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Make way for TOI's Power Creator Awards; jury to meet in Mumbai to crown India's best Digital Creators

Make way for TOI's Power Creator Awards; jury to meet in Mumbai to crown India's best Digital Creators

Time of India15-05-2025

The biggest content creator awards of the year are here! Make way for the inaugural edition of TOI's
Power Creator Awards
, a prestigious initiative dedicated to honouring India's most influential, impactful and inspiring digital creators who are redefining the digital landscape.
In a world buzzing with creativity and innovation, content creators are redefining how stories are told, communities are built, and trends are set. The highly-anticipated Power Creator Awards will shine a spotlight on these trailblazers, celebrating their talent and showcasing the powerful narratives they bring to life.
The jury meet to crown India's best creators is set to take place at a grand event in Mumbai on April 30 at the iconic JW Marriott. This prestigious gathering will bring together an illustrious panel of industry stalwarts - author and filmmaker
Tahira Kashyap
Khurrana, reality TV star
Maheep Kapoor
, actor and casting director
Abhishek Banerjee
, and digital entrepreneur and influencer
Malini Agarwal
- who will undertake the important task of selecting India's finest content creators. Leading this eminent jury will be
Times Internet
Business Head Prasad Sanyal, ensuring a thorough and rigorous evaluation process.
Celebrating India's diverse content ecosystem
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by Taboola
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With more than 30 nomination categories, Power Creator Awards celebrates the full spectrum of India's thriving content ecosystem. The jury will carefully sift through all the nominations and rate them on key parameters including creativity, originality and audience engagement.
From Gen Z creators to food enthusiasts; fashion, beauty & fitness influencers to educators, dancers, and tech innovators, the awards will honour the talent, and creativity of digital storytellers across diverse genres.
By spotlighting voices that entertain, inform, and inspire millions, Power Creator Awards aim to not only recognise excellence but also empower the next wave of content pioneers shaping India's digital future.
In addition to the Jury Choice winners, you, the audience, will also have the power to vote for your favourite creators and help crown them as Popular Choice winners.
With a diverse range of nominees and an eclectic panel combining creativity, experience, and insight, the Power Creator Awards are set to establish a new benchmark for celebrating excellence in the digital world. The winners will be announced at a glittering ceremony in Mumbai on May 29. Stay tuned!
Check out our list of the
latest Hindi
,
English
,
Tamil
,
Telugu
,
Malayalam
, and
Kannada movies
. Don't miss our picks for the
best Hindi movies
,
best Tamil movies,
and
best Telugu films
.

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'Maa' box office collection Day 2: Kajol starrer crosses Rs 10 crore mark with strong Saturday surge
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3rd public display ever for rare Dali etchings at Victoria Memorial Hall
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1 2 3 4 5 6 Kolkata: The Victoria Memorial Hall has put on display two colour etchings of Salvador Dali, the only originals of the Spanish Catalan surrealist master that any museum or gallery in India possesses. The twin Dali works were among 83 original drawings, etchings, lithographs, and opaque watercolours that the New York-based Kolkata-born artist Bimal Banerjee had donated to VMH authorities in 1990. The etchings in colour are on copper plates, printed on Japanese rice paper, and signed by the artist in pencil. This is only the third time that they are being displayed in public. The two previous occasions were in 1993 and 2014. The exhibition is currently drawing art lovers and will be on till the end of July. "The two untitled colour etchings of the 'Macbeth Series' signed by Dali have been displayed in the central hall to celebrate the enduring legacy of museums and the genius of one of the most iconic artists of the 20th century," Victoria Memorial Hall secretary and curator-in-charge Anurag Kumar told TOI. You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata Apart from the Dali etchings, his donation to VMH included works by Italian artist Giorgio de Chirico, who founded the Scuola Metafisica Art Movement that profoundly influenced the surrealists; French artist Sonia Delaunay and her husband Robert Delaunay, who co-founded the Orphism Art Movement; French painter Georges Braque, known for inventing Cubism; and Swiss German painter Paul Klee, whose lectures and writings on colour theory and form and design theory published in English as the 'Paul Klee Notebooks' are considered as important for modern art as Leonardo da Vinci's 'A Treatise on Painting' for the Renaissance. Banerjee, an accomplished artist, told TOI in 2014 that Dali presented him with the etchings. He said he donated the works to VMH to ensure that budding artists could get a chance to view original masterpieces by modern European masters.

The silence of the reels: Why Hindi cinema never faced the Emergency
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Time of India

timean hour ago

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The silence of the reels: Why Hindi cinema never faced the Emergency

Power games: The few filmmakers who did deal with the subject, either directly or indirectly, faced bans and attacks For an industry that prides itself on chronicling the nation's struggles, Hindi cinema's silence about the Emergency is more revealing than any film could ever be. The 21 months between June 1975 and March 1977, when Indira Gandhi suspended civil liberties, censored the press, and jailed thousands without trial, were arguably the most consequential in India's modern political history. Yet, in the decades since, Hindi cinema—the self-appointed mirror of Indian society—has barely mustered a smudge to reflect it. This conspicuous absence did not arise from creative oversight or timidity alone. In the early decades of Independence, popular cinema was never truly free. Nehruvian socialism shaped public policy and the ideological contours of the industry. The so-called golden triumvirate—Dilip Kumar, Raj Kapoor, Dev Anand—crafted personas that echoed Pandit Nehru's vision of the self-sacrificing, morally upright everyman. Dilip Kumar's dialogue seemed like leftovers from Nehru's speeches, Dev Anand's rebellious charm served the establishment's romantic socialism, and Raj Kapoor's everyman heroes peddled idealism to the masses. Such intimacy with power set the template. The state could inspire cinema, but never the other way around. When that same state turned authoritarian, the industry found itself unprepared and unwilling to challenge it. In the Emergency years, the machinery of coercion extended directly into the corridors of Bombay. V C Shukla, Indira's information & broadcasting minister, became infamous for exerting his influence over the film industry. Wielding the Maintenance of Internal Security Act like a scythe through the industry, the political establishment wasn't breaking new ground—it was merely weaponising an existing dependency. Kishore Kumar, the mercurial genius whose voice had soundtracked a generation's dreams, was banned from All India Radio and Doordarshan for refusing to perform at a Youth Congress rally. Dev Anand, tricked into attending a Sanjay Gandhi event and asked to praise his 'dynamism', found his films blacklisted when he refused to comply. When he sought an explanation from the I&B Minister, he was told with chilling matter-of-factness that it was 'a good thing to speak for the govt in power.' Shatrughan Sinha , then one of cinema's busiest stars, saw his films banned for the cardinal sin of supporting Jayaprakash Narayan. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Unwelcoming Countries in the World, Ranked BigGlobalTravel Undo Gulzar's 'Aandhi', merely suspected of drawing inspiration from Indira Gandhi's life, while most argued it'd taken a few chapters from the life of Tarkeshwari Sinha, was banned for the duration of the Emergency, releasing only after the Janata victory restored a semblance of democratic normalcy. 'Maha Chor' starring Rajesh Khanna casually inserted a 'Vote for Congress' graffiti into a musical sequence. Most telling was the fate of Amrit Nahata's 'Kissa Kursi Ka', a political satire that dared to mock the Emergency's absurdities. All prints of the film were destroyed allegedly by Sanjay Gandhi at a factory in Gurgaon. This was not subtext—it was brazen collusion between art and authority. Yet what happened after the Emergency lifted reveals the true depths of the industry's moral bankruptcy. When the time came to reckon with the period—its absurdities, its tragedies, its moral squalor—Hindi cinema fell silent. There was an almost immediate return to sycophantic normalcy. Feroz Khan's 'Qurbani' (1980), the biggest hit of the year when Indira Gandhi returned, opened with a short film eulogising Sanjay Gandhi, narrated by Khan himself as he dedicated his film to the memory of the 'Prince' and bowed in reverence to the 'Mother'. If films between 1977 and 1980 did not address the Emergency, to expect that to happen after Indira Gandhi returned would perhaps be hoping for a miracle. This wasn't just political calculation—it was the instinctive reaction of an industry that had learned to worship power. Some filmmakers attempted to address the Emergency but it was often through the refuge of allegory—Hrishikesh Mukherjee's 'Kotwal Saab' and 'Khubsoorat' chose not to cast a direct look; the latter managed to justify the Emergency as a necessary evil. Mukherjee's 'Naram Garam' gave Hindi cinema's smartest comment on the era in the form of a nervous joke — Om Prakash, told to hurry because of some emergency, haplessly comments, 'Phir se?' While not Hindi cinema, Satyajit Ray's 'Hirak Rajar Deshe' and Jabbar Patel's 'Jait Re Jait', used the same route. Parallel cinema, too, largely skirted the challenge and despite their social conscience, filmmakers preferred the microcosm to the macro. Over the years, some films such as 'Ghashiram Kotwal' based on a Vijay Tendulkar play and directed by K. Hariharan, Mani Kaul, Kamal Swaroop, Saeed Mirza were cited as a film about the Emergency. However, it was written in 1972 as a response to the rise of a local political party in Maharashtra. There are structural reasons for this reticence. Hindi cinema has always struggled with ambiguity, preferring neat endings where heroes redeem all. The Emergency, by contrast, offered no catharsis—only a nation capitulating to authoritarianism without resistance. The definitive Emergency film still eludes the screen even as we enter the fiftieth year of the Emergency. The exceptions remain sparse: Sudhir Mishra's 'Hazaaron Khwaishein Aisi' would not arrive until 2005, nearly three decades later. Even then, it couched its indictment within the personal journeys of three idealistic young people, careful not to indict the broader complicity of society. Even today the few who try to confront the past are harassed —Madhur Bhandarkar's 'Indu Sarkar' provoked shrill attacks and legal threats simply for attempting a fictionalised retelling. The Emergency may have ended in 1977, but its most lasting victory was psychological: the creation of a cultural establishment that polices itself more effectively than any censor ever could. Perhaps it was simpler to pretend nothing happened. After all, if cinema cannot process a trauma, maybe the nation never really did. (Chintamani is a film historian and author)

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