In Indian discussions of Pakistani literature, writings in Urdu and English tend to occupy centrestage, certain specific themes and issues are favoured by the critical establishment, and the works of women writers, barring a few well-known names, receive scant attention.
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.