Malavika Karlekar’s book is a series of snapshots—I use the term deliberately —of not just colonial and post-Independence India, but of the history of photography itself.
This book is an attempt to put together some of Professor Kuldeep Mathur’s research essays that focus on an analysis of India’s public policies in the pre- and post- 91 era.
n the past few years, India has witnessed a renewed interest in the category of criminal acts ranging from corruption to cases of violence against women.
The coming into force of the Protection of Women from Domestic Violence Act (PWDVA) in 2005 is a validation of the enormous struggle of the feminist movement in India.
Man throughout his existence has striven towards an adjustment with the forces of nature. Some problems were easily resolved by his scientific, matter-of-fact attitude but there were others which were beyond empirical explanation. To harmonize with the forces beyond his comprehension, man evolved various assumptions and activities…
Even after 66 years of Independence, it is difficult to imagine an India devoid of rules governing what can or cannot be publicly or creatively expressed, a scenario that could be described, for want of a better descriptive palate, as an agonizingly prevalent and multifaceted ‘culture of censorship’.

