Dec 6
By Ramsha Aveen
Motherhood is always identified with women with vagina and simultaneously the traits and attributes like warmth and nurture, expressiveness, emotion, sensitiveness, generosity, being of altruistic nature, soothing when dealing with pain and hurt feelings are reserved for the motherhood manual. The fatherhood manual falls at the opposite side of the motherhood scripts.
By Amarinder Gill
In ‘Tamanna’ (1997), Paresh Rawal, a transgender, raises a girl child who has been dumped in a trash bin because of son preference which seems to be the social order of a male dominated society.
By Priti Mandal
The film Rajkahini projects the lives, experiences, reactions of the suppressed voices like sex-workers and other women in the context of the historical event of Partition and creation of two independent nations – India and Pakistan. Throughout the film we can see how the sex-workers and women feel detached from the mainstream of nation as they are treated as mere objects by the police, the representatives of the two nations, and by other men.
By Prithviraj Sinha
As my critical framework is built around the narrative of Partition, for me the agency of art vis-à-vis cinematic image and the written word is the one that has made me look at Partition as a tragedy as also the trickle effect of complexities affecting people across these border lines.
By Paromita Sengupta
Volga’s imagination of a defiant Renuka, who is rooted to her personal choices and beliefs, is inspirational. However, there are in real life many Ayeshas/Veeros who have lived displacement, who have tried to fight back but had to ultimately succumb. Ayesha’s jumping to death may be read poetically as her route to freedom.
Café Dissensus 