The Indo-US nuclear agreement was a watershed in many ways. First, it led to the de-hyphenation of India and Pakistan and their relations vis-a-vis the United States.
Six years after India conducted a series of nuclear tests in 1998, strategy the Indian Army issued its conventional war fighting doctrine called the Indian Army Doctrine 2004. The doctrine, which later came to be known as ‘Cold Start’, drew a lot of attention in the strategic circles.
Both India and Pakistan started their nuclear weapons quest in earnest in the early 1970s, both reached weapon capability around 1990 and both became overt nuclear powers in May 1998.
One of the best known authorities in the field of Indian religious studies, Rowena Robinson has written widely on the minority religious communities. Initially, her main preoccupation was with popular Christianity and the theme of formation of Christian identities and how they have been articulated, constructed and reconstructed.
The established wisdom in international relations is that a major state seeking to secure its interests in world affairs has essentially three options to choose from. If it is powerful enough, it can play the geopolitical game of balance of power.
With numerous incidents of what the RSS offshoot, the Dharm Jagran Samanvay Samiti calls ‘ghar wapsi’, (250 Muslim families being reconverted to Hinduism in Agra in November, 2014, and 40 Mazhabi Sikh families who had embraced Christianity being reconverted to Sikhism in Amritsar in December 2014),
In Muslim Politics in Bihar, Mohammad Sajjad, an assistant professor of history at Aligarh Muslim University, breaks new ground in a number of ways.
Amongst the regional organizations, SAARC, the South Asian Association for Regional Cooperation, has not attracted much scholarly attention.
Capitalism is cruel. Yet, for a poor, economically backward country, an evil necessity. The spread of capitalist development promises prosperity with malls, multiplexes and condominiums but its underside can be grotesquely ugly.
A day after the winter session of parliament ended in December 2014, the National Democratic Alliance (II) Government promulgated two ordinances aimed at taking forward economic reforms in the insurance and coal sectors arguing that ‘the country can no longer wait’.
For any observer of politics in South Asia, there is always a question waiting to be answered. What explains the enthusiastic participation of the electorates in the ‘new’ democracies/semi-democracies of South Asia (whenever they get an opportunity!) remains a puzzle for them. Why elections are such grand spectacles bringing a festive spirit among the masses is intriguing for an impressed westerner as she assesses the ground reality.
More than fifty years after its initial release Guru Dutt’s Kaagaz ke Phool (Paper Flowers, 1959) remains one of Bombay cinema’s most enigmatic films.
Freeze Frame is mainly a collection of interviews that noted film critic Anupama Chopra had conducted for the show, ‘Picture This’, on NDTV between 2007 and 2011. Apart from this are interviews published in Vogue, and articles by Chopra contributed to Open Magazine in 2010–2011.
Chattopadhyay’s book provides an interesting research intervention in the field of visual and television study as well as in the general understanding of an image world which was a precursor to the current digital context of consumerism. It illuminates after all the crucial moment of post liberalization, a transition period, during which the chaos of new ideas, subjectivities, and a changing urban materiality was being churned out at the very point of origin in the world of advertisement, and presented back to the viewer for interpretation. Pointing at the sudden significance of commercials post liberalization, with the increase of satellite cable television channels and coming in of multinational brands, in contrast to cinema which served as the earlier popular vehicle of modernity during, before and after Independence, the book deftly demonstrates how commercials in the contemporary time stood at the helm of negotiating this transition in 1990s India from a receding socialism to advanced capitalism.
The story of piracy is the story of a discourse that manages to remain hidden from the overarching gaze of the Government. Irrespective of strong or weak enforcement systems prevalent all over the world to stop piracy, this underground discourse has survived and replicated. The traditional scholarship on piracy presents a clear-cut binary.
Most people tend to view autobiographies ambivalently partly because there is something narcissistic about them and partly because you do wonder, from time to time, if you are really interested in all the details of someone else’s life. Also, the best autobiographies are usually insensitive to the people who figure in them and the worst ones are a dead bore because they hold back so much.
In a quasi-romantic and quasi-realist statement, ‘much to my disappointment, the shelves were full of texts on Hollywood and European filmmakers with nothing substantial on contemporary Indian directors’ (p. 10), Tula Goenka states, clearly, her objective behind writing the book, recovers directorial voices that contribute heavily to the process of filmmaking but still remain unheard.
Rang De Basanti (Rakeysh Omprakash Mehra, 2006) is a film that unfolds itself through a narrative-within-a-narrative structure where the India of 1920s is juxtaposed with the India of 2005.
Rachel Dwyer’s Picture Abhi Baaki Hai is a de-tailed account of the films produced in India from 1991 to 2001 and the nuanced ways in which the imagination of India and its ‘New Middle Class’ enters the circuit of Bollywood.
For many of us Bombay films were central to our coming of age. As we went in and out of cinema halls in the seventies and early eighties, the hero who failed to make a deep impression was Rakesh Roshan, son of the famous music composer Roshan.