The Wire's Series on Indian Fisherwomen Wins One World Media Award
The award announcement on the social media site Bluesky notes that the series reveals the "invisible labour of women in India's fishing industry and their fight for rights through solidarity and action."
The One World Media Awards recognise media coverage from and about the Global South. The award pages mentions that it focuses on stories that break through stereotypes, change the narrative and connect people across cultures.
The series – reported by Shamsheer Yousaf, Monica Jha and Sriram Vittalamurthy – merges oral histories and immersive multimedia reportage to tell stories of resilience across six Indian regions, including the Sundarban, Gulf of Mannar, Odisha, Puducherry, Mumbai, and Bihar.
The series is a record of the everyday lives of fisherwomen and also underscores their collective efforts to assert rights, access public spaces and challenge patriarchal and caste hierarchies. It also calls attention to how government policies have failed to formally acknowledge their labour in the fishing economy.
The series has already won the 2024 K.P. Narayana Kumar Memorial Award for Social Impact Journalism by the Asian College of Journalism (ACJ) and the Excellence in Online/Digital Journalism, Immersive Storytelling award by the Asian American Journalists Association.
The series has also won the New Media Writing Prize 2024 FIPP Journalism Award. It will be archived by the British Library as one of the works that have been shortlisted.
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Indian Express
17 minutes ago
- Indian Express
Is there an Indian psychoanalysis? Understanding Sudhir Kakar's cultural turn
Born on this day in 1938, Sudhir Kakar, the 'father of Indian psychoanalysis', is celebrated for bringing a distinct 'Indianness' to the field. Psychoanalysis is a theory of mind and a clinical practice developed by Sigmund Freud. It primarily focuses on the relationship between 'conscious' thoughts, feelings, and behaviours, and the 'unconscious' mind. Notably, Freud and others after him emphasised upon the discipline's universality. By interpreting the Indian psyche through myths and societal norms, Kakar infused psychoanalysis with an Indian cultural richness, and redefined how the discipline could engage with non-Western minds. His ideas continue to reshape how India thinks about the mind, culture, and identity today. Kakar passed away last year. Kakar believed that Freud's theories, while revolutionary, were embedded in European culture, meaning they often failed to resonate with Indian psychological realities. He argued that Indian culture views reality differently from the post-Enlightenment West. 'In the traditional Indian view, which still exerts a powerful influence on how even most modern Indians view marriage and family, parent-sons and filial bonds among the sons living in an extended family override the importance of the couple as the foundation of the family,' he said in an address to the Indian Psychoanalytic Society in 2022. But rather than rejecting psychoanalysis, Kakar expanded it by interpreting the unconscious through the lens of Indian myths, familial structures, and spiritual traditions. He introduced concepts such as the 'Ganesha Complex' as an Indian-alternative to Freud's influential Oedipus Complex, which borrowed from Greek mythology to explain a son's sexual attitude to his mother and hostility towards the father. 'My main argument is that the ''hegemonic narrative'' of Hindu culture as far as male development is concerned is neither that of Freud's Oedipus nor that of Christianity's Adam,' he wrote in 'Hindu Myth and Psychoanalytic Concepts: The Ganesha Complex' published in Asian Culture and Psychotherapy: Implications for East and West (2005). Kakar used the myth of Skanda (also known as Kartikeya) and Ganesha to explain India's culturally sanctioned dependence on the maternal figure. Unlike Skanda, Ganesha in the myth chooses maternal closeness over heroic independence. 'By remaining an infant… Ganesha will never know the pangs of separation from the mother… That Ganesha's lot is considered superior to Skanda's is perhaps an indication of the Indian man's cultural preference in the dilemma of separation-individuation,' Kakar wrote. Kakar drew heavily from Indian epics, folklore, and even popular cinema to reveal how collective fantasies shape the unconscious. 'The self,' he said 'is a system of reverberating representational worlds — representations of culture, primary family relationships and bodily life.' While Kakar's work itself was rooted in Hindu culture, he envisioned an Indian psychoanalysis that would engage critically with Western theories. 'The wish is that a future generation of Indian analysts realises that a critical stance is now needed after a long, much too long phase of idealisation of Western analytic gurus,' he said. Psychoanalysts in India today draw deeply from Kakar's reimagining of psychoanalysis, integrating his culturally rooted insights into clinical practice, specifically acknowledging the imprint of collective histories, myths, and identities on the unconscious. As Amrita Narayanan, a clinical psychologist and psychoanalyst, wrote in 'An Elastic Indianness: In Memory of Sudhir Kakar' (2024), Kakar believed that the Indian 'ego', formed through the blurring of self and other, was fundamentally different than the Western, autonomous conception. 'The 'I am' and 'we are' are birthed simultaneously for Indians,' she wrote, suggesting that for many, social expectations are internalised as personal desires. This deep enmeshment of self and community has major implications for how therapists understand emotional conflict, sexuality, and even violence. 'Much like Freud, Kakar's quest for clues in folk tales, fables, and epics holds the reimagination of Indianness, in which the self yearns for spirituality,' said Pulkit Sharma, a clinical psychologist and psychotherapist. For many clinicians, Kakar's recognition of India's spiritual imagination, through epics, rituals, and mythology, reshaped what counts as healing. Myths of Ganesha and Ram, used by Kakar to illustrate the nurturing and sacrificial Indian son, challenged Western tropes like Oedipus and offered a new vocabulary for male development. Similarly, fantasies of femininity, coded as nurturing, maternal, and emotionally sensitive, are central rather than deviant. 'In the clinical room, sensitivity is given to caste, religion, gender, family, generational myths, and traditions that shape the subjectivity of the client. All of it informs the therapist about indigenous narratives and themes that help in learning the unconscious script. This accessibility serves as a guide to meaningful therapeutic growth,' Sharma said. 'The psychotherapist must know that it's not merely a defence, but a well-meaning psychological structure that fosters healing. The psychopathology is not intrapsychic but extrapsychic in Kakar's works. It further carries the ruptures of colonialism, modernity, and globalisation,' he added.
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Business Standard
20 minutes ago
- Business Standard
IMAX format attracts cinema goers as demand for premium experiences rises
Cinema exhibitors like PVR INOX and Cinépolis India have observed a steady rise in audience demand for large-format premium screenings such as IMAX (Image MAXimum), with many shows filling nearly all the seats in theatres. This comes at a time when viewers have access to a wide range of digital content at home but are increasingly drawn to immersive in-theatre experiences. Building on this momentum, the number of films being digitally remastered for release in India has increased by about 15 to 20 per cent in the January-June period compared to the same period last year, according to Cinépolis India. For the first six months of this year, PVR INOX noted that 23 films were released in IMAX, compared to 19 films during the same period last year. IMAX is a motion picture format that consists of high-resolution cameras, film format, projectors, and theatres. In India, however, most films are digitally remastered for release in IMAX format rather than being shot or filmed specifically for IMAX. 'We're witnessing a consistent surge in audience demand for IMAX screenings, particularly for high-octane, spectacle-driven films. Metro cities such as Mumbai, Delhi-NCR, Bengaluru, Hyderabad, Chennai, and Pune continue to lead the demand curve,' said Sanjeev Kumar Bijli, Executive Director of PVR INOX, which is the largest IMAX exhibitor in India with 25 operational IMAX auditoriums. 'These cities host some of our most successful IMAX properties, with near-full occupancy for major releases. The appetite for premium cinematic experiences is steadily growing, and IMAX remains at the forefront of that consumer preference.' Devang Sampat, Managing Director of Cinépolis India, said that while Hollywood releases approximately 30 to 35 IMAX titles annually, Indian IMAX releases typically range between 6 to 10 titles per year. However, he added that there has been significant growth in audience engagement for Indian IMAX content. Cities like Pune, Kochi, Bengaluru, and Mumbai are driving the demand in this segment for Cinépolis India, which operates five IMAX screens. 'We anticipate that upcoming releases such as War 2 will generate substantial demand for IMAX viewing experiences,' Sampat said. Some Bollywood films in IMAX format this year include Vicky Kaushal's Chhaava, Salman Khan's Sikandar, The Diplomat starring John Abraham, and Akshay Kumar's Sky Force. Yash Raj Films' spy universe movie starring Hrithik Roshan, War 2, will also be available in IMAX format. Additionally, major Hollywood releases such as Tom Cruise's Mission: Impossible – The Final Reckoning, the fantasy adventure How to Train Your Dragon, James Gunn-directed Superman, and the F1 movie starring Brad Pitt have driven the demand for IMAX format. 'This trend (growth in the number of films being digitally remastered for IMAX) reflects the industry's growing recognition of the IMAX format's value proposition and the increasing availability of post-production enhancement technologies,' Sampat added. Vipul Shah, Chairman and Managing Director of Sunshine Pictures, said that the wider availability of IMAX screens, coupled with a premium viewing experience, justifies higher ticket pricing—something audiences are willing to pay for when the cinematic scale warrants it. Bijli corroborates Shah's statement, noting that the IMAX release of a movie can contribute up to 25 per cent of the film's overall box office revenue. Movie trade analyst Girish Wankhede said that the ticket range for IMAX releases is between ₹1,200 and ₹1,400. 'From a production standpoint, unless a film is shot using IMAX cameras, the cost of converting a regular film to IMAX is not prohibitively high. Currently, India has very limited access to IMAX cameras…perhaps just one or two, which makes shooting natively in the format a rarity. But as the number of IMAX screens continues to grow and filmmakers look for ways to attract audiences back to theatres, we're likely to see more films being shot specifically for IMAX in the future,' Shah explained. For PVR INOX, IMAX continues to be an integral part of its premium screen strategy. Bijli added that as part of its growth in FY26, the company plans to expand its IMAX footprint with several additional screens across select high-demand markets. Meanwhile, Sampat said that the Indian arm of the Mexico-based international cinema exhibitor is in active discussions with IMAX Corporation to expand its partnership, with growth plans for both the Indian market and its global operations for FY26. Miraj Cinemas, which added one IMAX screen in Wadala last year, has signed agreements for two more IMAX screens with IMAX Corporation. Wankhede also anticipates that the total number of films available for IMAX screens will be higher than last year. He noted that large production houses are now actively working to have their films (especially those with huge star casts) digitally remastered for IMAX.


India Today
21 minutes ago
- India Today
Varun Dhawan to Arjun Kapoor, celebs mourn WWE icon Hulk Hogan's death
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