By Roshni Sengupta
The death of dissent of the media therefore seems on the ascendance, while the invisibility of the marginalized communities – especially that of the Muslim – is enhanced by the failure of the media to adequately reflect their social, economic, and political reality.
By Roshni Sengupta
On the day Agnivesh alleged that he was threatened and later nearly lynched by Bharatiya Janata Yuva Morcha members in Jharkhand for making a statement in favour of beef eating, the Supreme Court of India sent a stern warning to state governments to curb the spiraling cases of mob vigilantism and violence. The apex court appears to have taken images of Union Minister Jayant Sinha garlanding and embracing right-wing extremists accused of lynching a Muslim cattle trader to death into serious consideration while making the observation.
By Roshni Sengupta
The turn of the millennium made the filmic landscape more varied, more experimental and definitely more stimulating. As the discursive space became increasingly narrow with competing religious fundamentalisms dotting the political mindscape, the Hindi film song would turn into an offshoot of the main narrative, often being presented at the end of the film as the credits rolled.
By Roshni Sengupta
Although a number of films had been produced in the 1960s in colour, the 1970s could be described as the first decade of the colour medium in Hindi cinema. Accompanying the dawn of colour, however, was an embryonic sense of general despondency in politics – the Nehruvian era had come to an end and with it the raucous positivity and enthusiasm for nation-building.
By Roshni Sengupta
The Hindi film song has continuously been the launch vehicle for the film as such, particularly so for the historical genre. Consider the heartbreakingly beautiful “Jo Wada Kiya” (Taj Mahal, 1963) or the extraordinary “Jab Pyar Kiya Toh Darna Kya” (Mughal-e-Azam, 1960).
