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Dr. Namita Rajput Koushumi Chakraborti 10 Valentina 11 ➢ EDITORIAL BOARD Vikramaditya Sahai 12 ❖ Faculty ✓ Dr
GC’s Members 2019-20 Akshit Manocha Saurabh Singh Parmar B.Com(P), 1st Year Alumnus 2018-19 Member Co-Founder & Chief Administrator Abhimanyu Nasa Niraj Kejriwal B.Com(P), 3rd Year B.Com(H), 2nd Year Member Co-Founder & Chief Overseer Mudit Tiwari Shreyans Bothra B.Com(P), 1st Year B.Com(H), 2nd Year Member Co-Founder & Chief Overseer Aniket Dogra Vineeta Patni B.Com(P), 1st Year B.Com(P), 3rd Year Member Executive Member Abhinav Arya BA(H) App. Psychology, 1st Year Divya Sharma Member B.Com(P), 1st Year Coordination Executive Sanket Arora B.Com(P), 1st Year Member Yatika Mehla BA(H) English, 2nd Year Member Sachin Vats BA(H) Hindi, 2nd Year Member Vidhita Sangwan B.Com(P), 1st Year Gautam Arora Member B.Com(P), 1st Year Member Aastha Singh B.Com(H), 1st Year Prachi Priyadarshee Member BA(H) English, 1st Year Member Bijita Nayak BA(P), 1st Year Yash Sharma Member BA(P), 1st Year Member Urja Gangwar Palash Nayak B.Com(P), 1st Year B.Com(P), 3rd Year Member Member GOONJ From the Desk of Principal 1 Edition - 1 (2019-20) From the Desk of Convenor 2 Official students’ annual About GC 3 digital Newsletter of From the Desk of Student Editors 5 Gender Championship Cell, From the Desk of Office Bearers 6 Sri Aurobindo College KHANAK – Celebrating Gender Equality 7 (Evening) Our Initiatives at Large 8 ➢ PATRON Sridhar Rangayan 9 Dr. Namita Rajput Koushumi Chakraborti 10 Valentina 11 ➢ EDITORIAL BOARD Vikramaditya Sahai 12 ❖ Faculty ✓ Dr. Vibha Batra Tales of Revelation 13 ❖ Students Rise Conference 15 ✓ Saurabh Singh Parmar Yes, I cry! 17 ✓ Isha -
Those Underground Rainbow Days
guest article Those UndergrounD Rainbow Days ... A Memoir by Sridhar Rangayan Can you imagine a time when there was no Internet, WhatsApp chats, you can’t even imagine how anxiously no mobile phones, and not even computers? Can you we used to wait to receive a response to a letter we had imagine such a dark age? And in that age, can you imagine written to an unknown gay guy, sometimes in the same how a lonely person would have felt if they thought they city. It took weeks of waiting before one got a reply, and were different from others? months before one could actually meet the other person. Imagine all of this in today’s age of speed dating! That’s exactly how I felt when I was growing up in the 70s and 80s, during and post my teenage years. I couldn’t Perhaps that’s all the more reason why we valued our find any validation anywhere for what I was feeling from flings and friendships. We kept them for a long time. Not within—my attraction towards other men. The only just friends, but also the alternate family we formed—a mention of homosexuality was in the medical books, that group of gay men who bonded closely in the 90s. We too in a derogatory manner. The only solace I could find are still very close to each other, even though many have was in furtive sexual encounters in the dark—unnamed moved to other cities and countries. At a time when there and unspoken. -
Introduction 1
Notes Introduction 1. Abha Dawesar, Babyji (New Delhi: Penguin, 2005), p. 1. 2. There are pitfalls when using terms like “gay,” “lesbian,” or “homosexual” in India, unless they are consonant with “local” identifications. The prob- lem of naming has been central in the “sexuality debates,” as will shortly be delineated. 3. Hoshang Merchant, Forbidden Sex, Forbidden Texts: New India’s Gay Poets (London: Routledge, 2009), p. 62. 4. Fire, dir. by Deepa Mehta (Trial by Fire Films, 1996) [on DVD]. 5. Geeta Patel, “On Fire: Sexuality and Its Incitements,” in Queering India, ed. by Ruth Vanita (London: Routledge, 2002), pp. 222–233; Jacqueline Levitin, “An Introduction to Deepa Mehta,” in Women Filmmakers: Refocusing, ed. by Jacqueline Levitin, Judith Plessis, and Valerie Raoul (Vancouver: UBC Press, 2002), pp. 273–283. 6. A Lotus of Another Color, ed. by Rakesh Ratti (Boston: Alyson Publi- cations, 1993); Queering India, ed. by Ruth Vanita; Seminal Sites and Seminal Attitudes—Sexualities, Masculinities and Culture in South Asia, ed. by Sanjay Srivastava (New Delhi: Sage Publications, 2004); Because I Have a Voice: Queer Politics in India, ed. by Arvind Narrain and Gautam Bhan (New Delhi: Yoda Press, 2005); Sexualities, ed. by Nivedita Menon (New Delhi: Women Unlimited, 2007); The Phobic and the Erotic: The Politics of Sexualities in Contemporary India, ed. by Brinda Bose and Suhabrata Bhattacharyya (King’s Lynn: Seagull Books, 2007). 7. Walter Jost and Wendy Olmsted, “Introduction,” in A Companion to Rhetoric and Rhetorical Criticism, ed. by Walter Jost and Wendy Olmsted (Oxford: Blackwell, 2004), pp. xv–xvi (p. xv). 8. Quest/Thaang, dir. -
LGBTQ Rights, Public Subjecthood and the Law in India
UNIVERSITY OF CALIFORNIA, SAN DIEGO Mediating the Optics of Privacy: LGBTQ Rights, Public Subjecthood and the Law in India A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Pawan Deep Singh Committee in Charge: Professor Lisa Cartwright, Chair Professor Cathy Gere Professor Nitin Govil Professor Valerie Hartouni Professor John McMurria Professor David Serlin 2015 Copyright Pawan Deep Singh, 2015 All Rights Reserved The Dissertation of Pawan Deep Singh is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2015 iii TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………………iii TABLE OF CONTENTS ................................................................................................. iv ACKNOWLEDGEMENTS ............................................................................................. vi VITA ............................................................................................................................... viii ABSTRACT OF THE DISSERTATION ....................................................................... ix Introduction ....................................................................................................................... 1 Sexuality within the Global and the Local ................................................................ 14 Queer Visibility in Postcolonial India ....................................................................... -
Gender/Sexual Transnationalism and the Making Of
Globalizing through the Vernacular: Gender/sexual Transnationalism and the Making of Sexual Minorities in Eastern India A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Aniruddha Dutta IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Richa Nagar, Jigna Desai May 2013 © Aniruddha Dutta, 2013. i Acknowledgements The fieldwork that underlies this dissertation would not have been possible without the help and guidance of my kothi, dhurani and hijra friends and sisters who have so generously invited me into their lives and worlds. Furthermore, numerous community activists, leaders and staff members working in community-based and non-governmental organizations shared their time and insights and included me into their conversations and debates, for which I am deeply grateful. I would especially like to thank the communities, activists and staff associated with Madhya Banglar Sangram, Dum Dum Swikriti Society, Nadia Sampriti Society, Koshish, Kolkata Rista, Gokhale Road Bandhan, Kolkata Rainbow Pride Festival (KRPF), Sappho for Equality, Pratyay Gender Trust, PLUS, Amitié Trust, Solidarity and Action Against the HIV Infection in India (SAATHII), Dinajpur Natun Alo Society, Nabadiganta, Moitrisanjog Society Coochbehar, and Gour Banglar Sanhati Samiti. The detailed review and inputs by my advisers and committee members have been invaluable and have helped shape and improve the dissertation in more ways than I could enlist. I am particularly grateful to my co-advisers, Prof. Richa Nagar and Prof. Jigna Desai for their consistent and meticulous mentorship, guidance, advice and editorial inputs, which have shaped the manuscript in innumerable ways, and without which this dissertation could not have been completed on schedule. -
Motherhood and the Political Project of Queer Indian Cinema
Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-1-2007 Motherhood and the Political Project of Queer Indian Cinema Bryce J. Renninger Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the English Language and Literature Commons, Film and Media Studies Commons, Radio Commons, Religion Commons, and the Television Commons Recommended Citation Renninger, Bryce J., "Motherhood and the Political Project of Queer Indian Cinema" (2007). Syracuse University Honors Program Capstone Projects. 560. https://surface.syr.edu/honors_capstone/560 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. Motherhood and the Political Project of Queer Indian Cinema Bryce J. Renninger Candidate for B.A. Degree in English & Textual Studies, Television Radio Film, and Religion & Society with Honors May 2007 APPROVED Thesis Project Advisor: ____________________________ Roger Hallas Honors Reader: __________________________________ Tula Goenka Honors Director: __________________________________ Samuel Gorovitz Date:___________________________________________ Table of Contents Abstract…………………………………………………………………………...i Acknowledgements…………………………………………………………...…iii Introduction………………………………………………………………………1 -
Personal Profile ~ Sridhar Rangayan
Sridhar Rangayan profile A Graduate in Engineering and Post-graduate in Design from IIT, Bombay, Sridhar Rangayan switched tracks from designing carpets to apprenticing with eminent Indian directors like Sai Paranjpye, Kalpana Lajmi and Dev Benegal. Setting off as an independant writer / director in 1999 he has scripted and directed television content covering various genres - comedy, romance, drama and thrillers. His latest serial was the first Indian serial to be shot on a luxury cruiseliner and in Singapore & Malaysia. His award winnng debut short film ‘The Pink Mirror’, produced by his own company Solaris Pictures, has screened at a record number of 56 international film festivals till date. It also garnered global attention for being the first film on Indian drag queens and is one of the very few independent films from India to acquire distribution in US and Europe. His first 35mm feature, a children film that combines breezy fun-filled adventure with social values, won the Bronze Remi Award at WorldFest, Houston and has been screened at international children film festivals. Apart from filmmaking, he is also actively involved with human rights issues and the disability sector. awards Jury Award for Best Film at ‘Fire Island Film Festival 2004, New York, USA (for film “Gulabi Aaina) Bronze Remi Award at WorldFest 2004, Houston (for children film “Yeh Hai Chakkad Bakkad Bumbe Bo’ – CFSI ) Best Film of the Festival award at ‘Question de Genre’ film festival 2003, Lille, France (for film “Gulabi Aaina) RAPA award for Best Comedy Episode, -
PORTRAYAL of SEXUAL MINORITIES in HINDI FILMS By
Articles Global Media Journal – Indian Edition/ISSN 2249-5835 Sponsored by the University of Calcutta/ www.caluniv.ac.in Summer Issue / June 2012 Vol. 3/No.1 PORTRAYAL OF SEXUAL MINORITIES IN HINDI FILMS Sanjeev Kumar Sabharwal Assistant Professor Amity School of Communication Amity University Uttar Pradesh, Lucknow Campus, Uttar Pradesh, India Website: http://www.amity.edu/lucknow Email:[email protected] and Reetika Sen Academic Coordinator Amity School of Communication Amity University Uttar Pradesh, Lucknow Campus, Uttar Pradesh, India Website: http://www.amity.edu/lucknow Email: [email protected] Abstract: Sexual minority or Alternative sexuality comprises of all those people who fall under the categories of Gay, Lesbian, Transgender, Eunuchs. This paper basically compares the portrayal of sexual minorities in Mainstream and Alternative Hindi Cinema. It talks about how Mainstream Hindi cinema which is the most widely distributed cinema in India and abroad has traditionally adopted an attitude of denial or mockery towards LGBTQ community. Representations of sexual Minorities have veered between the sarcasm, comic and the criminal. Where as Alternative Cinema which is confined to film festivals and a handful selected group of viewers portrays sexual minorities in more realistic manner and is successful in raising, expressing & suggesting possible solutions to their problems in more effective manner as compared to the main stream cinema. This is a qualitative as well as quantitative research and the methodology adopted to find out the answers to the questions is content analysis of four Hindi films and survey. Two films of mainstream and two of alternative cinema were selected randomly. Both secondary and primary data was collected, from various reliable sources like journals, websites, articles, movie reviews of different newspapers etc. -
Portraying Third Gender in Bollywood: an Analysis of Film Darmiyaan: in Between 1 Toyeba Mushtaq, 2 Dr
INTERNATIONAL JOURNAL FOR INNOVATIVE RESEARCH IN MULTIDISCIPLINARY FIELD ISSN: 2455-0620 Volume - 5, Issue - 3, Mar – 2019 Monthly, Peer-Reviewed, Refereed, Indexed Journal with IC Value: 86.87 Impact Factor: 6.497 Publication Date: 31/03/2019 Portraying Third Gender in Bollywood: An analysis of film Darmiyaan: In Between 1 Toyeba Mushtaq, 2 Dr. Aaliya Ahmed 1 Doctoral Scholar, Media Education Research Centre, University of Kashmir, India 2 Senior Assistant Professor, Media Education Research Centre, University of Kashmir, India Email – 1 [email protected] 2 [email protected] Abstract: India is one of the countries that produces the most number of films in a year and has a large base of cinema going public. Mainstream Hindi cinema is the most widely distributed cinema in India. Identity construction is one of the most significant issues in Bollywood. Filmmakers in India are trying to step outside the beaten track of traditional Indian themes but there has been no or little allowance for portrayal of third gender, a subject that is still a taboo in a country where the discourse on sex itself is bound by moral restriction. Their representation and construction in Bollywood is not free from the prevalent ideologies on gender where they are taken as third category. They are shown as oppressed solely due to their sexual orientation or gender orientation in India. In this context, it would be interesting to study how Bollywood is portraying third gender and what changes has their character undergone over the past decades. The research paper will analyze the film Darmiyaan: In Between. The film is chosen because of being one of the first Bollywood films that portrays a transgender character in a serious role. -
68 Pages – Press Kit
68 Pages – Press Kit PRESS KIT 68 pages Marked by pain, bound by hope For the first time, a film that strings together stories of five HIV positive persons from different high risk groups – gay, transgender, sex worker and drug user. Based on reflections of true-life incidents and characters, it is a film that has originated from within these communities with active participation of NGOs working with these marginalized populations. The film deals with issues that need to be discussed but have not found space in the society as discussing them in the society is still taboo. The film mainly focuses on five HIV positive persons whose lives change dramatically when they come to know of their status. These stories of pain are bound within the diary of an HIV/AIDS counsellor… in 68 pages of her diary… pages that record the lives of her counselees, their pain and their joy, their despair and their hopes, their tears and their laughter. Their stories have the capacity to touch, heal and change lives… lives of those who are HIV positive but do not lose hope. 68 PAGES is a tribute to the human spirit of optimism and survival. This 90-minute film has been produced by The Humsafar Trust in association with Solaris Pictures with the support of DFID (UK). Directed by Sridhar Rangayan, the cast includes Mouli Ganguly, Joy Sengupta, Zafar Karachiwala, Jayati Bhatia, Uday Sonawane and Abhay Kulkarni with music by Xen@BOB. PLOT 68 PAGES is the story of Mansi, a counsellor whose ethics demand that she has to maintain confidentiality of her counselees. -
Music Therapy Portraits of Globalized Indian Identity Sangeeta Swamy Lesley University
Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Dissertations (GSASS) Summer 7-29-2011 Temple of Ancient Knowing: Music Therapy Portraits of Globalized Indian Identity Sangeeta Swamy Lesley University Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_dissertations Part of the Social and Behavioral Sciences Commons Recommended Citation Swamy, Sangeeta, "Temple of Ancient Knowing: Music Therapy Portraits of Globalized Indian Identity" (2011). Expressive Therapies Dissertations. 76. https://digitalcommons.lesley.edu/expressive_dissertations/76 This Dissertation is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Dissertations by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected]. RUNNING HEAD: MUSIC THERAPY PORTRAITS OF GLOBALIZED INDIAN 1 IDENTITY TEMPLE OF ANCIENT KNOWING: MUSIC THERAPY PORTRAITS OF GLOBALIZED INDIAN IDENTITY A DISSERTATION STUDY Submitted by SANGEETA SWAMY In partial fulfillment of the requirements for the degree of Doctor of Philosophy LESLEY UNIVERSITY July 29, 2011 RUNNING HEAD: MUSIC THERAPY PORTRAITS OF GLOBALIZED INDIAN 2 IDENTITY RUNNING HEAD: MUSIC THERAPY PORTRAITS OF GLOBALIZED INDIAN 3 IDENTITY STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at Lesley University -
(LGBT) in Hindi Cinema
Amity Journal of Media & Communication Studies (ISSN 2231 – 1033) Copyright 2017 by ASCO 2017, Vol. 7, No. 1 Amity University Rajasthan Gender, Sexuality and (Be) longing: The Representation of Queer (LGBT) in Hindi Cinema Pushpinder Kaur Punjabi University, India Abstract We do not yet live in a world free from homophobia, transphobia, prejudice and discrimination and we live in a world where majority wins and overpower the voices of the minority. In India, we need a space that listens to those who need to be heard. Sexual minority comprises of all those people who fall under the categories of Lesbian, Gay, Bisexual and Transgender and they are exactly that-a minority within our own homes, families, schools, institutions, communities, work places etc. Adding to their woes is Section 377 of the Indian penal Code which criminalises Homosexuality. Many of these problems leave many among them feeling isolated, afraid, depressed and even suicidal. So a space for LGBT is needed to look at these specific issues not from a hetero-normative perspective or with pre-conceived binary notions. LGBT is in fact short for LGBTTQQIIA+? It includes, lesbian, gay, bisexual, transgender, transexual, queer, questioning, intersex, intergender and asexuals. Films that depict reality are of supreme importance. It is also quite important that we start to desire for films that have characters belonging to the community, living a usual life, facing normal societal or personal conflicts and not discriminatory or oppressing ones. Cinema is an all-pervasive tool that reaches so many people at once and challenges the conditioning of the society and even in cinema, if members of LGBT community get casted as manipulative, negative and fearful characters; it simply reinforces the existing hatred in the real world.