Where do I End and You Begin: A Showcase of Video Works by Young Artists | Save the Date: November 26: The Other Woman: Exhibition of Film Memorabilia

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Khoj International Artists Association in collaboration with Foundation for Indian Contemporary Art presents Where Do I End and You Begin Relayin

Khoj International Artists Association

in collaboration with

Foundation for Indian Contemporary Art


Where Do I End and You Begin

Relaying the Curatorial Brief

Friday, 6.30 pm, November 7
at Khoj Studios, S 17, Khirkee Extension
The recently concluded international exhibition Where Do I End and You Begin, organised by Edinburgh Art Festival in partnership with City Art Centre, included contemporary art selected by five curators from Commonwealth countries. Taking its title from a work by Shilpa Gupta, the exhibition invited perspectives from across the Commonwealth to explore and interrogate the historical and contemporary construct, offering diverse perspectives on the range of associations which the common-wealth evoked.
The Edinburgh Art Festival Film Club also took the themes raised by the exhibition as a reference point and invited four emerging artist-run spaces: Or Gallery, Canada; Dog Park Art Projects Space, New Zealand; KHOJ International, India; and Embassy Gallery, Scotland, to present a selection of moving image works that explored themes of post-digital nomadism, non-materialism and the importance of virtual identities.
The evening will contain short presentations by Vidya Shivadas, who was part of the curatorial team of Where do I... and Neha Choksi, one of the participating artists in the Khoj-curated Film programme.
The discussion will be followed by a screening of short videos series presented by Or Gallery and Khoj. Or Gallery presented Vigne, a series of videos by Vancouver-based artists, that used rhizomatic structure of vines as a departure point and explored the vignette as a form and Khoj presented Spaces In Between:The Truth about Fiction and the Fiction about Truth: Artists Films from India, a meditation on inhabiting diverse mental and physical states of being, and their curious intersections.
For further queries, please write to interact <at> khojworkshop.org
Khoj receives core support from the Royal Norwegian Embassy

Save the Date: November 26, 6.30 pm

Khoj International Artists Association


Priya Paul


The Other Woman

Exhibition of Selected Film Memorabilia from the Priya Paul Collection

at Khoj Studios, S - 17, Khirkee Extension
Khoj receives core support from the Royal Norwegian Embassy


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Fwd: Fw: REMINDER: “Women’s Safety and Empowerment” Film Contest Opens for Submissions on October 21

Sent: Wednesday, October 29, 2014 3:42 PM
Subject: REMINDER: “Women’s Safety and Empowerment” Film Contest Opens for Submissions on October 21




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Two Laws on Censorship

Two Laws on Censorship
Pankaj Butalia/ Indian Express

Two individuals stand at opposite ends of the film-censorship spectrum in India: One a Bollywood filmmaker, Vishal Bhardwaj, who made Haider, and the other a young documentary filmmaker, Shubhradeep Chakravorty, who made En Dino Muzaffarnagar, a documentary on last year’s riots. Bhardwaj, who agreed to 41 cuts, was able to state in his film that the Indian army was responsible for the disappearance of Kashmiri men in 1995, blew up homes at will, tortured people in the most brutal way and let loose a counter-terrorism force that played havoc with Kashmiri society. He was also able to incorporate in his film another holy cow of a censorious society: incest.
This is a major step forward for free speech. Unfortunately, the benefits of the censor board’s “largesse” do not percolate down to “lesser” filmmakers like Chakravorty, who could not get permission to screen his film. The lame excuse was that he had shown a specific political party to be responsible for the riots and that a particular caste had also been mentioned. A depressed Chakravorty died due to a brain haemorrhage soon after. At about the same time that the Central Board of Film Certification (CBFC) was sanctioning Bhardwaj’s film, my documentary, The Textures of Loss, on depression in Kashmir, was rejected because it had the line: “ the paramilitary forces reacted with disproportionate violence”.
The CBFC and its sister organisation, the Film Certification Appellate Tribunal (FCAT), act with an arrogance that has no sanction in law. At the heart of this arrogance is the misconception that cinema lies outside the pale of freedom of speech, guaranteed by the Constitution.
It is widely believed, including by the filmmaking fraternity, that the act from which film censorship in India derives its powers overrides free speech. But the grounds on which a film may be refused sanction for public exhibition have been clearly specified. These grounds are precisely the “reasonable restrictions” on free speech listed in the Constitution. No more. Nowhere is there any mention of why film needs to be treated differently from other media. The only difference is that a film is vetted before it enters the public domain, as opposed to other media, where action is taken ex-post.
There is no dearth of Supreme Court judgments which have held that reasonable restrictions have to be put to test and enforced minimally.
In Ramesh vs Union of India, the SC observed that “that the effect of the words must be judged from the standards of reasonable, strong-minded, firm and courageous men, and not those of weak and vacillating minds, nor of those who scent danger in every hostile point of view”. Yet, small-time officials in the CBFC and FCAT feel emboldened to object to a film on absurdly subjective grounds and a desire to please their masters. The biggest victims of such arbitrariness are documentary filmmakers, whose work is often overtly political.
Even the most carefully crafted work can come to naught if an official of the censor board does not have the sensibility to understand nuances of image and language. This affects not only the right to free speech but also the right to practise a trade/ craft.
Minor officials routinely send out circulars widening the list of “sensitive areas” which need to be “censored”. With each list sent out, the censoring official acts with even more alacrity. It is not unlike a gleeful Yossarian in Catch 22, who decided one day that he would remove everything in the letters he was supposed to censor except an “a”, “an” or “the”!
Our SC has been very clear on this. In Indian Express Newspapers vs Union Of India, Justice E. Venkataramiah observed : “There could not be any kind of restriction on the freedom of speech and expression other than those mentioned in Article 19 (2) and it is clear that there could not be any interference with that freedom in the name of public interest”. Importantly, it needs to be recognised that censorship is an oxymoron in today’s world. Given the reach of television and the internet, neither of which can be censored, it seems absurd to single out cinema for this treatment.
Chakravorty’s documentary was stopped by the same paranoia that Rakesh Sharma’s film on the Gujarat riots was a victim of a decade before. The censors felt that communal harmony could be disturbed. In fact, the films are about the disturbing of communal harmony. Both films have since been screened extensively in the country and abroad. Not one riot has followed. These are fears only in the heads of those who control thought. In fact, it is the extensive screening of such films that is required, not their banning. Any control that has to be exercised must be on those who cause the riots and not on those who expose them.

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Kochi International Short Film Festival of India

Submissions are open for the Kochi International Short Film Festival of India (KISFFI). 
More details can be accessed at http://kisffi.in

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Help needed for studies on women and mainstream cinema

I am looking for published articles on women in mainstream cinema. Kindly help.

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Looking for website designer/ developer

Hi all,

I am urgently looking for a website designer for our documentary project.

Could you help me in this?


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Fwd: Newsletter: October 2014

Dear all,

Indiancine.ma is an annotated online archive of Indian films. It was initiated by Pad.ma and is operated in collaboration with a number of film studies institutions in India. See: http://indiancine.ma/about. Its initial index of films and metadata was based on Ashish Rajadhyaksha and Paul Willemen's Encyclopedia of Indian Cinema, and has been updated to currently more than 36,000 films.

Our starting focus has been to collect and build a compilation of films that are in the public domain. This includes films that were made over 60 years ago and are out of copyright. The attempt is to build a complete and comprehensive list of such films, and to upload them when available, along with ancillary material. A growing list of films and annotations of such films is here: https://indiancine.ma/grid/year/list==rlx:Out_of_Copyright

Below are some of the films worked on by film scholars, students, and researchers on a Pad.ma film histories fellowship, which have been shared over the past few months on the indiancine.ma lists and other film studies discussion lists. Indiancine.ma researcher Ananya Parikh has put this condensed compilation together. Many of the original posts were by Ashish Rajadhayaksha. (See previous postings at http://indiancine.ma/news.)

A very quick how-to guide: Each film can be seen in one of the following Views, among others. View Info, where you get basic information of the film, along with a short summary and other details. View Player, where you get to watch the film alongside with the annotations in the right column. To watch it full screen, there is an expand icon on the top left corner of the video window. View Editor, where you have the options of editing to add time based annotations among other features. Type “H” for help to keyboard shortcuts in Editor View. 

To explore all its possibilities and to add to Indiancine.ma, you should register, here: https://indiancine.ma/signup

Happy reading and viewing.

Jeevitha Nauka

Malayalam cinema's major hit and a legendary melodrama, Jeevitha Nauka was the second film of Koshi-Kunchako Productions, made at the Udaya Studio, along with a major star cast. Jenson Joseph, as a part of his Pad.ma film Histories fellowship writes about the films' extensive use of documentary footage as also its use of theatre. He also draws our attention to the songs used in the film; four of which were a direct adaptation from Raj Kapoor's Barsaat (1949).



Film scholar Gayatri Chatterjee's annotations for Kedar Sharma's 1949 film Jogan starring Dilip Kumar and Nargis create a rich tapestry both in and around the film. Her annotations include both a close reading of the text- with its use of camera movement and lighting, and also a placing of Jogan within larger cultural contexts. Chatterjee provides interesting readings of songs in the film, again drawing on larger musical Bhakti traditions and placing them against the context of the film.


Bombay Talkies Films

Debashree Mukherjee, as a part of a Pad.ma film histories fellowship, selected and annotated a trio of major Franz Osten Bombay Talkies films, Achhut Kanya (1936), Prem Kahani (1937) and Nirmala (1938). Debashree introduces us to a large and varied group of characters around the films. 


Debashree writes about her selection and annotation strategy here Three Bombay Talkies Films from the 1930s and presents an interview with Peter Dietze, grandson of Himanshu Rai with rare images from his Melbourne collection.

Bengali Classic Films

Six Bengali classic films: Alibaba (1937), Adhikar (1939), Chandidas (1932), Chinnamul (1951), Jighansha (1951), Hanabari (1952), have been annotated by Pad.ma film histories fellows Pritha Chakrabarti, Maharghaya Chakraborty and Utsab Sen at the Media Lab, Department of Film Studies, Jadavpur University. Extensively annotated, the resources include publicity material, song books, photographs, adverts and reviews from contemporary journals of that time in Bengal.

Baidurya Chakrabarti for his fellowship has annotated Avatar (1941) written and directed by Premankur Atorthy. Baidurya has also translated the immensely important text by Atorthy, titled Annals from the Days of Silent Cinema. Originally written in a set of serialized essays in Basumati weekly between 1951-53, these personalized memoirs are a useful contribution to the growing body of literature on India's silent cinema.


Mystery Thrillers in Bengali Cinema

Subhajit Chatterjee in a short essay entitled “The Bengali Mystery-Thriller Film in Post-Independence Era” introduces a series of popular film in the aftermath of Independence that are 'infused with horrific, supernatural and crime related ingredients.' His introduction also includes a growing filmography of crime thrillers of post Independence Bengali cinema. Some of the films he introduces have been annotated and subtitled by Maharghya Chakraborty and Utsab Sen (Media Lab, Jadavpur University)

Kalo Chhaya (Premendra Mitra, 1948) https://indiancine.ma/FCY/player

Kankal (Naresh Mitra, 1950) https://indiancine.ma/FWQ/player

Jighansha (Ajoy Kar, 1951) https://indiancine.ma/GEU/player

Hanabari (Premendra Mitra, 1952) https://indiancine.ma/GMQ/player

First Generation Realist Films

Indiancine.ma has put together five 'first generation-realist' films. While all these films are well known examples of Indian cinema, seeing them together and heavily annotated and discussed by film scholars brings to light new ways of thinking about Post War realism in film. Four of the films- Kalpana, Dharti Ke Lal, Neecha Nagar, and Dr. Kotnis Ki Amar Kahani were officially war efforts films under the prevailing 1942 Defence of India Rules.

The annotations for the films bring together theoretical writing, interviews, and other material to create an interesting conversation between the film text and all the ancillary material.

Neecha Nagar

Chetan Anand’s debut film reveals both strongly expressionist influences and those from the Soviet cinema. Subtitled and annotated by Ashish Rajadhayaksha, the annotations bring into focus the use of dance in an otherwise strongly ‘realist’ text. As Rajadhyaksha points out that an astonishing aspect was the presence of dance in many of the realist texts of the period including Dharti ke Lal and Neecha Nagar. He uses interviews with Zohra Segal by C.S. Lakshmi (Mirrors and Gestures: Conversations with Women Dancers, 2003) to develop this point in the annotations.


Dharti Ke Lal

An original cinematic rendition of the Bijon Bhattacharya’s Nabbana, a major IPTA play about the Bengal Famine, Dharti ke Lal by K Abbas is considered to be one of the major realist works of Indian cinema. The annotations by Ashish Rajadhayaksha use the writings of Amartya Sen ('Famines', World Development. Vol. 8, pp. 613-621,1980), Malini Bhattacharya on the Indian People's Theatre Association, specifically on Bijon Bhattacharya's Nabanna ('The IPTA In Bengal', Journal of Arts & Ideas, no. 2, 1983) and Abbas' 'I am Not an island'.  The film has been subtitled by Dr Preet Hiradhar (Lingnan University).


Dr Kotnis ki Amar Kahani

Drawing on her 2008 essay entitled 'Immortal Tale or Nightmare? Dr Kotnis between Art and Exploitation', Neepa Majumdar (along with Ashish Rajadhayaksha) takes her discussion of the film further to ask new questions of the film's ability to navigate between conflicting interpretations: as a war movie, a movie about Indian nationalism, a solidarity film with China and one that reveals the brutal face of the Communist state. 



Uday Shankar’s dance classic Kalpana, has been subtitled and annotated by Ashish Rajadhyaksha. The annotations bring to attention the strongly operatic nature of the realism in Kalpana, and its strong investment in both tragedy and melodrama. Rajadhayaksha had used to major sources on the film including

Ruth Abrahams unpublished dissertation The Life and Art of Uday Shankar, (NYU PhD Thesis, 1985: pg 119-120) and Urmimala Sarkar Munsi's writings, especially her 'Imag(in)ing the Nation: Uday Shankar's Kalpana' (in Munsi and Stephanie Burridge ed. Traversing Tradition: Celebrating Dance in India, New Delhi: Routledge, 2011).



Using Moinak Biswas’s essay 'The City and the Real: Chhinnamul and the Left Cultural Movement in the 1940s' (2006), Biswas and Maharghya Chakraborty annotate Nemai Ghosh’s all time classic about a family of peasants who move from Naldanga, near Dhaka, to Calcutta in 1951. The film includes the famous Sealdah station sequence shot in which the actors merge with documentary shots of actual refugees on the station. The film is also known for being the first cinematic work of Ritwik Ghatak.



In other news:

Workshop at the National Film Archive of India (NFAI) on copyright law and the Archive

September 10-11, 2014

NFAI, Pune.

Legal researcher and film scholar Lawrence Liang conducted a two-day workshop with staff at the NFAI regarding copyright law in India and the role of the state archive. Beginning with an engaging history on the role of the archivist and the many possibilities of the archive, Liang laid out a fertile ground for a discussion on the state archives position vis-à-vis copyright law. He addressed how the question of archives has not been directly addressed in the act, and built a conversation between the traditional archive; in this case the Government run archive with newer forms of archives as imagined across the world. This was followed by questions and queries from the staff on their experiences of working in the national archives. 

International Seminar on Writing Histories for Indian Cinema: Chapter Two

Organised by
Department of Film Studies, Jadavpur University
in collaboration with 

October 30-31, 2014
Anita Banerjee Memorial Hall, Jadavpur University main campus

The 2014 annual seminar organised by Department of Film Studies, Jadavpur University, wishes to revisit the theme of our 2009 seminar on Writing Histories for Indian Cinema. Apart from continuing the debates on Indian film history and historiography, this year's seminar will focus on the ongoing archival initiative http://Indiancine.ma with which the Department and The Media Lab, JU, has become closely associated. While that platform promises to be a valuable research and teaching aid it has also generated debates about methodologies as well as the intellectual content of the discipline of film studies.

The first of this two-day event shall focus on historical questions pertaining to periods, genres, regions, institutions and inter-media relationships. The second day will begin with reflections on contemporary practice and then shift to the idea and practice of digital archiving, bringing on board questions such as conceptualizing regional cinemas or reconstructing filmographies against the new digital horizon. Practitioners and researchers who have worked on the http://indiancine.ma platform shall critically reflect on their experience, followed by Cinemathon, a hands-on workshop to acquaint students with the processes of digital annotation. More here: https://indiancine.ma/news/P



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Call for Ecodocumentary entries

Department of Humanities and Social Sciences, Birla Institute of Technology and Science Pilani, K K Birla Goa Campus, Goa, in collaboration with Association for the Study of Literature and Environment, U.S.A. and Kuala Lumpur Ecofilm Festival, Malaysia is organizing 

tiNai Ecofilm Festival 2015

BITS Pilani, K K Birla Goa Campus, Goa

09 & 10 October 2015

Major Events
Screening of Ecodocumentaries
International Ecodocumentary Competition
National Conference on Ecocinema

For information, write to us: info-SRqFq7fZKJ0@public.gmane.org
Website: www.teff.in 

Festival Founder and Co-Director
Dr. Rayson K. Alex
Assistant Professor of English
Department of Humanities and Social Sciences
Birla Institute of Technology and Sciences Pilani
K K Birla Goa Campus

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Acclaimed documentary portrays one family's struggle against climate change


Acclaimed documentary portrays one family's struggle against climate change
Kamar Ahmad Simon’s 'Are You Listening!' has been compared to the films of Satyajit Ray and Ritwik Ghatak.

Kamar Ahmad Simon’s feature-length documentary Are You Listening!  is interesting both for its subject matter – the micro-effects of the macro-phenomenon of climate change – as well its visual sweep.  Shot over a three-year-period, it follows a family that was displaced by a cyclone in 2009 and has relocated  to a bund along with hundreds of others. As Soumen, Rakhi and their son Rahul wait to return to their home, they build a new life in Sutarkhali village.

Earlier this month, Are You Listening!  became the guinea pig in a new experiment to popularise documentary film. Enthusiasts have used all kinds of channels to take non-fiction films to new audiences: free screenings, pay-per-view websites, DVDs,  theatrical distribution. On October 2, a new documentary filmmakers’ network called Indidoc tried another approach. It streamed the Bangladeshi filmmaker award-winning film for free to more than 30 film clubs across India. The film was uploaded on the video-sharing website Vimeo on October 2 and the password made available to all the groups.

Seeking wider audiences

The film has been shown in several Indian cities before, but this simulcast has the potential of greatly widening its audience. “Imagine in the coming days how much sharing this simple but brilliant initiative can bring,” Simon said in an email message.

His carefully chosen characters are easy on the eye and have engaging personalities. Rahul is a mischievous tot who explores the village on foot with his buddies. His parents make do with what they have – Rakhi lines up for water and keeps house, while Soumen participates in construction projects aimed at protecting the village from never-ending storms. In true observational style, Simon eschews a voiceover and sticks closely to his characters. The film opens out to include the experiences of Soumen’s fellow victims, all of whom display tremendous fortitude in the face of government neglect.

Simon originally intended to conduct research for a feature film on the subject. “Before I knew, I ended up travelling a stretch of almost 200 kilometres in a local boat until I came to this very village where I shot the film,” he said. The filmmaker and several observers have drawn comparisons between the documentary’s evocative riverine imagery and the films of Satyajit Ray and Ritwik Ghatak. “I have been a great admirer of classics like Titas Ekti Nadir Naam by Ritwik Ghatak and Pather Panchali by Satyajit Ray,” Simon explained.

Beautiful landscape

The natural beauty of the landscape cannot hide or help the family’s dipping fortunes, nor can it provide protection from the relentlessly hostile weather conditions. One of the film’s most powerful scenes is of Rakhi waging a losing battle with a downpour that buffets her hut. “I have been a city dweller until I started this film, and living in a box, I had forgotten about the seasons and its changes,” Simon said. “Once I started travelling, I realised that every bit of these people’s lives are intertwined with the changes of seasons and the weather.” He visited Sutarkhali several times to be at hand when the weather changed. The disorganised nature of the shoot meant that he couldn’t rely on professional crews – a reality that he says liberated him and helped created the documentary’s hand-held, verite narrative style.

After gathering 170 hours of footage, Simon finally decided to stop the shoot when the villagers started returning to their lands. The weather didn’t let up or disappoint even in the last stretch of the shoot. “When my protagonists started rebuilding their new house, another threatening storm broke in, and I witnessed a moment when everything came back to the same point where it started,” Simon said. “Just like when you draw a circle, it comes back to the same point, and you can only keep drawing another layer to start a new one.”

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'OUR LIVES…TO LIVE' FILM FESTIVAL at 'THE fd ZONE' FRI 31st OCT - SUN 2nd NOV 2014 <at> Films Division, Mumbai



and International Association of women in Radio and Television (IAWRT) India present

OUR LIVES…TO LIVE (seeking a JUST world!)

A 3-day festival of film screenings and discussions

Friday – Sunday 31 October, 1 & 2 Nov 2014

at JB HALL, next to Phase 2 Building, Films Division Complex, 24 Pedder  Rd, Bombay 26



CURATOR’S NOTE: A festival of films around "seeking a just world"... 

Slippery fellow, Justice. As murky as prejudice, as amorphous as inequality, as two-faced as patriarchy, as evasive as discrimination, as cunning as privilege, as unforthcoming as sweatshop wages, as ephemeral as a politician’s pre-election promises. 

To cut to the chase, the world is still filled on every side with the big “I” of Injustice, with the small satisfying joys of justice few and far between. The notion of injustice is linked to the idea of justice denied, which is based on a sense of what our rights are, or of how they are being trampled on – which in turn brings us to our struggles to obtain or regain those rights, as equal citizens of the state and equal members of our various communities. The festival includes several films that portray people’s movements for the protection of their land, resources, livelihoods, cultures, health, lives, freedoms – against the ravages of bauxite mining, nuclear reactors, army brutality, social exclusions, and compromised systems of justice. There are also individual stories, personal musings, satirical takes, heartwarming triumphs, and examples of resistance through art. 

We have exciting student films, testimonials and community videos, reports shot with urgency in a day, films made lovingly over years. There is animation, there are music videos, delectable fiction shorts and three fiction features! Together and singly, these films -- sourced from India, South Asia and the planet at large – tell us intense, moving, prescient, disturbing, hopeful  human stories.

Many of the filmmakers will be present, along with other discussants who are deeply engaged with some of the concerns these films foreground. Do join us to make the three days truly vibrant with discussion and debate, about cinema as well as about our lives...to live. 

- Smriti Nevatia, Curator, Our Lives...To Live FF


SCREENING SCHEDULE (subject to change)


FRIDAY 31 October

10.30 am: Introduction to the festival by the Curator, Smriti Nevatia

10.40 am – 1.00 pm

Session 1: Marginalisations – Disability, Caste, Poverty, Race…

10.40 am: GÜLÇIN

Nazli Eda Noyan I Turkey I 2013 I animation I 6 min I Turkish

Gülçin has learnt that borders are not drawn only by rivers, mountains, or distances, but also defined by walls and by what lies hidden under the ground. She tells us her story while weaving  a carpet on her loom.



Katrine Philp I Denmark I 2008 I 29 min I Afghan, Farsi, Arabic

National Film School of Denmark

At a boarding school for deaf children in Cairo, Asma and her classmates work hard, learning speech and sign language. Some children are just 4, and have no language but body language. They come from the city’s poorest areas.


festival classic from Films Division


Loksen Lalwani I India I 1979 I 17 min I Hindi

About 30 km from Varanasi is the small village of Dhakvan, where lives a Brahmin who has been ostracised by his people for marrying a ‘Harijan’ woman. He now lives among the leather-working Chamar community, as one of them. Caste prejudice and poverty – the mix is hard to overcome.

o        Filmfare Award for Best Documentary



Marcela Zamora Chammoro I Mexico-El Salvador I 2010 I 86 min I Spanish

An unprecedented look at the illegal and dangerous journey of three Salvadoran women to the US. DoñaInés is searching for her disappeared daughter. Marta and Sandra want to escape domestic violence and poverty.


o        Best Documentary (Jury Prize and Audience), Festival Internacional de Cine en Derechos Humanos, Argentina

o        Best Central American Feature Documentary, ICARO


1.00 pm: BREAK

2.00 pm – 5.30 pm

Session 2: The State – Muzzling of Freedoms; Resistances (Part 1)


Uçman Balaban I Turkey I 2014 I animation I 1 min I non-verbal

A ban on alcohol, bombing of villages by the army, the Gezi protests, media censorship on the media, a protestor beaten to death – a visual representation of what happened over one year in Turkey.


2.05 pm: CYCLIST

Marc Thümmler I Germany I 2008 I 28 min I German

Stasi surveillance as a film experience: For years, the Ministry for State Security spied on photographer Harald Hauswald, whose photographs deviated from the self-image that the GDR wanted to portray. The film juxtaposes voiceover texts from the Stasi files with Hauswald’s photographs.


o          Nomination for Best Documentary, German Short Film Awards

o          Best Mid-length film, Achtung Berlin, New Berlin Film Award

o          1st Prize and Audience Prize, Competition East / West, EmergeAndSee FF Berlin

o          Special Prize, Indie Lisboa, Portugal

o          Honorable Mention, dokumentART Film Festival



KP Sasi I India I 2013 I 88 min I Malayalam

This story of false cases filed against Maudany becomes a revealing narrative of how many Muslims are implicated in false cases under questionable laws. Maudany is a charismatic leader who has spoken up for various marginalised sections, and supported the Koodankulam and POSCO people’s struggles.


4.05 pm: NATIVE BAPA

Muhsin Parari I India I 2013 I music video I 5 min I Malayalam

The familiar story of many Muslim families – a father’s angst and a mother’s sorrow when a son is branded a terrorist. . . . This hip-hop music video by had over 70,000 hits within three days of its online launch in January 2013.

4.10 pm – 4.40 pm: Q&A with filmmaker KP Sasi; moderator-discussant Geeta Seshu

festival classic

4.40 pm: SAFDAR

Sashi Kumar for SAHMAT I India I 1989 I 35 min I English, Hindi

In January 1989, a politically-backed goon and his henchmen attacked and killed the playwright- writer-activist Safdar Hashmi, as well as  worker and activist Ram Bahadur. The film pieces together the shameful attack from eyewitness accounts, and reconstructs Safdar’s short life through archival footage, photographs and conversations.

5.15: Q&A with filmmaker Sashi Kumar

5.30 pm: BREAK

6.00 pm – 9.00 pm

Session 3: Fugitives from Hate

6.00 pm: 5 EXCHANGE LANE

Anirban Dutta I India I 2014 I 21 min I Hindi

With the onset of militancy in the valley of Kashmir in 1990, more than 350,000 Kashmiri Pandits were compelled to leave the Valley. Kirti's family was among them. In the summer of 2013, she and her mother visit their old house in Barzulla, Srinagar, along with Kirti’s two children.


6.20 pm: EK AAKHRI PANAH (One Last Refuge)

Tanvi Barge, Krishna Panchal, Piyush Garud, Juanita Mukhia I India I 2013 I 15 min I Hindi

School of Media and Cultural Studies, Tata Insitute of Social Sciences, Mumbai

During the communal violence of December 1992 and January 1993 in Bombay, many Muslim families moved to safer areas, which became ghettos. This film looks at Mumbra and its history through the eyes of two young Muslim women.

This film is from the six-film series Remembering 1992, first screened as part of the Bombay ki Kahani Mumbai ki Zubani campaign.

o        Best Non-fiction Student Film, Seamedu Film Festival, Pune


fiction feature

6.35 pm: KAYA TARAN

Sashi Kumar I India I 2004 I 107 min I Hindi

The film straddles two traumatic events in recent Indian history: the 1984 anti-Sikh carnage following the assassination of Prime Minister Indira Gandhi, and the anti-Muslim riots in Gujarat in 2002.

o        Aravindan Prize


8.25 pm – 9.00 pm: Q&A with filmmakers Anirban Dutta, Piyush Garud, Sashi Kumar; moderator-discussant Rohini Hensman


SATURDAY 1 November

10.30 am – 1.00 pm

Session 4: The State – Muzzling of Freedoms; Resistances (Part 2)

10.30 am: BURMA VJ: Reporting from a Closed Country

Anders Østergaard I Denmark-Burma I 2008 I 85 min I Burmese, English

Armed with small handycams, undercover video journalists risk torture and life in jail to keep up the flow of news from the streets of Rangoon. The film documents  the historical and dramatic days of September 2007, when the Buddhist monks started marching.


o          Joris Ivens (Best Documentary) Award & Movies That Matter Award, IDFA

o          Main Award & Amnesty Award, CPH:DOX, Denmark

o          Golden Apricot, Best Documentary Film, Yerevan Int’l FF, Armenia

o          World Cinema Documentary Film Editing Award, Sundance Film Festival

o          Nomination, Academy Award for Best Documentary Feature

o          Audience Top Ten, Hot Docs, Toronto


Adam Palenta I Poland I 2010 I 9 min I Polish

A soldier recalls the tortures and humiliation he suffered at the hands of the Polish secret police. Exceptional in its formal treatment, the film explores the cruelty of the totalitarian system and the incredible human will to survive.


12.10 pm: DWAND

Abhilash Vijayan I India I 2012 I fiction I 13 min I Hindi, Chattisgarhi

Film and Television Institute of India, Pune

In a remote village in the state of Chhattisgarh, the battle between Maoist rebels and the Army is played out in a barber’s shop. The film is inspired from a story by Spanish writer Hernando Tellez.

o        Special Jury Mention, Cinemaiubit Int’l Short FF, Romania

o        Gold (Short Fiction), Silver (Editing), Gold (Sound Design), Cut.in Students’ FF, TISS, Mumbai

o        Best Film, Ladakh Int’l Film Festival

o        Kodak Vision Prize for Best Visual Performance, Int’l Student FF Písek, Czech Republic

o        Best Film, Best Direction, Best Cinematography Awards, National Students FF, Govt College of Engg, Aurangabad


12.25 – 1.00 pm: Q&A with filmmakers Adam Palenta, Abhilash Vijayan; moderator-discussant Jairus Banaji



1 pm: BREAK

2.00 pm – 5.30 pm

Session 5: A Disaster Called Development

2.00 pm: ODISHA (3 shorts)

Surya Shankar Dash for Video Republic and Moti Roti  I India I 2013 I 9 min

Dhinki I 3:35 min I no speech, English text

The secret of the anti-POSCO movement in Jagatsinghpur.

Displacement Colony I 2013 I 4 min I Hindi

Welcome to Odisha’s Biggest Housing Project! As millions of people continue to get displaced by industry, “displacement colonies” become the dream sites of the future.

Shot Dead For Development I animation I 1 min

Adivasi art, set to a Koya and Bondi adivasi song. A tribute to the men, women and children who have been shot dead by the police since 2001 for resisting mining and industrial activities on their lands.



Somnath Batabyal, Matti Pohjonen, Kazimuddin Ahmed, Pradip Saha I India I 2012 I 49 min I

English, Nagamese, Spanish

The title recalls a Naga folk song: two women must walk through a forest to attend a friend’s wedding. But first, they must negotiate with a headhunter. Will he let them through? The film is a story about the millions who have to negotiate with their killers for survival.



KP Sasi I India I 2009 I music video I 6 min I Hindi

This tribal song of resistance has become a celebrated anthem asserting land, resource and livelihood rights. In whose favour does the God of Development work, and whom does it curse?



Amudhan RP I India I 2012 I 80 min I Tamil

Post the Fukushima disaster, the people’s movement against the Koodankulam nuclear plant in Tirunelveli district gained momentum. Farmers, workers, small traders and salaried people joined the poor local fishing community in their struggle. The film reflects its local,  independent, non-violent and democratic ethos. 

4.40 – 5.30 pm: Q&A with filmmakers Pradip Saha, KP Sasi, Amudhan RP; moderator-discussant TBA

5.30 pm: BREAK

6.00 pm – 9.00 pm

Session 6: Globalisation

6.00 pm: MADE IN LA

Almudena Carracedo I USA I 2007 I 70 min I Spanish, English

María, Lupe and Maura are Latina immigrants struggling to survive in Los Angeles sweatshops. Determined to win basic labour protections, they embark on a three-year odyssey that will transform their lives forever.

o        EMMY Award, National Academy of Television Arts and Sciences, USA

o        Hillman Prize for Broadcast Journalism

o        SIGNIS Award, Voces contra el Silencio FF, Mexico

o        Best Documentary, Cuenca Int’l Women FF, Spain

o        Special Mention of the Jury and Best Editing, Antlantidoc, Uruguay

o        Best Director, El Cairo Latinoamerican and Spanish Film Festival

o        Witness Award Nominee, Silverdocs, USA


fiction feature

7.15 pm: TURUMBA

Kidlat Tahimik I The Philippines I 1983 I fiction feature I 90 min I Tagalog

A village switches from making small-market handicrafts to international Olympics memorabilia. Tahimik’s warm-hearted yet ultimately devastating parable on the global economy is as relevant now as when it was made, 30 years ago. It is both a witty satire on the effects of globalisation, and a documentary-like portrait of Philippine rural life.

o        Top Prize, Mannheim Int’l FF

o        Blue Ribbon, American Film Festival

SUNDAY 2 November

10.30 am – 1.10 pm

Session 7: Privileges and Exclusions


Satchith Paulose I India I 2012 I 15 min I English

National Institute of Design

Set in a bleak consumerist landscape, the film shuttles between industrial and organic spaces to question the nature of day-to-day existence, employing subversive imagery to look at the deep-rooted inequality in society that we are conditioned to ignore.

o        Gold (Documentary) and Silver (Sound Design) Awards, Cut.in Students’ Film Festival, TISS, Mumbai


10.45 am: HAMARE GHAR

Kislay I India I 2013 I fiction I 31 min I Hindi

While working as a full-time maid in Raj and Simran’s house, Kamla slowly realises thing are not as they seem. There is violence here, not physical but structural, part of everyday actions and words.

o        Gold (Short Fiction),Cut.in Students’ Film Festival,TISS, Mumbai


11.20 am: AT MY DOORSTEP

Nishtha Jain I India I 2009 I 70 min I Hindi

A closer look at those who come to the filmmaker’s door becomes a way of entering a parallel world of garbage collectors, domestic workers, delivery boys, watchmen  – all those who labour long hours in difficult conditions to make middle and upper class lives in the city of Bombay more comfortable.

12.30 pm – 1.10 pm: Q&A with filmmakers Satchith Paulose, Kislay, Nishtha Jain; moderator-discussant KP Jayasankar

1.10 pm: BREAK

2.10 pm – 5.30 pm

Session 7 (continued): Privileges and Exclusions   


Kumud Ranjan I India I 2013 I 17 min I Hindi

On  11 July 1996, Ranveer Sena goons attacked the village of Bathani Tola, burning down homes and massacring women and children. 16 years later, the Patna High Court acquitted 23 of the convicted men.  The survivors are shocked and betrayed.


2.30 pm – 5.30 pm

Session 8: The Laws of Love & Death

2.30 pm: CHASNI

Abhishek Verma I India I 2013 I animation I 5 min I Hindi

Industrial Design Center, IIT Bombay

The story of the survivor of an acid attack is narrated through spoken word poetry, as she faces day-to-day life with the disfigurement caused by the attack and with painful memories.


2.40 pm: ARTICLE 61

Mahvash Sheikholeslami I Iran I 2005 I 67 min I Farsi

Despite the existence of a  law which recognises self-defence as legitimate,  in actual practice women are always in danger under the country’s legal system, even if they are the victims of a crime. How are women prisoners to get their rights in such circumstances?



Natasha Mendonca I India I 2013 I music video I 5 min I English

If gay meant happy then, and gay means illegal now,  what is it that we choose? The musicians and technicians worked in unison to create this music video,  shot as a single take performance with no edits.



Necati Sönmez I Turkey I 2007 I 48 min I Turkish

In Turkey, the death penalty was abolished in 2002. This documentary humanely tackles the issue of capital punishment while wandering in two deserted prisons where many executions were carried out.  It  asks: Why did we kill all these people?

o        Second Prize, Ankara Int’l FF

o        Golden Karagoz for Best Documentary, Int’l Silk Road FF

o        Special Mention, DocumFest, Romania

o        Special Mention, Int’l FF and Forum on Human Rights, Geneva


4.50 – 5.30 pm: Q&A with filmmaker Abhishek Verma and panelists Veena Gowda, Lara Jesani; moderator-discussant TBA

5.30 pm: BREAK

6.00 pm – 9.00 pm: closing films

Session 9: Breaking Stereotypes – Women of West Asia


Dahna Abourahme I Lebanon I 2010 I live action & animation I 54 min I Arabic

he film documents an important chapter in the history of Palestinian refugee women in Lebanon.  Weaving between past and present, animation and daily life, it honours how women continue to contribute to the survival of the Palestinian community in exile.

o        Audience Award  3rd Place, Dox Box Documentary FF, Syria

o        Jury Award, Medium Length Films, Al Jazeera Int’l Documentary FF, Doha 


Melis Birder I Iraq I 2004 I 38 min I Arabic

As a lone Turkish woman,  the filmmaker gained rare access to women in Baghdad. Departing from the usual coverage of war measured in dollars and body counts, the film gives us an intimate portrait of  an unusual  young woman and takes us into people’s homes  and candid opinions.


CLOSING FILM: fiction feature

7.40 pm: 20 FINGERS

Mania Akbari I Iran-UK I 2004 I 73 min I Farsi

This stunning  film in several episodes  explores some of the issues of men and women living within the confines of tradition and family life in Iran. Each episode has a man-woman couple in different life situations – dependencies, limitations, power struggles and conflicts.

o        Best Feature Film, Venizia Cinema Digitale, Venice FF

o        Grand Jury Prize, Spirit of Freedom, Bahamas Int’l FF

o        Best Director & Best Actress, Barcelona Int’l FF

o        Most Innovative Film, Wine Country Int’l FF, USA 

All screenings at 'THE fd ZONE' are free and open to all.
Entry is on the first come first served basis.


"THE fd ZONE" team

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Invitation | Screening of "First Cry" by Ajay TG

The Indian Institute for Human Settlements (IIHS) invites you for the screeningpan> of First Cry by Ajay TG on 28th October, 2014 at 6.30 pm at the IIHS Bangalore City Campus (address: No. 197/36, 2nd Main, Sadashivnagar, Bangalore - 560080). 

Synopsis: This is the story of a remarkable hospital in the mining township of Dalli-Rajhara Chattisgarh known as Shahid (Martyrs) Hospital. The hospital was paid for and built by the voluntary labour of daily-wage contract miners and successfully provides modern health care to workers, adivasis and the poor.  The Film reveals the history of its making, key turning points of the hospital and the experiences of the doctors and worker- paramedics who manage this oasis of hope.

About the director: Actively involved in local politics since his school days, Ajay T.G. is a filmmaker and a human rights activist. Currently, he is the Joint Secretary for the Chhattisgarh People's Union for Civil Liberties. He has also been working as research assistant to social anthropologists on projects related to industrialisation, artisans, caste and labour. Between 1999 and 2002, Ajay was trained in all aspects of film production at the European Union-sponsored film training Diploma course in Bhilai, Chhatt isgarh. Ajay's film Living Memory was screened at the South Asian Documentaries and Films Festival, King's College, and the Cambridge South Asia Forum, Cambridge, UK, 2003. He is also a photographer- his photo-exhibition, Potters in Chhattisgarh was hosted at Shepherd's Bush Public Library and Hammersmith Public Library, London.   

Warm regards,
Yashodara Udupa
Sr. associate - Media Lab
Indian Institute for Human Settlements
Mobile: +919916140395

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