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In her poems, Eunice de Souza, one of the most prominent Indian women poets writing in English, depicts women's cultural sensitivities, their developing personalities in a male-dominated societal structure, their desire for independence, and frustrations stemming from their constrained surroundings. Her poetry demonstrates a range of feminist aesthetics and efforts to chart new territory for women. Her treatment of love and sexuality confirms her discontentment with a society that necessitates a woman's silence and subservience. In her compositions, she implements an assertive and subversive tonality, and this article illustrates how the poet's confessional mood enables readers a glimpse into her hardships and tormented psychological state, on the one hand, and the moral dilemmas and diversity of the female psyche, on the other. The article demonstrates how Eunice's treatment of women is crucial in terms of how Christian women in Indian patriarchal society can interpret and carry out their own identities. Keywords: Feminism, Indian women, Christianity, Confession, Eunice De Souza, Introduction: Modern Indian Women's Poetry in English The post-1947 period witnessed India's quest for a new identity shortly after gaining independence as a newborn nation. This quest can be seen [...]

Traditional media and contemporary digital communication platforms have been instrumental in developing environmental awareness and educating the general public about the entrenched dangers of ecoprecarity. Visual references like ecocinema, short films, documentaries and television series have shown how the Anthropocene is affecting the world and how important human‐centred survival models are. These visual references have played a big part in ecological knowledge and shown possible ways to use socio‐ecological practices. The present article critically analyses Kaala Paani, a contemporary Indian Hindi‐language survival drama seven‐episode television series, and foregrounds how this series not only represents the ecological issues we face but also fosters a stronger sense of ethical accountability towards the long‐term impact of our decisions and actions on the natural environment. Through its focus on dramatizing environmental toxins and the power of indigenous and tribal knowledge to fight them, the series effectively tells viewers about the harmful effects of illegally exploiting the environmental buffer zone and the results of capitalist‐driven developmentalism. The series also inspires them to recognize the overwhelming existence of nature that the discourse of the 'Anthropocene' has downplayed. [ABSTRACT FROM AUTHOR]

"Mrs Chatterjee vs Norway" is a Hindi-language legal drama film that tells the story of an Indian immigrant, Debika Chatterjee, who fights for custody of her children after they are taken away by Norwegian child welfare services. The film explores the role of media and courtroom trials in similar cases, highlighting the media's ability to generate awareness and public support. It also sheds light on cultural disparities that contributed to miscommunication between the Indian couple and Norwegian officials. The film aims to raise awareness about the inadequacies of the Norwegian child welfare system. The article discusses the impact of audio-visual media on knowledge and attitudes, particularly in the context of a custody battle involving an Indian mother, Debika, and the Norwegian child welfare agency, Velfred. It highlights disparities in knowledge and attitudes before and after the implementation of audio-visual media interventions and explores the detrimental effects of Velfred's actions, including negative news dissemination and privacy violations. The article emphasizes responsible journalism and the role of media in raising awareness and garnering support for individuals in similar situations. Ultimately, Debika is reunited with her children through legal intervention in India. The article concludes by discussing the impact of the film "Mrs. Chatterjee vs Norway" in raising awareness about cross-cultural custody battles and child welfare. [Extracted from the article]

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The article provides an overview of the film "Saina," a biographical sports film centered around the life of Indian badminton player Saina Nehwal. It explores Nehwal's journey and acknowledges the individuals who have played a role in her success. The film also delves into the media's impact on Nehwal's career, examining how her achievements are publicized and her commitment evaluated. It addresses broader issues such as the portrayal of women in Indian society and the challenges faced by athletes who become media sensations. The article features insights from Goutam Karmakar and Payel Pal, scholars from different academic institutions, offering a diverse and global perspective on the topics discussed. [Extracted from the article]

"An Action Hero" is a film that examines the portrayal of masculinity in media and its effects on society. The story revolves around Manaav, a Bollywood actor who becomes involved in a hit and run incident, prompting an exploration of the cultural norms and systems that perpetuate exaggerated and dominant forms of masculinity in Indian culture. The film also highlights the negative consequences of media trials and sensationalism, emphasizing the importance of responsible journalism. The article discusses the detrimental impact of biased media coverage and trials on individuals, using the character Maanav as an example. It raises concerns about media framing and consumerism, as well as the commodification of Maanav's image and the challenges he faces in restoring his reputation. The article underscores the blurred line between news and entertainment in the media and the influential role of media narratives in shaping public perception. Ultimately, it calls for objective journalism in the postmodern era. [Extracted from the article]

The article discusses the film "Doctor G" and its exploration of gender stereotypes and social media. The film follows the journey of Dr. Uday Gupta, a gynecologist, as he confronts his own prejudices and learns to challenge societal norms. The film addresses issues such as the reinforcement of gender ideology, the impact of social media on gender stereotypes, and the stigma faced by older individuals in forming relationships. It also tackles topics like illicit relationships, teenage pregnancies, and access to safe abortion care. Overall, the film aims to debunk gender stereotypes and highlight the positive aspects of social media and online dating. [Extracted from the article]

This article examines the rise of spy films in contemporary Hindi cinema and their depiction of masculinity and nation-building. It focuses on the film "War" (2019) as an example of how these films promote and sustain hegemonic masculinity and shape perceptions of heroism. The article argues that spy films exaggerate nationalism and masculinity, deviating from reality. It also criticizes the limited opportunities for women to showcase their capabilities and calls for more equitable representations that acknowledge women's contributions to nation-building. The article concludes by emphasizing the need for more authentic and realistic portrayals of espionage in Hindi cinema. [Extracted from the article]

Basharat Peer's Curfewed Night (2008) is a perspicacious commentary on the violence, exile and dispossession that have wrecked the lives of ordinary Kashmiris since 1947. Peer compellingly ruminates on the gradual loss of the Kashmiris' belongingness in the last few decades that eventually curtailed their sense of individual and collective selfhood. The present article aims to analyse how Peer's memoir emerges as a crucial intervention in focusing on the othering of Kashmiris in postcolonial India. This article will examine how Peer's personal story shapes his creative expression of homeland and uncovers the gradual stymieing of Kashmiri Muslim citizenship and identity under Indian statehood, perhaps most alarmingly manifested in the abrogation of Article 370 in 2019. This article will look at how Peer's narrative interrogates the predominating imaginations of Kashmir as the other in the pan-Indian psyche and engages with the inherent "ambivalence" of the nationalist discourse of India. Accordingly, the article will also study how Peer positions Kashmir as a "heterotopic space" that transcends any form of monolithic comprehension. In so doing, Peer's memoir emerges as an alternative and autoethnographic chronicling of the Kashmir story undercutting the dominant assumptions, reinforced by the Indian nationalist project. Pertinently, the concepts of "ambivalence" and "heterotopia" are drawn from the theoretical perspectives of Homi Bhabha and Michael Foucault, respectively. [ABSTRACT FROM AUTHOR]

When Gangaram struggles to provoke the tiger and Jim urges Gangaram to leave since he is going to shoot the tiger, police officers arrive. When Gangaram and Jim locate the tiger with the identification number T22, Gangaram does his utmost to agitate and attract T22's attention. Due to media coverage, Gangaram's story becomes widely publicized throughout India, and people are outraged that a country striving for a trillion-dollar economy has citizens like Gangaram who are willing to be killed by a tiger for only one million rupees (or a little more than US$12,000). When Gangaram seeks Jim's assistance in locating the tiger, Jim reveals to him that he is also hunting the same tiger after securing a lucrative deal with a Chinese client. [Extracted from the article]

Women and their identity constructions in Pakistan are inordinately determined by the matrix of a rigid institutionalised patriarchy operating through religious, familial and customary social discourses. Shehzad's family vilifies Tahira and incessantly throws tirades about Tahira's parents and the dowry they had sent with her, making Tahira feel extremely angry but helpless. The Empty Room begins with a married couple, Tahira and Shehzad, hesitantly "trying to feign sleep"[25] after their wedding night, and then, within the first few pages of the novel, Abbas brings home to her readers the staunch patriarchal ideologies of Shehzad and his family, who consider Tahira as a mere trophy wife and daughter-in-law. Tahira ponders how to 'persuade him [to think] that she was willing to be the most dutiful of wives.'[43] Through her day-to-day activities, Tahira earnestly aspires to fulfil Shehzad's expectations, and in failing to do so every time, "she tried apologizing, taking the blame upon herself."[44] As pointed out by Atkinson,[45] Tahira, like any other ordinary woman, is driven to believe that Shehzad's teaching her of the appropriate notions of wifehood is his way of loving and caring for her. [Extracted from the article]