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As it highlights the squalid state of the slum, the documentary also offers the different perceptions that the society has about slum upgrading. Dharavi is a test case, at a time when several inhabitants of the slum face eviction. In the end, it not only reflects Dharavi, but also represents other slums in the world that endure development issues.
The setting of the documentary is in India’s largest slum, Dharavi. The redevelopment of Dharavi is considerably controversial. The plan to demolish the slum and build high-rise buildings has been long overdue, and is a complex process because it involves relocating the existing slum dwellers at lower housing rates. The proposal faces contests from different quarters, as there is a section of the population opposed to the reconstruction. Dharavi is an informal settlement that is exceptional in its fast development and contemporary dynamic capacities to adapt and produce in lieu to Mumbai’s needs. Considering it is in the heart of the city of Mumbai, it has generated interest from different quarters. The documentary highlights the several players interested in the development and reconstruction process, some for the benefit of the slum dwellers, while some have personal interest.
Through skilled editing and composition, the documentary highlights the challenges that face Mumbai, in its entirety, despite the assumption that it is a progressive global city. Most of its residents dwell in slums and are in dire need of better housing. The director vigilantly illustrates the great detachment involving US-trained developer Mukesh Mehtas Dharavi Redevelopment Project (DRP) and the conditions that face Dharavi. The documentary simply highlights the situation, without going into much detail about who is right or wrong. Even so, it leans on the critiques that the project faces from business executives in India. Specifically, it highlights the nuanced
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This includes an examination of the politics of identity creation, the Orientalist or cultural representations of identity, people as subjects of institutionalized power, the different scapes of Orientalist discourses, and the defining of citizenship by race, class and gender.
The shots are taken using underexposed or dimmed and infrared film stock or artificial light (tungsten) during postproduction in order to come into sight like the film took place at night. The film is referred to as Day for Night in the English-speaking world (Truffaut, 1986).
It is a ‘made-in-France’ venture. The runtime of the movie is 116 minutes. The important members of the cast are: Francois Truffaut, Jacqueline Bisset, Jean-Pierre Aumont, Jean-Pierre Leaud and Valentina Cortese. The movie takes a critical look to inform the watchers, that movie making is not a sweet dream, as it is initially conceived by the ones who are irresistibly drawn into that venture.
The film revolves around the two main characters namely Kim Seung-Keun played by Jung Jae-Yoing and Jung-Yeon played by Jung Ryeo-Won. The storywriter has projected in the script that Kim basically wanted to get away with the issues of mainstream life of mortgage and
The motion picture gives the viewer a glance into the life of Katniss Everdeen, who is depicted to have lived in the post-apocalyptic state of Panem. In this state, because of a past rebellion, its twelve districts have to provide two
The original purpose of the project was to discover whether or not primates could use grammar and create sentences if they were taught sign languages in a similar environment with human children.
From the early
Other stars include Raymond Burr and Barbara Bates.
The story is based on Don Juan and his many illicit affairs. He is deported from London to Spain after one of his affairs causes serious drama in London.
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