The dissertation engages with the construction of sexuality new spaces of consumption focusing on malls and coffee-shops in Mumbai. Examining questions of class and modernity in shopping malls, the display of lingerie sold in these malls and public displays of heterosexual intimacy in coffee-shops, it argues that in these privatised global spaces a certain kind of heterosexuality compatible with the rise of a new middle class and the demands of a ‘global modernity’ is showcased as acceptable even desirable.
This study critically examines the work of two organizations in West Bengal, working with ‘Theatre for Development’ and ‘Theatre of the Oppressed’, and analyzes how they apply theatre as a tool for social development for securing community rights through community actions. The study will try to explore how theatre has been used for social change and development and for liberating the oppressed in the highly political setting of West Bengal and identify how the different forms converge and shift from the theories and existing studies. The study will also try to identify factors that work to make theatre effective for bringing about social change.
In the context of wide internet usage among children in India within the past decade, this study aims to understand what these changes mean for children and their families for their education, leisure participation and community. How and why children and adolescents use the medium is a crucial research question to address. This qualitative study will look at both urban and rural students in Tamil Nadu.
This thesis is situated at the intersection between the IWM and the mainstream film industry. The attempt is to negotiate and reread existing representations, to reveal cultural interruptions at this juncture and move towards generating newer representations, constructing a feminist praxis and creating a history of mainstream Hindi cinema from a feminist perspective. Locating the dissertation within the political climate of the last few decades, women’s experiences of violence and their cinematic representations are debated in this work.
The study is based on the Patachitra community of West Bengal. The study gives a thick description of the traditional art process in the contemporary times, more so it explores the struggles and the survival of the art amidst the complexities of the current changing political economy.
The revival of tourism and the particular policy implementations that have taken place in Nagaland in the past two decades interpellated a touristic subject position, initially enabling the Nagas to become “self-conscious spectators of their own culture” (Picard 1990:74) and eventually allowed them to deploy their imagination to enact and inhabit a wider range of identities/subjectivities due to a serendipitous intersection with access to new global cultural flows. This dissertation argues that tourists have become peripheral to the experience of tourism and the tourist season within Nagaland. We, as Nagas, have become the central actors and spectators in our practice of tourism.
The Islands have been the theatre of both colonial and post-colonial policies of ‘colonisation’ and social engineering. In the aftermath of India’s eastern Partition (1947), ‘residual’ Bengali migrant population languishing in the refugee camps of mainland India were recruited for transportation to Neil Island (now Shaheed Dweep) under the postcolonial state’s ‘rehabilitation’ scheme (1967-69). They consisted almost exclusively of lower-caste Namasudra population proficient in agriculture, fishing and allied activities. Rehabilitation revolved around the male head of the heteronormative family unit, who was the eligible recipient of land and other facilities to ‘settle’ themselves in the Island. The women who reached the Islands as part of the settler household units, however, were viewed merely as persons ‘attached’ to the male head. The ‘settler women’s’ lifeworlds have not been adequately represented in existing discourse. Drawing from archival sources and juxtaposing these ‘traces’ with oral narratives of the ‘settler women’, the thesis aims to address this oversight. The ‘settler women’s’ narratives of negotiating with the rehabilitation machinery; transportation and adaptation to the island ecology, establishment of settlements, and everyday struggle with scarcity; their claim-making as ‘Islanders’ and ‘settlers’; and finally, the close rooting of their identity with place, given the context of their Partition-consequent displacement(s) and altered ways of remembering, offer a rich framework for studying gendered accounts of migration, dislocation and formation of identities in post-Independence India.
The present study is an attempt to look at the course of redefining the politics of Malayalam cinema over a period of thirty years, 1970s-90s. We consider Malayalam Cinema as a cultural product and a process shaped by time and space and various constituencies like religion, race, ethnicity and gender and sexuality having different levels of stakes in articulating and rearticulating the politics of this product and process. We acknowledge these various constituencies, but we focus only on one, namely religion, and through a multi-layered methodology we plan to study the two-fold processes happening in Malayalam Cinema–rethinking religion and redefining politics.
Community radio in India has witnessed a series of developments such as the Supreme Court’s judgment on airwaves, the Bangalore Declaration on Radio, Pastapur Initiative on Community Radio and a bill passed by the Union Cabinet. Some pertinent questions in the context of the nascent community radio movement in India are: Firstly, what is the structure and function of a community radio station (CRS) broadly? What is the relationship between the community, CRS and its management? How is it sustained? Secondly, what is the content developed by the CRS broadly? In particular, how is content developed? Who chooses the content? What is the power dynamics involved in developing the content? Thirdly, how does it help in the process of negotiation and empowerment? How do community audiences perceive it? To address some of these three broad questions, the proposed study will take up textual analysis and audience reception.
This thesis aims to look at the co-evolution of media technologies and collective cultural memory. This study would use ideas and concepts from Media and Cultural Studies, as well as Cybercultures and Anthropology for building its theoretical and methodological frameworks and tools. In particular, it would use the concept of mediation of memories and Van Dijck’s concept of mediated memories to address the above. This study plans to explore this by taking for its case-study, an alternative developmental project called Deccan Development Society, based out of Medak district, Andhra Pradesh; specifically looking into the work of its Community Media Team.
This research project is an inquiry into the role of television programming and internet campaigns relating to civil society issues. It attempts to theorise how such programmes play or might play an important role in either forging or mediating the formation of civil society. The researcher focused on the electronic media and their role in relation to civil society issues, to explore their potential in the formation and expansion of civil society. The attempt was to explore the consequent implications of these programmes and internet campaigns in creating a space for dialogue and debate, thus promoting the growth of civil society.
This thesis deals with the perceptions of people who participate in online campaigns, whether as initiators or members and their opinions about how it influences the sustainability of democratic spaces of protest and dissent within the country and beyond. It becomes essential to understand how people engage themselves in online campaigns; how actively they are participating in the campaign and what they do to make it a success. In the age of internet, campaigns are initiated by people of all age groups. Even though the generation of youth is the one which often initiates these campaigns and raise its voice to get empowered, there are also people of other age groups who actively participate in these campaigns. This study also tries to understand the ways in which people of various age groups relate to cyberactivism.
This thesis explores women’s engagements with the Internet. It locates the enquiry in Indian women’s blogging practices, and seeks to understand the political implications of the intimate relationship between technology and subjects. Through qualitative analysis of blogs, and in-depth interviews with bloggers, the dissertation seeks to understand ‘women’s experience’ of engaging with the Internet. The thesis attempts to bring out the nuances of the dynamics between the virtual world and real life in three domains: spaces, identities and affective networks, all of which are marked by social constructs that are constraining for women. It demonstrates the ways in which women could and are claiming technology to bring about changes in their life and in their immediate environments.
This dissertation explores how Goalpariya folk music, a somewhat marginalised form within the space of Assam is deployed to affirm and negotiate the power structures of gender, location, and community. The research contextualises the Goalpariya Lokageet within the space of Goalpara, thus enabling a critical reflection on the connections between space/place and culture and the politics associated with this connection, specifically the politics of “authenticity”. The competing claims to representing and owning the folk tradition are enmeshed in issues of language and identity that relate to the ambiguities surrounding the Koch Rajabanshi community and the liminality of Goalpara within Assam. The other major theme that the study deals with is ways in which gendered relations of power and resistance get articulated with the folk tradition. The thesis also attempts to understand the ways in which the tradition has been transformed in the contemporary context, in the wake of globalisation, digitisation and the Internet.
This research attempts to study the available online practices for the production and exhibition of short films for independent filmmakers. A qualitative social constructivist interpretative approach is applied to study the phenomenon of online short films in India through the lens of independent filmmakers who are engaging in these online practices. A case study of films selected through purposive non-random sampling was conducted while filmmakers selected through snowball sampling were interviewed. To create a complete pictures, multiple interviews of other shareholders including online aggregators and exhibition platforms were also conducted. Based on the interviews, the researcher then analysed online production and exhibition practices available and censorship of films, while drawing a comparison with the traditional setup for funding, distribution and exhibition of films.
The objective of this research is to first explore the nuanced ways in which a relatively new cultural form like spoken word poetry interacts with the existing poetic traditions in India. Secondly, to analyse the hierarchies within the poetry community to look at how female poets take part in creating culture through this medium of expression. By locating the study in the city of Mumbai which has its long history of being the cultural hub, the study explores the question of representation on the performance stage.
This exploratory study uses qualitative methods to understand the motivations of bloggers to create online content. It seeks to understand how these individuals derive reward for their work – particularly in the absence of monetary gains and answers the question: What do they get or expect to get out of it? It also explores their engagement with copyrights.
In India, cinema and media has been used until now to perpetuate dominant caste culture and values and has thus led to the perpetuation of the caste system. However, all signs point towards the fact that in times to come, there will be a significant space for Dalit-Bahujan filmmakers in the Marathi film industry. In 100 years of Indian cinema, lakhs of films have been created. But in this period, there have not been many films where the lead actor or actress has portrayed a Dalit
character. In Marathi cinema, caste has been consciously ignored, despite it being the biggest social problem. This is a comparative study of selected films and how they bring out and portray caste issues, the social and caste politics of villages, and how they question the cultural power politics of Maharashtra.
Batwara aur Vidroha: Gendered Violence and Female Agency in Partition Films — Ankita Bhatkande (2011)
A Land Locked Ark: Salvaged and Created Elements of Tibetan Identity in Exile? — Ishani Dasgupta (2011)
Performing Caste: Exploring Caste and the Politics of Space in Kodungalloor — Shweta Radhakrishnan (2012)
Negotiating the Local: The ‘Adaptation’ of Hollywood Films Within Hindi Cinema — Sandeep Kumar Singh (2012)
A Forgotten Community in India: the Residents of Chhit Mahals — Arpita Chakraborty (2013)
Comic Kaun: Contextualising Comics in India — Mridula Chari (2013)
Graphic Meta-narratives: Exploring the Personal and Political in Comic Art — Shruti Ravi (2013)
Understanding Local News : A Case Study of Kalimpong Sub Division — Juanita Mukhia (2013)
New Ways Of Seeing: Same-Sex Desire and Popular Hindi Cinema — Aditi Maddalli (2013)
Bhramyomaan Theatre: The Mobile Theatres of Assam — Nishajyoti Sharma (2013)
Not just a number, Not just a Game: A study of Sevens football in Malabar — Nevin Thomas (2013)
Inscriptions In The Air: exploring Dimasa Identity Through Orality, Language And Religion’ — Vishal Langthasa (2013)