Here, in more than 250 extraordinary photographs, is a showcase of the fabled days of the British Raj. India was at the vanguard of the explosion of photography and the early photographers, both Indian and foreign, mainly British, who strove to document and reveal the landscapes, peoples, cultures, and architecture of the subcontinent. India Through the Lens reveals the history and importance of photography in India, from the appeal of the panorama to the documentation of people, places, and princes. The early Indian photographer, Lala Deen Dayal for example, was unique in being embraced by both worlds- that of the British and the world of Indian Maharajahs. This book appeals to specialists and non-specialists alike- all those who love early photography, British India and the romance of the Raj.

Originally published in 1993, this is a collection of black and white photographs of the tribals of India, accompanied by narrations of the author's experiences amongst them. The author traveled extensively for thirty years to remote and inaccessible tribal villages to capture this invaluable record of tribal life, which has changed considerably in the last fifteen years. This updated edition has a new preface, and some additional photographs, along with a few new passages in select chapters.

"At the turn of the millennium, photography is ubiquitous and unquestioned. A century and a half ago however, notes curator and scholar Vidya Dehejia, "the simple ability to produce a photograph was in itself a marvel . . . The early decades of the nineteenth century witnessed the pursuit of a dream, an obsession with cajoling nature into a miraculous reflection upon a surface where it could be captured and retained for all time." India was at the vanguard of the explosion of photography; both Indian and foreigner (mainly British) strove to document and reveal the Indian landscape, people, and architecture. The essays in this book reveal the history and importance of photography in India, from the appeal of the panorama to the documentation of people, places, and princes - and to the outstanding Indian photographer, Lala Deen Dayal, who was unique in being esteemed by both the world of the British and the world of princely India. This book appeals to specialists and nonspecialists alike - all those who love early photography or British India are bound to enjoy India through the Lens."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Providing a critique of a common scholarly tendency in the field of popular Indian cinema, this text argues that Indian cinema cannot be understood in terms of a national paradigm, but must instead be considered as a field of visual and cultural production that interlinks diverse sites, in India and beyond.

Written over a period of time, in between her busy schedule as a senior Science teacher of a leading Educational Institute of central India, the title ‘World Through My Lens’, is a collection of short write-ups by Sandhya Deshpande who is an all-rounder with a unique observational skill and a lot of wits. Her creative impulses have tackled multifarious single-handed experiences from a vast career of twenty-five years in the field of education. This book will take readers down the memory lane of their school days, it will also help them cherish the best days of their life. The author’s observations are wide-ranging from nature to natural, manual to the digital, classrooms to the haunting backstage, from picnic to panic, from a need to greed, the imposition of unusual expectations to real-life conditions, from an under-confident student to a successful adult, etc. The write-ups can be a guide for parents and teachers to understand minute details and the hidden beauty of this profession. The written language is simple and will help readers relate easily. As said by Rabindranath Tagore Ji, ‘It’s simple to be happy, but difficult to be simple’.

THEODORE BASKARAN weaves the magic and matter of South Indian films into a rich tapestry of readable essays. They cover such topics as early cinema in the south, trade unionism in South Indian film industry, and the need for historicizing southern cinema. Baskaran also investigates how Tamil cinema is struggling to get free from the legacy of company drama and the persistence of stage features. While his sharper focus rests on Tamil cinema, this collection will interest historians and students of Indian film, and the general readers who look for a sprightly introduction to the world of South Indian films. Chapter titles include.