India – Censorship for a Good Cause?
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Seeking Offense: Censorship and the Constitution of Democratic Politics in India
SEEKING OFFENSE: CENSORSHIP AND THE CONSTITUTION OF DEMOCRATIC POLITICS IN INDIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Ameya Shivdas Balsekar August 2009 © 2009 Ameya Shivdas Balsekar SEEKING OFFENSE: CENSORSHIP AND THE CONSTITUTION OF DEMOCRATIC POLITICS IN INDIA Ameya Shivdas Balsekar, Ph. D. Cornell University 2009 Commentators have frequently suggested that India is going through an “age of intolerance” as writers, artists, filmmakers, scholars and journalists among others have been targeted by institutions of the state as well as political parties and interest groups for hurting the sentiments of some section of Indian society. However, this age of intolerance has coincided with a period that has also been characterized by the “deepening” of Indian democracy, as previously subordinated groups have begun to participate more actively and substantively in democratic politics. This project is an attempt to understand the reasons for the persistence of illiberalism in Indian politics, particularly as manifest in censorship practices. It argues that one of the reasons why censorship has persisted in India is that having the “right to censor” has come be established in the Indian constitutional order’s negotiation of multiculturalism as a symbol of a cultural group’s substantive political empowerment. This feature of the Indian constitutional order has made the strategy of “seeking offense” readily available to India’s politicians, who understand it to be an efficacious way to discredit their competitors’ claims of group representativeness within the context of democratic identity politics. -
Aurobindo Ghosh, “The Renaissance in India” (1918)
Aurobindo Ghosh, “The Renaissance in India” (1918) Aurobindo Ghosh (later Sri Aurobindo) (1872–1950) was a central political, religious, and philosophical fi gure in the Indian renaissance. Bengali born and Cambridge-educated, he was trained in Victorian English literature, sat his Cambridge examinations in classics, and taught English at Baroda Col- lege. He became involved in radical politics and while imprisoned discovered Indian philosophy. He spent the remainder of his life at his ashram in Pondi- cherry, producing an enormous volume of religious and philosophical work, including his masterpiece The Life Divine. Many Indian philosophers of the colonial period visited him in Pondicherry, and his infl uence on Indian phi- losophy is considerable. In this essay he addresses the meaning of the Indian renaissance for India’s national identity. Aurobindo Ghosh 3 The Renaissance in India I There has been recently some talk of a Renaissance in India. A number of illuminating essays with that general title and subject have been given to us by a poet and subtle critic and thinker, Mr. James H. Cousins, and others have touched suggestively various sides of the growing movement towards a new life and a new thought that may well seem to justify the description. This Renais- sance, this new birth in India, if it is a fact, must become a thing of immense importance both to herself and the world, to herself because of all that is meant for her in the recovery or the change of her time-old spirit and national ideals, to the world because of the possibilities involved in the rearising of a force that is in many respects unlike any other and its genius very diff erent from the mentality and spirit that have hitherto governed the modern idea in mankind, although not so far away perhaps from that which is preparing to govern the future. -
An Introspection of Film Censorship in India
Corpus Juris ISSN: 2582-2918 The Law Journal website: www.corpusjuris.co.in AN INTROSPECTION OF FILM CENSORSHIP IN INDIA -SUBARNO BANERJEE1 AND RITOJIT DASGUPTA2 ABSTRACT Cinema has been considered to be one of the most potent instrument of expression over a considerable amount of period. It is often considered to be a magnificent medium to communicate with people and impart knowledge and awareness. A traditional theatre system existed much before screen cinema could assert its authority in India and is said to have played a major role in nurturing emotions of freedom struggle through its plays in the pre-independence era. It was in 1913 India produced its first full-length feature film Raja Harishchandra. Cinema gradually became a powerful medium and went on to impact the lives of people, thoughts and even their political views. The medium has been witnessed to gain huge popularity and at present has become an integral part of common man’s leisure. Various statistics claim that India constitutes one of the largest film industries in the world in terms of number of films produced every year. Freedom of speech and expression is one of the most sacrosanct rights and is regarded as an integral concept in modern liberal democracies3. Society can develop only by free exchange of ideas4. However, since the drafting of the Constitution in 1947, freedom of speech and expression was considered controversial and received periodical dissent. According to Article 19(1) (a) of Part III of the Constitution of India, citizens shall have a right to freedom and expression. Films enjoy the same status and right so far as constitutional freedom relating to expression of ideas and spreading of ideas and messages are concerned but at the same time it places certain necessary restrictions on the content, with a view towards maintaining integrity of the state, public order, decency and morality and also communal and religious harmony, given the history of communal tension in the nation. -
GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms
ACCESS TO KNOWLEDGE RESEARCH GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Prakash Nagla Rizk Carlos Affonso Souza GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Pra ash Nag!a Ri" Car!os Affonso So$"a ACCESS %O KNO'LE(GE RESEARCH SERIES COPYRIGHT PAGE © 2015 Information Society Project, Yale Law School; Access to Knowle !e for "e#elo$ment %entre, American Uni#ersity, %airo; an Instituto de Technolo!ia & Socie a e do Rio+ (his wor, is $'-lishe s'-ject to a %reati#e %ommons Attri-'tion./on%ommercial 0%%.1Y./%2 3+0 In. ternational P'-lic Licence+ %o$yri!ht in each cha$ter of this -oo, -elon!s to its res$ecti#e a'thor0s2+ Yo' are enco'ra!e to re$ro 'ce, share, an a a$t this wor,, in whole or in part, incl' in! in the form of creat . in! translations, as lon! as yo' attri-'te the wor, an the a$$ro$riate a'thor0s2, or, if for the whole -oo,, the e itors+ Te4t of the licence is a#aila-le at <https677creati#ecommons+or!7licenses7-y.nc73+07le!alco e8+ 9or $ermission to $'-lish commercial #ersions of s'ch cha$ter on a stan .alone -asis, $lease contact the a'thor, or the Information Society Project at Yale Law School for assistance in contactin! the a'thor+ 9ront co#er ima!e6 :"oc'ments sei;e from the U+S+ <m-assy in (ehran=, a $'-lic omain wor, create by em$loyees of the Central Intelli!ence A!ency / em-assy of the &nite States of America in Tehran, de$ict. -
LL.B.) (Effective from Academic Year 2019-20)
UNIVERSITY OF DELHI BACHELOR OF LAW (LL.B.) (Effective from Academic Year 2019-20) PROGRAMME BROCHURE LL.B. Revised Syllabus as approved by Academic Council on XXXX, 2018 and Executive Council on XXXX, 2018 Department of Law, University of Delhi CONTENTS Page I. About the Department 6 II. Introduction to CBCS 6 Scope Definitions 6 Programme Objectives (POs) 7 Programme Specific Outcomes (PSOs) 7 III. LL.B. Programme Details Programme Structure 8 LL.B. Programme (Semester Wise) 13 Eligibility for Admissions 18 Assessment of Students’ Performance 19 and Scheme of Examination Pass Percentage & Promotion Criteria: 20 Semester to Semester Progression Conversion of Marks into Grades Grade Points CGPA Calculation Division of Degree into Classes 23 Attendance Requirement 23 Span Period 23 Guidelines for the Award of Internal Assessment Marks 24 IV. Course Wise Content Details for LL.B. Programme 25- 429 2 Department of Law, University of Delhi I Semester (CORE COURSES) Page No. LB-CC-101 Jurisprudence-I (Legal Method, Indian Legal 25 System and Basic Theory of Law) LB-CC-102 Law of Contract 32 LB-CC-103 Law of Torts including Motor Vehicles Act and 39 Consumer Protection Act LB-CC-104 Law of Crimes-I: Indian Penal Code 48 LB-CC-105 Family Law-I 57 II Semester (CORE COURSES) LB-CC-201 Law of Evidence 63 LB-CC-202 Family Law – II 71 LB-CC-203 Law of Crimes-II: Code of Criminal Procedure 78 LB-CC-205 Property Law 85 LB-CC-206 Public International Law 92 III Semester (CORE COURSES) LB-CC-301 Constitutional Law-I 99 LB-CC-302 Company Law 111 LB-CC-303 -
Visit of Smt Pratibha Devisingh Patil, President of India to Tamil Nadu
1 ‘State Visit’ of Smt Pratibha Devisingh Patil, President of the Republic of India to Brazil (Sao Paulo, Rio de Janeiro & Brasilia), Mexico (Mexico City & Guadalajara) and Chile (Santiago) from 12 to 25 Apr 2008 COMPOSITION OF DELEGATION (I) President and Family 1. The President 2. Spouse of the President 3. Son of the President (II) President’s Secretariat Delegation 1. Dr Christy Fernandez Secretary to the President 2. Lt Gen Vinod Chopra, AVSM** Military Secretary to the President 3. Shri Barun Mitra Joint Secretary to the President 4. Smt Vijay Thakur Singh Joint Secretary-cum-Social Secretary to the President 5. Smt Archana Datta Officer on Special Duty (PR) 6. Dr (Smt) Parvati Singh Bais Physician to the President No. of auxiliary staff : 31 (III) Parliamentary Delegation 1. Shri Vilas Muttemwar MOS (IC), Minister of New & Renewable Energy 2. Shri Nand Kumar Singh Chauhan Member of Parliament 3. Ms Mabel Rebello Member of Parliament 4. Smt Kanimozhi Member of Parliament No. of supporting staff : 01 2 (IV) Ministry of External Affairs Delegation 1. Shri Nalin Surie Secretary (West), MEA 2. Shri Rinzing Wangdi Ambassador of India to Mexico (for Mexico only) 3. Shri HS Puri Ambassador of India to Brazil (for Brazil only) 4. Smt Susmita Gongulee Thomas Ambassador of India to Chile (for Chile only) 5. Shri Sunil Lal Chief of Protocol, MEA 6. Shri Ravi Thapar Joint Secretary, MEA No. of supporting staff : 05 (V) Security Staff Total : 17 (VI) Media Delegation 1. Shri Sumir Kaul Correspondent, PTI 2. Shri Kamal Singh Senior Photographer, PTI 3. Ms Liz Mathew Reporter, IANS 4. -
CONTEMPORARY ISSUES in MEDIA ETHICS Boctor of $I)Tios(Opi)
CONTEMPORARY ISSUES IN MEDIA ETHICS ABSTRACT THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Boctor of $I)tIos(opI)p IN PHILOSOPHY By MD. EHSAN Under the Supervision of M. MUQIM DEPARTMENT OF PHILOSOPHY ALIGARH MUSLIM UNIVERSITY, ALIGARH (INDIA) 2009 ABSTRACT Twenty first century is the century of knowledge and information. Knowledge is the power. Media such as newspapers, radio, television, magazines, internet etc. are the primary and central source of information and knowledge of this fast moving world. Hence, media enjoys enormous power and exerts tremendous impacts on our lives. Media as a powerful institution not only disseminates information and knowledge rather it influences our lives, our political systems and our society as a whole. It shapes our opinions, beliefs, attitudes and behaviours. It affects our decision and judgment about family, home, education, institution etc. through information and knowledge it provides. So much so that it fashions our tastes and moral standards, and socializes our younger generation. Furthermore, media has got important role to play in democracy. It is media which helps democracy become 'of and 'by' the people. It wheels democracy. It facilitates democracy by making interaction between the governed and the governor. Moreover, it is considered to be the back bone as well as the fourth pillar of democracy. * I am using media as a singular noun In view of the enormous power implicit in media, its tremendous impacts on our lives and on our governing systems, and in view of its deep penetration in our society the need arises to use it with great caution and control. -
Film Censorship in India
Insights Mind maps Film Censorship in India 1) Introduction The suppression or control of ideas, public communication and information circulated within a society is termed as censorship. The freedom of speech guaranteed by the Constitution of India can be suppressed if it is considered objectionable, harmful, or necessary to maintain communal harmony. It is always necessary to balance conflicting rights in order to determine what can and cannot be censored. A classic example of censorship in India is the Central Board of Film Certification or Censor Board, which comes under the purview of Ministry of Information and Broadcasting. 2) Legal provisions The Constitution of India guarantees freedom of speech and expression with certain restrictions such as that of morality, decency, public order etc. the Indian Penal Code allows cramping free speech on grounds of outraging religious feelings, making statements creating or promoting enmity, hatred or ill-will between classes According to the Information Technology Rules 2011, objectionable content includes anything that “threatens the unity, integrity, defence, security or sovereignty of India 3) Reasonable restrictions In India, freedom of speech and expression is ensured by Article 19(1) (a) of the Constitution But this is limited by Article 19(2), which allows the government to place “reasonable restrictions” on this right “in the interests of the sovereignty and integrity of India, the security of the State, friendly relations with foreign States, public order, decency or morality, or in relation to contempt of court, defamation or incitement to an offence This provides the government with a wide net to seize and censor almost anything that is disfavourable. -
Universiteit Antwerpen Faculteit Politieke En Sociale Wetenschappen Academiejaar 2013-2014
Universiteit Antwerpen Faculteit Politieke en Sociale Wetenschappen Academiejaar 2013-2014 MASTERPROEF FROM WHITE DEVIL TO WHITE EMANCIPATOR Representation of white Western women in Indian cinema Lisa van der Waal Master in de Filmstudies en de Visuele Cultuur Promotor: Prof. Dr. Paolo Favero Medebeoordelaar: Prof. Dr. Kevin Smets Abstract Times are changing in India's film industry. While Bollywood remains the biggest film industry in the world, a new Indian cinema genre is rising nowadays, a cinema that tries to find its position between Bollywood, Western and parallel cinema. One of the striking things of this new Indian film genre, that I call New Indian Cinema, pays attention to the way white Western women are treated in India's contemporary society. New Indian Cinema depicts white Western women as survivors of this tough society they are living in. This representation differs from the way India's popular cinema, Bollywood cinema, has depicted the white Western women until now. From the 1950s onwards, they have been represented as immoral ‘devils’; the opposite of moral Indian women. Although Jane Dark has noticed a development in the representation of white women in Bollywood cinema, it seems that it is New Indian Cinema that contributes to the emancipation of this particular kind of film character in Indian cinema. This thesis is focused on the development of the white Western female character during the last decades. Based on the concepts of whiteness and the male gaze, three New Indian Cinema films have been analysed in order to discover how this new Indian film genre depicts Western women and if this representation contributes to the development of this character. -
Comparison of the Extent of Censorship Laws in India and Abroad
Journal of Critical Reviews ISSN- 2394-5125 Vol 7, Issue 13, 2020 CENSORSHIP IN INDIA VIS-À-VIS FREEDOM OF SPEECH: COMPARISON OF THE EXTENT OF CENSORSHIP LAWS IN INDIA AND ABROAD 1Priyanka Ghai,Dr. 1Arnind P Bhanu 1Amity Law School Noida, Amity University, Sector-125, Uttar Pradesh, India-201313 Email: [email protected] ,[email protected] Received: 12.04.2020 Revised: 13.05.2020 Accepted: 09.06.2020 Abstract With the current outrage at the arbitrary method of censorship applied by the board of film certification in India, it was pertinent to understand and take a closer look at the methods and principles which guide the method of censorship in India, this is also an attempt to understand why censorship is a vital tool to ensure peace and unity in India. The paper also looks at the past and present of censorship, in the form of how it came to be, why it came to be and also what role it plays in society today. In order to get a bigger picture of censorship an attempt has been made to understand censorship in the United States of America, which is a champion of democracy and also in the People’s Republic of China which uses censorship to shepherd its populace in the other direction. The effects both schools have on censorship have been explored in this paper. India being a mixture of both influences has the right to expression subject to certain instances and therefore must understand that even though the right of free speech is indeed a requirement in these times and places, but why censorship as a necessary evil as well in India. -
Early India: from the Origins to AD 1300
RESOURCES ESSAY BOOK REVIEW tial in the understanding of Early India Indian society. All are repre- sented by scholars of great From the Origins to AD 1300 learning, who were dedicated to the modern historical BY ROMILA THAPAR method that had become part BERKELEY AND LOS ANGELES: UNIVERSITY OF CALIFORNIA PRESS, of the world of scholarship in 2002 India as elsewhere, and they are given judicious examina- 556 PAGES PLUS PREFACE tion in a chapter Thapar calls ILLUSTRATIONS, FIGURES, MAPS, CHRONOLOGY, GLOSSARY, “perceptions of the past.” BIBLIOGRAPHIES, AND INDEX The first of these trends is ISBN 0-520-23899-CLOTH often referred to as “imperial- ist.” It was largely the product of writers connected with British rule in India and was he importance of Romila Thapar’s achievement in Early also basically concerned with India: From the Origins to 1300 AD, in relation to the work the fate of empires in the Indi- T of her predecessors, lies in her access to new archaeological an subcontinent. One of the and literary sources, which she herself did not have when she wrote a earliest and probably the most influential of such historians was shorter version forty years ago, as well as in her understanding of the Vincent Smith, whose Early History of India was first published in nature of the enterprise of writing history. Spelled out in an introduc- 1904, was republished as late as 1957, and was widely used as a text tion, this understanding is the essential background for following in both India and the West. For Smith, the key to understanding Indi- Thapar’s approach. -
India's Foreign Affairs Strategy
Copyright © 2020 Brookings Institution India Center No. 6, Second Floor, Dr. Jose P Rizal Marg, Chanakyapuri, New Delhi - 110021 Recommended citation: Menon, Shivshankar. “India’s Foreign Affairs Strategy” Brookings India Impact Series 052020-02, May 2020. Brookings Institution India Center. The Brookings Institution India Center serves as a platform for cutting-edge, independent, policy-relevant research and analysis on the opportunities and challenges facing India and the world. The Center is based in New Delhi, and registered as a company limited by shares and not for profit, under Section 25 of the Companies Act, 1956. Established in 2013, the Center is the third and newest overseas center of the Washington, D.C.-based Brookings Institution. Our work is centered on the Brookings motto of “Quality. Independence. Impact.” All content reflects the individual views of the author(s). Brookings India does not hold an institutional view on any subject. Designed by Mukesh Rawat IMPACT SERIES | MAY 2020 INDIA’S Foreign Affairs Strategy SHIVSHANKAR MENON* Distinguished Fellow, Brookings India * The author gratefully acknowledges the excellent research assistance from Nitika Nayar and production assistance from Rohan Laik and Mukesh Rawat at Brookings India. India’s Foreign Affairs Strategy India finds itself in an increasingly dangerous world, one that is fragmenting and slowing down economically. It is a world in transition, one in which India’s adversaries — state or non-state, or both as in Pakistan’s case — are becoming increasingly powerful. If the external world is becoming more unpredictable and uncertain, so are internal politics and security in most of the powers. These are challenges that traditional institutions and state structures are not well-equipped to handle, mitigate, or solve.