Media Mail – Volume 1 Issue 2
April 1997
Broadcast Bill: For Whom?
The erstwhile United Front government had prepared a Broadcast Bill which it was supposed to have introduced in the next session of the Parliament. Through this Bill the government plans to organise the prevailing chaos in the area of television broadcasting, so that the private channels can be made to represent and protect Indian culture, its concerns and understanding. Though it may sound strange, this effort is to replace the Indian Telegraph Act of 1885. Debates surrounding the Bill are very hot at the moment.
Most of the debate has two sides to it. One is of the State, which is trying to establish its monopoly over the skies through this bill, and the other, of those against the move, who despise governmental and bureaucratic control over airwaves. So the entire debate is vacillating around issues of private channels vs state owned channels, control vs regulation, or what is the role of independent producers.
The government claims that one of the objectives of this bill is to protect Indian culture. But to those who watch their favourite heroines dance on TV, there is hardly any difference between DD or other channels. If viewers were to select between the likes of Junoon, Swabhiman or Bold and the Beautiful, most of them will do so by lottery, not by any particular preferences.
If we agree with Justice Sawant, that airwaves are public property, the debate on Broadcast Bill should be at a more fundamental level. It should be on how the airwaves can ensure the participation of 60% of our populace that is illiterate, in democratic decision making. According to recent reports, 15 lakh new born female infants are killed every year in Bihar. Every year 6 lakh hectares of land in India is degenerating from the over use of urea. Tribals of Chhotanagpur are in constant struggle against disparate development projects. Not even 2% of land under the Land Ceiling Act has been distributed to the landless. The question is how are these facts going to be debated, how will these facts be turned into information? These questions are never addressed, neither by the Bill, nor in the numerous debates surrounding the Bill.
Some time back Amita Malik had written that rural India is untouched by the information revolution. This is rather ironic when the rural populace is demanding all kinds of information, whether on safe contraceptives, on women’s rights in Panchayats, or what really are the rights of patwaris and police. However, our urbanmedia criticsfeel that people do not want information but only want to see feature films.
People do not want to see information only as ads but as debates in which they can also participate. There have been numerous objections to contraceptive pills raised by rural and women’s organisations. In spite of these protests, mindless advertisements of Mala-D are incessantly telecast on the TV. Information cannot be one sided, space for dialogue is very essential. This cannot be achieved by a piece meal approach, but requires to be approached in terms of an overall policy decision. Otherwise it will suffer the same fate as that of programmes like UGC or Krishi Darshan. There is an ominous silence on the part of the Broadcast Bill over these issues and there is no debate whatsoever.
Generally, the basic premise of any policy differs to a great extent between developed and developing countries. While in developed countries policies are made to organize things, policies made in developing countries are more to provide space to all sections of the society. This is true for the Broadcast Bill as well. The debate should address how dalits, women, minorities and all other underpriviledged sections of the society can get their share. Or else it will be yet another futile exercise, having very little to do with a vast majority of common people in this country.
An Overwhelming Response !
Thank you for sending me the January 1997 issue of Media Mail. The information provided in your journal will be useful while teaching communication to undergraduates students of social work in my college. Looking forward for more issues of Media Mail.
Joselyn Lobo, Lecturer, School of Social Work, Roshni Nilaya, Jeppu, Mangalore, Karnataka 575002
We acknowledge with thanks the receipt of Media Mail, January ’97 issue. Internet – A Threat to Humanitv is an awakening news item. The journal/ magazine is very educative and informative on the most powerful extension media – TV & video.
L. Vijaya Kumari, Grameena Vikas Samithi, 6-8-947, NGO’s Colony, Tirupati, 517507, Andhra Pradesh
We received the first issue of Media Mail. It is really good with so much of information. Its presentation is also nice. I am sure, with time, experience and needs, more changes will come in it. We hope and wish that Media Mail becomes more effective and will play an important role in the times to come.
Shriprakash, Kritika, 30, Randheer Prasad Street, Upper Bazar, Ranchi, Bihar 834001
I have come across your in-house journal Media Mail, January 1997 issue. It provides the latest and most useful information required by media persons. I am a librarian at the Development &Educational Communication Unit, ISRO, and would be thankful if you can put me on your mailing list.
Chitra Patel, DECU -1SR0, SAC PO, Ahmedabad 380053
I came across Media Mail on the magazine rack in our office.. Pretty good! It was nice reading. Wishyou all the best, do send us a copy of the next issue.
Rina Tagore, New Concept Information Systems Pvt. Ltd, E-214, Greater Kailash II, New Delhi 110048
Many thanks for your newsletter Media Mail which is full of useful information. I would appreciate being kept on your regular mailing list of Media Mail.
Prof. Anil K Gupta, IIM, Vastrapur, Ahmedabad, Email: anilg@iimahd.ernet.in (Prof. Anil Gupta)
Please send us Media Mail regularly. it is very informative with latest media resources. SRAM works for the upliftment of the poor. We found Media Mail a very good resource for education and awareness.
R. K. Kaketia, Society for Rural Action and Motivation, Behind Power House, PO. Chirawa, Dt. Jhun Jhunu - 333026, Rajasthan.
I would like to tell you now how wonderful I think your endeavours with Media Mail are. It is very encouraging to see that there are people in electronic media that have not become co-opted by the business like nature of the industry. If there is anything I or CMM can do for you, let me know.
Ms Parul Shah, GM Programming, CMM Limited. 4th Floor, Paragon condominium, PB Mara, Worli, Bombay 400013
Sharing Common Concerns
I am very happy to receive your Media Mail. I love and want to work in Alternate Media. Not producing, but taking the AV material produced in India or abroad to the people of Andhra Pradesh, presenting it with the correct perspective and right background. My only wish is to provide Telugu dubbing. I am aged about 46 years. Now seriously thinking about starting a sort of exhibition of various videos at different places in our state. My worldly perspective is unorthodox Marxism. Many a time I expressed to some left groups about the necessity of developing a strong Alternate Media Network. But they love microphones and platforms very much. Now because of this cultural vacuum, the cable TV and networks are polluting the whole Indian scenario along with cinema. Already we are victims of cinema-politics – NTR, MGR, Jayalalitha etc. Virtually the culture of the people of Andhra is usurped by cinema and TV. There is no second or alternate voice to the State TV or radio. and other commercial TV channels. So I feel I must do something, at least individually, to curb this rot. But I want to do it with my own resource, without taking any funds from NGOs or GOs, to maintain my commitment and sincerity.
M S P Rao, 17/ 736, Rangeen Mahal Street, Nellore, Andhra Pradesh 524001
Useful Suggestions
Thank vou for vour valuable publication, Media Mail. This will fulfill the expectations of development workers also. May I advise Media Mail to include latest books and journals related to media under the Resources section ?
H. K. Singh, Xavier Institute of Social Services, Purulia Road, PO Box 7, Ranchi, Bihar 834001
Thanks for sending me a copy of ‘Media Mail”. Its a most salutary step and I hope the small segment of responsible televisionaries will do all to aid it. On our part, we propose to let you have information inputs from time to time as well as try and buy some of the “resources”. We will like to project, too, what we have produced and would like the readers of “Media Mail” to know.
It may be a good idea for “Media Mail” to develop a comprehensive catalogue of stock shots available with producers and production houses. This will bring in a semblance of order in an extremely chaotic situation. In the long run, all of us will be able to exchange1 barter, price, recommend and refer such resources amongst ourselves as well as outside.
There is a terrible dearth of mean’ingful writing and research on the video industry in general and non-fiction television software in particular. I see possibilities of “Media Mail” becoming a catalyst in a movement that will prompt and promote serious study of and writing on video/television.
Subodh Lal, CMM Ltd. e-mail: kcm.cmmltd @axcess.net.in
Attention Film Makers!
We would like greater details about the following films: Abua Dishum, Thimiri Ezhuvavom and Muppuram Erinthom.
Sana Das, Samvada, 13, Grace Home Apts, 333/26, 9th Cross, Wilson Garden, Bangalore 560027, e-mail: admin @samvada.ilban.ernet.in
DD finally telecasts Ram ke Nam
Battle continues despite Court Order
At last Ram ke Nam was telecast by Doordarshan over the national network. The film which was shot two years before the demolition of the Babari Masjid at Ayodhya, shows the communal frenzy being built up by Hindutva forces.
The filmmaker, Anand Patwardhan was embroiled in four years of legal tangle with the national telecaster. Though DD had to bend its knees before the orders of the Mumbai High Court, the telecast at prime time on 2 March, was without the necessary announcements leaving a large section of the audience totally in the black about the telecast.
In the meanwhile BJP has raised a hue and cry about the telecast saying that the film will stoke the fire of communalism once again and hence it should be banned. Patwardhan counters the charges, “The entire structure of the film is based on the ideology of social justice for lower classes and castes. The argument that an average or illiterate person is likely to be adversely affected by the screening of the film is devoid of merit”. The film maker regrets that had the film been aired earlier people would have been able to see it in the right perspective and the fundamentalist forces would not have played havoc with the secular fabric of the society. The documentary which follows the Rath Yatra of Mr LKAdvani in 1990, is seen from a secular view point having the working classes as it protagonist who condemn the Hindu communalists .
Patwardhan has become adept at these legal battles with Mandi House; it is worth remembering at this point that two of his earlier films, Bombay, Our City and In Memory of Friends, could find their way to a national audience only through arduous court wrangles.
Another tale of intolerance
A video camera in the hands of the activist is increasingly becoming a threat to the establishment. A few months back Sriprakash, a film maker from Ranchi, had faced it. Then it was Biju Topno’s turn.
Biju is part of Akhra, a media group in Ranchi. In the last week of December 1996, Biju was shooting a rally against the proposed Birla-Hindalco bauxite mining project in Mahuadaar, Palamau. The project, that will displace at least five Nagesia villages, is being opposed by tribals for over ten years. This rally was organised by Bharat Jan Andolan along with Pat Agragami Sangh of Palamau. Stalwarts like B. D. Sharma and Ram Dayal Munda were also present in the rally. All of a sudden Biju was intercepted by the police, his camera siezed and he was taken to the police station.
On hearing of his arrest, people participating in the rally stormed the Mahuadaar police station and put up a major demonstration. Their demonstration continued till Biju was released along with his camera and the footage he shot. Biju was deeply moved by the solidarity extended to him by the movement.
The incident and the intervention, apart from reinforcing the strength of the medium, will inspire many other media activists like Biju who are completely unprotected from the wrath of the establishment, whether it is the police or goons.
Attempt to silence Gaddar
The living legend of revolutionary folk music, Gaddar, is fighting for his life in a hospital in Hyderabad. On the evening of April 6,1997 a group of unidentified people barged into his house in Venkatapuram, near Hyderabad, and sprayed him with bullets. For the past few decades Gaddar has been enthralling rural people of Andhra with his performances – an extraordinary voice embellished with animated movements of local folk dance forms. His lyrics depict the struggles and sufferings of tribals, landless and the oppressed, speaking out loud and strong against injustice. Any performance of Gaddar attracts thousands of people who, by the end of it, are ready to stand up and fight. This ability of Gaddar has given birth to a range of enemies from the State to the mafia. Perhaps there arises the need to silence him. So far there is no clue on who the attackers were.
A state wide bandh, called on April 9 by different organisations and media activists in Andhra Pradesh to protest against the attack on Gaddar, is said to have evoked good response. Prominent media personalities, cultural and progressive groups in Bombay also demonstrated against this heinous act. Fortunately Gaddar, undergoing treatment at the Nizam’s Institute of Medical Sciences (NIMS), is said to be out of danger.
Setting a new agenda for Cultural Movement
V. K. Dobhal, IPTA-Saharanpur
The 13th Uttar Pradesh State Conference of Indian People’s Theatre Association (IPTA) was held at Saharanpur between 23-25 February 1997. Along with the 50th year of independence, it was also an occasion to commemorate the 100th and 200th anniversaries of Nirala and Ghalib, renowned Hindi and Urdu poets respectively. The conference was a confluence of writers, artists, theatre and cultural activists, wherein they reiterated their commitments to the composite cultural heritage of the country and challenged the revivalist, fundamentalist and conservative forces. They vowed to create a cultural campaign in the state for social justice, egalitarianism and progress. The consumeristic culture of the market came under severe critisism throughout the conference.
Rajendra Yadav, the editor of Hans (a literary journal in Hindi), a writer and critic, inaugurated the conference. He said that we have to set new goals in the field of culture which was never a priority since the days of independence. He talked about the growth of the electronic media and its impacts on all forms of creative expression.
Theatre activist, Jaydev Hattangadi, Anamika Haksar, senior critic Krishnanarayan, UP Pragatisheel Sangh General Secretary Kamtanath, Probir Guha, the theatre director from Calcutta, Pankaj Nigam the painter, writer Yogesh Gupta, Birendra Yadav, Naresh Saxena and 0 P.Malviya were a few of the personalities attending the three day conference. A. B. Bardhan, General Secretary of CPI, also addressed the meeting. In his speech he recollected the countless persons who had contributed to IPTAwhch was a movement in itself. He hoped that it will continue to be a movement and not become an institution.
Before the inauguration of the meet, the different units of IPTA from all over the state had gone around the town in a procession. Later there was an exhibition of posters at the main venue which was followed by performances of “Ahimsa Paramdharam“, a play by the Lucknow group. After the inauguration, IPTA-Aligharh presented “Sahara” . There were presentations of songs and other cultural activities. On the second day the groups performed street-plays in schools, colleges, railway station, government offices, factory gates and street comers of Saharanpur. “Chouraha” by Urai-IPTA, “Sabse Sastha Gosht ” by Mussorie-IPTA, “Aurat ” by Lucknow- IJJTA, “Abhishaap ” of the Aligharh-IPTA, “Dunkel ka Bhoot” by Azamgarh, “Girgit ” by Mau-IPTA, “Khel Madari Ka” from Mathura were a few of the street plays performed. Again on the last day there were street plays performed at all comers of the the town. “Basti“, “Kamdhenu “, “Gadhe ka Insaan“, “Mareez ka Mustaqbil”, “Bhai Chor Ka” were some of these.
“Cultural Movement: Perspectives in Today’s Context” and “What is a Good Play and How ?” were some of the important topics for discussion. In the evening there was a joint presentation of “Yours Most Obediently ” by Alternative Living Theatre, Calcutta, and Asian People’s Theatre Festival Society, Hong Kong. “Kalpataru ki Chaya” was the other play presented by the Lucknow-IPTA. Although the theme of the first play was the plight of the Indians living in Hongkong, the audience could enjoy it despite the language barrier. The latter was on the influence of consumerist values on youth.
A resolution was taken up by the conference to reject the “Democratic Performance Act” effected by the colonial British government to curb the freedom for expresssion.
The other point made was that theatre activities should be exempted from the purview of entertainment tax. The need to implement the Haksar Committee Report on decentralisation of cultural institutions at the state and central levels was also emphasised. Fifty years after the death of the authors, there is no royalty. There was a demand for the creation of a fund from the earnings of such publications. Their work need to be declared as national property.Ther e was a proposal for an auditorium and space for artists to rehearse at every district head quarter.
At a discussion on the past and present of IPTA, all participants talked about the challenges and directions of their work. In the evening poetry of Nirala and Faiz Ahmed Faiz were rendered to classical tunes by O. P. Malviya of Allahabad. Apart from that, three veteran theatre activists of Saharanpur – O. D. Verma, Som Prakash Naeva and Rehturam Joshi were honoured at the meeting . “Bilora ” by the Agra team and Octopus ” by Mau-IPTA were the other events of the day. The conference came to a close with this song of Faiz :
“Hum mehnatkash
Jagwalon se jab apna hissa mangenge,
Ek baag nahin, ek khef nahin,
Hum saari duniya mangenge. ”
(When we, the toiling masses,
Will demand our share of the earth,
We won ‘ t stop at an orchard or a field,
We will ask for the entire world.)
UNESCO Approves 36 New Communication Projects
The Intergovernmental Council of UNESCO’s International Programme for the Development of Communication (IPDC) recently approved US$2 million in assistance for 36 new training and infrastructure projects world-wide with the aim of reducing the gap between industrialized and developing countries in the field of communication and information.
Throughout the five-day Council meeting, speakers highlighted the role of information and the media in promoting democracy and development.
The projects selected have been provided to the Least Developed Countries with a special emphasis on Africa. Both are priority groups for UNESCO.
In Africa, the IPDC will support two regional and inter-regional projects and nine national projects, covering a wide range of activities. These include upgrading for the Internet the computer infrastructure of the Pan African News Agency, which is slated to be privatised; and supporting journalist training at the West African Newsmedia and Development Centre, based in Cotonou (Benin).
The national training and infrastructure projects for Africa include: helping ERITNA, the Eritrean news agency, acquire computer hardware and software; supporting the creation of a Malawian women’s radio station targeting rural areas in Nankutnba Peninsula; and providing training to bolster professional journalism in Rwanda, where 95% of the journalists active before the 1991 massacres are now either dead or in exile.
In Asia, the IPDC will back the Silk Roads Radio News network for the production and exchange of news programmes in and among the former Soviet Republics of Central Asia. Nine national projects in the continent include helping provide communication technology, training and equip merit to newspapers in China’s most remote areas; and contributing to the computerisation of Papua New Guinea Broadcasting Corporation’s news facilities.
In three regional projects for the Caribbean, the IPDC will provide funding and on-the-job training for the production of a series of three 45-minute documentaries exploring the African heritage of the Maroon people, descendants of runaway slaves, in Jamaica, Surinam and Guyana; it will also back two training programmes covering all areas of radio and television broadcasting as well as print media, multi-media, sales and marketing.
Three nationally based programmes in the region include the creation of a new community radio in Cuba and bolstering Haiti’s television production capacity.
In Latin America, two regional programmes will provide training and coordination to the Latin American Satellite Broadcasting Network, which will service 300 radio stations in 17 countries; and help set up a computerised network of documentation centres on communication for the Latin American Federation of Associations of Communication Schools. Two local projects in the region target Guyana and Honduras.
In the Arab World, the IPDC will help Jordan and Tunisia launch a regional training programme targeting all areas of newspaper production and management to promote the development of specialised publications with an emphasis on women and youth.
A further three local projects in the Middle East include assisting the Palestinian Broadcasting Corporation with training, the acquisition of equipment and programmes; and providing resources for the production of television programmes targeting women in rural areas of the Sultanate of Oman.
Through one local project in Europe, the IPDC will help youth television broadcaster CICAK in Bosnia-Herzegovina acquire modem equipment and professional training. In operation since 1994, CICAK’s programmes are made by children for children.
Since its creation in 1980 to bridge the gap between the developed and developing nations in the field of communication, the IPDC has channelled US$74 million to some 600 projects in over 100 countries. Since 1992, the Council has given priority to private media projects in a bid to enhance media pluralism and independence.
The Voice of Kanak Independence
Kalinga Seneviratne
NOUMEA, New Caledonia: Ten years since it first began broadcasting, Radio Djiido, the Voice of Kanak Independence, has seen more than its share of problem – lack of funding, jammed signals and Molotov cocktails aimed at driving it off the air. Today, Radio Djiido – a station run by the indigenous Kanak people of this South Pacific territory – remains the voice of the Kanak struggle for independence against the French.
On a regular day the radio, the highest- rating station here apart from the French government-runRFO, broadcasts news and commentary that it hopes will educate the Kanak people in the run-up to a vote on
self-determination in 1998. The station also promotes Kanak music, including a new form of contemporary music called ‘Kaneka” which was born out of the independence struggle and was popularised by Radio Djiido itself.
“When we started, the military tried to jam the signal. When we presented news, there was no radio,” said Nicole Waia, manager of Radio Djiido said in an interview with IPS. Although its mission is to be the Kanaky people’s voice, the station broadcasts news and commentary in French. This use of the colonial language to further an indigenous cause might appear odd, but the reason is purely pragmatic – there are 32 difterent Kanak languages.
Waia said: “I come from Mare (Loyalty Island). I can talk to my people, but other Kanak people can’t understand me then. So we can’t present our programmes in Kanak languages, if s too difficult. It’s a good strategy too, as other people can understand what I say.”
Since colonisation in 1853, the French have used the media in New Caledonia to drum up support for colonial rule. The media has been tightly controlled by the French, with French media tycoon Robert Hersant owning various publications and a radio station.
Radio Djiido’s creation in 1985 was the first attempt by the indigenous Kanak people to challenge French colonial propaganda, as they had no media voice of their own for a long time. Its early broadcasts were transmitted within the boundaries of Noumea by unskilled voluntary staff, driven by little else but political commitment to the independence cause.
The French expected Radio Djiido to have a short life span, especially since it during its first year it was targetted by rightwing groups opposed to independence. Even the French military joined in the campaign to end Radio Djiido’s broadcasts. At one point, critics used bomb attacks and Molotov cocktails to try to silence the radio. Today Radio Djiido has not only survived for over a decade, but broadcasts nationally and has two small sister stations in Lifou in the Loyalty Islands and Hienghene in the Northern Province.
Since the signing of the 1988 Matignon Accord between the pro-independence Front de Liberation National Kanak Socialiste (FLNKS) and the pro- French right-wing party, Rassemblement pour Caledonie dans le Republique (RPCR), Radio Djido became part of the cultural arm of the Kanak independence struggle known as “Editions Populaires”.
“After the signing of the Matignon Accord, it is now better for us. We can now broadcast all over the country,” said Waia. Radio Djiido gets funding from the local governments of the Northern Province and Loyalty Island, which are FLNKS controlled. It was also assisted by the Australian union movement’s foreign aid agency, or Australian People for Health, Education and Development Abroad. The RPCR has its own daily newspaper ‘Les Nouvelles Hebdo’ and a private radio station called ‘Radio Rhythme Blue’.
Radio Djiido’s plan since the Matignon Accord is to make economic development and education more equitable, preparing the Kanak people for a national vote for self-determination in 1998, That vote is a key part of the Matignon agreement. “This is why it was important to have our own radio, to educate our people, and others too, on the political, economic and social reality” Waia added. But the divisions among the Kanak community ahead of the 1998 vote is also affecting Radio Djiido’s economic future.
Recently, FLNKS changed its strategy from a purely political campaign to win a vote on independence next year, to an economic struggle to h t gain control of New Caledonia’s nickel and tourism resources. In the wake of this change, FLNKS’s attempts to work out a compromise with RPCR on the independence vote has split the Kanak communiy. Many Radio Djiido listeners want their leaders to explain to them the FLNKS’ change in strategy for independence. But Waia says the leadership has been reluctant to use the radio to do so, and is pressuring the station to tone down its criticism of some FLNKS policies.
“Sometimes we have a lot of problems with FLNKS leaders, because Radio Djiido is a community radio station and we have to respect the people” said Waia. “When I don’t agree with what they decide now, I have to tell them ‘listen I don’t agree, you have to explain to the people’. It’s not my role, it’s your role because you are a political leader”. This is why Waia wants Radio Djiido to be financially independent, though the station gets annual subsidies from the two FLNKS-controlled provincial administrations. The station is now aiming for a bigger slice of advertising revenue – not easy for a community-based news-oriented station.
Courtesy: Inter-Press Service
The Rio Experience
Gargi Sen
The 8th meeting of the International Women’s Health Movement was held in Rio de Janeiro, Brazil between March 16 and 20, 1997, in which 400 women from 72 countries participated. India had one of the largest delegations comprising of nearly 40 persons which made it the third largest after Brazil and United States. The objective of the meeting was to discuss the future course and strategies of the women’s health movement based on the experiences of Cairo and Beijing conferences, and the present day realities facing the movement. The recommendations of the 8th conference, named “The Gloria Declaration”, was presented and endorsed in the final day.
I was attending the meeting primarily to understand the issues of concern and locate ways of reflecting these in our local communication strategies, methodologies and practices. I was also interested to learn from others new and different methods of communication and communication strategies. I had taken with me 2 films to screen at the meeting, films that presented some interventions made on women’s health by rural and marginalised women. The first, called ‘Where Healing is a Tradition’ presented the experiences and problems of traditional women healers, and the second, called ‘A Healer is Born’ presented the effort to train a group of rural women in the self-help methodology.
Although I had written to the organisers for screening facilities till I left I hadn’t heard anything from them. I had asked for a PAL playback system as well as a projector but was not sure about their availability. So, on the day I was leaving, I got 2 VHS copies made in the NTSC system, used in North and South America.
The meeting was held at the Hotel Gloria which also housed all the 400 participants. We found that the plenaries were to be held in one large hall and several smaller halls and rooms were to be used for the smaller meetings, workshops and presentations. In addition to this there was also an exhibit hall for women to display their books, publications and merchandise. At the back of the exhibit hall there was a space, separated by a 3 small boards of 2ftX3ft standing on legs at a eight of 6 ft, with 30 odd chairs and a VCR and TV, which was for screenings. I was very disappointed because there was no real demarcation between the rest of the room and this space which meant that the noise of the exhibit room was not cut off as well as this space had huge windows right in front that would make screenings during the day difficult.
As we had reached a day earlier, I spent some time inspecting the conference area. I found that right next to the main hall there was a nice, big, closed and dark room which had a video projector that was to be used to replay live recording of activities in the main hall. This was the press room. All along it stayed empty after 5 pm, which is when the screenings could start. But when I tried to shift the screening of my films from the exhibit room to the press room I ran into the Brazilian bureaucracy which is second only to its Indian counterpart. The screening could not be shifted to the press room because it was the press room and not the screening room! Adding to the confusion was the problem of languages. Few Brazilians speak English. Solange, in charge of screenings and exhibits, did not speak any English and over the next 4 days I was to repeat an endless cycle of looking for her, grabbing hold of her and dragging her around till I found someone who could translate my request. Finally, I failed.
On the morning of the screening, about five of us from the Indian delegation, put up small, hand written posters with details of the screening, all over the hotel. There were posters in the 2 breakfast halls, in the 4 lifts, in the 3 main halls of the hotel which the women from the meeting would frequently pass through, as well as all over the area where the meeting was taking place. This idea was such a hit that from the next day everyone started to use this method.
I also checked the equipment. As I had feared, the playback system was NTSC only. Nobody seemed to have heard of PAL. I was quite happy that we had a NTSC copy, although there was sufficient loss of quality while converting. Madhyam Communications, from Bangalore, had brought video copies of some of their productions and had also informed the organising committee for a PAL playback system, but there just wasn’t any.
At the screening a largish crowd came. This was interesting because most of the 11 sessions, that were going on in parallel after the plenary had no more than 5-15 people. When everyone was settled, Claudia, the girl handling the machines, inserted the cassette. Instantly the VCR chewed up my tape! It was unbelievable! Now I had only one film on NTSC. We had to wait a while till a man came, opened up the machine and drew out the tape that had been mauled to nothingness. Many by then were tired of waiting and left. So I decided to screen the second film, “Where Healing is a Tradition”.
We couldn’t really have a discussion after the film as we had spent nearly 30 minutes waiting and now it was getting to be time for other things. Although, Philomena Vincent, whose organisation Aikya, was shown in the film, told me later that a lot of people had met her separately and had discussed the issues raised in the film. Also, there was a serious demand for a repeat screening. But meanwhile, I had to see to the screening of the other film as now I had only PAL Copies.
The effort to screen the other film was equally frustrating. Solange told me that it was not possible to organise a multi-sytem playback VCR as, apparently, it costs five times more. But this time Monica Frota, film maker from Brazil, was there who not only knew English but also knew about video. She said that it was not correct and the company supplying the equipment was obviously taking the organising committee for a ride. Monica insisted that she had seen how the cassette was damaged and as a compensation the company must bring a multi playback system. After 4 hours of discussions I was told that on the following day we will have a PAL playback system.
The screening of “A Healer is Born ” went off without incidents but I was again unsuccessful in raising a discussion. But this time I received a lot of feed back from the Indian delegation, especially Sabala and Kranti, on whose self help training programme the film was based. It was felt that the film had lost focus concentrating more on the activities and genesis of the organisation that housed the training and little on the training per se. Most felt that this had left a confusion about the what the film was saying. Interestingly, for the international community, the film was interesting as it was contextualised by the status of the community and the NGO working with them. Only a specialised group wanted copies of the film on traditional healers, those who work with the issue. But a variety of people including university professors, NGOs and support organisations took the film ‘A Healer is Born.’ I managed to distribute all the copies of the other film also. In fact, there was a demand for a repeat screening as many people had missed it and the film was screened again at a special session that Philomena Vincent had organised with a midwives collective of Latin America. I realised that carrying only 10 copies of each film at an International meeting of 400 women was a bit absurd but this at least gave an idea of the feasibility and potential of dissemination. Also, it provided an opportunity to get a lot of feed back on our productions.
I couldn’t attend the closing ceremony as I had to leave. I had wanted to give my feedback on the communication aspects. First of all, even in an international forum there was a continuation of the perception which we struggle against in India: that video screening is an activity that is not quite ‘serious’ and can be carried out in the evening, in parallel to other ongoing activities. Unfortunately, no effort is taken to integrate serious video documentations into the agenda of the day, or use them to provide a context or a take off point for debate. Secondly, the problem with equipment could have been avoided. A local professional, perhaps an independent feminist producer could have been involved in designing and organising a video section. Lastly, some more effort to organise the videos by calling for them before, viewing and categorising them and preparing a screening schedule which participants could be given in addition to the schedule for the meetings and workshops would have helped immensely. For a seminar of this nature it is important to classify and categorise different videos, as it is done with papers, so that this medium can be used effectively to share experiences, learnings and concerns between women of different cultures and countries.
Policing the Internet
At a recent meeting in Paris, the Organisation for Economic Cooperation and Development (OECD) having 29 member countries has approved of monitoring the Internet. In this respect, the OECD has adopted a set of broad reaching guidelines on scrambling electronic messages, known as cryptography. An eight-point plan, designed to guide lawmakers from member country governments, contained only some general recommendations. Allowing lawful access to plaintext or cryptographic keys, of encrypted data, respecting the fundamental rights of individuals to privacy, including secrecy in communications and protection of personal data in the national cryptography policies were some of the guidelines.
Earlier the United States had endorsed an international system of computer security codes, that could be held by law enforcing agencies and only be accessed after obtaining a court order. The OECD members have approved the spirit of the US plan and more concrete laws in each country is expected to evolve. Under the present laws drug dealers, terrorists and other criminals can take advantage of the Internet. The OECD guidelines called for international cooperation in making the Internet coding laws.
Afghanistan: Fundamentalists Control all media
Ever since the Taliban religious army had marched into Kabul six months ago, it has imposed a strict version of Islamic rule over two-thirds of Afghanistan where it holds sway. Taliban swept into power in last September, throwing out the sitting president and hanging a previous one.
In one of its latest decrees, it has banned all forms of entertainment like television and video, music, photography, soccer and kite flying . Apart from this there are the barbaric edicts on their bete noire, women. According to the self-styled religious police, women have to be hidden so that they do not tempt men. They have to wear the all-camouflaging Burqa if they need to venture into the streets. One decree told people to paint their windows black so that the women inside cannot be seen by ogling passers-by. Women are also banned from wearing white socks lest they attract male attention. Women have been prohibited from working and attending school. The other harassing verdicts include ban on paper bags to avoid any possibility of the pages of the Holy Koran being recycled and a compulsory growing of beard for the men.
People of Taliban dominated Afghanistan have come to dread the nightly radio broadcasts fearing another decree. But they are forced to listen, in case there is something they have to do. Although they have banned all other media, it is interesting to note how the Taliban have been using the radio in its propaganda to unleash a set of barbaric laws in the name of religion. They are planning to lift the ban on television, but if one is to read the writings on the wall, all indications are that TV too will be used as a weapon to terrorise and curtail people’s rights.
Film South Asia ‘97
Himal South Asia is organising the first Film South Asia Festival from 18 to 21 September
1997 in Kathmandu. Film South Asia is a festival of documentary films, an interactive venue for film professionals and connoisseurs from all over the region. It will help develop the market for documentaries within and outside South Asia, promote a sense of community among independent filmmakers, and provide a quality platform for exhibiting new work. Documentary and ‘alternative’ filmmakers are being recognised as a potent force in entertainment, information and education.
The organisers of Film South Asia plan to hold the festival every two years. Future festivals will be organised in South Asian cities other than Kathmandu. Besides holding future festivals, the organisers are contemplating the setting up of a permanent secretariat which will function as continuous go-between among South Asian documentary film makers. This includes planning a regular newsletter for filmmakers, critics, students and other enthusiasts. A South Asian Documentary Film Archive is also planned, and filmmakers and right holders of FSA’97 entries are requested to donate their films to the archive on a non-circulatory, non-broadcasting, non-rental basis.
Festival dates
18, 19, 20 &21 September’97
Venue: Kathmandu
Entries to the festival should deal with South Asian themes ranging from people, culture, lifestyle, adventure and history to development, environment, politics and education. All the selected entries made after January 1, 1995 will be admitted to the competitive category. All other selected entries will be in the non-competitive section.
Entry, which is free of cost, must accompany a duly filled entry form. Each entry should attach an English text of the script of the film. Entries are accepted only in 112 ” VHS (PAL/SECAM/NTCS) formats. All entries must reach the festival office in Kathmandu by May 15,1997 for selection. Selection of the entries will be completed by June 15,1997 and the selected filmmakers will be notified by 20 June 1997. They will be asked to send film prints1 professional video formats of the selected entries latest by July 31, 1997. The accepted formats for final submission are 16 mm135 mm for film and Beta SP-PAL/ U-matic High band for video.
For more information contact:
Suman Basnet, Fesival Director, FSA’97, GPOBox 7251, Kathmandu
Ph: 977-1-5238451 522113, Fax: 977-1-521013
e-mail: himal@himpc.mos.com.np
Akhra Redefined
Meghnath
Akhra was formed in 1993. Akhra, in Mundari, is a place where tribals come together to meet, sing and dance. However, traditionally, Akhra was much more than that. Apart from being a cultural centre of the village or community, it was a centre where the people learnt from each other, discussed current economic and political issues, resolved conflicts. It was a centre for information exchange and communication.Our group is similar to the traditional Akhra but in a modem context. Amongst various tribal communities in Jharkhand we work with modern media like photography, journalism and video.
Based in a tribal area, we are surrounded by issues, conflicts and struggle. Sometimes a dam is about to submerge tribal villages, or their ancestral land converted into factories, mines or military projects. Sometimes it is police firing in response to genuine appeals of tribals for their rights, or sometimes a question of how tribal people are represented in mainstream society. Whether in history or at present, tribal people always responded to injustice with struggle. We have been part of a number of struggles, and have taken the role of media in struggles very seriously, more so, the role of documentary films.
In India we have film makers like Anand and Tapan who have made many films on people’s issues and struggles. Today many more people have joined the stream. This reinforces the importance of the medium. Initially, screening films was a difficult task Later, with the spread of video, it became more convenient to take these documentaries to the people.
Films have a wonderful impact when they are shown to people. If the issue of the film is relevant to people, they cross all barriers of language and culture. People in a struggle always identify with their counterparts elsewhere and learn from them very fast We screened “Voices from Baliapal”, a film by Ranjan Palit and Vasudha Joshi, to tribal involved in various agitations in Jharkhand. This film is in English subtitles and the original interviews in Oriya. But after seeing the film, women of the Auranga dam agitation emulated the experiences of Baliapal and stopped forest department officials from felling the trees. People in Baliapal blew the conch shell as an alert signal to the others. People from the Netharhat firing range and Bauxite mines agitiations adapted this technique from Baliapal and used it rather effectively. Instead of conch shells, they beat their Nagaras whenever any official, police or suspicious elements entered their area. In fact, once when the police entered a village, they first broke the nagara before doing anything else. Similarly, like in Baliapal the Koel Karo people also cordoned their villages with gates, and allowed entry only to those who spoke Mundari.
This is at one level. On the other, films on struggles generate tremendous inspiration. A sequence in Sriprakash’s “Kiski Raksha”, where the Netharhat people force the military to retreat, creates an incredible inspiration. This inspiration is of course at both levels. At one, the people are inspired. On the other, the film maker also gets a tremendous inspiration. As a result, Sriprakash, after Kiski Raksha, has gone on to make atleast three more films on people’s struggles despite tremendous difficulties.
Besides immediate impacts, films are also very effective in the initiation of discussions. Our regular screenings have generated a certain awareness about films in the area. The small library of films we have in Ranchi is well attended by the youth of the area. There are instances of people forcing local video parlours to give their equipment to people for viewing relevant films. We have pushed “Ram ke Naam” into local cable networks. We had also organised an anti-communalism campaign in Jamshedpur, Ranch and Palamau where a lot of students participated. We used “Ram ke Naam” extensively in this campaign. Later when Anand took a workshop on political films in Ranchi, there was a tremendous response. It surprised many of us when around 300 people came for a public screening of Anand’s “Father, Son and the Holy War”.
We feel media work is effective only when it is linked to ongoing struggles. Independently we do other kinds of work. We have trained some young tribal boys in video, still photography and journalism. We do a lot of documentation, especially of folkforms in the area. We also take workshops on film appreciation and journalism. However, most of the screenings and campaigns are done in association with the various groups active in the area. Over the years we have built up dose working relationships with groups such as Jan Haq, IPTA, Abhijan, Johar, Chass, Krithika, Nehtarhat Jan Sangharsh Morcha, Koel Karo Jan Sangharsh Morcha, Subarnarekha Visthapit Sangh and many others.
Apart from screenings and campaigns, we put a lot of emphasis on local productions. Often it is difficult to find material that is relevant to the area. For example, there is tremendous dearth of films on indigenous people of India. We have a number of films on Australian aboriginal people, but nothing on the Indian situation. Also there is no material in local languages. Whatever is produced locally in the name of Santhali films are worse than the 4th grade feature films. The situation is the same in any tribal area. We have come across horrible feature films in Tankul Naga (language of tribals in the Ukhrul district of Manipur). The idea is not to have any odd garbage in the local language but clean material that portrays the culture and aspirations of tribal people in the true light. Today the question is how a tribal is projected in media or how mainstream society visualizes a tribal. We just saw what Yanni did to that tribal in his mega show at Taj. He took his music but made him dance like a monkey on the stage. The same is the case in all cable channels, films and magazines, as if tribals have nothing better to do apart from drink, dance and roam about without clothes.
We strongly believe in tribal people making their own films. They have a completely different way of looking at things and however sensitive we are, we ‘dikus’ have racism ingrained in our veins. We can never do justice to tribal representation. So we have trained some young people and started producing material locally. Although with great difficulty, Biju Topno, a local tribal boy, has started making films. We have planned to make a series of films, called “Shaheed jo anjaan rahe”, which will focus on those tribal leaders who have been victims of state repression and given their lives for the cause of their community. Biju has already made the first film on Anthony Mumnu, who was killed in police firing alone, with 14 others in what is known as the Banjhi massacre. Research for the next film has already started.
One of the biggest hindrances to our efforts is of course money. Video is definitely not an inexpensive medium. Somehow over the years we have managed to buy two VCRs and a TV. With the help of friends we have also acquired a VHS Camcorder and a still camera. But there is not enough money even for travel.
Some time back the Camcorder had a malfunction and it was so difficult to get it repaired. Finally we took it to Delhi, spent quite a lot of money but it is still not recovered. We are lucky to have Sriprakash in Ranchi who has his own Camcorder. So we use his. But it is difficult. There is no editing facility in Ranchi.
We have to take material over to Delhi. The last film was edited at Cendit. There seems to be no other option at the moment. Even to make copies we have to rush to Delhi. Acquiring films is also a problem because there is no systematic information about material. Also, to buy films one needs money. So far we have managed with complementary copies from friends.
There is no local support that has built up for media work. We cannot expect people to pay for it, not as yet. That leaves the progressive forces in the area to support such activities. It is very unfortunate, but I have no hesitation in saying that it is the facists who really know the worth of this medium and are willing to invest and make the best use of it. We have all seen its effects. But our progressive brothers, unfortunately have not yet understood the need and strength of media. Without local support the future of this medium is very bleak and we may lose our battle to the commercial and facist forces.
For more information contact:
Meghnath/Biju Topno, Akhra, Dhruua Nivas, Shastri Nagar Ranchi 834008, Ph: (0651) 204325
Screenings at Rajaji
Roma
The Ghad area in the foothills of Himalaya is agog with people’s struggles for restoration of their traditional rights. The villages of Banjarwala and Jwalapur near the pilgrim town of Haridwar is one such spot. This is the region of the proposed Rajaji National Park where people’s movement have been gaining momentum for quite some time over control and access of forests by people traditionally dependent on them.
Vikalp, an organization working in the area, had organised a series of camps for discussions, poster exhibitions and video screenings to raise people’s awareness of similar struggles existing in other parts of the country. In this region, so far, films have been used only as a tool for mobilization. They have not yet taken the role of awareness raising. One camp was organised in Banjarwala and Jwalapur between January and February in which representatives from five villages participated.
Video screenings were held twice during this camp. They were generally held at night and 5 or 6 films were screened for discussion. Kissa Junglee Ghas ka, Apne Haq ke Liye, Jungle ke Davedaar, Tu Zinda Hai were a few of the struggle-oriented videos chosen for discussions. The response from the villagers was tremendous. We could see that the women audience were deeply affected by these since most of the films had portrayed women actively participating in the struggles for their rights. Women strongly expressed that they should also unite and struggle for their rights as was shown in the films. They ‘ said that they would also keep their men behind and lead the movement for restoration of their rights.
Men were neither far behind in their solidarity with the women. They too were inspired by the videos so much that they came out openly saying that the clays of women in veils are over and that women should lead their community in their fight for self respect. Men had realise the urgency of involving women in the social and political movements. The deprivation and indignities suffered by the poor and Dalits were highlighted by most of the videos. Many of the audience felt the need for uniting such forces and strengthening the work of the organizations. There were strong demands for frequent screening of such films.
No doubt, these screenings boost the self confidence and morale of these simple women in their struggle for basic rights. They could easily relate to the film which is akin to their struggles in many ways. One evening Bobby, a popular Hindi movie was coming up on TV, still the villagers preferred to watch the videos. This only goes on to prove the potential of video as a strong instrument in mobilization strategy as well as empowerment of the masses.
But as felicitators, we face quite a few problems while organizing such camps on media. Some parts of the villages are so remote that it becomes almost impossible to carry all the equipment there. Non availability of electricity is another major hurdle. On many occasions we had to carry our equipment back since the villages did not have facilities even for generators. The brighter side of the picture is that now the demand for the screenings are coming from the people themselves and hence the needful arrangements are also taken care of by them.
For further information contact:
Roma, Vikalp, 11, Mangal Nagar, Saharanpur 247001, UP
Some common problems in Using Video in the Field
Video has many advantages. It is among the most powerful and versatile of all audio visual media.It is accessible even in remote areas. It can take experiences of one place to another in a small cassette. It can record images and sound and play them back instantly, these and many more.However, there is a constant conflict in the basic design of the medium and our requirements.Video has roots in television that is essentially a centralised, one-way medium. It is meant to be used at home or in confined places that have the basic infrastructure. All technological developments take these basic facts for granted. When an activist uses this medium in the Indian grassroot situation, a number of difficulties come up. Some of them occur also because the technology is still quite alien. Let us look into some typical problems that arise and see what can be done to make its use more convenient and effective.
Many groups have their own playback equipment. But there are many who cannot afford it. For them it becomes a problem first to locate reliable equipment in the local area. While renting equipment we should be careful to take it from a known person and the VCR must be tested with a cassette from the supplier to ensure that at least it does not chew tapes. Also, whether the TV is working and is properly tuned. Usually the supplier sends a man with the equipment who does not allow anyone to come near it. There is problem, however, when there is no technical person accompanying the machines. The most common problem that happens is that the TV is not tuned.
Tuning a TV is very simple if one knows the basics. One has to first ensure that the TV and VCR are connected to the power and are switched on. Check if the connections are in order – “RF Out” from VCR goes into “RF In” or “Antenna In” of the TV (1). If there is no picture or sound, apart from a “snowfall” on the screen and a harsh noise on the speaker, the TV needs tuning.
Tuning a TV
Usually video signals (2), whether broadcast or from a VCR, come in 3 frequency ranges or bands:
1. VHF (3) (low),also termed as VL or Band I in TV tuners.In Tvs with simple tuners,channels 1 to 4 respond to this range,e.g DD1 is beamed on Channel 4 in Delhi.
2. VHF (high),termed as VH or Band III in TV tuners.Channels 5 to 12 are carried on this Range.In Delhi,the DD Metro,DD3,and most Cable channels come on this range.
3. UHF (4) is another frequency range that is not so much used in India for cables or broadcast yet. Channels 21 to 69 are carried on this band.
The RF output of the VCR can be in any of these ranges. Before taking unaccompanied equipment one must find out what is the output of the VCR. If the VCR output is in the VH range, the tuning selector on the TV should be put on that range. In older “turret type” tuners one simply has to play a cassette in the VCR, select a relevant channel on the TV- in this case any channel between 5 and 12 – and the fine tuning control turned till both picture and sound are clear and steady.
Many TVs have the manual electronic tuner which have 8 channels. In these tuners, we can tune either VL, VH or UHF in any of the 8 channels. Again, after playing a cassette on the VCR, we select the relevant band on the desired channel and turn the knob till both sound and image is clear and steady.
Newer models of TVs have more complex tuners. There is a button called “Preset”. First, this Preset button is put on. Then the correct band is selected – either by turning a slotted control or by pressing + or -buttons on the TV or remote. Then the tuning is done, either by a turning control or + and – buttons, till the desired quality of reception is achieved. After this, the “Memory” switch is pressed and the “Preset” turned off. In some TVs the memory switch activates automatically when the best reception is achieved.
Some TVs have automatic tuners. When the “Preset” switch is put on, the timer by itself searches through the bands from VL on Channel 1 onwards. The moment it finds any stable signal, it automatically stores it in the memory, switches to the next channel and continues searching for all stable signals. It stops only when all its channels are full. This facility is sometimes scary, often unnecessary if we only need to play one VCR through it. The advantage with this is we can tune even without knowing the VCR output. This “auto search” feature also has a manual override.
Apart from these, there are some “state of the art” TVs which are truly “intelligent” and work on “menu options”. In order to operate these “smart” machines it is best to consult their manuals.
Tuning a VCR
Going slightly off the point, most VCRs also have tuners. We do not require this facility for playing back, but it becomes necessary when we want to record off-air programmes. Or if we connect one VCR to another for editing or copying when we are not in a position to use A/V connections between the VCRs.
For recording off-air, the antenna or the cable connection goes into the “RF/ Antenna In” of the VCR and the “RF Out” of the VCR goes into the “Antenna In” of the TV. The rest of the tuning procedure is the same as in a TV with minor variations in each model. In short, first time the VCR for receiving the off-air signal, then tune the TV to see what the VCR is receiving. For viewing, the TV tuner is set to the channel that was tuned to receive the VCR output.
To connect two VCRs (let us call them Player and Recorder), the “RF Out” of the Player goes into “RF In” of the Recorder. Finally, “RF Out” from Recorder goes to “RF In” of the TV. Now the Recorder is to be tuned to the output of the Player, and the TV tuned to the output of the Recorder.
However, when we play a cassette in the Player, we should make sure to select the right channel in the Recorder – the channel that has been tuned to receive the Player’s signal. Also, the TV /VTR switch on the Recorder should be selected to VTR in order to view the Player.
Where is the Power?
All the above is relevant only if there is power to run the machines. Most Indian villages have no electricity. Even if they have, the voltage is extremely low, fluctuating or are prone to long power cuts. One possible solution to this problem is to have battery operated machines. But there are no battery operated TVs or VCRs easily available in market. The perfect solution to this problem is yet to emerge but people have tried various methods to reach a workable solution.
Here are some possibilities:
A Portable Generator
A small generator of a minimum capacity of 500 Watts can be very useful as, apart from running the playback equipment, it can also operate some lights since most field screenings happen after dark. To select the right capacity, calculate the total power load that will be required. The power specifications of all machines are inscribed on their rear cover panels (5).
There are also some problems with a generator. The sound of the generator often is too loud and disturbs the audio. This problem can be reduced by placing the generator at a distance from the site of the screening, preferably behind a wall. A long extension cable is necessary for this. A generator is also quite bulky and is difficult to lug around. However, if one has an inclined audience, it is not difficult to find a few hands. But the main problem is that in remote areas it is difficult to find proper quality of fuel to keep the voltage steady. And video equipment are very sensitive to power fluctuations. A good voltage stabiliser with an auto cut-off facility (6) is very important in any case.
An Inverter
An inverter is a system that can run AC equipment on battery. It is usually used in high power cut areas where the battery gets charged when the electricity is available. During a power cut it automatically switches on to the battery. Usually car or truck batteries are used depending on the load and the back up time required. The larger the batteries, the longer they can provide power.
The inverter is absolutely silent and stable. But it requires a lead acid battery that can be a problem carrying around. If one is using a Jeep or some vehicle, its battery can be used. The bonnet of the vehicle can be a good mounting place for the TV and VCR as well. In case the battery needs to be charged, the vehicle engine can be started. But we should be very careful with the positive and negative terminals while using a battery. Any mistake can be fatal to all machines connected to it.
However, having a vehicle may not always be possible or affordable. But an inverter is not such a rare item. We have seen people using inverters in pretty remote areas to watch TV. Only the capacity of the batteries may not be adequate. Some friends have tried using equipment that use less power and are also lighter to carry. For example, a VCP uses lesser power than a VCR. It is also lighter. Similarly, a 14 inch TV is more portable and consumes lesser power.
To be continued
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1. If the TV has an A/V input, ensure that Video out and Audio out from the VCR are going into their respective inputs in the TV In this case there is no tuning required, only the channel dedicated to AV input on the TV needs to be selected
2. RF stands for Radio Frequency.
3. VHF stands for Very High Frequency
4. Ultra High Frequency
5. Watts is the same as another commonly used unit called VA. In some machines the power specifications are written as e.g. 1.5 amperes at 220 Volts. By multiplying the two we can get the figure in Watts.
6. An auto cut-off disconnects the supply when the voltage is too high.
Surfing the Internet
The standard response most of us would have to that is “What ? Internet ?” If you fall in this category, read on, because you just might find the answer to a lot of questions that have been buzzing around in your head. And even if you don’t fall in this category, a lot of issues are also addressed here that might be of interest to you.
What is the Internet ?
The Internet is a network of computers that started off in the US as a method of keeping educational institutions and the government departments in touch with each other. Essentially this was used to keep these institutions and departments in touch with each other, and provide a method of secure information exchange.
Over the years, due to the cost-effectiveness and flexibility of this method of communication, it became extremely popular. Especially so as the students who passed out of the US educational institutes using the “Net” (as the internet is also known) wanted to use the facilities available on the Net in their professional lives.
In short, the Internet is a network that allows you to communicate with a wide variety of people, and access vast amounts of information- quickly, easily and inexpensively.
How can you use it ?
To start off, you need a computer, a modem, a phone line and an account with an Internet Service Provider (or ISPs, as they are known). For basic e-mail, there are a number of providers like Sprint RPG, DART, etc. However, for full access of the plethora of other features of the Internet, you would have to subscribe to VSNL.
Both have their pros and cons. All the ISPs like Sprint and DART have centres in many more cities than VSNL. Since you have to dial in via telephone to the centre to receive and send e-mail, if you don’t have a centre in your city, dialling STD would be very expensive. BUT, if you communicate quite a bit to places further than your centre, or internationally, e-mail would still save you a lot of money. ISPs charge in a number of ways. Either they have a basic subscription charge plus a certain amount for the time you spend online (connected to them)or they have a flat charge per month no matter how long you stay connected. If you need to send large amounts of mail regularly, the latter charge scheme is more cost-effective.
VSNL has centres in most major cities like Delhi, Mumbai, Pune, Bangalore, Madras, etc. Fortunately, they also have hundreds of lines per city, so unlike the other ISPs, you do not get a busy tone so often when you try to go online. VSNL charges a flat fee with three different options, all giving you access for 500 hours or one year, whichever is earlier.
For students, it provides a Shell Account for Rs 500, for all other users it charges Rs 5,000 for a Shell Account. For a TCP/IP account it charges Rs 15,500. Quite a wide variance in costs, isn’t it? Once you understand the differences between the different types of accounts, you’ll understand why.
With both of these you can send and receive e-mail, browse the World Wide Web (WWW), download software from the internet, and so forth. However, a Shell Account has a CLUI (Command Line Us er Interface). This means that while sending or receiving e-mail, you type in each command of what number to dial, a new command to create a new e-mail, another one to send it, etc.
Conversely, the TCP / DP account allows you to use a graphical interface application to do all this. As you can see from the screen below, it is certainly much more user friendly than a shell account.
(The screen is from Netscape Navigator, one of the popular software for browsing -3 sending e-mail on the internet.)
- REFER IMAGE
When you register with an ISP, You are given an account (or address) & a password to access it that is unique to you.
This account is your e-mail(Electronic mail)box that functions just like a normal mail. Anyone in the world with an e-mail account can send you Mail, and it will reach you within 24 Hours if not sooner. An average full page Of text takes about a minute to send.
The extra benefits are that unlike fax, you can send colour and a complete file. So if you send text or a spreadsheet, the other person can actually Use it as is to edit, instead of retyping the whole thing.
Also, if you are sending it outside Your city or out of India calculate the cost Of a 1 minute local call to your ISP Plus ISP charges to the MUCH larger Amount that the fax would cost.
On the downside, typed text is never as personal as a handwritten note.
So it you want to create a new e-mail, move your mouse, click on a button – and hey presto, you’ve got one ! Send it, just click another button, and it’s done. Also, while browsing on the Web, most sites today are graphical (virtually all) which does not allow Shell Account users to browse them. So, which one should you use for yourself?
Personally, I would always suggest a TCP/IP account. Though a bit more complex to set up initially, it is definitely much Easier to use and is infinitely better for the users who do not wish to be computer experts to use the Internet. Also, you have a wide choice of sites to see, and the graphical layouts on the World Wide Web are easier to understand and digest than unending pages of text that you see on a Shell Account.
Also, since you click a button to go places, access is usually faster on a TCP/IP account as you do not have to type in a whole line of commands. On the flip side, you pay 3 times more for this feature. Also, you need a more powerful computer with at least 8MB RAM and at least a 14400 bvs modem to use it. You could use a lower speed modem, but then by the time the graphics load on your screen, you could have made and drunk your tea. That, however, should not bother you. Modems today don’t sell at speeds below 14000 bps, and a 28800 bps modem is available for as little as Rs 10.000. (I say “as little” because 9600bps modems used to cost as much if not more about a year back). Best of all, with these modems comes other fax software that allows you to send and receive faxes directly from your computer. Also, a lot of modem vendors bundle Internet software along with their modems. Before you buy one, take a good look around the market.
The World Wide Web and other benefits of the Internet
Other than e-mail, a VSNL account gives you – you a number of other facilities. Amongst them, the main one is the World Wide Web (also called the Web or WWW). The Web allows you to browse through sites and gather incredible amounts of varied information. Essentially a ‘Site’ is a visually viewed screen or a sequence of interlinked screens used by companies, institutions, governments, etc to display information about themselves, the services they provide, etc. The screen comes up on the computer monitor in front of you with pictures and text (only text in a shell account) and you click on linked buttons to view further information. From applying to foreign universities and schools to chat sites where you can share views with like minded people about movies, social issues, travel and so forth to articles about virtually any topic under the sun and some beyond it to, to even viewing a walk-through interactive guide of museums where you can see and read about works of art, the Web provides a mind-boggling amounts and kinds of information. If you do not know where to go for a specific topic, there are many ways of searching for your area of interest that does not cost you a paise extra other than the phone bill. The nicest part is that you can use this facility to access information any time of the day or night, instead of having to figure out time zones or waiting for a time when STD/ISD is cheaper to call / fax.
Before we finish, there is another feature of the Web which is very useful. Known as FTP sites, this feature allows you to get files from different sites on the Internet. These files could be graphics, information, or even a wide variety of free software that is available at a number of sites on the internet.
The thing to remember is that the Internet is a tool like the pencil, your voice, or a knife. How, how much, and how well you use it is up to you. There is a social and a moral obligation we follow while communicating with people like being polite or sharing information while taking it. No one enforces it on the Internet. What is required is for you to act upon your own feelings and conscience, and do what you can. To use the simile used above, when you buy a knife, you are expected not to use it to stab people, but to cook with.
Debate on the corrupting influence of the Internet
Recently, there has been a lot of debate about the corrupting influence of the Internet. One of the reasons is that other than the kinds of sites mentioned above, there are pornographic sites, & since the web does not ban free expression, a lot of people use this freedom to voice radical views that upset many. If you look around, there are many newspapers and magazines that publish equally offensive material. Ultimately,the choice is yours.No one should be allowed to restrict your choice of What you read & see, or your way of expressing thoughts. The web does not. Banning the web because of this is like banning al knives because other than cutting your everyday vegetables, they also can kill people. Or banning speech because some people use it to air views thatother people consider unhealthy. Ridiculous. The control must be within you & the society that Moulds your thought process, or it Will never be effective.
VSNL
All the ISPs in India are routed through VSNL. So, VSNL actually is faster way of sending mail as it sends directly on to the internet.
Also,the VSNL is a pleasant surprise. When I first subscribed, I had expected that it would have the same apathy as most government department. I was amazed at the knowledgeable and helpful staff at VSNL,who have information at their finger tips, and actually try to help you. If you phone in they actually answer you, and don’t flood you with a surplus of forms like other government departments. In fact, after your application,you get a connection within two to three weeks on the outside.
As an example of their effectiveness, late ’96 they had sent a survey to all users. The majority answered that phone lines were busy very often, and they could not connect. By December ’96, VSNL added 100 extra lines in Delhi alone, taking the number to almost 300 for TCP/IP. And all of them are connected through 28800 speed modems.
Partha Dasgupta
Anything Mac, 2F, 40 Yusuf Sarai, New Delhi 110016, Ph: (011) 6867259, Fax: (011) 6858682, e-mail: Natha@giasdl01.vsnl.net.in
The Yellow Haze
Suniti Singh, Pankaj Sekhsaria, Gayatri Prabhu
“The Yellow Haze”, a student degree film by Suniti Singh, Pankaj Sekhsaria and Gayatri Prabhu of the Mass Communication Research Centre (MCRC), Jamia Milia Islamia, Delhi, was screened at the MCRC premises on April 8, 1997.
“The Yellow Haze” is an investigative documentary on the unethical use and promotion of ‘Quinacrine’, an anti-malarial drug, a s a chemical method of female sterilisation. It is a potentially dangerous drug to be used as a contraceptive since its method and safety are unproven and inconclusive.
Major drug regulatory bodies Such as the USFDA and WHO have not approved the use of ‘Quinacrine as a contraceptive. The legal status of the drug in India is hazy, but some reports suggest that the drug was found to be inappropriate after initial trials, after which further trials were discontinued by the ICMR.
“The Yellow Haze” follows two women who were subjects of a trial carried out recently by a government hospital and a health centre in Delhi without informed consent and are presently suffering from a number of serious side effects. Through the women, the film attempts to uncover an international network of doctors and promoters who are pushing Quinacrine as a contraceptive in developing countries like India.
Interestingly, there is an ominous silence on the part of the Drug Controller and the ICMR. Meanwhile, the drug is being imported and openly propagated by the Jain Medical Centre. Also, a promotional film made by the Jain Studios is being regularly telecast on the Jain TV.
As more and more hazardous contraceptives are pushed into the market with women at the receiving end, this film is informative and a useful campaign material.
For copies and information, Contact
Mass Communication Research Centre, Jamia Milia Islamia, New Delhi 110025
VHS Price: Rs. 500/-
Barf
Saba Dewan
The inaugural screening of ‘Barf’, a documentary by Saba Dewan, took place on the 18th of February,1997 at the Gandhi Memorial Hall in Delhi. The screening was organized by Action India(AI), a group working in slums and resettlement colonies of Delhi for over two decades.
Action India’s emphasis lies in all aspects that touches the life of an underprivileged citizen in the capital, be it eviction, communalism, health or issues concerning women and children. One of the most active extentions of AI in the resettlement colonies is the community organization of women, Sabla Sangh. Later, when AI started working with adolescent girls, they called this collective the Chhoti Sabla.
It was a group of girls from the Chhoti Sabla who were stars in Barf. They were taken for a trek to the Garhwal hills. For most of the girls it was the first step out of their homes, without their families. The camera followed them closely, taking the viewers through the journey with the girls as they sung, danced, laughed and shared their images, hopes, dreams and aspirations, far from the constraints of their life in the city.
One of the interesting aspects of the screening was the packed presence of the girls who went for the trek and many who didn’t. there was constant chatter and rounds of giggles as the film progressed. However, during the more sensitive parts of the film there was complete silence. Apart from the light and playful mood of the film that is typical of adolescence, Rahul Roy’s camera work received loud applause from the audience.
For more information, Contact:
Saba Dewan, A -19, Gulmohar Park, New Delhi 110049
Pratidhwani announces Theatre workshop
Pratidhwani announces an intensive training workshop on various aspects of theatre with a social perspective. Social,political and cultural activists and students are welcome to participate
Dates: 20-29 june’97
Venue: Dunda, (near Uttarkashi)
For details contact:
Shubhendu, L21A,Sheikh Srai Phase II, New Delhi 110017, Ph: (011) 6486931, (c/o Centre for Workers’ Management)
In this issue we present some films on issues relating to tribals. This is by no means an exhaustive list. Some films on tribal issues have already been featured in the last issue of Media Mail. We will continue to keep you informed as and when we come across other films on this issue. We request film makers to keep us updated with latest information on their films so that this process can continue.
Tu Zinda Hai
(You Are Alive !)
Hindi, 49 min, 1995
A video on women in Activism, about women challenging the various structures of authority and the backlash they face from these forces. It is a tribute to their indomitable will to survive through struggles and keep their spirits alive against all odds. But most of all, it is about the changing identities and self perceptions of women in our society. This docu-dramas profiles the activists of Ekta Parishad, a mass-based people’s forum in Madhya Pradesh.
Film by: Shabnam Virmani,
Source: PRIA, 41 Tughlakhabad Inst.
Area, New Delhi 1 10 062
A Narmada Diary
English, 60 min, 1995
The controversial Sardar Sarovar Dam is the kingpin of the mammoth Narmada Valley Project. The dam’s reservoir alone will drown 37,000 hectares of land and displace 2,00,000 people. Since 1985, opposition to the dam has grown in the form of the Narmada Bachao Andolan . From 1990, the film makers began a sporadic video record of the movement. “A Narmada Diary” is this record spanning four years in the history of the Narmada Bachao Andolan – one of the most dynamic struggles for the rights of those displaced by an elitist view of ‘progress’ and ‘development’.
Film by: Simantini Dhuru & Anand Patwardhan
Source: SAMVAD, 1st Floor,
27, Lokmanya Tilak Colony
Marg N0.2, Dadar (E),
Bombay 400 014
Price: Rs. 450/-
Kahankar: Ahankar
(Story maker: Story Taker)
English/Marathi, 38 min, 1995
This is an attempt at bringing together a selection of the stories and paintings of the Warlis and some-of the writings about ‘them’. To the Warlis, a community of Adivasis who live close to Bombay, these stories represent their ‘history’, their world view. All the outsiders, the Portuguese, the Marathas, the British, the native settlers, they all tried obliterating this history and wisdom. The work of the outsiders who wrote about ‘the Warli’ represents this process of creating new mythologies. By bringing together these disparate discourses, this video aspires to critique these mythologies.
Film by: Anjali Monteiro & K. P. Jayasankar
Source: Head, Audio Visual Unit, TISS,
PB no. 8313, Deonar,
Bombay 400 088
Price: Rs. 500
In Search of Green Gold
English/ Hindi, 45 min, 1995
The forests in the Kotra block of Udaipur reap a rich harvest of Tendu leaves for only a couple of months in a year, earnings from which sustain the tribes for the entire year. Over the years their access to the forest has been curtailed, with the government giving over its control and profits to middlemen. The film presents the life and struggle of the tribes in their efforts to create alternatives.
Film by: Gargi Sen
Source: Magic Lantern Foundation
Price: Rs. 500
Anthony Murmu
Hindi, 26 min, 1996
In the 50 years of independent India, Jharkhand alone has seen more than 18 police firings between 1978 and 1985. Many tribal leaders were also killed in these massacres. In 1985 Anthony Murmu, a tribal leader, also an ex-MP, along with 14 others were brutally massacred in a police firing, an incident that is known as Banjhi massacre. The film tries to understand the reasons behind the massacre and the status of the dream for which he laid his life.
Film by: Biju Topno
Source: Akhra, Dhruva Niwas,
Shastri Nagar, Kanke Road,
Ranchi 834001
Price: Rs. 400
Aatmaghat
(The Women Betrayed)
Hindi / Eng (sub) / Bengali / Santhali, 40 min, 1993
‘Witch’ is the universal synonym for hatred, fear and suspicion of women. But the women hunted as witches in India are the victims of victims. For tribal societies in India, misery has come in the name of development. But the anger against numbing injustice and ruthless exploitation has unfortunately turned inwards, towards the most vulnerable people, the women.
Film by: Sehjo Singh
Source: D-3/2173, Vasant Kunj,
New Delhi 110 070
Price: Rs. 500
Bhoomiyude Avakasikal
(Inheritors of the Earth)
Malayalam, 27 min, 1995
Adivasis of Kerala who are robbed of their ancestral lands by the modern world, are on a warpath. Culturally uprooted by modern concepts of development, they are now faced with eviction. The strides of modern world have inflicted severe socio-political damage to the collective body of these scattered communities. The real inheritors of the forests and earth are now declared landless.
Film by: Jose Thomas,
Source: Kurichath, Cheengod,
Nadavayal PO, Wynad Dt.,
Kerala 670 721
Abua Raja Madra Munda
(Our King Madra Munda)
Mundari, 50 min, 1997
Through the story of the legendary king Madra Munda, the film searches for the true history of the Munda tribes of Jharkhand.
Film by: Shambhu Nath Munda & Man Singh Munda
Source: Krithika, 39, Randhir Prasad
Street, Upper Bazar,
Ranchi 834 001
Editorial Board: Gargi Sen, Indu MG, Sujit Ghosh, Ranjan De
Published by: Magic Lantern Foundation, J 1881, Chittaranjan Park, New Delhi 110019
Ph : +91 11 64471 511 6221405, Fax: +91 11 6223894, e-mail: magiclf @giasdl01.vsnl.net.in
Opinions expressed in articles are those of the authors.