muscle contracted is not the [[sphincter]] muscle nor the muscle which cessates urination, but [[Transverse perineal muscles|the muscle equidistant between the two]].

Maehle defines it as "root lock" and further specifies that:

{{blockquote|The root referred to here is the root of the spine, the [[pelvic floor]] or, more precisely, the centre of the pelvic floor, the [[perineum]]. The perineum is the muscular body between the anus and the genitals. By slightly contracting the [[pubococcygeus muscle|pubo-coccygeal (PC) muscle]], which goes from the pubic bone to the tail bone (coccyx), we create an energetic seal that locks ''prana'' into the body and so prevents it from leaking out at the base of the spine. ''Mula Bandha'' is said to move ''prana'' into the central channel, called ''sushumna'', which is the subtle equivalent of the spine.<ref name=Maehle>Maehle, Gregor (2007). ''Ashtanga Yoga: Practice and Philosophy'' (Paperback). New World Library. {{ISBN|1-57731-606-1}} & {{ISBN|978-1-57731-606-0}}, p.11</ref>}}

Mūla Bandha is a primary Bandha in traditional [[yoga]].<ref>Iyengar, 1976: p.435</ref> Iyengar likens the functionality of the [[Bandha (Yoga)|Bandha]] and especially Mūla Bandha to "safety-valves which should be kept shut during the practice of kumbhakas".<ref name=Iyengar435/> He specifies the energetic [[Prana|prāṇas]] of [[Prana#Vāyus|Vāyus]] engaged through Mūla Bandha as: "...Apāna Vāyu (the prāṇa in the lower abdomen), whose course is downwards, is made to flow up to unite with Prāna Vāyu, which has its seat within the region of the chest."<ref name=Iyengar435/> He cautions that "Mūla Bandha should be attempted first in antara kumbhaka (retention after inhalation). The region of the lower abdomen between the navel and the anus is contracted towards the spine and pulled up to the diaphragm. He further states that "While practicing Mūla Bandha, the yogi attempts to reach the true source or mūla of creation."<ref name=Iyengar435/>

==''Uddiyana bandha''==
[[File:Learn a multidimensional approach to different Yoga Postures.jpg|thumb|Uddiyana bandha.]]
'''''Uḍḍīyana bandha''''' ([[Sanskrit]]: उड्डीयन बन्ध), also called '''abdominal lock''' or '''upward lifting lock''', is the abdominal ''bandha'' described and employed in [[hatha yoga]], in particular in the [[nauli]] purification. It involves, after having exhaled all the air out, pulling the abdomen under the rib cage by taking a false inhale while holding the breath and then releasing the abdomen after a pause. The process is repeated many times before letting the air into the lungs, resuming normal breath.<ref>[http://www.yogamag.net/archives/1981/fjune81/udd.shtml Uddiyana Bandha] {{Webarchive|url=https://web.archive.org/web/20200206233906/http://yogamag.net/archives/1981/fjune81/udd.shtml |date=2020-02-06 }} by Dr. Karl Nespor, in [[Yoga Magazine]], a publication of [[Bihar School of Yoga]]</ref><ref>[https://www.yogateket.com/blog/how-to-do-uddiyana-bandha-kriya How to do Uddiyana Bandha] From Guy Powiecki from tradition [[Swami Kuvalayananda]]</ref>

==''Jalandhara bandha''==
'''''Jalandhara bandha''''' ({{langx|sa|जालंधर<ref>{{cite web | url=https://www.sanskrit-lexicon.uni-koeln.de/scans/MWScan/index.php?sfx=jpg | title = Monier Williams Online Page: 420 | access-date= 2020-01-21}}</ref> बंध}}, [[IAST]]: Jālandhara bandha{{sfn|White|2011|p=261}}{{sfn | Monier-Williams | 1964 | p=[http://www.sanskrit-lexicon.uni-koeln.de/cgi-bin/monier/serveimg.pl?file=/scans/MWScan/MWScanjpg/mw0720-baddhR.jpg 720]}}) is the chin ''bandha'' described and employed in [[Hatha Yoga]].

===Etymology===
Jālandhara bandha comes from {{langx|sa|जाल}} ''Jāla'', web<ref>{{cite web | url=http://www.spokensanskrit.de/index.php?script=DI&beginning=0+&tinput=jAla&trans=Translate&direction=AU | title=SpokenSanskrit.de Entry: जाल | access-date=2012-03-24}}</ref> or net{{sfn|Macdonell|2005|p=99}} and ({{langx|sa|धर}}) ''dhara'', "holding".<ref>{{cite web | url=http://www.spokensanskrit.de/index.php?script=DI&beginning=0+&tinput=dhara+&trans=Translate&direction=AU | title=SpokenSanskrit.de Entry: धर | access-date=2012-03-24}}</ref>

===Description===
This bandha is performed by extending the neck and elevating the [[sternum]] (breastbone) before dropping the head so that the chin may rest on the chest. Meanwhile, the tongue pushes up against the palate in the mouth. {{sfn|Ramaswami|2005|p = 4}}

==See also==
* [[Kundalini]]
* [[Kapalabhati]]
* [[Tummo#Practice|Tummo meditation]]
* [[Mulabandhasana]]

==References==
{{reflist}}

==Sources==

{{refbegin}}
* [[B. K. S. Iyengar|Iyengar, B. K. S.]] (1966, 1976). ''[[Light on Yoga]]'', [[Thorsons]].{{ISBN|1-85538-166-4}}
* {{cite book |last=Macdonell |first=Arthur |title=A practical Sanskrit dictionary with transliteration, accentuation, and etymological analysis throughout |publisher=[[Oxford University Press]] |year=2005}}
* Maehle, Gregor (2007). ''Ashtanga Yoga: Practice and Philosophy'', New World Library. {{ISBN|1-57731-606-1}} & {{ISBN|978-1-57731-606-0}}
* {{cite book |last=Mallinson |first=James |author-link=James Mallinson (author) |title=Yoga in Practice |publisher=[[Princeton University Press]] |year=2012 |isbn=978-0691140858 |editor-last=White |editor-first=David Gordon |editor-link=David Gordon White |chapter=The Original Gorakṣaśataka}}
* {{cite book |last1=Mallinson |first1=James |author1-link=James Mallinson (author) |last2=Singleton |first2=Mark |author2-link=Mark Singleton (yoga teacher) |title=[[Roots of Yoga]] |publisher=[[Penguin Books]] |year=2017 |isbn=978-0-241-25304-5 |oclc=928480104 |ref=none}}
* {{cite book |last=Monier-Williams |first=Monier |author-link=Monier Monier-Williams |year=1964 |title=A Sanskrit-English Dictionary: Etymologically and Philologically Arranged with special reference to cognate Indo-European languages |publisher=[[Oxford University Press]] (Print) and [[University of Cologne]] (Digitized) |url=http://www.sanskrit-lexicon.uni-koeln.de/mwquery/|isbn=978-8-12150-200-9 }}
* {{cite book |last=Ramaswami |first=Srivatsa |author-link=Srivatsa Ramaswami |title=The Complete Book of Vinyasa Yoga |publisher=Da Capo Press |year=2005 |isbn=978-1-56924-402-9 |url-access=registration |url=https://archive.org/details/completebookofvi00rama }}
* {{cite book |last=White |first=David |author-link=David Gordon White |title=Yoga in Practice (Princeton Readings in Religions)|publisher=[[Princeton University Press]] |year=2011 |isbn=978-0691140865 |url=https://books.google.com/books?id=3gjjqQJArWAC&q=J%C4%81landhara%20%20bandha&pg=PA261 }}
{{refend}}

{{Yoga}}
{{Hatha yoga}}

[[Category:Bandhas|*]]
[[Category:Kriyas]]
[[Category:Mudras]]
[[Category:Pranayama]]

Tammareddy Krishna Murthy

2025-05-26T06:29:31Z

FWQGina861152045: added stub - done

{{Short description|Indian film producer (1920–2013)}}
{{Use dmy dates|date=January 2019}}
{{Use Indian English|date=January 2019}}
{{Infobox person
| image =
| name = Tammareddy Krishna Murthy
| birth_date = 1920
| birth_place = Chinapalaparru, [[Krishna district]] (now in Andhra Pradesh, [[India]])
| death_date = 16 September 2013 (aged 93)
| occupation = [[Film Producer]]
| children = [[Tammareddy Bharadwaja]]
| website =
| footnotes =
}}

'''Tammareddy Krishna Murthy''' (1920 – 16 September 2013) was an Indian film producer who worked in [[Telugu cinema]]. He received the [[Raghupathi Venkaiah Award]] from the [[Government of Andhra Pradesh]] in 2007.<ref name=":1">{{cite web |date=11 February 2009 |title=Raghupathi Venkaiah award 2007 to Tammareddy Krishna Murthy |url=http://www.indiaglitz.com/channels/telugu/article/44994.html |url-status=dead |archive-url=https://web.archive.org/web/20090301031711/http://www.indiaglitz.com/channels/telugu/article/44994.html |archive-date=1 March 2009 |website=IndiaGlitz |publisher=}}</ref><ref name=":2">{{cite web |date=2009-02-15 |title=Starry fare marks awards night in |url=http://www.hindu.com/2009/02/15/stories/2009021560040500.htm |url-status=dead |archive-url=https://web.archive.org/web/20090223234517/http://hindu.com/2009/02/15/stories/2009021560040500.htm |archive-date=2009-02-23 |work=[[The Hindu]]}}</ref>

Krishna Murthy started his career in the film industry as a production executive for films like ''[[Palletooru]]'' (1952), ''[[Rojulu Marayi]]'' (1955). Later, he turned a producer and established his own [[production company]] named [[Ravindra Art Pictures]].<ref name=":2" /> He produced many notable films like ''[[Lakshadhikari]]'' (1963), ''[[Zamindar (1966 film)|Zamindar]]'' (1966), ''[[Bangaru Gaajulu|Bangaru Gajulu]]'' (1968), ''[[Dharma Daata]]'' (1970), ''[[Doctor Babu]]'' (1973).<ref name=":1" /><ref name=":2" /><ref name=":0" />

Producer and director [[Tammareddy Bharadwaja]] is his son.<ref name=":3">{{cite web |date=13 May 2001 |title=Interview with Tammareddy Bharadwaja by Jeevi |url=http://www.idlebrain.com/celeb/interview/interview_tammareddy.html |website=[[Idlebrain.com]] |publisher=}}</ref><ref name=":0" />

==Early life==
Tammareddy Krishna Murthy was born in Chinapalaparru village, [[Mudinepalli]] in [[Krishna district]], [[Andhra Pradesh]].<ref name=":1" /><ref name=":0" /> He participated in [[Indian independence movement]] in his youth and was jailed.<ref name=":4" /> He liked [[Communism|Communist]] principles and actively participated in the works of Praja Natya Mandali.<ref name=":1" /><ref name=":4" /><ref name=":3" />

== Career ==
Krishna Murthy initially worked as a tuition teacher for the children of cinema artists in [[Chennai|Madras]].<ref name=":1" /> Then he entered into films as a production executive and worked on films like ''[[Palletooru]]'' (1952), ''[[Rojulu Marayi]]'' (1955). Returning to [[Hyderabad, India|Hyderabad]], he worked for many successful films made by [[Sarathi Studios]].<ref name=":1" />

Later, he started his own production house titled [[Ravindra Art Pictures]] and made ''[[Lakshadhikari]]'' (1963) with [[N. T. Rama Rao]] in the lead role as his first production.<ref name=":4" /> It was a big success. He made ''[[Zamindar (1966 film)|Zamindar]]'' (1966) with [[Akkineni Nageswara Rao]] and many other films like ''[[Bangaru Gaajulu|Bangaru Gajulu]]'' (1968), ''[[Dharma Daata]]'' (1970), ''Sisindri Chitttibabu'' (1971), ''Dattaputhrudu'' (1972), ''[[Doctor Babu]]'' (1973), ''Chinnanati Kalalu'' (1975), ''Amma Nanna'' (1976), ''Love Marriage'' (1978), and ''Iddaru Kodukulu'' (1982).<ref name=":4">{{cite web |date=20 November 2006 |title=Interview With Tammareddy Krishna Murthy |url=http://www.cinegoer.com/tammareddykm1.htm |url-status=dead |archive-url=https://web.archive.org/web/20061209015719/http://www.cinegoer.com/tammareddykm1.htm |archive-date=9 December 2006 |access-date=18 October 2022 |website=CineGoer.com |publisher=}}</ref><ref name=":0">{{cite web |author=M. |first=Siva Prasad Reddy |date=16 September 2013 |title=Tammareddy Krishna Murthy passes away |url=http://www.sakshipost.com/index.php/news/state/26751-tammareddy-krishna-murthy-passes-away.html |url-status=dead |archiveurl=https://web.archive.org/web/20131117141754/http://www.sakshipost.com/index.php/news/state/26751-tammareddy-krishna-murthy-passes-away.html |archivedate=2013-11-17 |website=[[Sakshi (newspaper)|Sakshi]]}}</ref><ref>{{Cite web |title=Thammareddy Krishna Murthy |url=https://indiancine.ma/ |access-date=2022-10-18 |website=Indiancine.ma}}</ref>

== Personal life ==
Producer and director [[Tammareddy Bharadwaja]], is his son. Tammareddy Lenin Babu, his other son, is also a film director.<ref name=":3" /> Krishna Murthy produced many films with Lenin Babu as a director.

==Filmography==
'''Production Executive'''
* ''[[Palletooru]]'' (1952)
* ''[[Rojulu Marayi]]'' (1955)
'''Producer'''
* ''[[Lakshadhikari]]'' (1963)
* ''[[Zamindar (1966 film)|Zamindar]]'' (1966)
* ''[[Bangaru Gaajulu]]'' (1968)
* ''[[Dharma Daata]]'' (1970)
* ''Sisindri Chittibabu'' (1971)
* ''Dattaputhrudu'' (1972)
* ''[[Doctor Babu]]'' (1973)
* ''Chinnanati Kalalu'' (1975)
* ''Amma Nanna'' (1976)
* ''Love Marriage'' (1978)
* ''Iddaru Kodukulu'' (1982)

==Awards==
*[[Filmfare Best Film Award (Telugu)]] – ''[[Dharma Daata]]'' (1970).
*[[Nandi Award for Best Feature Film|Nandi Award for Third Best Feature Film – Bronze]] – ''[[Bangaru Gajulu]]'' (1968)<ref>{{Cite web |url=http://ipr.ap.nic.in/New_Links/Film.pdf|title=నంది అవార్డు విజేతల పరంపర (1964–2008)|trans-title=A series of Nandi Award Winners (1964–2008)|publisher=[[Andhra Pradesh (magazine)|Information & Public Relations of Andhra Pradesh]]|access-date=21 August 2020 | language=Telugu}}</ref>
*[[Raghupathi Venkaiah Award]] – 2007

==See also==
* [[Raghupathi Venkaiah Award]]

==References==
{{Reflist}}

==External links==
* [https://www.imdb.com/name/nm1059562/ Krishnamurthy Tammareddy at IMDb.]

{{Raghupathi Venkaiah Award Recipients}}
{{Authority control}}

{{DEFAULTSORT:Murthy, Tammareddy Krishna}}
[[Category:Film producers from Andhra Pradesh]]
[[Category:2013 deaths]]
[[Category:1920 births]]
[[Category:Telugu film producers]]
[[Category:Film people from Krishna district]]
[[Category:20th-century Indian businesspeople]]

Binu Sasidharan

2025-04-22T21:00:21Z

FWQGina861152045: put up new info!

{{short description|Indian film maker (born 1976)}}
{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{Infobox person
| name = Binu Sasidharan
| image =Binu Sasidharan.jpg
| imagesize =
| caption = Binu Sasidharan with National award winner Salim Kumar during the production of Malayalam Film Once Upon a Time
| birth_name =
| birth_date = 17 November 1976
| birth_place = [[Aluva]], [[Kerala]]
| death_date =
| death_place =
| othername =
| years_active = 2008 – present
| spouse = Ambika Binu
| website =
| occupation = [[Film director]], Independent Consultant
}}
'''Binu Sasidharan''' (born 17 November 1976) is an Indian film maker known for his work in the Malayalam Film industry.
<ref>{{cite news|url=https://www.newindianexpress.com/cities/kochi/2013/apr/22/once-upon-a-time-470375.html|title=Once upon a time...|date=22 April 2013|newspaper=The New Indian Express|access-date=9 October 2018|first=Parvathy|last=Nambidi}}</ref>
He made his debut feature film [[Once Upon a Time (2013 film)]] which is being touted as Malayalam's first full-length animated feature film. Binu, has previously directed on an animated version of film CID Moosa (CID Moosa 007 for home video) and more recently he was the maker of Malayalam's first animated stereoscopic 3D video film for home theaters named Kuttichathan.<ref>{{cite web|url=https://timesofindia.indiatimes.com/entertainment/regional/malayalam/previews/Once-Upon-A-Time-Animation/articleshow/20225933.cms|archive-url=https://web.archive.org/web/20130706084507/http://articles.timesofindia.indiatimes.com/2013-05-23/previews/39474341_1_film-salim-kumar-animation|url-status=live|archive-date=2013-07-06|work=[[The Times of India]]|title=Once Upon A Time (Animation)}}</ref>
<ref>{{cite news|url=http://www.thehindu.com/features/cinema/adventures-of-rahul/article4742599.ece|title=Adventures of Rahul|work=The Hindu|date=23 May 2013 }}</ref>

== Early life ==
Binu was born in Desam, Aluva in Eranakulam Dist., Kerala. He completed his post graduation in commerce from Sree Sankara College, Kalady 1999.
<ref>{{cite web|url=http://www.manoramanews.com/cgi-bin/mmonline.dll/portal/ep/mmtvContentView.do?BV_ID=@@@&programId=9958892&contentId=14174675|title=Manorama News|publisher=|access-date=4 June 2013|archive-date=8 December 2013|archive-url=https://web.archive.org/web/20131208171346/http://www.manoramanews.com/cgi-bin/mmonline.dll/portal/ep/mmtvContentView.do?BV_ID=@@@&programId=9958892&contentId=14174675|url-status=dead}}</ref>

== Career ==
In 1999 after his studies, Binu started his career as a freelance designer and animator. In 2002 for a short term he also worked as a Guest tutor (web), at [[Union Christian College Aluva|Union Christian College]], Aluva.
<ref>{{cite web|url=http://www.hindu.com/2008/04/18/stories/2008041858470200.htm|archive-url=https://web.archive.org/web/20080422050054/http://www.hindu.com/2008/04/18/stories/2008041858470200.htm|url-status=dead|archive-date=2008-04-22|work=[[The Hindu]]|date=2008-04-18|title='CID Moosa' animated}}</ref> In 2004 he joined USA based MNC as Graphic Designer and later in the year 2005 he started own animation studio Wireframe animation in his own home town and at the same time started working as independent Creative consultant. In his short career of around 14 years he has worked for various Films, Advertising and Television
<ref>{{cite web|url=http://www.hindu.com/mp/2007/03/31/stories/2007033100890100.htm|archive-url=https://web.archive.org/web/20121109051356/http://www.hindu.com/mp/2007/03/31/stories/2007033100890100.htm|url-status=dead|archive-date=2012-11-09|work=[[The Hindu]]|date=2007-03-31|title=Animated 'CID Moosa'}}</ref>
<ref>{{cite web|url=http://www.hindu.com/2007/03/02/stories/2007030201410200.htm|archive-url=https://web.archive.org/web/20080304160259/http://www.hindu.com/2007/03/02/stories/2007030201410200.htm|url-status=dead|archive-date=2008-03-04|work=[[The Hindu]]|date=2007-03-02|title='CID Moosa' in animation series}}</ref>
<ref>{{cite web|url=https://www.reallusion.com/reallusiontv/featuredstory/binu.aspx|title='Featured Artist - Binu Sasidharan'|work=Reallusion}}</ref>

==Filmography==
*''[[Once Upon a Time (2013 film)|Once Upon a Time]]'' (2013)
*''CID Moosa 007''
*''Kuttichathan''

==See also==
*[[Indian animation industry]]

==References==
{{Reflist}}

{{India Animation Industry}}
{{Authority control}}

{{DEFAULTSORT:Sasidharan, Binu}}
[[Category:1976 births]]
[[Category:Living people]]
[[Category:Malayalam film directors]]
[[Category:Indian animators]]
[[Category:Indian animated film directors]]
[[Category:People from Aluva]]
[[Category:Film directors from Kochi]]

{{animator-stub}}

Bharatpedia:Userboxes/Rail transport/India

2025-04-12T16:28:15Z

FWQGina861152045: added entry

{{Wikipedia:Userboxes/Interests/navbox}}
{{main|Wikipedia:Userboxes/Galleries}}
{{see also|Wikipedia:Userboxes/Interests}}
This gallery includes '''[[Wikipedia:Userboxes|userbox]] [[Help:Template|templates]] about [[Rail transport in India]]'''.
{{shortcut|WP:UBX/RAIL|WP:UBX/RAILWAYS}}
{{Wikipedia:Userboxes/info}}

==India==
{{yytop}}
{{yy|User Chennai Metro}}
{{yy|User:Feroze Ahmad 2/Userboxes/Chennai Suburban Railway}}
{{yy|User Delhi Metro}}
{{yy|User:Feroze Ahmad 2/Userboxes/Delhi Suburban Railway}}
{{yy|User Jaipur Metro}}
{{yy|User Kochi Metro}}
{{yy|User Kolkata Metro}}
{{yy|User:Feroze Ahmad 2/Userboxes/Kolkata Suburban Railway}}
{{yy|User Mumbai Metro}}
{{yy|User Mumbai Monorail}}
{{yy|User:Feroze Ahmad 2/Userboxes/Mumbai Metro}}
{{yy|User:Feroze Ahmad 2/Userboxes/Mumbai Suburban Railway}}
{{yy|User Namma Metro}}
{{yy|User:Feroze Ahmad 2/Userboxes/Pune Suburban Railway}}
{{yyend}}

===Indian Railways===
{{yytop}}
{{yy|User:Feroze Ahmad 2/Userboxes/Indian Railways}}
{{yy|User:Feroze Ahmad 2/Userboxes/Duronto Express}}
{{yy|User:Feroze Ahmad 2/Userboxes/Garib Rath Express}}
{{yy|User:Feroze Ahmad 2/Userboxes/Humsafar Express}}
{{yy|User:Feroze Ahmad 2/Userboxes/Jan Shatabdi Express}}
{{yy|User:Feroze Ahmad 2/Userboxes/Rajdhani Express}}
{{yy|User:Feroze Ahmad 2/Userboxes/Shatabdi Express}}
{{yy|User:4-RAZOR 01/VB-blue}}
{{yy|User:4-RAZOR 01/VB-Orange}}
{{yy|User:4-RAZOR 01/VB}}
{{yyend}}

{{Wikipedia:Userboxes/Interests/footer}}

[[Category:Userbox galleries|Indian railways]]

Vithal Palwankar

2025-04-04T01:15:36Z

FWQGina861152045: minor cleanup

{{Short description|Indian cricketer (1884–1971)}}
{{more citations needed|date=July 2021}}
{{Use dmy dates|date=April 2023}}
{{Use Indian English|date=July 2013}}
{{Infobox cricketer
| name = Vithal Palwankar
| image =
| country = India
| fullname =
| nickname =
| birth_date = 1884 or 1886
| birth_place = [[India]]
| death_date = 26 November 1971
| death_place = [[Mumbai|Bombay]], India
| heightft =
| heightinch =
| batting =
| bowling =
| role = Batsman
| family = [[Palwankar Baloo]] (brother) [[Palwankar Shivram]] (brother) [[Palwankar Ganpat]] (brother) [[Yeshwant Palwankar]] (nephew)
| club1 = [[Hindus cricket team|Hindus]]
| year1 = 1910–11 to 1928–29
| columns = 1
| column1 = [[First-class cricket|First-class]]
| matches1 = 44
| runs1 = 2404
| bat avg1 = 35.35
| 100s/50s1 = 5/11
| top score1 = 149
| deliveries1 = 12
| wickets1 = 0
| bowl avg1 = –
| fivefor1 = –
| tenfor1 = –
| best bowling1 = –
| catches/stumpings1 = 16/–
| date = 1 July 2016
| source = https://cricketarchive.com/Archive/Players/41/41336/41336.html CricketArchive
}}
'''Vithal Palwankar''' (1884 or 1886 – 26 November 1971) was an Indian [[cricketer]] and a captain of the Hindus team. Vithal led the team to victories over the Mohammedan and European teams, where his captaincy and personal performance were praised. His four-year tenure (1923 to 1926) as captain was filled with similar successes and culminated with the Hindus winning the Quadrangular trophy.[1] He was the younger brother of the Indian [[spin bowler]] and activist [[Palwankar Baloo]]; his other brothers [[Palwankar Shivram]] and [[Palwankar Ganpat]] were also cricketers.

==Early years==
Vithal was introduced to cricket by his brother Baloo, who later sent him to attend the [[Elphinstone College]] High School in [[Mumbai]] (then Bombay), where he began playing cricket seriously. He is credited with being the first [[Chamar]] caste<ref>{{Cite book |last=Mills |first=James H. |url=https://books.google.com/books?id=3gwJrF7yvDMC&dq=Vithal+palwankar+was+a+chamar&pg=PA90 |title=Subaltern Sports: Politics and Sport in South Asia |date=2005 |publisher=Anthem Press |isbn=978-0-85728-727-4 |page=90}}</ref>[[captain (cricket)|captain]] of the [[Hindus]] cricket team in the [[Bombay Quadrangular]] [[cricket]] competition.

==Prominence as a cricketer==
In the following years, Vithal rose in the ranks of Indian cricketers as a stylish and skilled [[batsman]], even as his elder brother Baloo enjoyed legendary status as a successful spin bowler. Despite the controversy over Baloo being passed over for the captaincy of the Hindu team, which was attributed by many to politics and caste discrimination, Vithal's career continued to progress. With his elder brothers ageing and approaching retirement, Vithal emerged as the future of the Palwankar family in cricket as well as one of the best talents in Indian cricket. In 1920, he and several other players protested the appointment of a [[Brahmin]], [[D. B. Deodhar]], as captain following the illness of the incumbent, M. D. Pai; with Baloo being dropped, most considered Shivram and Vithal to be the most senior players and leading candidates for the job. Critics attributed Deodhar's appointment to caste discrimination, and both Palwankar brothers, along with other rank-and-file cricketers withdrew from the team after publishing a letter making their protest public and criticising the selection committee for the "unsportsmanlike" decision. Supporters, rallied by the ongoing campaign against untouchability led by [[Mahatma Gandhi]] and other political leaders, raised money for the Palwankar brothers and petitioned for their inclusion in the team. When the recovered Pai returned to captaincy, both brothers were reinstated and Baloo selected to join the team as well. The brothers protested again when they were by-passed for the captaincy for the 1922 competition that was held in [[Pune]].<ref name="Dilip K. Menon 2007">Dilip K. Menon, ''Cultural History of Modern India'', chapter 1 Ramachandra Guha: ''The Heroic Struggles of the Palwankar Brothers''. pgs 1–32. 2007, Bergahn Books.</ref>

==Captaincy==
With the campaign against caste discrimination gaining nationwide support, the selection committee for the 1923 Quadrangular made history by appointing Vithal as the captain of the Hindus team, making him the first lower-caste Hindu to lead the team. Vithal led the team to thrilling victories over the [[Mohammedan]] and European teams, where his captaincy and personal performance were praised. His four-year tenure (1923 to 1926) as captain was filled with similar successes and culminated with the Hindus winning the Quadrangular trophy.<ref name="Dilip K. Menon 2007" />

Being dropped in favour of younger players in 1929,<ref name="Dilip K. Menon 2007" /> Vithal continued playing for clubs before retiring from first-class cricket in 1932; his nephew Y. B. Palwankar also played first-class cricket.<ref name="Cricket Archive">[https://cricketarchive.com/Archive/Players/41/41336/41336.html Cricket Archive]</ref> He left the Hindus two years before the formation of the first [[Indian national cricket team]]. After his retirement he continued with his job at the Greater Indian Peninsular Railway, which he had joined after leaving school, while his eldest brother, Palwankar Baloo rose in Indian politics. Vithal died in Bombay on 26 November 1971.

==Vijay Merchant's views==
[[Ramchandra Guha]] writes that [[Vijay Merchant]], as a young boy, considered Vithal as his "hero and role model". He quotes Merchant writing: {{blockquote|Vithal': a slim, alert personality with that well-known green tweed hat on his head and a gracefully held bat in his hand that would swing easily when he reached the wicket ... From thousands of cricket lovers there would come the spontaneous cry: 'there comes Vithal'." "'Vithal': the moment one heard the name ... spectators would visualise all the grace and charm of Indian batsmanship ... With supple wrists, keen vision, perfect judgement of flight and agile footwork, Vithal had mastered the art of [batting]. He used to play his strokes with ease whether in front of the wicket or behind it. But one superb stroke of his that I cannot forget is the cover drive. Nowadays a lot of effort and power goes into this stroke because of the off-side cordon. But due to his timing Vithal used to score more runs on this side of the wicket, effortlessly, through perfect coordination of wrist and leg movements ... He used to score fast because of his art of placing the balls in the gap.}} On his death Merchant wrote to the Palwankar's son; "Very few of his generation , with the handicap that he suffered from (so called "low-caste"), would have risen to such heights but for great determination and outstanding talent."<ref name="Guha-20111126">{{cite web|url=http://www.espncricinfo.com/magazine/content/story/541736.html|title=The other side of Merchant|last=Guha|first=Ramachandra|date=2011-11-26|publisher=ESPNcricinfo|access-date=31 March 2012|location=London }}</ref>

==References==
{{reflist}}

==External links==
*{{cricketarchive|id=41336}}
*{{cricinfo|id=35913}}

==Further reading==
*''A Corner of a Foreign Field'', [[Ramachandra Guha]], Picador India, 2002
*His autobiography, ''Majhe Crida Jeevan''

{{DEFAULTSORT:Palwankar, Vithal}}
[[Category:1880s births]]
[[Category:1971 deaths]]
[[Category:Indian cricketers]]
[[Category:20th-century Indian sportsmen]]
[[Category:Hindus cricketers]]
[[Category:Cricketers from Maharashtra]]
[[Category:Marathi sportspeople]]

Bhalia wheat

2025-01-04T11:12:01Z

FWQGina861152045: stub

{{Short description|Type of wheat}}
[[File:Bhaaliya Wheat field1.jpg|thumbnail|Farm of Bhal region with Bhalia Wheat crop.]]
[[File:Bhalia Wheet.jpg|thumbnail|Bhalia Wheat in the market for sale.]]
'''Bhalia Wheat''', also known as''' Daudkhani Wheat''' is a type of long grain [[Wheat]] cultivated in [[Bhal region]] in the north of [[Gulf of Khambhat]], [[Gujarat]], India. It received registration as [[Geographic Indication]] in 2011.<ref name="db">{{Cite news|url = http://www.divyabhaskar.co.in/news/MGUJ-AHM-c-69-784023-2357368.html|title = કેસર કેરી પછી હવે ભાલીયા ઘઉંને 'જીઆઇ' ટેગ અપાયો|work = દિવ્ય ભાસ્કર |language=gu |date = 16 August 2011 |accessdate=26 January 2016 |author= Gautam Purohit}}</ref>

== Location ==
Bhal region is situated between [[Ahmedabad]] and [[Bhavnagar]] districts<ref name="gm2011">{{cite web | title=GI tag for Gir Kesar mango, Bhalia wheat | website=The Times of India | date=28 July 2011 | url=http://timesofindia.indiatimes.com/city/ahmedabad/GI-tag-for-Gir-Kesar-mango-Bhalia-wheat/articleshow/9390931.cms | accessdate=27 January 2016}}</ref> where this wheat are cultivated starting much before independence of India.<ref name="Watt2014">{{cite book|author=George Watt|title=A Dictionary of the Economic Products of India|url=https://books.google.com/books?id=HChOAgAAQBAJ&pg=PA136|date=23 January 2014|publisher=Cambridge University Press|isbn=978-1-108-06881-9|page=136}}</ref> They are widely cultivated in [[Dhandhuka]], [[Dholka]] and [[Bavla]] [[taluka]]s of Ahmedabad district; [[Limbdi]] of [[Surendranagar district]]; Vallabhipur of [[Bhavnagar district]]; Tarapur and Khambhat of [[Anand district]]; Matar of [[Kheda district]]; [[Jambusar]] and [[Vagra]] of [[Bharuch district]].<ref name="th"/>

Bhalia Wheat were registered as [[Geographic Indication]] in 2011 with help of state-run Gujarat Agro Industries Corporation and [[Anand Agricultural University]]. They are widely used for preparing [[semolina]] which is used for making [[pasta]], [[macaroni]], pizza, [[spaghetti]], [[vermicelli]], noodles etc. Gujarat Wheat-1, a variety of Bhalia Wheat, is popular in Gujarat.<ref name="th"/>

== Production ==
The sowing starts in late October to the first week of November after rain water gets drained to the gulf. The produce is reaped in March — April. Every year 1.7 to 1.8 [[Lakh]] ({{convert|170,000|to|180,000|MT|LT|disp=out}}) of wheat is produced across {{nowrap|2 lakh}} hectares ({{convert |200,000|ha|acres |disp=out}}). Bhalia wheat does not require irrigation or rain as they are cultivated on conserved soil moisture.<ref name="th"/>

== Nutrition ==
Bhalia Wheat are rich in [[gluten]], a type of [[amino acid]]. It is also rich in protein. It has high amount of [[carotene]] and has low absorption of water.<ref name="th">{{Cite news|url = http://www.thehindubusinessline.com/economy/agri-business/bhalia-wheat-gets-gi-tag/article2358793.ece|title = Bhalia wheat gets GI tag|work = Business Line - The Hindu|date = 15 August 2011|accessdate = 26 January 2016}}</ref><ref name="ie">{{Cite news|url = http://archive.indianexpress.com/news/geographical-indication-tag-for-bhalia-wheat/833018/0|title = Geographical Indication tag for Bhalia wheat|work = The Indian Express|date = 17 August 2011|accessdate = 26 January 2016}}</ref>

== References ==
{{Reflist}}

[[Category:Cereals]]
[[Category:Wheat cultivars]]
[[Category:Gujarati cuisine]]
[[Category:Geographical indications in Gujarat]]

Chhota Bheem and the Incan Adventure

2024-12-20T01:03:08Z

FWQGina861152045: created redirect page

#REDIRECT [[Chhota Bheem]]

[[Category:Chhota Bheem]]

L. Basavaraju

2024-07-11T13:49:40Z

FWQGina861152045: typo fix

{{short description|Indian writer, scholar and critic}}
{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{Infobox writer
| name = L. Basavaraju
| embed =
| image =
| caption =
| native_name =
| native_name_lang =
| pseudonym =
| birth_name = Lingappa Basavaraju
| birth_date = {{Birth date|1919|8|5|df=yes}}
| birth_place = Idagur, [[Chikkaballapur district|Chikkaballapur]], [[Madras Presidency]], [[British India]]
| death_date = {{Death date and age|2012|1|29|1919|8|5|df=yes}}
| death_place = [[Mysore, Karnataka]], India
| occupation = Writer
| language = Kannada
| alma_mater = [[University of Mysore]]
| period =
| genre = 
| subject = 
| movement =
| notableworks = 
| spouse = B. Vishalakshi {{small|(till 2012; his death)}}
| children = 2
| awards =
| signature =
| signature_alt =
| years_active =
}}

'''Lingappa Basavaraju''' (5 August 1919 – 29 January 2012),<ref>{{cite web|title=L. Basavaraju passes away|url=http://www.thehindu.com/todays-paper/tp-national/tp-karnataka/L.-Basavaraju-passes-away/article13387994.ece|work=The Hindu|access-date=25 March 2017|date=31 January 2012}}</ref> commonly known as '''L. Basavaraju''' or '''LB''', was an Indian scholar, writer, critic and researcher in [[Kannada language|Kannada]]. He was the author of over 56 works and his contribution to Kannada literature spread over 40 years.

==Early life and education==
Basavaraju was born in Idagur a small village in Chikkaballapur district. After receiving early education in Idagur, Siddaganga and Bangalore, he moved to Mysore for higher education. He obtained B.A (Hons) (1946) and M.A. (1951) degrees in Kannada from the University of Mysore. He was awarded a D.Litt. degree from the same university for his work ‘Shivadasa Geetanjali’. After an early stint of teaching at Davanagere and The Yuvaraja's college, Mysore, Basavaraju joined the Institute of Kannada Studies in the University of Mysore in 1967 and retired in 1979.

==Literary works==
Basavaraju revolutionized textual criticism by aiming to make classical Kannada literary and scholarly works accessible to those unfamiliar with old Kannada. His innovations included creating simplified prose versions of key texts and reorganizing ancient poems into their morphological components, enhancing readability with appropriate punctuation. Prior to these advancements, he meticulously studied old paper manuscripts and palm leaf texts to uncover their original versions. Basavaraju's selection of works was inclusive, covering Jaina classics like Adipurana, Buddhist masterpieces such as Ashvaghosha's 'Buddhacharita,' and other significant works like Toraveya Ramayana and Shabdamanidarpana. His approach was characterized by a commitment to secularism and a dedication to preserving and presenting Kannada's rich literary heritage.

The works edited by L.Basavaraju include:-
*Basaveshvara Vachanasangraha (1952)
*Allamana Vachanachandrike (1960)
*Shivadasa Geethanjali (1963)
*Basava Vachanamrutha (In two parts) (1964, 1970 and 1989)
*Akkana Vachanagalu (1966)
*Allamana Vachanagalu (1969)
*Basavannanavara Vachanagalu (1996)
*Basavannanavara Shatsthalada Vachanagalu (1990)
*Devara Dasimayyana Vachanagalu
*Sarvajnana Vachanagalu (‘Paramartha’) (1972)
*Bedagina Vachanagalu (1998)
*Shivaganaprasadi Mahadevayyana Prabhudevara Shunyasampadane (1969)
*Kalyanada Mayidevana Shivanubhava Sutra (1998)
*Pampana ‘Adipurana’ (1976)
*Pampana ‘Sarala Pampabharata’ (1999)
*Pampana ‘Samasta Bharatha Kathamrutha’ (2000)
*Pampana ‘Sarala Adipurana’ (2002)
*Pampana Adipurana Kathamrutha (2003)
*Rannana ‘Sarala Gadayuddha’ (2005)
*‘Chikkadevaraya Saptapadi’ by Tirumalarya (1971)
*‘Torave Ramayana Sangraha’ (1951)
*‘Sarala Siddaramacharite’ (2000)
*Raghavankana ‘Sarala Harishchandra Kavya’ (2001)
*‘Kannada Chandassamputa’ (1974)
:(This is an edited work, containing all the four ancient Kannada works on prosody. They are ‘Chandombudhi’ by Nagavarma, ‘Kavijihvabandhana’ by Eshvara Kavi, ‘Chandassara’ by Gunachandra and ‘Chandornava’ by Veerabhadra.)
*"Keshirajana Shabdamanidarpana’ (1986)

L.Basavaraju has translated a few works from Sanskrit. They are
*‘Buddhacharite’ by Ashvaghosha (2000)
*‘Soundarananda’ by Ashvaghosha (2000)
*Bhasana ‘Bharata Rupaka’ (1958)
*‘Natakamrutha Bindugalu’ (1958)
*‘Ramayana Nataka Triveni’ (1958)
:(Translation of three plays by Bhasa including ‘Pratima Nataka’)
*‘Nijagunashivayogiya Tatvadarshana’ (1961)
:(Prose rendering of six philosophical treatises of Nijaguna Shivayogi)

Basavaraju took to creative writing at the age of seventy five and published three collections of poems namely ‘Thanantara’, (1994) (TANAnthara) ‘Jalari’ (jAlAri) (1995) and ‘Chayibaba’ (cAyibAbA) (2005).

===Works on the life of LB===
Critic [[C. P. Siddhashrama]] has written a book, ''L. Basavaraju Avara Jeevana Mattu Sahitya Vimarshe'' (2005).

Writer Kupnalli M. Byrappa has written the book ''Janamukhi: Prof. L. Basavaraju Avara Kruthishodha''.

==Death==
Basavaraju died on the night of 29 January 2012 at Mysore.<ref>{{Cite news|url=https://www.deccanherald.com/content/223261/writer-l-basavaraju-dead.html|title=Writer L Basavaraju dead|work=Deccan Herald|date=30 Jan 2012|access-date=31 Jan 2021}}</ref>

== Awards ==

He received several awards, including:

* 1977 - Karnataka Sahitya Academy.
* 1994 - Kannada [[Rajyothsava Award]]
* 1994 - [[Karnataka Sahitya Akademi Award for Poetry]] for ''Thaanaanthara''
* 2000 - [[Sahitya Akademi Translation Prize|Sahitya Akademi Prize for Translation]] in Kannada.
* 2005 - Bhasha Samman conferred by Central Sahitya Akademi.
* 2005 – [[Basava Puraskara]]
* 2008 - Nadoja Award by [[Kannada University]]<ref>{{cite news|title=Bellary: 'Nadoja' Awards Announced|url=http://www.daijiworld.com/news/news_disp.asp?n_id=55133&n_tit=Bellary:+'Nadoja'+Awards+Announced|access-date=15 December 2010|newspaper=Daiji World|date=25 December 2008}}</ref>

The other awards conferred on him are Chidhananda Award, Prof. Sam.Shi. Bhusanur Mutt Foundation Award, Pampa Prashasthi and the Chavundaraya Award. The areas of his specialization included textual criticism, prosody, literary research and translation. He tried his hand in poetry as well and published three collections.

==References==
{{Reflist}}

{{Authority control}}

{{DEFAULTSORT:Basavaraju, L.}}
[[Category:Literature of Karnataka]]
[[Category:People from Kolar]]
[[Category:1919 births]]
[[Category:2012 deaths]]

Kerala Veterinary College, Mannuthy

2019-03-23T05:04:44Z

FWQGina861152045: Starting New Stub

#REDIRECT [[College of Veterinary and Animal Sciences, Mannuthy]]

{{R from move}}