The theme of subalternity with its inherent ramifications is yet to find favour among film makers in India. Progressive film makers of the 1960s attempted to address the theme of subaltern and dared to give the subaltern a voice, but they remained singular attempts. Through a case study on a Malayalam film (a regional film industry from the state of Kerala in India) Papilio Buddha this article tries to analyze the representation of Dalit community in Indian cinema. Though Malayalam film industry has tried to address the concern of Dalits, they have been stereotyped in many ways and reduced to being sidekicks to villains or unskilled labourers having no identity. They remained as instruments to idolize the hero, to act as a contrast to the elite protagonist or as the poor helpless victims who offer the protagonist an opportunity to display his heroism. Papilio Buddha grabbed media attention when it was denied clearance by the censor board as it explores the territory of Dalit consciousness by focusing the lens on the land strike by the Dalit communities and creating a counter narrative to the hitherto idealized images created by the state.

Historical films are a widely discussed genre of visual narration as it poses the challenge of a reliable balance between history, myth and truth. Indian history and independence have been one of those themes that have been adapted into filmic narration, not only as a national oration, but from an international lens. Unlike any other historical moment, Indian Independence is the most celebrated and recurring themes of historical movies and still continuous to be a vibrant subject for Indian film makers. Dealing with the narration of a nation, often these films are looked at with a skeptical attitude, mostly because of its colonizer's view of the colonized. This article addresses Bhabha's (1994) interstitial perspective and mimicry of ambivalence positing that these films neither dominate nor propagate certain colonial ideologies, nor does it make the colonizer as a virtuous subject, but rather create an ambivalent identity, which is neither colonizer nor colonized, but a hybrid of it. Apart from some English productions on Indian colonial rule and independence, some Indian films are also taken as a case study to elucidate the concept of hybridity in cultural meaning. When the 'object' of history or the colonized reacts with their perception, it creates an ambivalence that is far different from the colonizer's perception.

Indian Premier League (IPL) has evolved as a popular event for the large entertainment savvy middle class as well as sports enthusiasts who equally enjoy the new live spectacle on television. Most of the franchised team is owned by Bollywood stars or at least branded or heralded by film star. This made cricket match an extremely glamorized event with all the mix of a Bollywood film. This revolutionized the entertainment culture of public where they are now witnessing the merging of the most popular entertainment outlet – film and sports. The chapter argues that the concept of IPL as a media event is identified by the public as a glorified Bollywood film where it set an ideology that every second should be enjoyed with a similar enthusiasm of a masala Bollywood film. This chapter situates IPL with the larger framework provided by Dayan and Katz (1992) in defining a media event.

Environmental communication is now an emerging and a significant curriculum from schools to research centers. The effective and efficient environmental communication occurs when learners interact with their surrounding environment/ecology in which they live and reciprocate for sustainable protection and restoration of it. Developing countries in Asia and Africa are now setting up new role models and practices in curricula of environmental communication. The traditional theory based environmental communication curriculum of the last century is now actively investigated and restructured through community based learning, affirmative actions, and student centered participatory curriculum. Kerala, a southern State in India, serves as an exemplar of this new eco-venture.  Through case studies like, Nalla Paadam (Good Lesson), Palathulli Project (Many a Drop Project) by the Malayalam language daily ‘Malayala Manoram’, and SEED project by another Malayalam daily ‘Mathrubhumi’, this paper analyses the innovative curriculum practices in the state of Kerala in India.