User:StudentUsername23/Shamim Ara/Bibliography

Annotated Bibliography

Niyogi De, Esha “Corporeal Wishes and Trans-Urban Cinema in Pakistan: Women in Action in 	an Islamising State.” Essay. In Urban Utopias: Memory, Rights, and Speculation, edited 	by Barnita Bagchi, 165–84. Jadavpur, Kolkata: Jadavpur University Press, 2020.

Source foud:I found this source through Google Books searching for Shamim Ara articles.

Source summary: included topics and specfics:

This article covers topics related to women's cinema in Pakistan. It explores the themes in Shamim Ara’s ‘Miss’ Franchise, particularly, Miss Hong Kong, Miss Istanbul, Lady Smuggler and Miss Colombo, and Miss Singapore. Films that are renowned for articulating complex female leads, alternatives to stereotypical portrayals of Lollywood Heroines. Shifting from consistently showing audiences women as victims and secondary to their own autonomy. Shamim Ara’s movies display women as “martial artists gun-slinging action heroes”. The stories of these women are complex in their individual narratives, openly displaying women taking charge of their lives in the same typical contexts where a man would solve the conflict through violence (via a hero’s journey narrative). This article examines Shamim Ara’s directorial films as they expand the portrayal of women in media, particularly showing the representation of Pakistani women having more governance of their lives when mediating conflicts initiated (or that would typically be mediated) by men. And culturally expanding female agency. Additionally, it acknowledges the cultural influences through Pakistan's expanding piracy industry and the new genres influencing Pakistani audiences. Additionally, this article highlights  the influences on cinema being produced in the 1960s-1980s as the political regime at that time had significant censorship within media being domestically produced. This article goes one to explain how Shamim Ara had to meet specific guidelines with her scripts and films to advertise them as family-friendly, yet still able to produce an alternative message in terms of women's liberation and an overall consistent theme of fighting tyranny as a cultural critique of their government. This article explains how Shamim Ara’s movies are inexplicably films made by women for women, narratively concerned predominately for women. These films were shot in various cross-boarder locations throughout south-east Asia.


 * 1) Assesing the source quality:


 * 1) This is an exceptionally reliable source the author has written many different publications related to women's studies, feminist perspectives, and the examination in media specifically related to South-Asian Cinema, multiple of which are peer-reviewed. Esha De Niyogi is an expert critic on the Pakistani Film Industry who on multiple occasions examined films from the industry through the 1950-1990s. She is a visiting professor at the University of California, as an English Lecturer, and faculty member in the Women’s Study Program at UCLA. She has independently also written Autonomous Woman: A Feminist Critique of Postcolonial Thought, and edited multiple publications related to the South-Asian film industry in critical analysis. I would consider this a very reliable source and completely independent from both the film industry and Shamim Ara’s career. Esha De Niyogi engages with Shamim Ara’s works strictly in an analytical view, either for critical engagement or using it as a reference for cultural influence in the specific periods of time in relation to women's representation in media or liberation movements. I would consider this source completely unbiased.


 * 1) Reflect on the source (How will it contribute to your Wikipedia entry?)


 * 1) This article also discusses her films in their production and provides interviews with her family, cast, and crew from several movies. It supports her ideals for feminism in media and adds to her legacy as a director. Mostly this article will contribute to my Wiki entry by providing supporting details of her directing career and all the cultural significance in her movies adding to her legacy and the more accurate depiction of her career as compared to her current wiki page which is missing a lot of information from her directorial pursuits. It supports the cultural environment Shamim Ara was in when creating her Miss Franchise.


 * 1) Specfically I will use this source as evidence for:

Niyogi De, Esha. “Female-Star-Authorship across South Asia: Genres and Controversy 	on Pakistani and Indian Screens.” Feminist Media Studies 22, no. 4 (May 19, 	2022): 848–65. doi:10.1080/14680777.2020.1815231.


 * Source found: I found this article through the Carleton MacOderm Library search database.
 * Article topics: summary: This article covers similar themes as in Esha Niyogi’s other works, and some are even referenced as supporting her analysis. Particularly this article covers an in depth analysis and criticism between two female director/producers in South-Asia, Shamim Ara from Pakistan and the specific film Lady Smuggler is used in a direct comparison with director-producer  BLANK AND HER MOVIE BLANMK.  in the cross examination of these two South-Asian actresses who in a similar time period were some of the few female directors/producers in South-Asian cinemas. Esha N, does a comparison of the themes and motifs used in both films, and does an examination of the differing attitudes or styles that each director used with their individual narratives, and specifically how that influenced their respective cultures but also as how these two stars were able to begin the legacy and foundation in South-Asian cinematic history for female-star-authorship; this article exploring the meaning and critical examination of what is female-star-authorship and how in their respective sorties and directorial designs, that there is a space to examine the formation and creation of female centric stories that are also being told by women. In the specific examination of Shamim Ara it is made evident that she uses a more subtle and fantasy form in displaying the want for women’s rights, by using what's described as a juxtaposition representation of women in her films. Where the story elements still (socio-politically) were required to adhere to ‘family-friendly’ content (in the sense that it adhered to respecting Islamic values, not directly criticizing the government, and remaining applicable to all audiences) as we know Shamim Ara’s heroines were often mirroring similar elements in masculinized behaviors, violence, and language, these women were still only narratively able to begin these quest through the loss of patriarch. While Shamim Ara’s films in many scene show women taking conflicts into their own hands and fighting for their rights, it was often to avenge their patriarch to in some semblance ‘fight’ back for their right to adhere to what's typical in female narratives in South-Asian cinema. In the contrast where a woman can be seen using martial arts and gun violence to fight men, there’s no direct conflict in these women having issues with their existing patriarchs and the systemic conditions that they impose. These is heavily contextually based within the specific stories and what their overarching narrative goals are, but it can be assumed this is to adhere to film production guidelines related to media censorship that in regards to an inadequate rendition of feminist ideals.

This is a reliable source as mentioned above, Esha De, Niyogi is an expert in the field of feminist literature and has multiple peer reviewed articles in the examination of Souht South-Asian Cinema in relation to female representation within the industry.

How will it contribute:

Specfically I will use this source as evidence for:

Niyogi De, Esha. “Women’s Action Cinema in Pakistan: Fighting Bodies and Arts of Difference.” Third text 35, no. 3 (2021): 373–387.

Source found:

Source topics/summary: This article examines the history of Pakistani cinemas, exploring the periods of the 1970s onwards, in relation to its influence and representation of women. By exploring the cultural infilences at the time, specfically examining the global and domestic circumstances, pakistans poltical regime under miltant Islamic rule, the socico-polotical influence of the west, and the cold war. These are some overarching topoics that are disccused within this article, but the article takes a specfic focus on the womens rights movmenets in pakistan during the 1970s-1990s, and its corrisponding representation in media. Esha Niyogi takes specfic reference of Shamim Ara and her films during these pivitoal cultural moments. In examining the influence of Shamim Ara’s Miss franchise, this article pays reference to ‘Miss Hong Kong (1979), Miss Colombo (1984), Miss Singapoore (1985), Lady Smuggler (1987), MIss Commando (1989).’ this article takes a critical view of the bilateral influence between culture and media, in regards to Shamim Ara’s films, the influence her female leads and narritives have had on the urban-pakistani women at the time, in the purposeful portrayal of ‘

Her action heroines did more then just portray women fighting against patriarchal norms but often were (in an analytical lenses) almost mirroring the mescaline behaviors, that female heroines were typically subjected too. While still creating a ‘female homosocial space’, where these women were still seen as emotionally and mentally nurturing to one another, their actions to solve their dilemmas or conflicts were acted out in a similar fashion as to their male-action hero counter parts. Coupled with the interviews, referenced in this article, Shamim Ara had been confronted multiples times with inquires for her abnormal/alternative portrayal of women in cinemas. And consistently her responses were to promote female agency, to shift from women in their lives and on screen to only witness abuse or hopelessness, in an alternative Lense she wasn’t show women as being ‘waywardly’ they had power and rights. In order to adequately promote the progress she wanted women to feel in their own prerogative/narratives, Shamim ara felt that there needed to be a shift in the way that she portrayed these women, and unfortunately it meant taking a transition from the typical heroines Pakistan was used to seeing, especially from the ones she herself most famously played during the ‘Golden Years’ of Pakistani Cinema.

This article discusses, interviews with Shamim ara, her family, her peers, other academics who critically engage with her content, there is social reference of cultural influences, politically in both a global and domestic view (women's lib movements, fighting against censorship laws, autonomy, etc.) there is also discussion of the social realms of how movie theatres were more a male-dominated space, and how there was massive events of domestic pirating within Pakistan and of Pakistani move is being overly pirated/produced internationally.

There is specific reference to Shamim Ara’s movies, thematically, in narratives, critical analysis, and her as a director. Most importantly this article highlights one of the largest issue with examining Pakistani cinema is that there is no long standing achieve. Many films exist unaccredited or recorded in for historical records, many of the information is missing or difficult to track down. With the technological advancements we have today there is still an issue with creating an accurate backdated historical log of Pakistani cinema.

Source reliabilty:

How will it contribute:

This article will contribute to my wikipeida entry by providing the supporting evidnece for Shamim Aras notability, her attempts in using films to show the cultural need for progression in women liberation. It shows the different elements in which she used her movies to showacase her personal ideals, while also remaining applicable to a general audience.

Specfically I will this source as evidence for:


 * 1) I found this article through a student journal portal, a search database.


 * 1) I found this source through McOderm Library search.


 * 1) This article covers topics related to … using Shamim Ara’s films as an example to 	expand on the Pakistani film industry in the 1960s onwards. Also highlights the socio-	political events of the time, Pakistan's heavy censorship in media and how Shamim Ara 	was able to produce movies that met these standards and still push forward progressive 	narratives in female agency and feminist themes.

Niazi, Zuraiz Ur Rehman. “Rang Sazi: Introduction and Evolution of Color Film Technology in Pakistan.” Lahore University of Management Sciences, February 25, 2020. https://reelpakistan.lums.edu.pk/sites/default/files/user376/reel_pakistan_vol_1_2020-4_niazi.pdf.


 * 1) FIRST COLOR FILM REFERENCE


 * 1) Explain how you found the source

I found this article searching for the first ever full-color feature film in Pakistan after reading in a news/blog article that Shamim Ara had been one of the first actresses to pioneer new phases in the Pakistani film industry. This article was found through Google, and the Lahore University Management Sciences publications.


 * 1) Summarize the source (What topics does it cover?)

This article covers the technological advancements through the 1960-1980s in the Pakistani Film Industry. It also highlights the importance of color in film alongside the changes in production and

It covers the importance of color feature films analytically, socially, the impacts in media and story telling, while also discussing the technical advancements and progression of the technology in film. There is also a comparison of how color films strips develop over time in comparison to its first use in the 1960s and throughout the years.


 * 1) Assess the source (How reliable and independent is it? Why or why not?)

This is a reliable and reputable source it is published by the Lahore University of 	Management Sciences – LUMS, a respected institution and is a peer-reviewed article. It also using references from Oxford University and other reupitable sources.


 * 1) Reflect on the source (How will it contribute to your Wikipedia entry?)

This article will add to my wiki entry by providing supporting evidence that Shamim Ara was the first female actor to star in one of the first full-color film in Pakistan. It adds to her legacy of stardom and her tenacity to push boundaries towards progressive new cultural states.

Hwo will this source ocntribute to my article:

This source is valuable in providing the supporting evidence needed to confirm that Shamim Ara was the first female actor to star in a full color feature film in Pakistan (MOVIE NAME?YEAR), and supporting that the movie was also a blockbuster hit with audiences. Subsequently she was also the first actress to sing in a full color video. (SONG< MOVIE< SONG WRITER).

Morrison, Dixie. 2020. “Shamim Ara V. State of U.P. & Anr (Supreme Court of India 		2002) and the ‘Judicialization’ of Divorce”. Journal of Islamic Law 1 (1). https://doi.org/10.53484/jil.v1.morrison.


 * 1) HER PERSONAL LIFE REFERENFCE FOR DIVORCE, AND ADDDTIONAL FACTS OF SETTING LEGASL PRESIDENT.


 * 1) Where I found it:


 * 1) I found this source by checking the references of an article I found that referenced Shamim Ara’s divorce, through those sources I was able to find this aritcle relaying the legal events that took place in her case 2002 Indian supreme court.


 * 1) Source summary:


 * 1) Author reliability


 * 1) This is a reliable source of information, written by Dixie Morrison Harvard Law School JD candidate on the Harvard Law Journal under Islamic Law Journals. She has a BA in Politics and worked aside a US senator (Dianne Feinstein) as an aid for economic policy work in Washington DC.




 * 1) What does it contribute:

An additional source covering the specifics of the Shamim Ara v. State U.P case of 2002. The exact elements of the case with detailed judiciary responses.

Siddiqui, Sohaira. “Triple-Ṭalāq and the Political Context of Islamic Law in India.” Journal of Islamic Law 2, no. 1 (August 11, 2021): 1–28. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3898141.


 * 1) Explain how you found the source


 * 1) ADDITONAL ON HER DIVORCE/PERSONAL LIFE INFORMATION

I found this source through google and the SSRN database. Searching for supporting evidence in the Shamim Ara divorce case.


 * 1) Summarize the source (What topics does it cover?)

This text contains the cultural and legal importance of the Shamim Ara v. State of U.P case that set the president for divorce practice and legalizes in India expanding on Muslim women's rights. And the socio-political spheres regarding the legal rights of Muslim Women in India, specifically in regard to divorce, and the cultural phenomena of men abandoning their families using religious justification.


 * 1) Assess the source (How reliable and independent is it? Why or why not?)

This is a reliable source it is an academic legal journal published by Georgetowne University covering multiple cases.


 * 1) Reflect on the source (How will it contribute to your Wikipedia entry?)

It will contribute to my wiki entry by providing the needed information to support the events that took place in  Shamim Ara’s personal life. And show the cultural importance of her taking this stand and her ex-husband to court. It help set a precedent in court aiding in the rights of Muslim women at the times, and setting a standard for divorce proceedings. It was a huge social and political event, both in the sphere of female rights and protections but also in legal history. This adds to Shamim Aras legacy as an individual aside from a famous artist.


 * 1) I found this source through McOderm Library search.

This article covers topics related to … using Shamim Ara’s films as an example to 	expand on the Pakistani film industry in the 1960s onwards. Also highlights the socio-	political events of the time, Pakistan's heavy censorship in media and how Shamim Ara 	was able to produce movies that met these standards and still push forward progressive 	narratives in female agency and feminist themes.

Interviews with Shamim Ara in Urdu and I have translated the nessicary portions:


 * 1) BBC Urdu interview


 * 1) ‘TUm Jo Chaho Tu Suno” with Moneeza Hashmi interview with Shamim Ara


 * 1) I found this source on youtube while searching for biographies for shamim Ara.


 * 1) This interview covers a variety of topics, perdominatly about Shamim Ara’s specfic experience throughout the years in the film industry. How she got her start, her discovery, to her first movie, then her experience as an actresss before and after success. Also her unique experience as one of the first actors to ever work with color film in the Pakistani Film industry.


 * 1) I do believe this is a reputable source, in this interview Shamim Ara is not promoting any projects, films, or productions, she is simily doing an interview regarding her over all experiences in the industry. Moneeza Hashmi is an experienced journalist with pakistani public media. She was the former  manger of the PTC (pakistani television corporation. And is currently the international relations manager with Hum TV one of pakistans most successful and widely accessible tv network aswell as  production studio in Urdu/English entertainment. They broadcast thoughout Asia, Europe, the middle east, and the Americas. Moneeza Hasmi is a well known broadcaster, journalist, activist, television producsor, and educator. she holds a master edgree in education from the university of Hawaii and a B.A from univerity of Punjab and Kinnarid college for women. She has multiple awards for educational media and empowerment/raising awarness for the rights of women.


 * 1) This interview will be benifitacal to my entry as it will provide information about Shamim Ara’s personal life, specfically in her early life and her start in the industry.

Filmography Reference:

Pakistan Film Database - Lollywood Movies, pakmag.net/film/db/details.php?pid=483

This source was found both by searching google for a Pakistani film database, and as a reference in multiple articles/websites. It is also used in one of the articles I have listed as a reference [Niazi, Zuraiz Ur Rehman. “Rang Sazi: Introduction and Evolution of Color Film Technology in Pakistan.”]

This site is a database for Pakistani films, first published in 2000, it functions as an independently run site that relies both on their administrators but in conjunction with users who provide (supported) information or have physical copies/evidence of films to be recorded into this database. Ther is also has affiliation with Pakistan Film Magazine. This site serves as an online database for Pakistani films dating as far back as the 1930s, since there is very limited existing media database or historical records of Pakistani arts and media, due to a variety of reasons, political regimes, lack of technological globalization at the time, political conflicts, loss of preserved archives, etc. But there is still an ongoing attempt by multiple organizations, specifically G.E.M (George Eastman Museum) who are trying to begin an extensive archive of Pakistani films specifically from the 1950s-1980s. In terms of publicly accessible information with details related to films within this time period it is very difficult to find any extensive archive that is creditable. This site additionally functions as a community of those within the culture working together by having individuals email information about films, in order to preserve Pakistani History.

Its reliability is arguably limited as they don’t state an author, staff of editors, publishers, or production company, for the site and where they get their information, but a good majority of the site is also written in Urdu. Some information could be lost in translation. But this site does serve as one of the few extensive references and catalogs for Pakistani films, including information about the cast, crew, directors, producer song writers, musical composers, release dates, status on audience success, and even the theatres they were released in originally.

This site may function as one of the few extensive online databases for the Pakistani film industry. It will also be beneficial in my wiki entry as a reference to complete Shamim Ara’s Filmography while additionally also accrediting other crew/production members of her films as well.

Additional sources about the particulars of her life, including mutiple media obituary entries.

https://www.dawn.com/news/1275773

- use: dicussing her health conditions, her death and career highlights. from specfic films that garneered box office succes;Wah Re Zamane to different types of culutral films she starred in; punjabi (Jaidad), urdu, bengali (Misher Kumari).

- Presidents Award in FIlm for movie Saheli

additional awards for films: Aag Ka Darya, Naila, Farangi, Aanchal, Haveli, Chingari, Doraha, Salgirah, Lakhon Mein Eik, Dil Mera Dharkan Teri

her first producer award for film Saqia which was also a box office hit.

her first directorial film debut was in 1976 Jio Aur Jeene Do"and impressive debut both technically and commerically"

she directed about 20 films, "most with fared will at the box office".

she is survived by a son, daughter in law and 2 grandchilfren.

Online, Lollywood. “Shamim Ara – the Go-Getter.” Lollywood Online, September 17, 2020. http://www.lollywoodonline.com/2016/08/shamim-ara-go-getter.html.

Lodhi, Adhan, and Ali Raj. “Shamim Ara – the Go-Getter.” The Express Tribune, August 5, 2016. https://tribune.com.pk/story/1156449/shamim-ara-go-getter.

Found through Google searching and Pakistani/Indian news sites. This publication was released after Shamim Ara’s death, and the journalists interviewed members of the Pakistani film industry to get accounts and tributes to Shamim Ara’s legacy.

Published by the accounts of screenwriter Vasay Chaudry that Shamim Ara was one of the first directors to film a helicopter shot. Confirrm elements from her personal life and her caeer from debuting to the silver screen as an actress to directing movies that inspired future generations.