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This is the second edition of a collection of essays, which were first published by T.K. Oommen in 2007.

Sunil Janah’s Photographing India reminded me of Dziga Vertov’s Man With A Movie Camera. The photographer protagonist in the Russian avantgarde filmmaker’s iconic documentary is constantly on the move—shooting on the road; in the mines; at the dam; inside a factory; by the sea; in a park; or in a playground. Cranking his camera, he goes around tirelessly documenting the lives of Russia’s men and women, and the rhythm of its cities. Similarities between the film and Janah’s work just don’t end here.

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.