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This study was inspired by the Indian movie 'Three idiots' and purposed to investigate the reasons behind the high rate of engineering degree programmes dropouts in India. Accordingly, factors related to academic, demographic, economic, family, future, institutional, personal, and social were derived and examined on their impacts on student attrition rate. The study addressed two fundamental questions: what factors contributed to the high dropout rate, and how could the likelihood of a student dropping out of the programme be predicted? The research involved 101 participants who were familiar with or had gone through the Indian education system. The collected data were first checked for validity and reliability using Confirmatory Factor Analysis (CFA) with SmartPLS before conducting Multiple Linear Regression analysis to compare various factors between students who persevered and those who dropped out. The results indicated that academic, institutional, and social factors significantly influenced student attrition rates, although individual students' reasons for dropping out were unique and varied.

Professionalism and communication were formally introduced in India's Competency-Based Curriculum (CBC) as part of the five roles of an Indian medical graduate and 10 core competencies in the Bachelor of Science Nursing program. It may be challenging to teach the complexity of clinical medical ethics to undergraduate students at a young age in the absence of direct patient interaction. Trigger films (TFs) are brief (3-10 min) clips that have been used in the West to provoke debate, promote reflection, and assist trainees in dealing with ethical dilemmas. The aim of this study was to determine whether TFs can be used to teach professionalism and ethics to undergraduate medical and nursing students as an innovative and interesting tool and to see whether this results in any changes in knowledge. A 2-h module supported by an introductory PowerPoint presentation and using four TFs on the four pillars of ethics (beneficence, nonmaleficence, autonomy, and justice) was developed and piloted in the foundation course for the new cohort of medical and nursing students. Quantitative, open-ended feedback was taken from learners after module delivery, and knowledge was assessed with a retrospective pre-post questionnaire. The majority of students found TFs an innovative and interesting tool to teach medical ethics. There was a gain in knowledge of autonomy (52%), beneficence (48%), nonmaleficence (46%), and justice (38%). TFs can be effective tools to impart core competencies in ethics and professionalism to both nursing and medical students in the new CBC.

Owing to the different models of disablement in different religions and cultures around the world, social and aesthetic representations of intellectually disabled people are diverse in various societies. Disability is perceived in a different way in India than in the West. There are very few studies on the complex role of Indian mainstream Hindi cinema in the representation of intellectual and developmental disabilities in India. This paper explores the potential of shifting representations of intellectual and developmental disability in the late twentieth and early twenty-first century Bollywood films in the context of multiple aesthetic challenges they pose. The shift in screen image of intellectual impairment is strongly related to the shifting and ambiguous sociocultural model of personhood in India. In earlier Indian Hindi films, characters with intellectual disabilities were depicted in terms of good/bad moralistic labels, compromised body image, leading to aesthetic undesirability. In later Hindi films, they were instead represented as enduring human beings. In short, in earlier Hindi films, there was a discriminatory hegemonic bias in the depiction of intellectually disabled characters, in contrast to that in later Hindi films, where they were depicted in richly diverse perspectives. The changing artistic parlance becomes even more interesting in the context of major developments in Indian governmental policies and rights for the disabled in the last two decades. Thus, the paper highlights that contemporary Hindi films urge the audience to consider intellectual and developmental disability as a multilayered issue and rather than merely as a disease.

This paper captures the design of a comprehensive curriculum incorporating the four skills based exclusively on the use of parallel audio-visual and written texts. We discuss the use of authentic materials to teach English to Indian undergraduates aged 18 to 20 years. Specifically, we talk about the use of parallel reading (screen-play) and audiovisual texts ("Shawshank Redemption," and "Life is Beautiful," "A Few Good Men" and "Lion King") drawn from popular culture in the classroom as an effective teaching medium. Students were gradually introduced to films based on novels with extracts from the original texts ("Schindler's List," "Beautiful Mind") for extended reading and writing practice. We found that students began to pay more attention to aspects such as pronunciation, intonational variations, discourse markers and vocabulary items (phrasal verbs, synonyms, homophones, and puns).

The study examined the insight of English Teacher towards students of standard XI in acquiring communicative skill in English. The main objective of the paper was to identify the problems of the students in acquiring communicative skill in English. The Normative survey method was adopted in the study. One hundred teachers were considered as a sample for the study. Problem inventory for the teacher was selected as a tool for the study. After establishing Reliability and validity of the tool, it was considered for the final study. Findings of the study is a significant association between the Male and Female teachers on the opinion of problems of the learners in Listening skill with respect to stress pattern, cohesive device, Distinctive sound, Intonation, Contextual meaning and Homophones. Communicative skill can be practiced in the classroom transaction by using role play, pandemonium, discussion, interaction, translated version of Tamil cinema, etc. Written communicative skill can be developed by conducting essay competition, preparing advertisement, preparing projects, etc.

Music plagiarism is defined as using tune, or melody that would closely imitate with another author's music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to "borrow" tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry. A list of plagiarised songs was produced by using YouTube® searches for "comparative videos" made by the vigilant music lovers about accused/detected music plagiarism. Some of these individuals were also interviewed to understand their views on this. During the investigation, it was possible to identify a vast number of plagiarised tunes, snippets, or even the full songs. In fact, some of these examples' dates to 1954, during the era when no one would have noticed plagiarism. The paper would highlight the similarities of these music files. It will also show some examples of the excuses/denial given by the composers and would try to highlight the attitudes of general public towards these types of activities.

The study is focused on understanding identity construction through combining my own experience with the theoretical underpinnings of postcolonial theory, social identity theory and through the examination of two films. The central question that I am interested in is understanding the identity construction and formation process especially as it relates to individuals who have crossed borders and immigrated or moved to countries other than their home countries. The methodology I am employing is auto-ethnography; I am integrating this by using two films as sites of inquiry. Through this introspective, reflection combined with the theoretical framework of identity I uncover themes of identity. These themes include nation, foreignness, community, and home. (Contains 2 footnotes.)

Popular films say a lot about the culture where they are seen and enjoyed even though they may not reflect "reality" in the way that academics may want to portray a country. Popular films get at the deepest longings and fears of their viewership and their biggest hopes for the future. Teaching India through popular films is particularly important because that country is the largest producer of films in the world and claims some of the largest markets for films. This article lists and describes some popular feature films that teachers can use to talk about India and their general themes. All of the films are quite appropriate for a high school or higher education audience, and all but one of them has been made in India by Indian directors. This article includes an additional list of sources that explore Indian cinema from historical, cultural, economic, and sociological perspectives.

Social movements for public education challenge neoliberal claims that there is no alternative to the market--to the inevitability of the privatisation of education. This article analyses the ways in which education activists in India deploy critical histories in their struggles for a public and common school system. It is empirically grounded in a critical analysis of a 2016 activist documentary film called "We Shall Fight, We Shall Win." The film was produced by a grassroots activist coalition called the All India Forum for the Right to Education (AIFRTE) as part of their ongoing struggles against the commercialisation and communalisation of education. The film provides a rare opportunity to explore different kinds of historical knowledge produced in collective struggles for equity and social justice in India. In particular, this analysis examines the ways in which activists link the past and the present to challenge and decentre privatised narratives of education and development. In doing so, this research offers situated insights into the critical histories that inspire, sustain and co-construct one site of ongoing collective struggle for public education in India.

Performance of faculty members is the prime factor in the success of any academic organisation and certainly engineering academic organisation. The performance depends on various factors. This study tests our hypothesis, in the context of an Indian engineering college, that goal clarity is one such factor that significantly impacts faculty performance. Our experiment emphasised the importance of goal clarity by screening a relevant movie and by seeking professional goals from the faculty members. After a year, we evaluated the faculty performance using peer evaluation method and triangulated the data with course evaluation by students where faculty member's goal was to be a better teacher, to ensure the trustworthiness of peer evaluation. We found that the performance of faculty, who had goal clarity, was significantly better than the performance of those who did not have goal clarity.

Using the experience of teaching film in the International Baccalaureate programme, this article presents the intellectual and emotional learning that film can enable as well as the possibilities of using film as a pedagogic tool for the collaborative construction of knowledge.

This essay review examines four different movies that directly or indirectly refer to the theme of private tutoring or, as it is widely called, shadow education. The movies, directed in locations as diverse as India, Turkey, and Cambodia, are all made from a critical perspective. The directors demonstrate challenges in public education systems and reveal how the privatization of education affects the lives of students, parents, and teachers. The movies differ in genre: "Aarakshan" is a fiction drama, while the remaining three are documentaries. The documentaries vary in cinematographic techniques, composition, and quality: "3 Saat" was made by a professional filmmaker, while "Why Private Tutoring?" was produced by a student.

Effective teaching in schools requires flexibility, energy and commitment. Successful teaching also requires that teachers are able to address learner's needs and understand the variations in learner's styles and approaches. Teachers can accomplish these requirements while creating an optimal teaching-learning environment by utilizing a variety of teaching methods and teaching styles. If teachers use a variety of teaching methods and styles, learners are exposed to both familiar and unfamiliar ways of learning that provide both comfort and tension during the process, ultimately giving learners multiple ways to excel. Numerous teaching strategies such as white board, lecture, cooperative learning, writing assignments, demonstration, field trips, grouping, brainstorming, guest speakers, bulletin boards, debates, panel discussion, crossword puzzles, teaching with cases, team-based learning, team teaching, library research on topics or problems, audio-tutorial lessons, making of posters by students, puppets, use of motion pictures, educational films, videotapes, current events and internet are utilized in the modern classroom for secondary education. Each teaching strategies has their own pros and cons. This paper aims to present the effectiveness of selected teaching strategies: group discussions, real objects, audio-visual aids, computer assisted instructions, role play, work sheets, smart boards, quizzes, mind maps, team projects, individual projects, field trip and internet access in relation to the learning styles of the secondary school students.

Films are used as a tool for teaching cross-cultural and intercultural concepts in higher education and in corporate settings. However, the processes and outcomes of using films in intercultural training and education have not been systematically researched. This paper discusses the results of a collaborative project involving faculty and students from two universities, a large public university in the Midwestern United States and a private university in India. The goal of this action research project was to further develop a methodological approach to using a feature film, "Outsourced," in teaching cross-cultural concepts to graduate students, and to understand how different cultural contexts affect the effectiveness of the use of films. The project involved development and implementation of the new approach and research on the factors affecting the effectiveness of using films in cross-cultural training.

This article argues that the concept and practice of "self-organized learning", as pioneered by Sugata Mitra (and his team) in the "Hole-in-the-Wall" experiments (1999-2005) that inspired the novel "Q & A" (2006) and the resulting movie, "Slumdog millionaire" (2008) bear direct, but not uncritical comparison with Jacques Ranciere's account of "universal teaching" discovered by maverick nineteenth century French pedagogue Joseph Jacotot. In both cases, it is argued, there is a deliberate dissociation of two functions of "teaching" that are often conflated: knowledge and mastery. Mitra's development of computer-mediated learning among the supposedly "ignorant" of India's slums, and Ranciere's insistence on equality as a "presupposition" rather than a goal, both emphasize the agency of the student at the centre of learning, but in ways that displace both established pedagogical methods of "explication" and the neoliberal ideology of "schooling" as the harmonizing of individual and social functions of education. (Contains 5 notes.)

Purpose: The present study aims to understand context and dynamics of cognitive learning of students as an outcome of the usage of popular movies as a learning tool in the management classroom and specifically in the context of a course on cross-cultural management issues. Design/methodology/approach: This is an exploratory study based on qualitative analysis of reflection notes of 14 students who participated in an elective course on "managing cross-cultural issues (MCCI)" in the second year of their MBA programme. Students were asked to submit reflection notes focused on classroom learning as an outcome of the course MCCI with specific reference to used movies "Outsourced" and "My Big Fat Greek Wedding". Students' reactions in their reflection notes were analyzed through qualitative content analysis. Findings: The findings of this study reveal that students found selected movies very relevant and effective in learning cross-cultural theories, issues and developing cross-cultural competence. They also enjoyed movies as learning experience in the classroom. Both instructor's observations and students' reactions regarding the effectiveness of movies as classroom learning tool are very positive. Practical implications: Popular movies, if appropriately selected and included in cross-cultural training programmes for expatriate managers, immigrant workers and managers who travel to different countries, could be very useful as a learning tool for developing multicultural perspective and cross-cultural competence. Originality/value: This paper could be very useful to academicians and researchers who want to use popular movies as an instructional or research tool for exploring the psychodynamics of classroom learning in management and social sciences courses or professional training programmes focused on cross-cultural management skills, global leadership skills, diversity management. (Contains 2 notes and 2 tables.)

Through an application of Foucauldian theories of power and neoliberalism, this article employs an ascending analysis to identify an embedded neoliberal agenda within the documentary "2 Million Minutes". The author argues that this neoliberal agenda serves to support and maintain notions of international white supremacy as it assumes relationships between whiteness and success, American identity and privilege, and through its definition of the global economy as one in which all students can equally take part. By articulating how the film engages in techniques of biopower through a comparative portrayal of high school students from India, China, and the United States, the author argues that representations of education "realities" should be examined and questioned in order to locate powerful and hidden hegemonies.

Given that feature films can enhance the teaching of intercultural communication, this article describes in detail how the 2006 comedy film, "Outsourced," can be integrated into a course. The article relates the film to four different functions of film and shows how "Outsourced" can help create an intercultural experience for students, serve as the basis for a case analysis of cross-cultural adjustment, give meaning to cultural concepts, and create powerful metaphorical images to expand classroom discussions to broader issues. Also explored are ways the film can be used in teaching advanced intercultural communication concepts.

How does the University sector identify and support the diverse needs of Indian students? This paper reports on a research project carried out on undergraduate students from India enrolled at a Melbourne-based University. The focus is the need to understand why Indian students choose an overseas destination for tertiary study. The intent is to explore how the curriculum that they have experienced in their country prepares them for study in another. We examine the expectations of students in relation to studying overseas. The suggestion underlying this paper is that if academic and support staff in tertiary education understand international students in cultural cohorts, then it is more likely that their transition to tertiary education will be easier. We envisage that this may also lead to a greater retention rate for universities. (Contains 1 note.)

During the 19th and 20th centuries, Indian culture was represented in Australia as part of celebrations of the British Empire. Children were presented with stereotypic representations of Indian culture, which provide a snapshot of contemporary perceptions. Such representations were rarely authentic. By removing music from one culture and presenting it in the symbolic gestures of another we strip away much of its meaning. Encouragingly, contemporary popular culture can incorporate a fusion of western and Indian cultural practices, such as "filmi" (Hindi: "film song" or "Indian film music"). This article describes early imperialist understandings of Indian culture in Australian school music to contextualize recent attempts to engage with more authentic intercultural understandings. To assist teachers in the presentation of "other" musics, guidelines for the inclusion of authentic materials are offered. By selecting music that is already a fusion of cultures and musical styles, it becomes easier for western music educators to engage with the other. (Contains 2 figures.)

The media landscape in urban India has changed so rapidly in the past 10 years that it is not easy to consider the ways in which these changes interact with people's lives and beliefs. Apocalyptic pronouncements about the ways in which MTV-style television, films and the Internet are destroying "genuine" Indian culture by promoting western sexual values abound in journalistic and political circles. But what are the realities of young people's encounters with media in a thriving Indian metropolis? How do they make sense of all the vastly different images of sexuality embodied in community/religious edicts and modern media? And how are their interpretations of all these supposed "messages" played out in their everyday lives? Emerging from a three-year study of youth audiences of Hindi films in London and Bombay, this article explores the ways in which young people's sexual attitudes, values and behaviours are inflected by encounters with films, television and the Internet. By focusing on understandings of sex and love within the context of statements about community norms, sex education and personal sexual practices, this article also engages with ideas and myths about representations of women that have dominated recent debates on sex, censorship and the media in India. (Contains 4 figures and 9 notes.)

Indian film industry is the largest film industry in the world, with an output roughly three times that of Hollywood. This popular world music could easily be an exciting part of a multicultural music education curriculum. This music not only exposes students to an entirely new musical genre and cultural industry, but can also change their perception of their own film industry, popular music, and values as students explore how another culture makes and enjoys music. In this article, the author discusses Indian film music and culture and suggests a few starting points for introducing Indian popular film music in the classroom. (Contains 10 notes, 16 resources and 9 online resources.)

In a study of the impact of same-language subtitles in television and video, 46 elementary students in India viewed subtitled music videos, 46 viewed videos without subtitles, and 46 saw no videos. Pre-posttest data showed some reading improvement with untitled videos but the best and most sustained improvement was with the use of subtitles. (SK)

U.S. students spend too little time and effort on academics in high school, compared with harder-working young people in China and India, according to a new documentary being shown to "thought leaders" in states holding presidential primaries this winter. The documentary, conceived and financed by high-tech entrepreneur Robert A. Compton, suggests that the difference in the way students use their roughly "two million minutes" in high school will seriously affect their economic futures and that of the United States. "Two Million Minutes: A Global Examination" makes that point by giving viewers glimpses into the lives of six obviously talented students--two from each of the three countries--as they complete their senior years of high school. The two Americans, who attend Carmel High School, in Carmel, Indiana, outside of Indianapolis, seem casual about their studies and unconcerned about competition for jobs, compared with their overseas counterparts. Those students from China and India are depicted as studying much longer hours, including on weekends. They are shown pouring their energies into science, mathematics, and computer programming--which the film presents as the most economically valuable disciplines--as well as the arts. Though the one-hour film has not been broadcast nationally, it has been embraced by ED in '08, a philanthropy-funded campaign aiming to elevate educational improvement as an issue in this year's presidential election.

Discusses youth culture and the role of mass media in transmitting popular culture. Reports a survey of Indian college students that shows (1) radio is the most popular music medium and (2) popular music derived from Indian films is preferred to Western music. (PD)

Explains the methods used in selecting and transferring materials for the Cambridge Experimental Videodisc Project on the Nagas of Assam, India. The selection and editing of black and white photographs, moving film, photographs of objects, paintings, maps, and sound is described, and ways in which materials were transferred to videotape are explained. (LRW)

The entertainment industry is a component of the tertiary sector of the economy that includes the performing arts. When new technologies and concepts arise, the entire corporate world transforms. The industry is thriving financially and in terms of the talented artists and programmers it employs. Increased globalization and the subsequent elimination of market constraints resulted in astronomical growth. This research explores the origins, current conditions, hazards, potential solutions, future trends, and potential effects of foreign direct investment in India's entertainment business. This research investigates the effects of globalization and its potential to provide new job possibilities. The data shown here has been gathered from secondary sources (the internet and published articles). The first form of entertainment was the transmission of cultural norms and beliefs from one generation to the next via the telling of stories. Since the arrival of the television triggered a seismic upheaval in the industry, distribution methods for entertainment have evolved gradually. While the epidemic has disproportionately affected certain areas of the industry's workforce, others have been able to prosper because of the relative anonymity and safety of online venues. Television remains the most frequently consumed form of media, despite the advent of digital media and online gaming as more popular entertainment than film. As video streaming and other forms of online entertainment become popular, the OTT platform is anticipated to experience parabolic growth in the coming years. Due to the absence of references, the lack of emphasis on essential concerns, and the overall obsolescence of the accessible material, it was difficult to locate pertinent information. To support the nascent Indian entertainment industry and ensure the safety and stability of all its stakeholders, especially in challenging times like the ongoing pandemic, this paper highlights the significance of the government and regulatory bodies actively considering implementing incentive measures. [ABSTRACT FROM AUTHOR]

Amidst Bollywood's romanticized landscapes and grandeur settings, depiction of the flora and fauna, roaring rivers and drought prone lands, is difficult to locate. But the new millennium has witnessed some new generation filmmakers, sensitized towards the ecological concerns, thus marking a shift from the illustration of idealised landscapes to the representation of nature's wrath. Since, cinema in India, has a deep-rooted impact on the masses, these creators employ films as tools to sensitize the population towards the climate change threat which though as perilous as the COVID-19 crisis, is often ignored by a significant amount of population. Dawning upon themselves the responsibility of environmental awakening, Nila Madhab Panda and Abhishek Kapoor highlight in their movies, Kadvi Hawa(2017) and Kedarnath(2018), respectively, the horrors of human callousness, leading to drastic change in Climatic condition in India. Panda's Kadavi Hawa, dealing with non-repayment of loans followed by suicides, portrays the heartwrenching imagery of environmental degradation and Climate change that has rendered the Village of Mahua, arid and infertile. Kapoor's Kedarnath on the other hand, appeals for action through horrifying imagery of the catastrophic floods that disrupted the holy town of Kedarnath, in 2013. Through a detailed analysis of the aforementioned visual portrayals, this article aims to emphasise as to how Films can play an important role in effectively addressing dealing with the issues related to Climate. Further, the rationale of this paper is to underscore the possibility of more such storylines, as a tool towards effective engagement and levitation of conscience. [ABSTRACT FROM AUTHOR]

This paper aims to illustrate Indian film costume creation. To better understand these colorful, highly adorned, and powerful expressions of global material culture, the authors—US-based costume designers—investigate the background from which these costumes emerge, exploring who envisions them, who creates them, who wears them, and what tangible resources make them possible. The authors discuss how film costume production is shaped by skilled artisans who use extraordinary materials and techniques available in India and employ unique production processes to create costumes for compelling narratives. Findings from field research and interviews, along with a look at the influence of contemporary fashion trends on costume production, are discussed and analyzed. [ABSTRACT FROM AUTHOR]

Child sexual abuse is a troubling and perplexing problem in any society. With reference to Indian social and cultural system it becomes even more disturbing because of the cultural vacuum around the same. The lack of terminology and unknowingness forces a child to succumb to silence. The article attempts to explore the evolving image of women's representation in mainstream Indian cinema with reference to child abuse. The present paper has emphasized the need for a change in the belief system while discussing the struggle of women who survived child sexual abuse as it's shown in the films. Highway and Kahani2 have been used as the primary source as the strong women characters portrayed in these films reflect changing mainstream Hindi cinema. The conclusion portrays the need to reason the disabling aspects of social and cultural belief system and their role in the development of a healthy society. [ABSTRACT FROM AUTHOR]