The use of internet has increased significantly in the COVID-19 pandemic, and this has set the ground for various cyber-attacks, which are executed over the network during data transmission. This scenario is proven to be multifold for accessing the cloud remotely deployed in university premises. To provide secure authentication and compatibility over heterogeneous systems for cloud accessibility, every network communication applies an encoding scheme to standardize data transmission. With many wireless and ad-hoc networks where the nature of communication is difficult to monitor, the encoding scheme prevents malicious code injection during data transmission. The objective of this paper is to study encoding schemes available for data transmission and their application in terms of authentication protocols such as Kerberos and LDAP. Furthermore, it will also emphasize on the design of integration model of Kerberos and LDAP to Cloud and Shared Storage to evaluate the impact of ASN.1 vulnerability.

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Despite an over-optimistic blurb which describes this book as 'a powerful critical analysis of the culture and history of the Indian film as an art form and popular medium', the authors begin their introduction with the hasty disclaimer that 'This book... is not an academic text. Its main objective is to provide the reader with a general introduction to this...highly influential popular cinema....Accordingly, it eschews discussion of some of the key concepts of film studies relevant to the textual reading, analysis, interpretation and evolution of Indian films.' It should be added that the book is also aimed at those who are entirely new to Indian culture, and who might consequently need the glossary definitions of common terms like 'Krishna' and 'Brahman'. The confusion that results from attempting to be a critical analysis as well as a basic introduction is apparent throughout the book. Oversimplifying issues like caste and communalism, the work is unable to add anything new or particularly useful on either Indian cinema or its social context. Given its intended audience, it is almost overambitious in its scope, aiming, firstly, to cover nine decades of cinema, secondly, to serve as an introduction to Indian culture in general, and finally, to consider how cinema is relevant to discussions of modernisation, secularism, minority rights and other complex contemporary issues. This leads to alarmingly reductive comments: 'Amar Akbar Anthony ( 1977)... tells the story of a Hindu, a Muslim and a Christian [in which] the joy of national unity and inter-ethnic harmony is celebrated. Whether this is rhetoric or reality very often depends on the national and international situation. For example, the fluctuating relationship between India and Pakistan over the Kashmir issue...and the rise of Hindu nationalism have dented the fabric of multi-religious India.' The troubling and casual use of 'reality' to relate the politics of this film to political situations is only one example of Gokulsing and Dissanayake's writing which, in trying to avoid academic discussion, also ends up avoiding any attempt at sensitive analysis, whether filmic or political. Introductions

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