Trigger warning: Mentions of sexual exploitation and abuse In what is being considered a landmark legal verdict, the Supreme Court of India on September 23 ruled that watching, downloading and not reporting child pornography amounts to an offence, even if it is not done with the intent of transmission. In doing so, the SC overturned a previous Madras High Court order, that had said mere downloading and watching child pornography was not an offence under the Protection of Children from Sexual Offences (POCSO) Act and Information Technology (IT) Act. The SC bench, which included Chief Justice of India D Y Chandrachud and Justice J B Pardiwala, delivered the ruling, outlining a strict interpretation of what constitutes an offence on this matter under the Protection of Children from Sexual Offence (POCSO) Act and Information Technology (IT) Act. Additionally, the judgment also called for a change in law to amend the term ‘Child Pornography’ to ‘Child Sexual Exploitative and Abuse Material’ in Section 15 of the POCSO Act. The judgment read, “One must also be mindful of the fact that the term "child pornography" is a misnomer that fails to capture the full extent of the crime. It is important to recognise that each case of what is traditionally termed "child pornography" involves the actual abuse of a child. The use of the term "child pornography" can lead to a trivialisation of the crime, as pornography is often seen as a consensual act between adults. It undermines the victimisation because the term suggests a correlation to pornography — conduct that may be legal, whose subject is voluntarily participating in, and whose subject is capable of consenting to the conduct.” Also Read: Ayodhya, Varanasi, Amarnath: What’s fuelling the rise of spiritual tourism?Why renaming the term ‘child pornography’ is significant? This is being considered an important step towards children’s safety by legal, cyber and psychology experts alike. Adv. Divya R, Trainer, External Member & Chief Quality Officer, The Legal Swan, says, “Child sexual exploitative and abuse material (CSEAM) provides a more accurate reality of the nature and reality of offences under Section 15 of the POCSO Act. CSEAM and child sexual abuse (CSA) both contain exploitation and degradation of a child for the sexual gratification of the abuser.” She adds, “CSEAM is not just pornography but records of sexual offences where a child has either been sexually exploited and abused or where any abuse of children has been portrayed through any self-generated visual depiction. CSEAM emphasis the exploitation and abuse of a child as the criminal nature of the act is highlighted.” Nirali Bhatia, the cyber psychologist, psychotherapist and founder of Cyber B.A.A.P. (an anti-cyberbullying organisation) agrees. She says, “This SC ruling addresses the issue correctly. When it is related to children, it is exploitation and abuse. It cannot be pornography. The demand for such material for entertainment and pleasure can be curbed the moment you take out that word.” “Renaming this term will bring education, awareness and an appropriate understanding that this cannot have any pleasure-value. When we use the terms ‘exploitation’ and ‘abuse’, the element of criminality comes in, which is essential,” she adds. The said changes have been to Section 15 of the POCSO Act. What is the law in question? Section 15 of the POCSO Act mentions the punishment for the storage of pornographic material involving children. It mentions the following criteria under which such an act is considered an offence with punishment ranging from a fine to up to three years of imprisonment: (1) Any person, who stores or possesses pornographic material in any form involving a child, but fails to delete or destroy or report the same to the designated authority, as may be prescribed, to share or transmit child pornography (2) Any person, who stores or possesses pornographic material in any form involving a child for transmitting propagating or displaying, or distributing in any manner at any time except for reporting, as may be prescribed, or for use as evidence in court (3) Any person, who stores or possesses pornographic material in any form involving a child for commercial purpose Loopholes in the law Concerning the Madras HC ruling that was overturned, Adv. Divya says, “The HC wrongly interpreted Section 15 and quashed the criminal proceedings against the accused on several grounds.” These are: • Mere storage of child pornographic material cannot be said to constitute an offence. • In this case, there was no transmission, publication or creation of material depicting children in a sexually explicit manner. • Similarly, there was also no material to indicate the transmission, publication, or creation of material depicting children in a sexually explicit manner. All these grounds were loopholes in Section 15 that necessitated the current ruling of the SC. What are the changes? Adv. Divya says, “Now, for Section 15 to be applicable, actual transmission of child pornographic material is not necessary. One of the primary grounds is storage or possession of such material.” Explaining further, she states, “The Supreme Court has interpreted possession to include both actual and constructive possession. With the evolution of technology, links containing child pornographic material are forwarded or shared instead of actual videos. In such cases, downloaded material may not be available on the devices in which they are viewed. Similarly, if a person has accessed child pornographic material via a child pornographic website, they may have only viewed the material and not necessarily downloaded it on their device. In all such cases, the accused person will still be considered to have child pornographic material.” “Therefore, storage or possession is not limited to physical or tangible storage or possession. A person who has accessed material through a child pornographic website cannot absolve themselves of criminal liability on the ground that they have closed the link,” she adds. This decision puts the onus on the consumers of such material. “This will cut down demand. People who consume such exploitative material need to have a fear of consequences,” believes Bhatia. However, she says, “Just the judgement won’t help. It has to be backed with appropriate education, re-iteration and rapid action. There’s a need for landmark judgements that instill that fear in people.” Also Read: Mid-Day Specials | A guide to staying safe on dating appsWhat about creation and production? While this is aimed at curbing the consumption of child pornographic material, the actual creation and production remains an issue, despite appropriate laws in place. Bhatia says, “The online world is devoid of regulations. It is not impossible to track such material on the internet, but it is a time-consuming process. Beyond this, there’s also a dark web that exists. So, tracking becomes a challenge. “ Stressing on how technology makes this issue even more problematic, she states, “Even one photograph can be used to create a deepfake.” Due to these reasons, Bhatia believes, it is difficult to monitor creation. Hence, there’s a need to curb the demand which is where this judgement will help. Harms of such material on children’s safety Given the exploitative and abusive nature of such material, it not only poses a significant risk to the physical safety of children but also to their psychological well-being. Bhatia explains, “Experiencing something like this can be devastating for a child. It is not just physical or sexual abuse. It also causes significant emotional damage. Children are in their formative years, still forming ideas about their bodies, love, touch, masculinity, feminity, relationships, etc. Such acts are a violation if done without consent and appropriate knowledge and at an inappropriate age.” “Even if such content is created using AI or other technologies without any involvement of the child, if they come across it and see their face on it, the damage can be equally serious,” she adds. The advent of social media and technology has deepened the issue. “Today, everything is recorded and put on the internet. Unfortunately, there’s a market for such content. I have worked on cases where certain groups were exposed to circulation of child sexual abuse material and I had to see what it was. It was so, so disturbing. In some videos, children were even smiling, too young to understand what was happening,” reveals Bhatia. “The online world is a breeding ground for child traffickers, stalkers and pedophiles. There’s so much information available online on anyone, including children. And with AI, anyone can be at risk,” she further states. Furthermore, such incidents are life-altering. They can have long-term effects on a child’s idea of intimacy, relationships and more. Due to the devastating impact, strict laws to prevent and punish child sexual exploitation and abuse, and curb both creation and consumption of such material is extremely essential. The way forward While the SC’s recent ruling is a step in the right direction, several other aspects still need attention. Adv. Divya explains: 1. For Section 15(1) to be applicable, storage or possession of child pornographic material and intention to share or transmit such material are the two necessary elements. However, this intention to share or transmit cannot easily be proved. The Supreme Court has clarified that the expression around intention cannot be read in isolation. For example, if a person in storage or possession of CSEAM fails to delete, destroy or report the incident, such inaction can be considered as indicative of the intent to share or transmit any material. Challenges may be found in proving or disproving intent to distribute or share the material. 2. Accused often plead ignorance of law where charges under Section 15 are raised against them. While ignorance of the law cannot be used as a valid defence in any case, this also raises concerns that enough measures are not being taken to create awareness around the POCSO legislation, nature of offences covered, punishment, liabilities and responsibilities, etc. 3. While the Supreme Court has interpreted storage and possession of CSEAM to also include constructive possession, considering that CSEAM gets circulated through encrypted messaging apps and dark web platforms, the law and enforcement agencies may not be technologically well-equipped to deal with such incidents. 4. Platforms may not always remove sexually explicit content unless they receive a court order. Relying on court directions for each case can take a lot of time and may instead be counter-productive. There should be provisions under the POCSO Act that hold platforms responsible and require them to remove content involving CSEAM without waiting for a court order.
05 October,2024 11:33 AM IST | Mumbai | Raaina JainThe Maharashtra Cabinet chaired by Chief Minister Eknath Shinde on Friday congratulated Prime Minister Narendra Modi and the Union Cabinet for according the classical language status to Marathi. The state Cabinet has also decided to celebrate October 3 as 'Marathi Classical Language Pride Day'. Marathi Language Minister Deepak Kesarkar read out the Cabinet resolution in this regard. "The state Cabinet expresses its gratitude to Prime Minister Narendra Modi, Union Home Minister Amit Shah and Union Minister of Culture Gajendra Singh Shekhawat for this historic decision and congratulates the Union Cabinet," the resolution said. The resolution further states, "Marathi language was originally classical. Maharashtra tried to get the classical status for Maratha language. Efforts were made at many levels for the last decade. For this, a committee headed by Ranganath Pathare did a great job. The Department of Marathi language through Directorate, Marathi Encyclopaedia Board, Sahitya Sanskriti Board and State Marathi Development Institute continuously worked hard and pursued the matter. The Marathi Sahitya Parishad and the Akhil Bharatiya Marathi Sahitya Sammelan have become a feast for Marathi speaking people and lovers of Marathi." "Against this background, all the Marathi speaking people are happy with the Central government's decision to give the classical status to Marathi language. This decision is historic for Marathi people. Many great writers, researchers and scholars have tried to get a classical status to Marathi. Their hard work has been rewarded with the Union Cabinet's decision," the resolution added. "Marathi language has received more energy and motivation for further development. It has been decided to establish a university of Marathi language with Riddhpur as its headquarters. Studies and research in Marathi language will be promoted. It is a matter of pride and honour for Marathi lovers all over the world to get the classical status to Marathi language. The Cabinet congratulates the Central government for this decision," the resolution said. The Pathare Committee had said that with Marathi getting the classical status, it will be possible to do a study of Marathi dialects, research, collection of literature and facilitate teaching of Marathi in all universities of India in view of language conservation. It will also be possible to translate the ancient text and strengthen all libraries in Maharashtra. Further, it will also be possible to provide assistance to various institutions, individuals and students engaged in the development of Marathi. Also Read: Bengali gets status of 'classical language', West Bengal Chief Minister Mamata Banerjee reacts This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
04 October,2024 04:01 PM IST | Mumbai | IANSWest Bengal Chief Minister Mamata Banerjee on Thursday expressed her delight over Bengali being conferred the status of classical language and said the state government had been actively working to secure this recognition from the Centre. She said her government had submitted extensive research to support their case. Governor CV Ananda Bose also welcomed the Centre's decision and announced an award of Rs five lakh to recognise an institution or an individual for contributing to the Bengali language and culture. "Most happy to share that Bengali/Bangla has been finally accorded the status of a classical language by Government of India. We had been trying to snatch this recognition from Ministry of Culture, GOI and we had submitted three volumes of research findings in favour of our contention. Union government has accepted our well-researched claim today evening and we finally reach the cultural apex in the body of languages in India," Banerjee said in a post on X. The Union Cabinet approved conferring the status of classical language to Marathi, Pali, Prakrit, Assamese and Bengali languages. "Hon'ble Governor Dr C V Ananda Bose welcomed the announcement as a deservedly great recognition of the sublimity of the Bengali language," the Raj Bhavan posted on X. Bose announced an award of "Rs five lakh as the 'Durga Bengal Award' to recognise an institution or individual who has made outstanding contributions to Bengali language and culture". "Bengal's culture, not Bengal's politics, is the signature of greatness of this blessed state," the governor said. This is "prime minister's endorsement" of Kavi Guru Rabindranath Thakur's vision - "Banglar mati, Banglar jol, Banglar baayu, Banglar phol punnyo hauk, punnyo hauk hey bhogoban", Bose said as quoted by the Raj Bhavan in the post. The classical languages serve as a custodian of Bharat's profound and ancient cultural heritage, embodying the essence of each community's historical and cultural milestone, the central government said. State BJP president and Union Minister Sukanta Majumdar said it is a historic moment for the Bengali community. "Historic moment for the Bengali community as the cabinet declares Bengali a Classical Language! With its rich literary tradition, cultural heritage, and history, this recognition brings immense pride and honour to every Bengali," he said in a post on X. "This is a historical decision and this decision goes very well with Prime Minister Narendra Modi and the NDA government's philosophy of taking pride in our culture, taking pride in our heritage and taking pride in all the Indian languages and the rich heritage that we have," Union Information and Broadcasting Minister Ashwini Vaishnaw said at a cabinet briefing. The inclusion of languages as classical language will create significant employment opportunities, particularly in academic and research fields, the government statement said. This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever.
04 October,2024 01:27 PM IST | Kolktata | PTIAn Indian-American professor, Shailaja Paik, conducting research on and writing about Dalit women has received a USD 800,000 "genius" grant from the MacArthur Foundation which gives out awards every year to people with extraordinary achievements or potential. Announcing her fellowship, the Foundation said, “Through her focus on the multifaceted experiences of Dalit women, Paik elucidates the enduring nature of caste discrimination and the forces that perpetuate untouchability.” Paik is a distinguished research professor of history at the University of Cincinnati, where she is also an affiliate faculty in Women's, Gender, and Sexuality Studies, and Asian Studies. “Paik provides new insight into the history of caste domination and traces the ways in which gender and sexuality are used to deny Dalit women dignity and personhood,” the Foundation said. The MacArthur Fellowships, popularly known as “genius” grants, are given to people across a spectrum from academia and science to arts and activism, who according to the Foundation are “extraordinarily talented and creative individuals as an investment in their potential”. The selections are made anonymously based on recommendations received and it does not allow applications or lobbying for the grants, which come without any strings and are spread over five years. The Foundation said that her recent project focused “on the lives of women performers of Tamasha, a popular form of bawdy folk theatre that has been practised predominantly by Dalits in Maharashtra for centuries”. “Despite the state’s efforts to reframe Tamasha as an honourable and quintessentially Marathi cultural practice, ashlil (the mark of vulgarity) sticks to Dalit Tamasha women,” it said. Based on the project, she published a book, “The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India”. It said, “Paik also critiques the narrative of Dr B.R. Ambedkar, the twentieth century’s most influential caste abolitionist” and the architect of India’s Constitution. In an interview with National Public Radio (NPR), the US government-subsidised broadcaster, she said that she was herself a member of the Dalit community who grew up in Pune in a slum area and was inspired by her father's dedication to education. After getting her masters’ degree from the Savitribai Phule University in Pune, she went to the University of Warwick in the UK for her PhD. She did a stint as a visiting assistant professor of South Asian history at Yale University. Since the programme began in 1981, fellowships have been granted to 1,153 people. Previous MacArthur Fellows include writers Ruth Prawer Jhabvala, and Ved Mehta, poet A.K. Ramanujam, economists Raj Chetty and Sendhil Mullainathan, mathematician L Mahadevan, computer scientists Subhash Khot and Shwetak Patel, physical biologist Manu Prakash, musician Vijay Gupta, community organiser Raj Jayadev, and lawyer and activist Sujatha Baliga.
04 October,2024 11:39 AM IST | New York | IANS
One of the most awaited comic-book movies of the year ‘‘Joker: Folie a Deux’ was released this week. With the resounding success of Joker (2019), fans have had a lot of hope. It is close to two decades from when Anurag Sharma, a Mumbai fan, was first introduced to Joker. Being from Generation Z, or Gen-Z, as they are popularly known, he shares, “I first saw Jack Nicholson as the Joker in Batman (1989). It was in 2006 when I started exploring the films after watching Batman Begins (2005).” After that, he did not look back. “My fondest memory came through the television cartoon show called ‘Batman’, the animated series. I watched it in 2007, and I remember it like yesterday.” Sharma is one of many fans in the city, who like Batman, but may love Joker more than many other DC Comics fans. For the longest time, the larger-than-life character of Batman has overshadowed Joker in cinema by limiting him to being the villain in the films over many decades. However, things changed when Joker got his movie in 2019. Everything that followed was poetic not only for Joaquin Phoenix, who played the titular character as Arthur Fleck and won the Oscar the following year, but also for fans, who till then were talking about Batman’s arch nemesis only in comic book circles. It probably gave them the limelight to discuss their fascination with Joker’s character in the open and be proud of the ‘nerd mode’ they went into, every time somebody broached the topic of Joker.He explains, “The whole chaotic villain and a badass hero concept was still new to me and Joker from that series had some amazing jokes, disturbing plans and was a pure menace,” shares Sharma, adding, “It got me into reading comics and then I finally got to watch Heath Ledger's portrayal of the Joker and that remains one of my favourite incarnations of the clown prince.” The fact that he is mysterious and wants to prove a point because he has an ideological conflict with Batman, makes him interesting.While the 1989 film was the peak of Millennial fandom, Batman was already popular before that and the love for the comic book character has trickled down to generations of hardcore fans. This was long before the villain got his movie with Joker in 2019, played by Joaquin Phoenix as Arthur Fleck. Ever since then, it would be right to say that Joker fans have been more pronounced in pop culture than ever before because not only does their favourite character get the due credit but even most of them would feel seen for their love for the character that starts with the comics but extends to the films. Also Read: Batman Day: ‘He is the best superhero without any actual superpowers’ Love for JokerSo, what is it that fans like Sharma love about Joker so much? He explains, “I like his pure villain antics and the fact that all he wants is to prove his point to Batman and he doesn't care about the cost. The recent media has tried to take that and give purpose to the Joker, I don't like that. The whole point of this character has been causing menace after menace until the hero finally breaks his moral code. Joker doesn't care about stakes and the funny part is that the only thing that makes him sad is when Batman ignores him. There has never been a hero-villain arc where the villain almost loves the hero like that.”Being such a huge fan, the 23-year-old isn’t more than your average DC fan who relies solely on the portrayal of Joker in the movies. He further adds, “My favourite portrayal is from the Arkham games, which sees the whole Joker-Batman feud go to an extreme and meet a bittersweet end.” Beyond Heath’s Joker, he says Nicholson’s character is a gangster, Joaquin's Joker is like an entirely different character, and Leto's tries to be a psycho but tries too hard. “I think Joaquin is a brilliant actor. He can play the Joker well, but the Joker doesn't need the 1976 film Taxi Driver-like portrayal that was shown. He is more than that,” adds Sharma, who is hoping that they don’t take off from the Taxi Driver version and are inventive. “It will be great if they derive more from comics though. It is a great concept overall. Joker and Harley Quinn are born to be in a musical and who better to play Harley Quinn in a musical than Lady Gaga? I'm pretty excited for the movie,” he adds.Portrayal of Joker in filmsAt a time when fans are often disappointed about the portrayal of their favourite book characters in films, ask him if justice has been done to the character and he says it is always going to be challenging. He explains, “Joker is one of those characters whose translation to live-action medium is very tricky. He's psychologically insane and his state of mind cannot be understood and if shown how horrific he is, the movie or show will end up getting banned. Given these limitations, I think he has been portrayed well.” However, he says there is scope to do better. “I believe the new Batman trilogy by Matt Reeves has the potential to do it and then there's a new James Gunn DCU, so all I can say is we'll have to see. There's a lot of stories that can be told and there's a lot that can be shown, the question is are we as an audience ready for it, and is the studio willing to take the risk?”On the other hand, Mohit Ghorawat, another Mumbaikar believes otherwise, as he has seen over time. He reasons, “From the comic books to the films, I feel justice has been done especially with Heath Ledger and Joaquin Phoenix. They have added a lot of depth to the character, portraying him not just as a villain but as a symbol of chaos and society’s darker side.” It is also why he is excited to watch the film and hopes that it will build on the previous film. “With Joaquin Phoenix as an Oscar winner and Lady Gaga, an Oscar nominee, the expectations are high. I hope it builds on the depth of the first film and delivers something unsettling,” he adds.Unlike Sharma, Ghorawat came across Joker for the first time in The Dark Knight (2008), the second film in the ‘The Dark Knight’ trilogy, directed by Christopher Nolan. While the first one was Batman Begins, the last one was ‘The Dark Knight Rises’ (2012). “That film made a lasting impression on me, showcasing Joker’s chaos and unpredictability. It opened up a fascination with the character,” he explains. Ever since then, he has liked many different aspects of Joker’s character as he continues to watch the films. “Joker’s unpredictability and chaotic nature are what make him fascinating. His drive fuelled by disorder, not power, makes him terrifying. His movie portrayals, especially in ‘The Dark Knight’ and ‘Joker’, capture his complex, anarchic essence perfectly,” he adds. It is also why he believes the last movie has changed the way people perceive Joker. “With ‘Joker’, the character finally stepped out of Batman’s shadow. The film gave us a deep dive into his psyche, showcasing that he is more than just a villain, he’s a character strong enough to carry his own story.” Even he says that the 23-year-old city-based student agrees with Sharma, saying that Heath Ledger is undoubtedly his favourite portrayal of the character. “Ledger’s performance in ‘The Dark Knight’ was iconic. It was intense, unpredictable, and terrifying. For the future, I think Javier Bardem could bring a fresh take with his dark, complex portrayals,” he opines. While Ghorawat and Sharma love the portrayals of Joker by Ledger and Phoenix, even Neil Lopez, another city-based Joker fan is torn between the two and says it is hard to pick one from the other. While Lopez says it is impossible to talk about Joker without a shoutout to Mark Hamill; unsurprisingly, Hamill is also Sharma’s favourite, across his work in the animated series. For the uninitiated, the American actor was the voice actor for Joker for the longest time before he retired citing the death of Kevin Conroy, who voiced Batman opposite him, in 2022.As if great minds think alike, they want Joker to be played by one very famous actor in the future. Lopez expresses, “Willem Dafoe comes to mind as the next Joker. The man has the face and the acting chops to pull it off so let us wait and see.” As if on cue, Sharma adds, “His work as Green Goblin has been equally menacing and I believe he can show us a side of Joker that has never been done before.” While he agrees about dream casting, he adds, “We might never see it but his Joker against Robert Pattinson's Batman would have been the best Batman movie to date. I think others who can also work in the role are Johnny Depp, Tom Hiddleston, Jim Carrey, Adam Driver, even Christian Bale would be fun to see, and after Game of Thrones, Iwan Rheon, who plays Ramsay Bolton.” Superfans of JokerWhile Ghorawat is more about the essence of the character and doesn’t have as much paraphernalia, Sharma says he has been collecting Batman and Joker-related stuff for a long time. He explains, “I collect all kinds of merchandise. It runs in my family because these characters are timeless. I got my first collectible comic book when I was 10, and it was the original publication of ‘Death in the Family’, when it first came out. That showed me the world around Batman and how far Joker can go. Since then, I have collected all the major publications. I am proud of my collection. My room is full of posters of pop culture and that is mostly Batman and his rogue gallery. I have also started collecting figurines recently.”It is no different with 34-year-old Lopez, who is a city-based lawyer by day, who has had a lot of action figures growing up and continues to have them to this day. Such is his fandom that the Mumbaikar remembers the first time he got hooked to Batman. He reminisces, “My earliest memories are from the acclaimed ‘Batman: The Animated Series’ that would run on Cartoon Network back in the day. Thats how my generation was exposed to the Batman character. My dad also had a couple of comics that stoked my interest. One of my favourite memories is seeing Michael Keaton’s Batman from 1989. A live action Batman film? I couldn’t fathom it, and Danny Elfman’s score is just the icing on the cake adding complimenting the gritty gothic theme of the film.”It was his earliest introduction to the Joker character but one that he believes has more intrigue than any other because of how it is so multi-layered and fascinating. “Apart from the homicidal clown mastermind we all know, what I truly love is that his origin story is still shrouded in mystery. This gives the writers the freedom to spin multiple storylines from his blurred past. To quote the Joker’s line from Alan Moore’s novel ‘The Killing Joke’, ‘Sometimes I remember it one way, sometimes another ...if I'm going to have a past, I prefer it to be multiple choice’, shares Lopez, verbatim. In the time he has been a fan, Lopez agrees with Ghorawat and Sharma, even though they come from different generations, about how it is difficult to portray the character on screen. “The Joker isn’t easy to portray on the big screen. Heath Ledger and Joaquin Phoenix’s stellar performances are a testament to that fact, I’m not sure about Jared Leto. It is intriguing to see each actor’s take on the character and what they bring to the table.”While Lopez believes the Joker has always had a cult following as one of the best-written characters, he does believe the recent spotlight of seeing him on screen in live-action films has bolstered his popularity. “The standalone movies are a great start, and the character has so much potential. Hopefully, Hollywood doesn’t make a mess of the franchise in the long run,” adds the Mumbaikar, who is very excited about the film. While he isn’t sure how the musical thriller ‘Joker: Folie a Deux’ will turn out he does know that Joaquin Phoenix is going to knock it out of the park again. Also Read: F.R.I.E.N.D.S anniversary: Mumbai superfans on why they love the show decades later
04 October,2024 11:04 AM IST | Mumbai | Nascimento PintoNavratri 2024 is just a few days away and Mumbai has already come alive with communities setting up pandals and people thronging markets for festive shopping. From vibrant chaniya cholis to house décor and from puja samagri to garba and dandiya accessories, local markets in the city are catering to diverse requirements of the festive season. If you have still not completed your Navratri shopping, we’ve got you covered. Here are five local markets perfect for festive outfits, accessories and other products. Bhuleshwar Market Located in South Bombay, Bhuleshwar is one of the most famous and budget-friendly markets for festive shopping in Mumbai. From traditional mirror-work attires and oxidised jewellery to puja essentials, it your one-stop shop for all requirements. Where: Marine Lines East, Panjarpole, Bhuleshwar, Mumbai Nearest Railway Station: Charni Road Mangaldas Market Located near Chhatrapati Shivaji Maharaj Terminus, Mangaldas market is one of the most famous and oldest textile markets in the city. You will find trendy fabrics at wholesale prices here. Where: Lohar Chawl, Kalbadevi, Mumbai Nearest Railway Station: CSMT/Churchgate Borivali Station Market The street market near Borivali station is a treasure trove with lanes lined up with chaniya cholis, traditional accessories, footwear, etc. You can get all this at budget-friendly prices. Where: Mhatre Wadi, Borivali West Nearest Railway Station: Borivali Other street markets near stations like Malad, Ghatkopar, Dadar, etc., also offer various options for festive shopping. Vile Parle Market The local market in Vile Parle has several boutique shops that have a diverse collection of ethnic outfits for both men and women. You can also find traditional accessories there. Where: Navpada, Vile Parle Nearest Railway Station: Vile Parle Crawford Market While this market is not particularly famous for textiles, it is the go-to place for all décor and gifting shopping at wholesale prices. It is often frequented by Mumbaikars during the festive season. Where: Lokmanya Tilak Rd, Dhobi Talao, Chhatrapati Shivaji Terminus Area, Fort Nearest Railway Station: CSMT Also Read: Navratri 2024: How Garba crosses boundaries and unites the world
03 October,2024 08:25 PM IST | Mumbai | mid-day online correspondentAre you ready to be immersed in a vibrant mélange of colours and community celebrations? Navratri 2024 is round the corner and Mumbai will soon be transformed into a hub of festivities with Durga Puja pandals and Garba nights across the city. Garba and Dandiya are indispensable parts of Navratri in Mumbai. So put on your traditional attires and get ready to sway to Gujarati music with these iconic celebrations in Mumbai. Navratri Utsav with Falguni Pathak The Garba queen Falguni Pathak will grace the stage at this iconic celebration as Mumbaikars sway to her classic songs. With one of the largest Garba grounds and a grand stage, this is a sought-after Navratri celebration in the city, spanning all nine days of the festivities and also extending to Dussehra. When: October 3 to October 12 Where: Late Shri Pramod Mahajan Sports Complex, Borivali West, Mumbai Kora Kendra Navratri Organised by Naidu Club, Garba at Kora Kendra Ground is an apt celebration for both seasoned dancers and beginners. One of the oldest and most recognised celebrations in the city, it is known for its extravagance and traditional approach. When: October 3 - October 12 | 6:30 PM onwards Where: Kora Kendra Ground, Borivali, Mumbai Rangilo Re Navratri Now bringing its sixth edition, Rangilo Re is an indoor, fully air-conditioned Navratri event in the city. This year, renowned singer Parthiv Gohil will be performing and joining the celebration. When: October 3 - October 11 | 7 PM onwards Where: NESCO Hall 4, Goregaon, Mumbai Raasleela Navratri Held in the heart of South Bombay, along Gateway of India, this is one of the most celebrated Garba events in the city. It features traditional Gujarati bands and singers. When: October 3 – October 11 | 7 PM onwards Where: The Bombay Presidency Radio Club Ltd., Colaba, Mumbai Rang Raas Navratri Featuring the celebrated singer Bhoomi Trivedi, Rang Raas Navratri is a popular celebration in town, with a grand stage, live music and exciting prizes to be won every day. When: October 3 – October 12 | 7 PM onwards Where: Balasaheb Thackeray Manoranjan Udyan, Chikoowadi, Borivali West, Mumbai Also Read: Navratri 2024: How Garba crosses boundaries and unites the world
03 October,2024 08:22 PM IST | Mumbai | mid-day online correspondent
People across India are gearing up to be immersed in a mélange of vibrant colours and traditional beats as Navratri 2024 approaches, bringing with it one of the most loved forms of celebrations – Garba. While Gujarat is a hotspot of festivities, the state’s folk dance is not limited by that geography. Transcending boundaries, it is enthusiastically performed in other parts of the country by Gujaratis and non-Gujaratis alike. Interestingly, Garba also has a strong fanbase internationally, in countries like the UK, USA, Australia and Canada. Garba was inscribed on the Representative List of UNESCO’s Intangible Cultural Heritage of Humanity in 2023, bringing global recognition for this regional art form that embodies the divine energy of Durga Maa, or Amba Mata. The official website of UNESCO mentions, “The practitioners and bearers of Garba are broad and inclusive, from the dancers to the musicians, social groups, craftspeople and religious figures involved in the festivities and preparations. Garba is transmitted across generations in urban and rural areas through practice, performance, imitation, and observation.” While Garba is a folk dance associated with culture and community engagement, its scope is ever-increasing with enthusiasts even learning and performing it professionally. Parth Patel, founder of Thangaat Garba, reveals, “When we used to do Garba before in 2013-14, there was no social media. So, we used to only perform at Falguni Pathak’s events. I could see people doing the same three-four steps back then. But I realised it is a lot more than that. We can create 300 more steps. Garba goes beyond teen taali, popat, hinch and other common steps.” While people, especially the millennials and Gen Z, are increasingly being drawn to explore and learn the dance form, maintaining authenticity is a priority. Parth says, “Not everyone does authentic Garba, especially the young crowd. They are more attracted towards Bollywood music. So, a balance has to be maintained without compromising authenticity.” Garba goes global While Garba is emerging as an avenue for professional training, its reach is not limited to India. Parth, who conducts international Garba workshops every year, reveals, “The response we got to our international workshops this year was tremendous. We had four locations in Australia and there were still so many cities left. After that, we also went to the US. We did seven workshops in seven cities and it was all housefull. People actually wait for us to come there and teach. That shows how enthusiastic people are about Garba even outside the country.” Ask him if only Indians attend these workshops and he’s quick to say, “We usually have a mixed crowd. It majorly consists of Indians, but there are other people as well. Every year, we are getting almost six times more students. So, the enthusiasm for learning and performing is definitely there.” Like other international destinations, the Garba scene in the United Kingdom, especially London, has evolved tremendously over the years, and Vibhuti (Vibs) Sheena Patel has borne witness to it. Vibs, who is the co-founder of Garba Flow, a London-based training institute, reveals, “The dance form has come such a long way from when I first started doing Garba more seriously. I think there has always been an enthusiasm for Garba especially around festive periods like Navratri, and there has definitely been a shift in seeing more young people taking an interest to learn more and to want to delve deeper into understanding it as a folk dance. I also think there is a huge demand for it to be accessible throughout the year and that is growing rapidly in London. We also take weekly classes in London all year round, bringing in about 100 students per week. Through workshops, talks, performances and more across London and the UK, we are trying to spread our culture in a way that is accessible but is also with respect to our ancestors and heritage.” Garba enjoys immense popularity in London (Pic: Vibs Patel) “In the UK, the majority of class or event attendees are Indians, specifically Gujarati. However, we have had so many other people attend our classes and events. There really is no barrier to entry for Garba. We believe in bringing together communities, regardless of their faith, caste or background,” she adds. Born and brought up in London, she has seen the enthusiasm for Garba evolve on a large scale. However, her personal journey with the dance form and culture has also seen an evolution. Vibs Patel has performed at various Garba events in London and the UK along with her partner and dance troupe (Pic: Vibs Patel) She shares, “I have been performing and teaching Garba for about 12 years. I was originally introduced to it by my parents who took me to Navratri every year, but as I got older, I went to a London university and saw that I could be a part of a Garba dance on stage. I auditioned in my first year and got in. I fell into a rabbit hole of wanting to learn more about Garba and Gujarati culture, and to be honest, I am still falling deeper, and I love it.” “I then met my current partner, Parle Patel, who at the time was doing a call out for passionate Garba dancers to be part of a group called Raas Rebellion. I got to explore more about Garba with a small group of us including co-founder, Priyel Upadhyaya,” she adds. “As the years passed, I met other passionate individuals who were also dedicated to putting Gujaratis on the map. I was given the opportunity to choreograph Garba music videos in the UK with Pritee Varsani as the lead singer. I realised that this was my calling. And so, Parle and I decided to take the Garba scene in London to a whole new level, as we co-founded Garba Flow. We have been able to take Garba to places like the BBC, ITV, Arts Council England, and we even performed Garba to the Queen of England,” she reveals. Many people abroad are similarly connecting with their roots and taking Garba to international platforms. The diversity of Garba Even within India, Garba is a favourite amongst people across geographies and cultures. Vaibhav Joshi, a Dehradun-based university student, reveals, “I have been practising this folk dance form since three-four years now. I participate in almost every Garba event in Dehradun.” Ask him how he got introduced to it and he says, “It’s the age of social media. You can gain any type of knowledge through it. That’s how I got to know about this dance form. Additionally, I was also taught Garba back in school.” Garba classes and events are held every Navratri across the country and many people participate in these, irrespective of their cultural background. Parth informs, “Back in 2017, we used to majorly have non-Gujarati participants. They wanted to learn because their friends/partners were Gujarati. Gujaratis generally believe that they are naturally pro at Garba. But over time, when people started observing us, they realised there is a lot to learn. Now, we get approximately 50 per cent Gujarati and 50 per cent non-Gujarati participants.” Muskaan Mehrotra, who was born in Mumbai and moved to Surat 10-12 years ago, reveals, “I didn’t know how to perform Garba when I first moved here, especially because it’s way different in Gujarat than in other places. I used to watch and observe. I was so intrigued with it, curious to know how they’re moving their feet, how they’re doing certain variations that it made me eager to learn. For 3 years now, I have been going out for garba events and dancing there.” Muskaan Mehrotra dances at a Garba event (Pic: Muskaan Mehrotra) What draws people towards Garba? Muskaan says, “I am a Punjabi but no matter which community you belong to, when you come to Gujarat, you automatically feel like being a part of that culture.” “They dance their hearts out and enjoy it so much; that energy transfers. It is different vibe altogether. Nobody forces you to participate in it, but you automatically get drawn,” she further expresses. For Parth, it is a source of happiness. “One thing is for sure – people love this dance form. They get happiness when they dance. It definitely carries elements of culture. But it is not just ‘my’ folk dance. It is a dance form that people love. I want to take this happiness worldwide, not just the dance form or the culture attached to it. The objective is to spread happiness through dance,” he concludes. Stressing on how Garba fosters a sense of community, Vibs expresses, “It is a folk dance that brings people of all walks of life together, and we dance in unison. I really love the idea of infinity, and when you do Garba in a circle, it can never end, you can never hit a wall, you just keep going. There is no feeling quite like that.” Also Read: Navratri 2024: How celebrations have evolved over the years in Mumbai
03 October,2024 08:20 PM IST | Mumbai | Raaina Jain
Navratri, Durga Puja, Kullu Dussehra, Nada Habba – names may be different but the spirit of this festival remains the same across states in India. This nine-day-long festival, which culminates with Vijaya Dashmi (Dussehra) on the tenth day is celebrated in diverse ways in the country, with each state having unique traditions and beliefs. Much like the nine forms of Goddess Durga, the celebrations take different shapes as we move from the North to the South, and from the West to the East. While Navratri in Gujarat and Maharashtra is characterised by Garba, states like West Bengal and Assam are known for unique rituals associated with worshipping Goddess Durga. In north India, these ten days are marked with enactments of Ram Leela and in South India, unique pujas and cultural activities are held. As this widely celebrated festival approaches, people from different states in India give a glimpse into local traditions and cultural aspects that shape their celebrations. Gujarat Navratri holds special significance in Gujarat. It is one of the biggest festivals celebrated in the state and people from different communities enthusiastically participate in the festivities. There are pandals all over the city, and puja and aarti are held every day. Mahek Alwani, a Surat resident, reveals, “In all major pandals in the city, puja and aarti are done latest by 9:30 PM, which is followed by Garba.” Garba and Dandiya, Gujarat’s folk dances, are the most distinguishing and special cultural activities that mark the celebrations in the state. While Garba has transcended boundaries and reached other states as well, the way it is performed here is different from other places, given it is the birthplace of the dance form. “Here in Surat, Garba doesn’t end before 4 or 5 in the morning. It starts at about 11-11:30 and goes on for hours. There is a professional competition between Garba groups, who perform at various pandals and events. Everyone strictly follows the colours of the nine days. Also, as compared to other places, in Gujarat, bigger steps and routines are given more importance, for example, 22-step Garba, 32-step Garba, 64-step Garba, which all come under dodhiya,” reveals Alwani. “The festivities even extend beyond the nine days. Everyone here plays Garba during Dussehra and Sharad Purnima as well, which comes a few days after Navratri. Surat remains almost shut during these nine days, or most working professionals get a half day,” she adds. All the khelaiyas (people who participate in Garba) are traditionally dressed in heavy ethnic outfits like mirror-work chaniya cholis, oxidised jewellery, etc. Ahmedabad remains a hotspot for these traditional outfits and accessories, and many people specifically visit the city for Navratri shopping. Alwani informs, “There’s a place called Law Garden in Ahmedabad, where chaniya cholis are sold all year round. And people do buy those even beyond Navratri months.” Apart from Garba and other public celebrations, people in Gujarat also keep a 9-day fast. “They either eat only one time a day or if they are eating twice, they eat farali items,” she says. The celebrations in different parts of Gujarat remain fairly similar, although each area might have unique traditions. Also Read: Navratri 2024: How Garba crosses boundaries and unites the world Maharashtra Gujarat’s neighbour Maharashtra also witnesses similar Navratri celebrations with public pandals and Garba nights. Cities like Mumbai have grand Garba celebrations with Gujarati music stalwarts like Falguni Pathak and Bhoomi Trivedi performing at these events. “In Mumbai, there are many Garba mandals as well as Durga Puja pandals that offer a glimpse of different traditions followed during this festival,” says city resident Isha. Ghatasthapna or Kalash Sthapna is one of the most significant rituals observed in the state at the beginning of Navratri. It is said to invoke Goddess Shakti as the festivities begin. Temples dedicated to the Goddess like the Saptashrungi Devi Temple, and Mumbadevi and Mahalaxmi Temples in Mumbai, witness lakhs of devotees during this period. <iframe width="560" height="315" src="https://www.youtube.com/embed/QSwrfHzylp0?si=qKjdkA32IQ3h4vZe" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe> West Bengal As we move from the East to the West, the festivities take the shape of Durga Puja in West Bengal. The celebrations begin on the sixth day and are marked by various unique traditions. Mehal Roy, who hails from West Bengal, shares, “Durga Puja has always been celebrated grandly at my place. My nani has a family house in rural Bengal and I remember some interesting things from my time there. There’s an old tradition in all nearby villages that includes the traditional dhak sounds. At a common time around the festivities, all villages go silent. Village A hits the dhak and the beat echoes to the next village. When they hear it, they play their first beat and this continues. Sharing her experience of Durga Puja growing up in Kolkata, she says, “Kolkata is usually quiet after 11:30-12:00. But during Durga Puja, everybody is out there, all night long. Even the public transportation functions till late.” Another distinctive feature of Durga Puja in West Bengal, Mehal believes, is the consumption of non-vegetarian food. “Puja is usually considered an auspicious day and people tend to eat vegetarian food, which is not the case for Durga Puja. Bengalis have dishes like Kosha Mangshu (mutton) and Mishti Pulao during the festival,” she states. In Bengal, Kola Bou, or banana tree, is considered to be Lord Ganesha’s wife and is transformed into a goddess during Durga Puja. A banana tree is placed alongside Maa Durga, Saraswati, Lakshmi, Ganesha and Kartik. Another interesting aspect related to the arrival of Goddess Durga in West Bengal is the blooming of Kash Phool. “There are a lot of Bangla songs that speak of Kash phool, a white flower that you find during Durga Puja. It grows specifically during that time. You'll also see references to it in Satyajit Ray movies. As Durga Puja approaches, the weather becomes quite pleasant with cotton-like clouds that are often compared to these flowers,” reveals Mehal. Like in other states, many public pandals are set up during this time and there are cultural programmes for which people start rehearsing months in advance. Assam The north-eastern state of Assam also celebrates Durga Puja on a grand scale as West Bengal. Nisha Smita, who was born and brought up in Assam, shares, “Here, Durga Puja starts from the sixth day of Navratri called Maha Shashthi. The idols are placed at the puja mandap with a small prayer ceremony called ‘Bel Baran’, a ritual that involves worshipping the Bel (wood apple) tree. The seventh, eighth and ninth days are called Maha Saptami, Maha Ashtami and Maha Navami respectively.” She adds, “Every day in the morning, we offer pushpanjali to goddess Durga and then prasad is distributed and bhog is served. Sandhya aarti happens in the evening.” The evening aarti turns into a cultural extravaganza as people participate in the 'Dhunuchi dance'. “People dance to the rhythmic beats of dhaak and bells, holding earthen pots. This impromptu dance is a prominent custom and one of the most awaited activities during the evening Durga aarti every day,” informs Smita. The tenth day – Vijaya Dashami – is when the Durga idols are immersed. “Jaise Maharashtra mein Ganpati visarjan hota hai, vaise hee Assam mein devi visarjan hota hai (The devi visarjan in Assam is the same as Ganpati visarjan in Maharashtra),” she remarks. Durga Puja is celebrated differently in different ‘Shakti Peethas' of Assam. According to some reports, some temples in the state have centuries-old rituals of animal sacrifices during Durga Puja. However, it has been abolished in several of these places. Himachal Pradesh When the 10-day-long festival ends in all other states in India, the celebrations begin in the northern states of Himachal Pradesh. Kullu Dussehra, which begins on Vijaya Dashmi, is a week-long festival held in Kullu, and one of the most popular cultural events in the state. Kanchan Rana, a Kullu resident, reveals, “The actual Dussehra is the first day of Kullu Dussehra. The festival lasts for a week and the sixth and seventh days are the most important.” “We first worship our kuldevi/kuldevta at our village. The raths with these devis and devtas then move to Kullu for the festival. More than 300 gods and goddesses of the Kullu region congregate at Dussehra grounds for the festival,” she adds. One of the most striking features of the festival is the rath yatra, with the rath of Raghunath ji being the main one. Divyakshi Gupta, a travel blogger and tour curator who has experienced the festival several times, shares, “It is believed that the idol of Raghunath ji was brought from Ayodhya itself. The celebrations of Dussehra in Kullu started in the 17th century during the reign of Raja Jagat Singh who sent a man called Damodar Das to get the Raghunath ji idol from Ayodhya. Since then. Lord Raghunathji became the main deity of Kullu Valley.” She adds, “One of the highlights of Kullu Dussehra is the ‘dev milan’ or meeting of the gods. All the local devis and devtas come and meet Raghunathji.” Rana reveals that the third and fourth days of the festival are usually dedicated to dev milan. “We worship Gau mata on the sixth day and the seventh day is dedicated to Hidimba mata,” she further states. Kullu Dussehra is a cultural extravaganza that attracts delegates and attendees from different states and countries. Uttar Pradesh Navratri celebrations in states like Uttar Pradesh, Madhya Pradesh, Haryana and Punjab are characterised by fasting, pujas and cultural programmes. One of the most distinctive features of the festivities here is the ‘Kanya Puja’ or ‘Kanjak Puja’. It is a tradition that honours young girls as manifestations of Goddess Durga. “Nine kanyas and one boy, called langura, are invited, honoured and offered prasad that primarily consists of puri, black channa and halwa,” reveals Noida resident Sonika Agarwal. “Some people even wash their feet, apply tilak or offer money and other gifts,” she adds. Navratri and Dussehra in North India are also characterised by public enactment of Ramayana, commonly called ‘Ram Leela’. These performances take centre stage on all nine days, and the story culminates with Raavan dehen on Dussehra. Karnataka South Indian states celebrate Navratri in unique ways. Karnataka, especially, witnesses festivities on a grand scale. One of the most striking events of Navratri in Karnataka is the Mysore Dasara, also called Nada Habba. It is a 10-day festival that culminates on Vijaya Dashmi. The illuminated Mysore Palace during the Dasara celebrations draws tourists from all over the world. Vidya Hegde, whose ancestral roots lie in Karnataka, shares, “Dasara celebrations in Mysore feature processions carrying clay idols of Durga, Lakshmi, Saraswati, Ganesha and Kartikeya accompanied by music and dance. Elephants are also a part of these grand processions.” Mangalore Dasara is another popular celebration in the state held at the Kudroli Gokarnanatha Temple in Mangalore. Here, the idols of ‘Navadurgas’, along with Mahaganapathi and Sharada, are carried in processions. Flowers, bands, traditional dances like dollu kunitha and tiger dance, Yakshagana characters, etc., add colours and vibrancy to the processions. Tiger dance or tiger masque, a distinguishing feature of the festivities, is performed in honour of Goddess Durga whose favoured animal is said to be the tiger. “Some dress up as tigers and dance, also going house-to-house to showcase their talents. This folk dance is native to coastal Karnataka and is called Pili dance,” reveals Hegde. “All the Durga temples in south Kanara are heavily decorated during these days. Some people also dress up like Gods as per Hindu mythology,” she adds. Many families in Karnataka perform Durga Puja at their homes. Temples dedicated to the Goddess like Kudroli Temple in Mangalore, Uchila Mahalaxmi Temple and Kappu Marigudi Temple have large-scale celebrations. Navratri, Durga Puja and Dussehra are celebrated with great pomp and show across the country. The celebrations feature a diversity of traditions in different states, yet one thing remains common – the vibrancy of the festivities. Also Read: Navratri 2024: From peas jowar handvo to chana masala, follow these recipes to make delicious dishes during the festival
03 October,2024 08:20 PM IST | Mumbai | Raaina Jain
Breathtaking views and camera angles, goosebumps-inducing and thought-provoking dialogues, foot-tapping and attention-grabbing songs and dance sequences, sets that seem real, memorable background score, innovative VFX – a film is made complete and successful with the amalgamation of all these elements and more. The actors who appear on screen and the director who is often credited as the maker end up becoming the face of the film. However, many others work tirelessly behind the camera to bring a filmmaking project to life. If we ever focus on the opening credits and sit through the end credits while watching a movie, we’ll realise just how many people are involved in making it. And yet, all film crew members don’t always get the recognition (or even facilities) they deserve. A few people recently raised their voices against the non-payment of dues by a leading production house in Bollywood. Bosco Martis, the choreographer of the hit song ‘Tauba Tauba’, stressed on the role his team played in making the song what it is and emphasised that they deserve equal credit. Bollywood’s counterpart in LA has seen its fair share of strikes by actors, screenwriters and crew members for better payment terms and treatment. At a time when filmmaking is evolving and the industry is growing with the entry of new talent and platforms, it becomes important to address these issues. But before we talk about getting someone their dues and credits, we must know what their contributions are to the making of the films that we see on screens. How many people are involved in creating a film? Did you know there’s a focus puller in the camera department? Or a boom operator in the sound department? Or a script supervisor in the continuity department? Many such roles are hidden from the viewer’s eyes. “There are 50-60 different roles in a film crew – spotboys, light technicians, camera attendants, focus pullers, set construction workers, etc.,” informs Suresh Shyamlal Gupta, Founder and President of All India Cine Workers Association (AICWA). “Most of these technicians work 16-18 hours per day and sometimes, they even work continuously for 3-4 days. They eat and sleep on sets,” he reveals. We speak to professionals from some often-overlooked departments to understand their functioning. Production design Parichit Paralkar, a production designer who has worked on films like Humpty Sharma ki Dulhaniya, ABCD 2 and Raabta, explains, “Production design plays a very important role in making the film as it is the canvas, the ‘visual translation of a script’. Actors can play their roles better if the environment created by a production designer is at its best.” “It generally involves the director as he is the captain of the ship and we need to follow his vision. Rest everything is developed completely by the production design team and is then discussed with the cinematographer for further technicalities. The production design team includes the following: Art director, set decorator, designers (for technical drawings) and graphic designer,” he further informs. Continuity A script supervisor who has worked on some critically acclaimed films, on request of anonymity, says, “A script supervisor, in the simplest terms, is somebody who makes sure that whatever is written in the script gets captured on screen. There is also something called continuity, which is slightly a technical term that binds the the writing and the editing. It's a bridge between the two. Continuity, especially is important when it comes to the edit. Suppose we set up the camera in a wide shot. After that, we will go for a close-up. So then whatever actions have happened in the wide shot have to match the actions in the close-up. My job is to ensure that it's done the same way.” “Script supervision is a lot more intense than that because it makes the story as real as possible. There’s something called a script calendar which nobody cares about. If it's raining, then this month will be July. If you have a calendar in the background, it should match. Then there's something called emotional continuity as well, which mostly the director takes care of. Sometimes in the story, the audience knows what has happened, but the character doesn't know. So in case it seems like the actors are performing as if they already know, it has to be rectified,” she further explains. How many people are tasked with this crucial role in a film, we ask. “Oh, there's just one. Script supervision, in fact, is sadly supposed to be a department. In Hollywood, it is a department. There is a script supervisor and sometimes they have their assistants as well,” she reveals. Editing (Post-production) The final product that we see in theatres or on our screen is actually shaped by the post-production team. Antara Lahiri, a film editor who has worked on movies like Shakuntala Devi, Mast Mein Rehne Ka, Yeh Ballet and Sharmajee Ki Beti, explains, “The people involved in the editing process vary as per the requirements of the project. But typically, it would be the editor and their team of assistants and associates, the post-production supervisor and their team, the sound designer and team, the VFX supervisor and team, the DI team, the music composer and team and title designer and team.” On being asked about the time it takes to edit a 2.5-hour-long feature film, she says, “This depends on how much has been filmed i.e., what the shooting ratio is. But usually, it takes between 6-8 months. This period would include the Editor’s cut, then the Director’s cut, then the studio or producer’s cut, and inputs from any other stakeholders. Additionally, one would expect to adjust the picture edit a bit during the background music stage as well.” “Robert Bresson said a film is written thrice- at the writing table, during the shoot and at the edit table. The film, its performances, its narrative movement, everything is moulded and sometimes even salvaged in the edit. The illusion of this make-believe world your favourite characters inhabit is created largely in the edit. Editors are responsible for using rhythm and pace to keep audiences engaged, involved and invested in the film. A lot of what editors do is not visible to the untrained eye, since their work is intended to impact the audience subliminally. The best edits are edits where you’re so drawn into the world of the film that you don’t notice the cuts anymore,” she expresses. Do these departments get the credit they deserve? “It’s a very rare case where production design gets credit for a film. Of course, when I say credit, it doesn’t mean the opening credits or end credits as that’s always there. As this field is not yet appreciated, it’s treated as a necessity and not as an art form. Sadly, it’s hardly understood when it plays an important role in making a film look how it is,” comments Paralkar. “The effort to keep editing “invisible” has sadly resulted in editors themselves becoming invisible. Editing and editors are filmmaking’s lethal weapons and yet also their best kept secret,” says Lahiri. Also Read: AI in filmmaking: How AI algorithms inform box office trends, film production and talent casting Challenges faced by the film crew Apart from not getting the recognition and credit they deserve, crew members face other challenges as well. Payments and budgets “People don’t receive payments. Around 60 percent labourers, technicians and artists don’t get their payments on time. This is because the film industry is an unorganised sector. No contract is signed between production houses and these technicians. This is how the industry has been functioning since the beginning. Out of those 60 percent, maybe 20 percent receive their payment after one or two years with a cut, with producers justifying it by saying the film has suffered a loss. Their wages have not increased for 20 years. They used to receive 1000 rupees per day. After Covid, that has also reduced to 500-600 rupees,” informs Gupta. The script supervisor also stresses on lack of punctuality for payments. “Many people face delays in payments. There was a surge during lockdown for work because a lot of people were watching a lot of content. All of these OTT platforms were releasing a lot of stuff. So there was a lot of work. Since 2023, it has gone down. I know some people who didn’t work at all the entire of 2023,” she informs. “Because of that, whenever they would get an offer, they would jump on it. They would charge much less than they used to or they would stay in projects, which are not that great. They don’t quit because the job market is so bad. Getting the money on time is a problem. You have done the job, so you are entitled to ask for it. But it still feels like you're begging them to pay you what you are owed,” she adds. “There are daily wage labourers as well. At the end of the day, they have to get a bill signed by the production team and then they get their wages for that day. They don't have a contract, but they do have a union. So, if people are not getting paid, they usually approach the union,” she further states. Lahiri states, “There is a general lack of respect for editors and editing and this manifests itself in many ways, one of them being subpar pay that is completely disproportionate to the volume of work that is expected of the editor and team, and unfair one-sided contracts.” “Budgets are the main challenge that the art department faces most of the time. The experience helps to crack it but still nowadays budgets are becoming worse,” comments Paralkar. Working conditions and improper treatment “Whether it is a movie, web series, or TV show – technicians work at least 14 hours a day on set. There is no safety on sets. There’s wooden construction that can catch fire anytime. They are supposed to keep a fire safety officer but that doesn’t happen. Many people die on sets annually,” informs Gupta. He adds, “There are no facilities like Provident Fund available for them. There’s no job security. If someone is working for four or five months, they may not have work for the next year. If someone raises their voice for payments, they are boycotted. So, it’s very rare to see someone raising their voice against these things, not only in Bollywood but the entire Indian film industry. Crew members are not respected, often even verbally abused.” The experience of not being treated properly is backed by others. “There are discriminatory practices like not providing adequate downtime, basic hygienic food, or clean surroundings once the film is in post-production,” says Lahiri. Paralkar says, “It’s been observed most of the time that the art team doesn’t get proper treatment in pre-production as in when set construction happens like toilets for women or a hygienic place to sit with basic amenities.” “Sadly, most of our studios don’t have proper make-up rooms or rooms with clean toilets and production refuses to call vanity vans for the art department during set construction time,” he adds. “Day offs are hard to get because you have a crunched timeline and you have the actors for a really short amount of time and the dates are very few and you have to work around that. That's how it's always been. It's nothing new. But there used to be a time when every seventh day was a day off. Most productions follow it, but some of them don't. I have even worked for 10 days with no break,” informs the script supervisor. “I have worked in good productions also, and they really take care of you. There is a separate washroom for women and they keep sanitary napkins. They give you good food and enough days off. However, just one incident can torture you for the rest of the entire duration of your contract. You are contractually bound now to work with them, so you cannot leave. And that hurts, because you expect to be treated a certain way, and you don't get services,” she concludes. What’s the solution? “The only solution is to bring the film industry into the organised sector,” believes Gupta. “Everyone should have proper contracts, and get benefits like PF, ESI and Gratuity. AICWA has been trying to make this happen for a long time,” he adds. “Women’s safety is another major issue. There should be toll toll-free helpline number for them to report their grievances and their privacy should be a priority. The shoot happens in the forests at 2 am and they are left alone to travel back home. All this should be resolved and proper facilities should be provided,” he concludes. The world of filmmaking is huge and this is just the tip of the iceberg. Many people dream of becoming a part of this industry and then see their aspirations getting shattered once they enter the profession. We as viewers need to acknowledge the efforts of all crew members and for the industry to adopt best practices for their welfare. We reached out to several production houses, but they remained unavailable for comment.
03 October,2024 08:18 PM IST | Mumbai | Raaina JainAbout 62 per cent of professionals in India are convinced that getting ahead in their career now depends on their comfort with Artificial Intelligence (AI), according to a new report on Thursday. The report from networking platform LinkedIn showed that as jobs evolve, the biggest opportunity for workers in India is integrating AI into daily tasks (40 per cent). As a result, the use of LinkedIn Learning courses focused on AI aptitude has spiked by 117 per cent among non-technical professionals over the past year, the report said. LinkedIn data also shows a 123 per cent increase in posts mentioning flexible work over the last two years, highlighting how this continues to be top of mind for workers as companies evolve their return-to-office (RTO) strategies. Professionals in India are also realising how quickly work is changing and 90 per cent are looking for more guidance and support than ever before. “With AI and hybrid work models changing how we work, staying informed about the latest industry trends is now more important than ever,” said Nirajita Banerjee, Career Expert and Head of Editorial, LinkedIn India. “Today, 8 out of 10 (78 per cent) workers in India are already turning to industry leaders and peers for advice -- recognising the value of proactively seeking professional knowledge,” Banerjee added. More than 60 per cent of professionals acknowledge the need for continuous learning with 41 per cent believing that upskilling is essential for career growth. According to the research, 60 per cent seek guidance on the skills needed to navigate workplace change. Many are learning about tech advancements (44 per cent), sector-specific market analysis (35 per cent), and social trends (35 per cent) to stay informed and prepared for future opportunities. Nearly 50 per cent of professionals in India find short-form videos easy to engage with, while 46 per cent prefer long-form video courses focused on specific skills, considering them the most helpful. Professionals particularly value videos with anecdotes and learnings (49 per cent), and unscripted podcast conversations (38 per cent), which help them make informed professional decisions and evaluate career prospects. Professionals are also turning to LinkedIn for the knowledge and skills to help them adapt to the rapid changes in the workplace. With expert insights, AI-powered coaching, and real-time news, LinkedIn has the tools it needs to stay ahead. Also Read: Art through the eyes of AI: Here’s how artists and creative professionals are adopting AI in their work This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
03 October,2024 04:56 PM IST | Mumbai | IANSADVERTISEMENT
