Are exposes good journalism? Who exactly should media organisations be trying to inform and what is the information they should bring to their audiences? Darryl D'Monte finds himself in an unexpectedly pleasant bookshop in Mumbai, at a panel discussion on sting journalism.

A homely looking woman in her late fifties has for years run a small-scale business doing what is widely seen as a man's job -- providing computer hardware to companies. But she does not make the local news. A culture of community journalism in the English newspapers is missing and is much needed, says Nabina Das.

Are bloggers just like journalists? The jury is still debating, but clearly bloggers are filling some voids in mainstream journalism, and connecting to net-savvy citizens in an exciting fashion. Blogs are not about to destroy conventional media, but they are making an impact, notes Darryl D'Monte.

Conceived as an anti-poverty effort, the Navodayam project in Andhra Pradesh has grown with government support into a full-fledged media entity taking up coverage of serious local issues. Its members see themselves playing a vital role, and making a difference to the lives of lakhs of women in their districts. Shoma Chatterji reports.

The government's recent CR policy is considered a big leap forward in enabling people to participate in the mass media. The next five years may see some self-help groups, fisherfolk and farmer groups, in areas remote and near, bid for radio stations of their own. Malvika Kaul reports.

Over the past couple of years or so, it appears that Indian television media are recklessly using and exhibiting children in breaking news and other stories, with the willing participation of parents. Does this constitute child abuse? Shoma Chatterji has more.

How relevant is the argument of a threat to freedom of the press in cases where the financial interests of a media baron could ostensibly conflict with that of the public? The question resurfaced recently in Andhra Pradesh over the Eenadu-Margadarsi controversy, writes B P Sanjay.

Both India and Pakistan played well in the Twenty20 tournament, and played in a positive frame of mind. Why then should a mainstream media channel insist on harping on the rivalry between two countries that are making tentative attempts at peace, asks Kalpana Sharma.

With literacy levels increasing rapidly over the past decade, and more and more people having disposable incomes, the media's reach and influence is expanding. But has this expansion and power of media been translated into greater public good? This a haunting and troubling question, writes Jayaprakash Narayan.

Khabar Lahariya, run by Dalit and Kol women, has emerged as a truly rural newspaper that is read and respected by all sections of society in Chitrakoot. It is a small shining star on the media horizon that exposes the hollowness of the mainstream media, writes Kalpana Sharma

Applying for and getting a license to set up a community radio station in India is convoluted. A new publication offers a step-by-step guide to the entire process along with useful information on how and what to prepare before applying.

The terror attacks have raised numerous questions of media ethics, values and news-gathering methods. While the government and politicians faced the wrath of the public, the media too was under the lens. Ramesh Menon reports.

Can technology restore the balance between people in their conversations about public issues? And can this help foster a better and more inclusive democracy, asks Shubhranshu Choudhary.

Seventeen years after the Supreme Court ruled that the government cannot restrict content on radio, it remains impossible for independent news to be aired on radio channels. Navya P K reports.

The decision of the Censor Board to ban screening of Bengali director Suman Mukhopadhyay's film Kangal Malsat is only the most recent instance in a long history of political interference in free creative expression in this country. Shoma Chatterji reports.

Television news in the southern part of the country has largely become the preserve of the various political dynasties, with a glut of channels acting as mouthpieces of the owners rather than objective news broadcasters. T S Sudhir brings us the true picture.

In the last 12 months, at least two radio stations have withdrawn their subscriptions to Radio Audience Measurement, the key measurement currency of listenership in India. Vaishnavi Vittal explores the covert conflict between the RAM provider and the radio operators and advertisers.

The politically motivated appointment of a hardly-known personality to the post of chairperson at the prestigious Film and Television Institute of India has predictably created outrage amongst students and the artist fraternity. Shoma Chatterji looks at the real arguments behind the ongoing debate.

In today’s world, where everything can be done with a tap of a finger, why not something for the greater common good? That thought has led to the development of Equalize, which as its name suggests, aims to empower individuals to reduce social disparities. Rasika Dhavse-Wadodkar has more.

Shoma A. Chatterji writes about a film festival that lacks the glitz and glamour of stars, television cameras and paparazzi chasing famous people to freeze them for the media.

If the members of the board were concerned about protecting the academic research character of the journal they chose the wrong person to serve as the editor. Anup Kumar explains

Inspired by a recently released movie, Shoma Chatterji explores how the lipstick and burkha establishes a woman’s identity in public spaces and liberates them in private.

In 50 percent of the killings of Indian journalists since 2010 there have been no arrests so far. We need to come together to protect our tribe, urge Geeta Seshu and Sevanti Ninan.

We usually wake up to their existence when they don't turn up for work. And the first response is annoyance, because of the inconvenience caused to us. Films like Lakshmi and Me open our eyes to the plight of people who hold up our homes, writes Kalpana Sharma.

The backdrop is contemporary India, but the thematic concerns of the film are those of Mahatma Gandhi - the village and the powerless man. Shoma Chatterji reviews Mohandas, Mazhar Kamran's film due for release in February.

Nandita Das's Firaaq is like a celluloid anthology that will carve a niche in the minds of the audience for capturing moving images of the personal anger and anguish at the Gujarat catastrophe, writes Shoma Chatterji.

Lalit Vachani's latest film places the Mahatma's historic Dandi March in perspective, juxtaposing it against the reality of the depriveations faced by the poor. Shoma Chatterji reviews the film.

For more than a decade now, Supriyo Sen has been making his way through awards bestowed for excellence in choice of subject and aesthetics of creative expression, the latest being accorded for Wagah. Shoma Chatterji looks back at his films.

Joshy Joseph's latest film captures the great poet candidly, minus the halo of genius and her achievements. It also marks a defining moment in the director's journey as a documentarist. Shoma Chatterji reports.

"I wanted to show not just a few victims, but to help viewers understand the mechanics and the politics of trafficking and migration," says Ananya Chatterjee. Shoma Chatterji revies Understanding Trafficking.

Loha Garam Hai is a no-nonsense, no-holds-barred comment on lop-sided strategies of development. It is focused more on information and education than on the aesthetics of cinema, writes Shoma Chatterji.

Hope Dies Last in War is a saga of individual and collective struggle, spanning three generations, to get back the men who remained as prisoners of war after the Indo-Pak conflict of 1971. Shoma Chatterji reviews the film.

If there are differences between a documentary and a feature film, Faiza Khan's Supermen of Malegaon dispels them all. Shoma Chatterji reviews the film.

Set in conditions that are bare in many ways, Bilal defines the purity and the innocence of the child even in the most desperate circumstances. Shoma Chatterji reviews the film.

Despite its apparent focus on middle class insensitivity to the conditions of the working poor, At My Doorstep makes a more important contribution in depicting experiences of male powerlessness. Romit Chowdhury reviews the film.

Bhor is a psycho-social journey into the minds and lives of inmates of a rehab centre, trying to build a world away from the mainstream. Shoma Chatterji reviews the play.

Morality TV aur Loving Jehad: Ek Manohar Kahani, says its director Paromita Vohra, shows the accepted language of television news at its worst, justifying violence in the name of righteous indignation. Shoma Chatterji reviews the film.

More than half a century after it was produced Shyamchi Aai remains alluring to children and adults alike, with its simple and straightforward message of unconditional love. Shoma Chatterji reviews the film.

Bauddhayan Mukherji's film series hands men a proactive role in tackling domestic violence, simply by letting abusers know that they are being observed. Shoma Chatterji reviews Bell Bajao!

A cinematographer remembers his own journey of documentary film-making, offering insights into the technical and emotional challenges of his work. Shoma Chatterji reviews In Camera - Diaries of a Documentary Cameraman.

Vijay Tendulkar's Kanyadaan is not about domestic violence. It is about deeper, multiple, and sometimes invisible layers of violence that is an integral part of society. Shoma Chatterji reviews the play.

The System of Rice Intensification, known to increase rice yields significantly merely by following a few simple rules, is spreading throughout Bihar, thanks to an award-winning film that educates farmers. Shoma Chatterji reports.

Suman Ghosh's documentary about the Nobel Laureate has not found its way to many screens yet. Nonetheless, it is a noteworthy effort to bring the economist a little closer to the people. Shoma Chatterji reviews the film.

Watching Paan Singh Tomar, which resurrects a forgotten sports hero and his compelling life, Namrata Ganneri can't help but notice what's missing.

Is freedom of speech and expression deeply accepted in Indian society? Or is it merely a European cultural import that made its way along with the English language and appeared in the Constitution because of the founding fathers' genius? Satarupa Sen Bhattacharya reviews Freedom Song, a film and connects the dots.

Sanjay Kak's latest film Red Ant Dream weaves together disparate stories of people's movements and transports the viewer to hidden pockets of resistance to paint a picture of conflict and revolutionary potential in India today. Freny Manecksha reviews the film.

A mainstream Bollywood production in the making, titled Gulab Gang, draws heavily on the circumstances and even the name of a now-famous real life movement, but purports to be purely fictional. Shoma Chatterji explores the questions of ethics and creative morality that this raises.

Flickering Angels, a moving documentary on the lives of children of imprisoned parents in West Bengal, helps a child of an illegal immigrant caught in tragic circumstances to go back to her homeland. Shoma A Chatterji dwells on the reformative capacity of cinema.

The recently held Kolkata People’s Film Festival – an offshoot of the founding movement called The Cinema of Resistance – screened powerful documentaries and feature films portraying the struggle and resistance of the marginalised and downtrodden. Shoma Chatterji reports.

Though based on strong reporting, India’s Daughter remains restricted in its scope, and even strays from its purported objective, thanks to a very pronounced colonial supremacist gaze, writes Shoma Chatterji in a dispassionate review that cuts through the noise.