This anthology of essays and interviews dealing with Indo-Pak relationships in Cinema attempts to demonstrate the ‘gradual but distinct’ move by Hindi cinema from a Pakistan centric and partition related construct of the national self-image to an increasingly self-reflexive and self-reflective one.
Perhaps no other contemporary Indian metro makes complete strangers of its natives as does Bengaluru. Ceaselessly changing one way systems, the sudden yawning gap in the ground where a familiar landmark stood, ever narrowing footpaths, a babel of tongues and a forest of signs make the place unfamiliar.
The associations which some years back invariably linked the idea of modernism to Baudelaire’s flâneur or Picasso’s demoiselles have today begun to fade, confronted as they are by critical interventions from across the globe challenging the certitudes of universalizing narratives.
Terrorism is one issue on which the international community has come to be united not least because it has become so widespread as a means of giving vent to a grievance—real or imaginary—that no country can claim total immunity. Despite the continuing deadlock at the UN over how terrorism should be defined with an argument being made that one man’s terrorist might well be another man’s freedom fighter, there is universal acceptance that it needs to be combated.