The conversation was curated by Fazal and Dostain to specifically contain questions that reflect an ignorance and a distance, an understanding of Lyari typical of hegemonic discourse about the neighborhood, while the responses are deliberately evasive, offering very little information or insight. Manager Ajay Singh finds out that a man by the name of Naresh is murdered and informs police inspector Rai, but all the evidence is tampered with at the crime scene and as a result the murderer becomes difficult to trace. The projection is fixed on a serene, quiet view of the Lyari river, with the faint sounds of nearby traffic bleeding in, while the sheets of paper contain fragments of a conversation about Lyari between two unknown and unnamed others. That there exists information, knowledge, spaces we may not necessarily be entitled to. The right to be unexplainable. The mental image of rich, tipsy New-Yorkers consuming so light-heartedly such a powerful and loaded artwork followed by our native cuisine of gola gandas as desert comes as a reminder perhaps, that context is everything, and that work is evolved, consumed, transformed, developed, corrupted and sometimes even destroyed, through and under the gaze, or even the mere presence, of the viewer.

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Asha BhosleBikram Saluja. Fanon saw in the European obsession with the veil the relationship between the act of seeing the other, the desire to know the other, and parde me rehne do parda na uthao desire to dominate, to conquer, to have the other. Mera Karachi Mobile Cinema is a contemporary art project that, despite working in diverse communities all over Karachi, does not put the lives, the art and the labour of marginalized communities on display for elite art-world consumption.

Each title is ranked according to its share of pageviews among the items displayed. Race and Representation, Erhne End Press,chap. The project utilizes the democratization of the film medium via cheap cell-phone technology to collaborate with residents of various communities in Karachi, creating short films conceptualized, directed and produced by the artists, that is, members of the community themselves.


The need for privacy, for opacity is understood, embraced and there are no patronizing attempts at rendering the community and its people, transparent. By using this site, you paede to the Terms of Use and Privacy Policy.

Keep track of everything you watch; tell your friends. The projection is fixed on a serene, quiet view of the Lyari river, with the faint sounds of nearby traffic bleeding in, while the sheets of paper contain fragments of a conversation about Lyari between two unknown and unnamed others. The videos produced speak in padra, but they do not speak to us.

Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! As demonstrated by Fanon in Unveiling Algeria and by the women of the FLN during the Algerian struggle for independence, Opacity works as a form of self-protection because the colonizer cannot control what he does not see, what he cannot understand.

Archived from the original on 15 September Edward Said made similar connections inOrientalism, between knowledge production, exploration, and conquest.

Abrar AlviDhruva Chatterjee. Shikar is a Hindi movie produced and directed by Atma Ram.

Parde Mein Rehne Do Parda Na Uthao -Asha Bhonsle- SHIKAR KK – video dailymotion

The embrace of cheap technology in itself forms a sort of an obfuscation, a refusal to make the image more digestable, clearer, easier to understand, while also inhabiting that realm of intimacy that cell phone images seem parde me rehne do parda na uthao intimate, as a technology that is primarily utilized to document moments that are more often private.

Add the first question. The absence of interventions from the Tentative Collective in the content of the videos means there are no attempts at translating the material for consumption outside the community. The concern, of course, is not specific to the encounter of the white gaze and the work of the artist-as-native-informant. They acknowledge the positionality of the art audience and maintain a site-specificity with regards to viewership. Top Rated Indian Movies.


Parde Mein Rehne Do Parda Na Uthao -Asha Bhonsle- SHIKAR -1968-KK

Lyari has been raided simultaneously by rangers, police, land-grabbers, politicians, NGO-walas, journalists, artists and academics alike, producing narratives that focus little on state violence and the systematic impoverishment of this primarily Baloch neighborhood, but more on the purported pathologies and propensities towards violence of Lyari natives.

Check out the Indian movies with the highest ratings from IMDb users, as well as the movies that are trending in real time. Importantly, the videos remain the property of the community members.

It turns a mirror on ourselves, while turning its back at us.

Parde Mein Rehne Do () – IMDb

Yahaan sare apne hi hain. This page was last edited on 30 Decemberat The veil grates on the nerves of the colonizer, the colonizer fears the veil, the veil is seen as defiance because: The power of the project lies in the scattered and diverse archives pardw has produced over the years, in its explorations of the possibilities of inexpensive and widely accessible media, and in the encounters it provokes within communities through its impromptu screenings.

Retrieved from ” https: It refuses even to offer a counter-narrative. Full Cast and Crew.