By Harsha Man Maharjan
We talk big. We have big problems in Nepali media. We know there is cartel among media owners. These owners want to evade trade union in their organizations. What are the remedies? We can’t change these maladies in a day . But small things we can do. This is what I came to know from the program organized by Martin Chautari and Alliance of Social Dialogue (ASD) on 20 August 2009.
What are characteristics of reporters, sub-editors, editors etc ? What is news and newsvalue ? There were the questions I needed to tackle at the exam after I joined Journalism and mass communication. I know these are the basic of journalism.
Yet working young journalists told that desk never consult them during editing. No doubt reporters go to the field and they know the subject best. But people at desk feel uncomfortable to consult reporters. It is against the basic of journalism. Some young journalists informed that people in desk never give feedback to them. “How can we learn?” they questioned. There question is genuine. But these basic of journalism is absent in Nepalese print media.
24 August 2009
18 August 2009
Manuscript for Film Development Paid but Not Published. .
By Harsha Man Maharjan
During direct rule of then king Gyanendra, I had heard that film Development Board is preparing a manuscript of film history of Nepal. On 16 August 2009 I met Chetan Karki. He was the author of that manuscript. And the manuscript is still with him. FDB showed no interest on the manuscript.
It is about the role of monarchy for development of cinema in Nepal. This issue is always debatable. Now it is fact that then king Mahendra had special interest in arts and creative activities. And he definitely did contribution for development of cinema in Nepal. There is another factor too. D.B.Pariyar made cinema in time of Mahendra’s father Tribhuwan. Few historian thinks that royalist film historians begin Nepali film history from Aama not Satya Harischandra only to praise then king Mahendra. But nobody can deny that Satya Hrischandr was made in India and Aama is the first Nepali cinema made in Nepal. And then king Mahendra wanted to use cinema as propaganda tool. And he did it. To propagate Aama he organized mobile team to show this film in different places of Nepal.
Chetan Karki is searching publisher for the manuscript. He knows FDB folk would deny his argument. But why are we afraid to give the devil his due?
During direct rule of then king Gyanendra, I had heard that film Development Board is preparing a manuscript of film history of Nepal. On 16 August 2009 I met Chetan Karki. He was the author of that manuscript. And the manuscript is still with him. FDB showed no interest on the manuscript.
It is about the role of monarchy for development of cinema in Nepal. This issue is always debatable. Now it is fact that then king Mahendra had special interest in arts and creative activities. And he definitely did contribution for development of cinema in Nepal. There is another factor too. D.B.Pariyar made cinema in time of Mahendra’s father Tribhuwan. Few historian thinks that royalist film historians begin Nepali film history from Aama not Satya Harischandra only to praise then king Mahendra. But nobody can deny that Satya Hrischandr was made in India and Aama is the first Nepali cinema made in Nepal. And then king Mahendra wanted to use cinema as propaganda tool. And he did it. To propagate Aama he organized mobile team to show this film in different places of Nepal.
Chetan Karki is searching publisher for the manuscript. He knows FDB folk would deny his argument. But why are we afraid to give the devil his due?
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