Explore the vast range of titles available.

Cinematic response in India to social justice movements, even when aimed at rectifying communal violence and tensions, reifies entrenched orders separating Hindu from Muslim, citizen from the 'Other,' native from the diasporic. To the polyphony of films focused on interfaith love, a recent indie film adds a new 'look'. Narasimhamurthy Padmakumar's, A Billion Colour Story (2016) focalizes on a child's point of view in a black and white filmic narration to dismantle old hatreds and re-ignite love of culture and nation for the very diversity that has become pixelated, walled, entombed and reactionary More like Nollywood in its reliance on a smaller budget, a do-it-yourself chutzpah and decolonial vision, the story revolves around a child, Hari Aziz, who becomes the instrumental force behind rendering his parents' dream true of making a film about their beloved nation, its teeming diversity, and its border-crossing love. The director, Padmakumar, addresses a host of current crises faced by those living in the shadow of Late Capital, culturally steeped patriarchies, and right-wing Hindu fundamentalism, while pointing to the billion colours that make up this teeming 'democracy' that might make its most significant issues clear in the binary of black and white. A close reading of this film reveals its decentering and decolonizing of hegemonic notions of nation, gender, class, and religion,-and of the hegemony of the Bollywood Gaze that dictates who will love whom, to what degree, at what costs, and to what end. What Narasimhamurthy Padmakumar provides in the diegesis, alongside the love story of a Muslim man and his Hindu wife, and the 'product' of their love, a child, is a film that encapsulates their 'looking' at the world. However, his looking leaves a lot to be desired on two registers: his looking does not see the active youth-led contestations taking place on the ground against the Hindu-led political hegemony and his looking refuses to call out the culprit, the excesses of violence performed by the nation-state and its Hindutva brigade against its minoritized 'Muslim' and othered subjects. Keywords: Bollywood, Gaze, Decolonization, Hegemony, Hindutva, Violence

The analysis of the political transition process for the independence of Angola that occurred between 1974-1975, after 13 years of anti-colonial war, continues to focus on the three national liberation movements, causing other protagonists to be silenced or marginalized. A change of focus in the historiography on the said process is necessary to give them the corresponding visibility and the action carried out by each one can be known, being that in this case the study focuses on the sport and its environment. The press, itself one of the marginalized protagonists, is the instrument chosen to know the appeal that the world of sport had in the context of decolonization. Um olhar atento â imprensa e a outros documentos da época, vemos como, nos primeiros dias, a cena politica e social em Angola era dominada por um grupo de atores cujas açöes nâo podem mais ser ignoradas ou tratadas como secundarias, quando estiveram na linha de frente e, em alguns casos, foram fundamentais para o curso do proceso O primeiro objetivo deste trabalho é ampliar a análise do \"espaço político\" no qual ocorreu a transiçâo angolana, afastar-se da visāo limitada cidadāo-partidos políticos para aquela que permite a participaçâo de outros atores sociais.

This article explores ways of decolonising Development Studies by: (1) examining the discipline’s tendencies towards what some have called ‘imperial amnesia’, that is, proclivities towards disavowing if not erasing European colonialism, most evident in 1950s–1960s Modernisation theory, but also more recently in the work of such analysts as Bruce Gilley and Nigel Biggar; (2) considering the opportunities and perils of ‘epistemic decolonisation’, that is, ways of decolonising knowledge production in the discipline, including the limits of ‘non-Eurocentric’ pedagogies; and (3) reflecting on forms of material decolonisation (e.g., the reduction of socioeconomic inequalities by improving better access to education or resisting the corporatisation of publicly funded research) that need to accompany any epistemic decolonisation for the latter to be meaningful.