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.
Ramu Nagappan’s introductory lines in the book—‘who has the right to speak about trauma?’ is a question that has been pertinent in the last couple of years as debates on histories from below raised crucial questions whether the subaltern can speak at all.
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.
Lucy Peck’s new guide is the best and most comprehensive guide of Agra since the classical compilations of S.M. Latif and H.G. Keene of the nineteenth century.
A few years ago artist Vivan Sundaram created a stunning body of work titled Retake of Amrita using fifty-six exquisite images of the family taken by his grandfather Umrao Singh Sher-Gil (1870–1954).
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.