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slot games online free bonus This article was originally published on The Conversation, an independent and nonprofit source of news, analysis and commentary from academic experts. Disclosure information is available on the original site. Read this article for free: Already have an account? To continue reading, please subscribe: * This article was originally published on The Conversation, an independent and nonprofit source of news, analysis and commentary from academic experts. Disclosure information is available on the original site. Read unlimited articles for free today: Already have an account? This article was originally published on The Conversation, an independent and nonprofit source of news, analysis and commentary from academic experts. Disclosure information is available on the original site. ___ Author: Anmol Dutta, PhD Candidate and Lecturer, Western University Indian filmmaker Payal Kapadia’s new film, All We Imagine as Light, won the prestigious Grand Prix award at the 2024 Cannes Film Festival in May. The film exhibits an Indianness that is distinctive from the one most frequently represented globally. Within mainstream Hindi cinema, India is often presented as a homogenous Hindu, upper-caste, middle-class Hindi-speaking nation. In western popular imaginations, on the other hand, India is often seen as exotic and over-the-top, or poor and backward. All We Imagine as Light tells a story of two migrant women from the southern Indian state of Kerala, Prabha (Kani Kusruti) and Anu (Divya Prabha) as they struggle to build a life in Mumbai. The kind of Mumbai shown in the film is one that has almost never been explored in Indian cinema. In the film, we see its characters contend with cultural and social isolation, gender inequalities and the challenges of Hindu-Muslim love in India. In this sense, the film does not try to appeal to the non-Indian, western gaze. Instead, All We Imagine as Light depicts a nuanced, complex migrant reality that touches on issues of gender, religion, caste, class, language and access. The refreshing portrayal of Mumbai, and largely of India, reveals an aspect of the nation’s cultural identity that has not been explored within the global space. Disrupting the ‘city of dreams’ All We Imagine as Light premiered at the Toronto International Film Festival in September. It then played at the South Asian Day celebrations at the Forest City Film Festival in London, Ont., where I was a guest speaker for a live Q&A following the screening. The lyrical, almost lulling pace of the film offers the unfamiliar viewer the time needed to adjust to the foreignness of this world. While it remains foreign to the viewer, it is the politics of the every day — the human yearning for light — that affords the film a humanistic vision, making it cross-culturally accessible. One of the primary themes in All We Imagine as Light is disrupting the trite romanticism of Mumbai as a city of dreams. Migrants from across India who come to Mumbai to live a better life experience a kind of disillusionment that is rarely, if ever, addressed in Indian popular culture. Instead, it shows Mumbai as what one of the migrant voice-overs in the film calls a “city of illusions.” All We Imagine as Light starts with disembodied migrant voices in different regional languages such as Tamil, Marathi, Gujarati and Bengali, among others. A montage of the city plays on-screen as viewers hear a voiceover of migrant workers expressing their disenchantment and the “otherness” experienced in Mumbai. A man says how, after living in Mumbai for 23 years, he still can’t call it his home. This feeling of un-homed in Mumbai is experienced through Prabha and Anu, who work as nurses in a hospital and are also roommates. The idea of being un-homed is most sharply portrayed when Prabha’s colleague and friend, Parvaty, is evicted from her house. As a widow, Parvaty has no paperwork to prove ownership of the shack she has lived in for years. In another scene, we see a billboard that promises a “new Mumbai” featuring a light-skinned, hence presumably upper-caste, upper-class, heterosexual couple photographed next to a luxury tower. Parvaty and Prabha helplessly stare at this billboard, eventually hurling stones at it, thus physically resisting everything that the billboard is representative of. As two women navigating life without husbands or any other male counterpart, this scene is significant. It becomes an active distortion of societal expectations and heteronormative ideals. Kapadia also uses Mumbai as a site to engage with the challenges of interfaith relationships in India. The panned shots of Mumbai’s busy streets show Muslim Shiaz following Hindu Anu through crowded streets until the couple find a space where they are not at risk of being seen together. The expectations and limitations the couple must navigate showcase the societal surveillance over Hindu-Muslim relationships in India. The politics of language in Indian cinema Cinema in India is considered to be one of the most significant political and socio-cultural spaces. While multiple regional cinemas exist within the nation, the most popular domain continues to be mainstream Hindi cinema, or Bollywood, which problematically assumes the universality of Hindi within the nation. Whenever most Indian films gain international attention, the implicit assumption is that they are a part of Bollywood, the mainstream cinema in Hindi. A recent example of such assumptions that every Indian film is a Bollywood film or in Hindi was seen when Rajamouli’s Telegu-language blockbuster, RRR, won an Oscar in 2023. The implicit language expectation when watching an Indian film is that it is in Hindi. It is important to note that while Hindi is one of the most widely spoken languages in India, there is no national language. Mumbai is home to Bollywood cinema, and therefore oftentimes presents Hindi as the chosen language. Kapadia does not conform to these mainstream expectations of language. She instead showcases the politics of speaking different regional languages in Mumbai. Malayalam, which is widely spoken in Kerela, is the film’s foremost language. Prabha, Anu and her boyfriend, Shiaz, speak Malayalam. Kapadia uses language as an effective tool to further convey the feeling of un-homed in Mumbai. In a conversation with Prabha, a doctor at the hospital, who is also from Kerala, addresses the discomfort that speaking in Hindi causes him; Malayalam, he says, offers him refuge. Viewers see how most characters are compelled to speak Hindi within the public space, furthering their alienation to the city. Speaking in Malayalam thus becomes a safe harbour for Prabha and Anu in All We Imagine as Light. Kapadia skillfully employs Hindi to denote the characters’ alienation. Malayalam, on the other hand, becomes emblematic of home. All We Imagine as Light is an example of a different kind of Indian cinema: one that goes beyond mainstream narratives, and offers viewers an insight into an India they often don’t get to see. The film’s success indicates that there is potential for an alternate cinema that tells a variety of stories, in a way that is attentive to cultural nuances, and still able to serve as a cultural ambassador around the world. ___ Anmol Dutta does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. ___ This article is republished from The Conversation under a Creative Commons license. Disclosure information is available on the original site. Read the original article: https://theconversation.com/payal-kapadias-all-we-imagine-as-light-disrupts-popular-narratives-of-mumbai-242579 Advertisement AdvertisementTELA Bio Announces Inducement Grants Under Nasdaq Listing Rule 5635(c)(4)Playoff game at Ohio State has sold 34% more tickets than Notre Dame game on StubHub

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New survey insights (2,000 U.S. and U.K. consumers) reveal how users expect to engage with social media in 2025 . Across all users, approximately even amounts (29-34 percent) plan to use Facebook, YouTube, Instagram and TikTok more in 2025, while 24 percent of respondents do not plan to use any social networks more in 2025. When it comes to trust in social media, 63 percent of users somewhat trust social media networks to protect their personal data. Only 22 percent completely trust social media networks, and 16 percent do not trust them at all. Complete trust is higher among Gen Z and Millennials (28 percent and 29 percent) than among Gen X and Baby Boomers (19 percent and 10 percent). Specific to what brands should prioritize on social media in 2025, most respondents say personalized customer service (40 percent) or selling products directly through social platforms (29 percent) are important to them. Sprout Social’s CMO, Scott Morris has shared insights with Digital Journal what to expect and how marketing leaders can stay ahead. Prediction #1: Dominance In 2025, social media will dominate the customer service game. Everyone, especially younger generations, is turning to platforms like Facebook and Instagram first to get their customer service questions answered quickly. And the expectation for speed and personalization has never been higher. In fact, Sprout Social’s most recent Index report shows that 69 percent of people expect a response within 24 hours of reaching out on social media, and 70 percent expect those responses to be personalized. To meet these rising expectations, brands will have to learn to strike a balance between automation and human touch, dispersing AI to handle routine inquiries while leaving customer care teams to focus on complex issues. 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(The Center Square) – Thirteen of North Carolina’s 16 members of Congress are pushing the Pentagon to establish an onRamp Hub during the next round of expansions in the Defense Innovation Unit. Four of six branches of the armed forces are represented in the state with five military bases, a military ocean terminal and a U.S. Coast Guard base. Arizona, Ohio, Hawaii, Kansas and the state of Washington have the five onRamp Hubs in existence. According to the North Carolina Department of Commerce, the military supports 540,000 jobs, $30 billion in state personal income and $48 billion in gross state product. In a letter to Liz Young McNally, the deputy director of Commercial Operations for the Defense Innovation Unit, the North Carolinians on Thursday wrote in part , “North Carolina possesses strengths and capabilities contributing to a statewide defense innovation ecosystem, including defense-related research at our top-notch academic institutions.” North Carolina already has a regional presence for the Defense Innovation Unit with a National Security Innovation Network. According to the website of the Defense Innovation Unit, the hubs “serve as an open door to the Department of Defense; where academics, companies and entrepreneurs can learn how to enter the national security innovation base, discover how to access government programming and funding, and engage in national security events and opportunities. Through a national network of hubs, academic, business and defense organizations come together to develop solutions to problems and put new technologies directly in the hands of the warfighter.” Expansion is planned for Kentucky and Montana. The congressional delegation highlighted the partnerships with small businesses, “and awards for project prototypes to support unmanned aerial system projects and communication technologies.” Signatories are led by U.S. Sens. Ted Budd and Thom Tillis. Also signing were U.S. Reps. Deborah Ross, Richard Hudson, Virginia Foxx, Dr. Greg Murphy, Don Davis, Patrick McHenry, Alma Adams, Kathy Manning, David Rouzer, Wiley Nickel and Chuck Edwards. The lone members of the House from North Carolina not to sign were Reps. Valerie Foushee, Dan Bishop and Jeff Jackson.Small, luxury foods are great as stocking stuffers or other gifts. Ideas for under $50

Securonix Welcomes Dipesh Kaura as Head of India SalesWASHINGTON -- U.S. Senate Chaplain Barry Black has been hospitalized after suffering a bleed on his brain and is expected to have a “smooth recovery,” his office said. Black, 76, suffered a subdural hematoma earlier this week and is at a local hospital and under the care of the Capitol’s physician, said Rev. Lisa Schultz, Black’s chief of staff. A subdural hematoma is when blood builds up between the skull and the surface of the brain, increasing pressure on the brain. A familiar bow-tied presence in the hallways of the Senate, Black has been the chaplain since 2003. He opens the proceedings each day with a prayer and counsels senators and staff through prayer groups and one-on-one meetings. He was previously the chief of the Navy’s chaplains. Black is well known for his booming voice and his often prescient and timely opening prayers in times of political tension. During an extended government shutdown in 2013, he prayed to “deliver us from the hypocrisy of attempting to sound reasonable while being unreasonable.” During former President Donald Trump’s first impeachment in 2019, he asked in a prayer that “our senators not permit fatigue or cynicism to jeopardize friendships that have existed for years.” In the early morning of Jan. 7, 2021, after supporters of Trump had attacked the Capitol and Congress had certified Democrat Joe Biden’s victory, he closed a joint session in the middle of the night with a call for unity. “We deplore the desecration of the United States Capitol building, the shedding of innocent blood, the loss of life, and the quagmire of dysfunction that threaten our democracy,” he prayed. ___ Associated Press medical writer Lauran Neergaard contributed to this report.

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