Film Screening - Humans in the Loop

This blog is part of Sunday reading assigned by Dilip Barad to analyse Humans in the Loop deeply, Also to explore AI, Bias, and Epistemic Representation, Labour and the Politics of Cinematic Visibility and Film Form, Structure, and Digital Culture. 

( Worksheet for Task )

Introduction: Cinema, AI, and the Question of Knowledge

Humans in the Loop is not a conventional film about artificial intelligence. Rather than focusing on machines, innovation, or futuristic spectacle, the film turns its gaze toward the human infrastructures that sustain AI systems. Set in Jharkhand and centered on Nehma, an Adivasi woman engaged in data-labelling work, the film interrogates how technology interacts with human knowledge, labour, and cultural power. Through its narrative focus, visual form, and ideological positioning, the film exposes AI as a culturally situated system that reproduces epistemic hierarchies and renders certain forms of labour invisible. Reading the film through Apparatus Theory, Marxist film theory, and formalist analysis, this essay examines how Humans in the Loop critiques algorithmic bias, digital labour, and the aesthetics of digital culture.

TASK 1: AI, Bias, and Epistemic Representation

Algorithmic Bias as Culturally Situated

The film dismantles the assumption that algorithmic systems are neutral or purely technical. Nehma’s work as a data annotator reveals that AI does not simply “learn from data” but learns from decisions already shaped by dominant cultural frameworks. When she is required to label images of forests, plants, or landscapes according to rigid taxonomies, the film foregrounds a clash between indigenous ecological knowledge and algorithmic categorization.

What Nehma understands relationally—through ritual use, seasonal rhythms, and collective memory—must be reduced to a single fixed label. This reduction demonstrates that algorithmic bias is not a malfunction but a design choice, privileging standardized, Western epistemologies over local, embodied knowledge systems. The film thus presents bias as ideological rather than accidental.

Epistemic Hierarchies: Whose Knowledge Counts?

The narrative makes visible a clear epistemic hierarchy: indigenous knowledge is mined as raw material but denied epistemic authority. Nehma contributes her understanding to the system, yet the system refuses to recognize that understanding as knowledge in its own right. This reflects what scholars describe as epistemic injustice, where certain knowers are systematically discredited.

Importantly, Nehma is not portrayed as ignorant or technologically backward. Instead, the film constructs her as a thinking subject who is acutely aware of the mismatch between what she knows and what she is asked to input. Her pauses, hesitations, and silences become moments of intellectual resistance. Through this, the film critiques the ideology of technological universality that claims one knowledge system can represent all others.

Apparatus Theory and Ideological Power

Viewed through Apparatus Theory, the film reveals how technology—like cinema itself—structures meaning and power. The AI interface functions as an ideological apparatus: it appears neutral, objective, and universal, while silently enforcing a hierarchy of knowledge. By embedding this critique within the cinematic apparatus, the film mirrors how both cinema and AI shape perception while masking their ideological operations.

TASK 2: Labour and the Politics of Cinematic Visibility

Visualizing Invisible Labour

A central achievement of Humans in the Loop lies in its representation of invisible digital labour. The data-labelling centre is depicted through repetitive compositions: rows of computers, identical gestures, standardized workstations. This visual monotony emphasizes how human labour is fragmented and abstracted under digital capitalism.

The global clients who benefit from this labour remain unseen, existing only as algorithmic demands delivered through interfaces. This absence mirrors real-world digital economies, where labour in the Global South supports technological infrastructures in the Global North without recognition or visibility.

Emotional Labour and Affective Cost

The film also foregrounds the emotional and cognitive labour involved in data annotation. Nehma’s work requires constant judgment, negotiation, and self-suppression—choosing labels she knows are inadequate. Through restrained close-ups, the film captures her growing discomfort, fatigue, and quiet grief. This aligns with Arlie Hochschild’s concept of emotional labour, where workers must manage internal feelings to meet institutional expectations.

The film insists that this labour is not mechanical. It has an emotional cost that is systematically ignored by dominant narratives of AI efficiency and progress.

Empathy, Critique, and Transformation

The film operates simultaneously on three levels:

• Empathy, by humanizing Nehma through her family life and maternal relationships.
• Critique, by exposing the structural invisibility and exploitation embedded in digital capitalism.
• Transformation, not by offering solutions, but by unsettling the viewer’s assumptions about technology and labour.

Rather than celebrating technological inclusion, the film questions what kind of inclusion is being offered—and at what cost.

TASK 3: Film Form, Structure, and Digital Culture

Mise-en-Scène: Two Visual Worlds

Formally, the film constructs a stark contrast between natural spaces and digital workspaces. Forest and village scenes are shot with warm tones, textured depth, and natural lighting, emphasizing ecological complexity and relational knowledge. In contrast, the data-labelling centre is dominated by artificial lighting, flat compositions, and screen glow, visually flattening both space and subjectivity.

This visual bifurcation communicates a philosophical argument: digital systems simplify and extract, while lived environments resist total representation.

Cinematography and Editing

The camera in natural spaces is often mobile and responsive, mirroring human perception and attentiveness. In the data centre, it becomes static and repetitive, echoing the rigidity of algorithmic logic. Editing further reinforces this contrast through cross-cutting between forest encounters and annotation tasks, creating what can be read as intellectual montage—forcing viewers to confront the gap between lived knowledge and its digital translation.

Sound and Acoustic Meaning

Sound design deepens this critique. Forest scenes are layered with birdsong, wind, and communal sounds, while the data centre is dominated by mechanical clicks and low electronic hums. Moments of near-silence during Nehma’s work underscore the epistemic emptiness of systems that cannot register what lies outside their categories.

Formal Irresolution

Crucially, the film refuses narrative closure. There is no technological fix, no reconciliation between indigenous knowledge and algorithmic systems. This formal irresolution mirrors the film’s central argument: the conflict is structural, not solvable through better coding alone.

Conclusion: Cinema as Digital Critique

Humans in the Loop demonstrates that artificial intelligence is never merely artificial—it is shaped by human values, power relations, and cultural hierarchies. By foregrounding indigenous knowledge, invisible labour, and formal contrasts between nature and technology, the film exposes AI as an ideological system rather than a neutral tool. Through its narrative restraint and formal sophistication, the film asks viewers to reconsider who teaches machines, whose knowledge is erased, and who bears the emotional and material costs of digital progress. In doing so, it positions cinema itself as a critical apparatus capable of making visible what digital capitalism works hardest to conceal.

Thinking Activity: Research and Writing

Question 1: Note-Taking and Writing Drafts Are Very Crucial in Research

Introduction

Research is a systematic and intellectual process that involves exploration, analysis, and communication of ideas. It does not end with collecting information from sources; rather, it requires organizing, interpreting, and presenting that information in a coherent academic form. Among the various stages of research, note-taking and writing drafts play a central role. These two processes act as bridges between research and writing, ensuring clarity of thought, originality, and academic integrity.

Note-Taking in Research

Note-taking is an essential research skill that enables the researcher to record important ideas, arguments, facts, and quotations from sources. Effective note-taking helps in organizing large amounts of information and prevents confusion between one’s own ideas and borrowed material. By carefully noting page numbers and source details, a researcher can avoid plagiarism and ensure proper documentation. Moreover, note-taking encourages active reading, critical thinking, and comparison of different viewpoints, which strengthens the quality of research and argumentation.

Writing Drafts in Research

Writing drafts is another crucial stage in the research process. A research paper is not written perfectly in a single attempt. The first draft allows the researcher to put ideas on paper without worrying too much about perfection. Subsequent drafts help refine arguments, improve structure, enhance clarity, and correct language and style. Drafting enables revision, which is necessary for strengthening the thesis, improving coherence, and ensuring logical flow. Through drafting, a research paper gradually evolves into a polished and well-structured academic work.

Conclusion

In conclusion, note-taking and writing drafts are indispensable components of effective research. Note-taking ensures accuracy, organization, and ethical use of sources, while drafting allows ideas to develop, mature, and improve through revision. Together, they transform raw research material into a clear, coherent, and academically credible research paper. Without these stages, research would remain incomplete and ineffective.

Short note: Selection of a Topic

The selection of a topic is the first and most crucial step in the research process, as the success of a research paper largely depends on it. A well-chosen topic provides clear direction to research and sustains the researcher’s interest throughout the study. The topic should be relevant to the subject or course, intellectually engaging, and appropriate to the time limit and length of the paper.

An effective research topic must have a clear and manageable scope. Topics that are too broad make in-depth analysis difficult, while topics that are too narrow may lack sufficient research material. Therefore, preliminary reading of books, journal articles, and reference sources is necessary to refine and focus the topic. Availability of reliable sources is an important factor in determining whether a topic is suitable for research.

The process of topic selection is often flexible and evolving. As research progresses, the researcher may revise, narrow, or slightly modify the topic to align it better with research findings and objectives. Guidance from instructors and consultation of academic resources further help in selecting an appropriate and research-worthy topic. Thus, careful selection of a topic lays a strong foundation for effective research and academic writing.

I take below article to analyse it's 1) Hypothesis of the paper 2) Argumentative steps 3) Evidence types 4) Counter-arguments 5) Conclusion strategy 

1) Hypothesis of the paper

The author’s central hypothesis is that the "New Barbie Color Reveal Dolls" commercial by Mattel affirms and empowers stereotypical ideology by centralizing and essentializing gender roles and femininity. The paper argues that while the Barbie brand claims to be breaking boundaries and becoming more inclusive, its contemporary marketing methods continue to rely on harmful, hidden gender-based stereotyping that reinforces traditional Western norms.

2) Argumentative steps

The author structures the argument through the following logical progression:

• Establishment of the Research Question: The paper begins by asking in what ways visual signs in the specific Barbie commercial affirm stereotypical imagery.

• Theoretical Grounding: The author defines gender as a social construct (drawing on Judith Butler) and introduces the concept of the "burden of representation," suggesting that media creators have an ethical responsibility in how they portray identities.

• Methodological Framework: The author utilizes semiotics to deconstruct the commercial, breaking down visual elements into "signifiers" (the physical image) and "signifieds" (the mental concept or meaning).

• Detailed Deconstruction: The paper systematically lists and categorizes every visual sign—such as colors, clothing, and facial expressions—to see how they interact.

• Synthesis and Critique: Finally, the author relates these visual findings back to gender theory to argue that the commercial creates a "repressive construction" of inclusion and exclusion for its targeted audience.

3) Evidence types

The author employs several types of evidence to support the claims:

• Case-Specific Visual Analysis: The primary evidence is a detailed breakdown of the 2019 YouTube commercial for "New Barbie Color Reveal Dolls".

• Semiotics: The author uses the relationship between signifiers (like the color pink or the presence of glitter) and their culturally loaded connotations of femininity in Western society.

• Scholarly Theory: The paper cites prominent theorists such as Judith Butler (on performativity), Stuart Hall (on cultural identity), and Richard Dyer (on the role of stereotypes).

• Comparative Literature: The author compares the commercial’s imagery to existing research on gender in mass media, including Carolyn Kitch’s work on magazine covers and Nancy Signorielli’s study of MTV commercials.

• Historical Context: The author references the history of the Barbie brand and the evolution of gendered colors (pink vs. blue) in America.

4) Counter-arguments

The author anticipates and addresses potential counter-arguments within the text:

• Increased Brand Inclusivity: The source acknowledges that Barbie dolls have become more diverse over time, including various skin tones and the introduction of male dolls like Ken.

    ◦ Rebuttal: The author argues that marketing choices "undo" this progress by placing diverse dolls in highly stereotypical settings.

• Presence of "Masculine" Elements: One might argue the commercial is nuanced because it includes the color blue, which is traditionally masculine in the West.

    ◦ Rebuttal: The author contends that because blue is surrounded by dominant pink, glitter, and feminine signifiers, its masculine meaning is erased and replaced by an expanded palette of femininity.

• Marketing Necessity: It could be argued that targeting a specific "feminine" audience is simply a standard, effective financial strategy.

    ◦ Rebuttal: The author asserts that financial gain does not exempt a company from its ethical responsibility to avoid harmful, discriminatory stereotypes.

5) Conclusion strategy

The author concludes by synthesizing the visual data with the ethical framework established in the introduction. The strategy involves:

• Summarising Findings: Restating that the dominance of the color pink and the inclusion of "feminizing" accessories (like wigs and skirts) point to a fixed and unnuanced representation of women.

• Reinforcing Theoretical Stakes: Reminding the reader that since gender is not fixed, the commercial’s choice to present it as "natural" is a deliberate, problematic construction.

• Final Ethical Judgment: The paper ends with a strong critical stance, stating that Mattel neglects its responsibility and provides a "harmful and irresponsible" portrayal of cultural identity.

Thinking Activity: Plagiarism and Academic Integrity

This blog is part of thinking activity by Prakruti Bhatt on Plagiarism and Academic Integrity.

The task helps students clearly understand what counts as plagiarism, self-plagiarism, and unethical collaboration. Many students plagiarize unintentionally; this assignment prevents that by making expectations explicit.

1) Why Academic Integrity is Necessary

Academic integrity is a cornerstone of responsible scholarship and is essential for the proper functioning of modern society. In a complex world where decisions in government, business, industry, and education often rely on the accuracy and credibility of written documents, maintaining integrity ensures that the information circulating within these systems is reliable. Research has the power to shape opinions, influence policy, and even determine the outcomes of critical decisions; therefore, writers and scholars have a moral and professional duty to clearly indicate when they are referencing someone else’s ideas, findings, or exact words. Proper citation and documentation not only give credit where it is due but also allow readers to trace sources, verify information independently, and critically evaluate arguments. When academic integrity is violated, the trust between author and reader is broken, leading to doubt, scepticism, and even public outrage.

For students specifically, adhering to academic integrity is equally important. It protects the reputation of the educational institution and preserves the value of the degrees it awards. Plagiarism or dishonest academic practices undermine the fairness and reliability of grading systems. If a student’s work does not genuinely reflect their skills or understanding, it becomes a public concern, as the qualifications represented by their grades may not align with actual ability. Academic integrity also safeguards the teacher-student relationship. When students are dishonest, instructors are forced to act as detectives rather than mentors, diverting attention from teaching and guidance. Moreover, failing to maintain integrity ultimately harms the students themselves. By bypassing the process of proper research, analysis, and synthesis of information, students miss out on essential learning experiences and the development of skills that are crucial for future professional success. Writing is not merely a mechanical task; it is deeply intertwined with the development of a personal voice and the capacity for critical thinking. Through honest scholarship, students learn to express ideas thoughtfully, reflectively, and authentically, laying the groundwork for intellectual growth and lifelong learning.

2) Short Note: Forms of Plagiarism

Plagiarism is a serious violation of academic integrity and can manifest in multiple forms, ranging from deliberate intellectual theft to inadvertent lapses in documentation. The most obvious form is the submission of another person’s work as one’s own. This includes copying a paper purchased online, using someone else’s assignment, or presenting another individual’s research or writing without acknowledgment. Beyond outright theft, plagiarism can also occur when a writer borrows specific wording or phrasing from a source without proper citation, even if minor changes are made to the sentence structure. Using particularly effective or unique phrases from another writer without giving credit also constitutes intellectual theft, as even a single line can represent original thought or creative expression.

Plagiarism is not limited to words alone. Borrowing someone else’s argument, line of reasoning, or conceptual framework without proper documentation is equally unethical, even if the ideas are paraphrased in the student’s own language. Often, plagiarism happens unintentionally. Note-taking errors can lead a student to confuse their own thoughts with those drawn from sources, resulting in accidental misattribution. In the digital age, web copy-pasting has become one of the most prevalent forms of plagiarism. Students frequently gather information from online sources and insert it into their work without quotation marks, proper citation, or acknowledgment, effectively presenting another author’s words or ideas as their own. Understanding the various forms of plagiarism is crucial, as it emphasizes that academic dishonesty is not always deliberate; awareness, careful note-taking, and consistent documentation practices are essential for preventing it. By recognizing and avoiding these forms, students not only uphold integrity but also develop the skills necessary for ethical and responsible scholarship.

Introduction

Academic research and writing depend on ethical practices such as proper citation, responsible collaboration, and respect for intellectual labor. The MLA Handbook clearly emphasizes that plagiarism is not limited to copying words verbatim; it also includes the unacknowledged use of ideas, structures, and arguments. The following situations illustrate common misunderstandings about paraphrasing, collaboration, and self-reuse of work. Each case is examined in light of MLA principles to clarify what constitutes ethical academic practice.

1. Paraphrasing without Citation

In the first scenario, the student rewrites a scholarly paragraph by changing sentence structure and vocabulary but retains the same ideas and sequence of argument, without providing a citation. Under MLA guidelines, this practice still constitutes plagiarism. Paraphrasing does not mean replacing words alone; it involves re-expressing ideas in one’s own analytical framework. Even when wording is changed, the ideas, structure, and intellectual ownership still belong to the original author.

Does paraphrasing require citation?

Yes, paraphrasing always requires citation. MLA clearly states that whenever ideas, interpretations, or arguments are derived from another source, proper acknowledgment is mandatory—even if no direct quotation is used.

What should be done and why?

In this situation, the student should add an in-text citation and include the source in the Works Cited list. This maintains academic honesty, respects intellectual property, and allows readers to trace the original argument.

2. Shared Structure and Argument Between Classmates

In the second scenario, two classmates study together, exchange notes, and discuss their essays. Their final submissions are not identical in wording but share the same structure, examples, and argumentative progression.

This situation exists in a gray area between collaboration and plagiarism. While discussion and idea exchange are often permitted, producing essays with identical argumentative frameworks suggests over-collaboration.

Is this plagiarism or collaboration?

It depends on the instructor’s guidelines. However, if the structure and examples are substantially similar, this may be treated as unauthorized collaboration, which many institutions consider a form of academic misconduct.

How should boundaries and credit operate?

Students should collaborate only at the idea-generation or discussion stage, not at the level of outline, structure, or examples. Each student must independently develop their argument and organization. If collaboration is substantial and permitted, it should be acknowledged where appropriate.

3. Reusing One’s Own Previous Work (Self-Plagiarism)

In the third scenario, a student reuses two pages from a paper submitted in a previous course without citing themselves.

Does MLA treat this as plagiarism?

Yes. MLA recognizes this as self-plagiarism, which occurs when a writer submits previously assessed work as new without disclosure.

What is this type of plagiarism called?

This practice is known as self-plagiarism or text recycling.

What would be an ethical approach?

• An ethical approach would involve:
• Informing the instructor
• Properly citing the earlier work
• Substantially revising or reframing the reused material to suit the new research context

Academic work is evaluated based on originality within a given context, and transparency is essential.

Conclusion

Across all three cases, the central principle emphasized by the MLA Handbook is intellectual honesty. Citation is not merely a technical requirement but an ethical practice that respects authorship, clarifies responsibility, and sustains academic credibility. Whether paraphrasing, collaborating, or reusing one’s own work, clarity, acknowledgment, and transparency are essential to ethical research writing.

Reflection on Academic Writing - Learning Outcome

 The Department of English, MKBU, organized a Five days long National Workshop from 27th January to 31st January- 2026 on Academic Writing. The workshop was conceptualized to address the critical intersection of natural intelligence and artificial intelligence in the realm of research and pedagogy. The event aimed to equip students, scholars, and faculty members with the skills to preserve innate writing abilities while ethically leveraging AI tools. So, this blog is part of our learning outcome reflection.  Assigned by our Head of the Department Prof. Dilip Barad.

Dr. Nigam Dave

Dr. Dave focused on the human-cyber-physical interface (HCPS) and the concept of AI hallucination. He shared that AI is built on probabilistic models and is not trained to say it does not know an answer, often leading it to fabricate data that looks statistically correct. He learned through his own errors that while AI resources are ready-to-use, they contain "traps" like fabricated citations from non-existent journals. He taught that AI should be used ethically as a tool for peripheral academic tasks, such as changing citation formats or micro-reading for punctuation errors, but warned that humans must remain "in the loop" to maintain relevance.

Link of Session:https://youtu.be/RJPlO9i96AM?list=TLGGj5ibmz-X1jAxOTAyMjAyNg

Dr. Kalyan Chattopadhyay

Dr. Chattopadhyay detailed the five principles of academic writing: formality, objectivity, clarity, precision, and the use of evidence. He taught the PIE structure (Point, Information/Evidence, Explanation/Interpretation) for logical paragraph construction. His sessions addressed the "uncomfortableness" Asian writers feel regarding authorial identity, advocating for the international standard of using the authorial "I" in abstracts and theses. He also taught the use of hedging strategies (using words like "appears" or "suggests") to express caution when findings are not absolute.

Link of Session:

https://youtu.be/NJ6cCYj709Q?list=TLGG4VQ2m76Pr1cxOTAyMjAyNg

https://youtu.be/cuOouQx_adM?list=TLGG3lD5wegRpJ8xOTAyMjAyNg

Professor Paresh Joshi

Professor Joshi distinguished between the "literature of knowledge" (academic writing) and the "literature of power" (imaginative writing like poetry), teaching that academic writing must be detached, objective, and scientific. He introduced prompt engineering, showing how to draft specific, context-rich inputs for AI to get desired outcomes. He highlighted strategies like chain of thought prompting and role-based prompting. He cautioned that AI lacks "vivek buddhi" (discerning wisdom) and that every AI-generated response must be fact-checked because the quality of output is entirely dependent on the quality of the input.

Link of Session: https://youtu.be/C7VXzNSys38?list=TLGGNIx5VS_zb_QxOTAyMjAyNg

Dr. Clement Ndoricimpa

Dr. Ndoricimpa’s primary focus was on the mechanics of publishing in Scopus and Web of Science indexed journals to increase research visibility and career advancement. He taught the IMRaD structure (Introduction, Methods, Results, and Discussion) and specifically the "three moves" of a high-quality introduction: establishing a territory, identifying a niche (gap), and occupying that niche. A key lesson he imparted was the critical necessity of recent references; he noted that many student submissions lacked proper citations or used outdated ones, which often leads to journal rejection. He also demonstrated how to use Mendeley for accurate referencing.

Link of Session:

https://youtu.be/j7ii6l_MBZs?list=TLGGDuTY_cFwnHsxOTAyMjAyNg

https://youtu.be/H4IHwdT2kdk?list=TLGGx7Xcrq1R7bYxOTAyMjAyNg

Dr. Kalyani Vallath

Dr. Vallath presented academic writing as a practicable skill rather than an innate talent. She discussed the Zone of Proximal Development, where learning occurs in the intersection of what one can do alone and what one can do with help. Her sessions taught strategies like reverse planning—starting from the desired end structure of a thesis and filling in details—and free writing to discover concepts before formalizing them with theory. She also provided deep insights into UGC NET preparation, teaching that the exam has shifted from memory-based to analytical and inference-based questions, requiring "presence of mind" and strategy rather than just scholarly mugging up.

Link of Session:

https://youtu.be/E79dIfx0IgI?list=TLGGL0ZPIHIG4gYxOTAyMjAyNg

https://youtu.be/WCVs8nN3qBQ?list=TLGGl-bM1p8SwasxOTAyMjAyNg

https://youtu.be/PNAAMzD3OwQ?list=TLGGrBpWFdOU6VoxOTAyMjAyNg

https://youtu.be/3HUyFI4Eh7Y?list=TLGGhOKy1n4C8JExOTAyMjAyNg

Through the various sessions of the National Workshop on Academic Writing, students and research scholars acquired a broad range of theoretical, practical, and technical skills essential for high-standard scholarly work.

Understanding the Human-AI Collaboration

• AI Hallucination and Ethics: Students learned that AI operates on probabilistic models and is not trained to admit ignorance, leading to confident but fabricated data or "hallucinations". They were taught to be vigilant against "red herrings" such as fabricated citations from non-existent journals.

• Human in the Loop (HCPS): The concept of the Human-Cyber-Physical Interface (HCPS) was introduced, emphasizing that humans must remain "in the loop" to maintain academic credibility and relevance.

• Prompt Engineering: Professor Paresh Joshi taught that the quality of AI output is entirely dependent on the input. Students learned specific strategies like zero-shot, one-shot, and few-shot prompting, as well as chain-of-thought prompting to force the AI to show its reasoning steps.

• Peripheral Academic Use: Participants learned to use AI ethically for "redundant" or peripheral tasks, such as changing citation formats (e.g., MLA to APA), micro-reading for punctuation errors, and checking the novelty of research ideas.

Mastering Academic Writing Mechanics

• The Five Principles: Students were grounded in the core features of academic writing: formality, objectivity, clarity, precision, and evidence. They learned to replace colloquial language and contractions (like "don't" or "nasty") with formal alternatives ("do not" or "unappetising").

• Structural Frameworks: The IMRaD structure (Introduction, Methods, Results, and Discussion) was detailed as the global standard for research papers. Specifically, they learned the "three moves" of a high-quality introduction: establishing a research territory, identifying a niche/gap, and occupying that niche.

• Authorial Identity: A significant lesson was the shift toward the international standard of using the authorial "I" in abstracts and theses to show visibility and commitment to ideas, moving away from the more traditional and impersonal Indian academic style.

• Logical Argumentation: Dr. Chattopadhyay introduced the PIE structure (Point, Information/Evidence, Explanation/Interpretation) for constructing logical paragraphs. Students also learned to use hedging (words like "appears" or "suggests") to express caution when findings are not absolute.

Research Strategy and Publication Standards

• High-Impact Publishing: Dr. Ndoricimpa emphasized the importance of publishing in Scopus and Web of Science indexed journals to ensure research visibility, professional recognition, and career advancement.

• Citation Management: Students learned the critical importance of using recent references (ideally within the last 5–10 years) to avoid rejection by top-tier journals. Practical training was provided on using Mendeley for accurate referencing.

• The Research Gap: Scholars learned that a literature review should not just be a summary but a synthesised argument that identifies what is unknown (the research gap) to justify their own contribution to knowledge.

Career and Exam Preparation (UGC NET)

• Strategic NET Preparation: Dr. Kalyani Vallath taught that the UGC NET has shifted from memory-based to analytical and inference-based questions. Students learned to be "calm and clever" in the exam hall, using presence of mind to find clues within questions rather than relying solely on scholarly "mugging up".

• Professional Skills: Beyond writing, students were encouraged to develop a "growth mindset," build a rich portfolio of evidence, and seek internships and mentorships to survive in a competitive, skill-based world.

• Effective Goal Setting: The SMART goal framework (Specific, Measurable, Attainable, Relevant, Time-bound) was introduced to help students manage their research timelines effectively.

Individual Research Learning

• Specific scholars applied these lessons to their own work: We learned to navigate digital cartography software like Google Maps and QGIS; also gained clarity on maintaining a formal tone; and others learned to apply complex theories like surveillance capitalism and post-humanism to analyze modern texts and films.

From Here you can Access Whole Web Page about Workshop.

Thinking Activity : Revolution 2020 by Chetan Bhagat

 This blog is part of thinking activity by Prof. Dilip Barad. This activity focuses on the thematic study of Chetan Bhagat’s 'Revolution 2020', a novel that explores the intertwined lives of three protagonists—Gopal, Raghav, and Aarti—against the backdrop of contemporary Indian society. Through its central themes of love, corruption, ambition, and revolution, the novel delves into moral dilemmas, societal challenges, and the personal sacrifices required for success and social change. The story contrasts the characters’ differing aspirations, with Gopal’s pursuit of wealth and power through corrupt means juxtaposed against Raghav’s idealistic struggle to reform society. By analyzing these themes, students will critically engage with the novel’s portrayal of ethical conflicts, systemic corruption, and the commodification of ideals like revolution. This activity includes textual analysis, discussion prompts, creative tasks, and critical thinking exercises to deepen understanding and foster connections between the novel’s themes and real-world issues.  

1. The Theme of Love

Discussion Prompts: 

How does the relationship between Gopal, Raghav, and Aarti evolve over time? 

• Childhood: Innocent friendship.
• Teenage Years: Romantic tension develops. Gopal openly expresses love; Aarti hesitates.
• College Phase: Aarti and Raghav grow closer; Gopal feels betrayed.
• Adulthood: Gopal gains power and wealth; Raghav struggles but stays idealistic. Aarti reconnects with Gopal due to emotional neglect from Raghav.
• Climax: Gopal sacrifices his love, ensuring Aarti’s marriage to Raghav.

Is Gopal's decision to sacrifice his love for Aarti’s happiness noble or a result of his guilt? 

It is a mixture of both:

• Guilt: He feels ashamed of his corruption and affair with Aarti.
• Self-awareness: He realizes that wealth has not brought him peace.
• Love: True love, in his final act, becomes selfless—he prioritizes Aarti’s long-term happiness.

Thus, his sacrifice represents character growth. The boy who once equated love with possession learns that love sometimes means letting go.

How does Aarti’s shifting affection reflect societal pressures or personal confusion?

Aarti’s decisions reflect:

• The desire for emotional attention (which Raghav fails to give).
• Attraction toward security and comfort (which Gopal provides).
• Confusion between idealism and stability.
• Social pressure to choose a “successful” partner.

She is not merely fickle; she represents a modern individual caught between heart, ambition, and social expectations.

Critical Questions:

Can love truly flourish in a society riddled with corruption and ambition?

The novel suggests that love struggles—but does not completely die—in a corrupt society.

• Corruption influences career choices.
• Ambition distorts priorities.
• Power creates moral compromise.

Yet, the final act of sacrifice shows that individual morality can still survive within corruption. True love, in the novel, is not about possession or desire—it is about sacrifice and growth.

How does the novel portray the idea of "true love"?

True love in the novel is shown through:

• Letting go rather than holding on.
• Choosing another’s happiness over personal desire.
• Moral awakening through emotional pain.

In the end, the story suggests that ambition may corrupt, revolution may fail, but love—when selfless—redeems.

2. The Theme of Corruption

Discussion Prompts

Compare Gopal's and Raghav’s approaches to achieving success.

Gopal believes success means wealth, status, and power, even if achieved through unethical means. He adjusts himself to the system. Raghav, however, defines success as social impact and integrity. He resists the system rather than becoming part of it. Their contrasting paths highlight material success versus moral success.

How does the novel portray the systemic nature of corruption in education and politics?

Corruption is shown as organized and widespread. Engineering colleges are built using black money, bribes are required for approvals, politicians exploit students and parents, and media houses are influenced by political power. The education system becomes a business rather than a service, and politics protects corruption instead of eliminating it.

What does Gopal’s eventual disillusionment with corruption suggest about his character?

His growing dissatisfaction reveals that he is not completely immoral. Despite material success, he feels emptiness and guilt. His final sacrifice shows that he still possesses conscience and emotional depth. The disillusionment marks his moral awakening.

Critical Questions:

How does the portrayal of corruption in Revolution 2020 reflect real-world issues?

The novel reflects real-world problems such as the commercialization of education, political misuse of power, bribery in government processes, and the pressure on middle-class families to secure professional degrees at any cost. Coaching institutes exploit students’ dreams, politicians manipulate systems for profit, and honest individuals struggle to survive within these structures. The story mirrors how corruption often appears normalized, making ethical resistance difficult.

Can individuals like Raghav succeed in fighting systemic corruption? Why or why not?

Individuals like Raghav face immense obstacles because corruption is deeply rooted and supported by powerful networks. Financial pressure, political intimidation, and social indifference weaken reformers. However, the novel suggests that change begins with individuals who refuse to compromise. While immediate success may be limited, persistent resistance can inspire awareness and gradual transformation. Raghav’s journey shows that fighting corruption may not bring quick victory, but it keeps the hope of reform alive.

3. The Theme of Ambition

Discussion Prompts:

What motivates Gopal and Raghav’s ambitions?

Gopal is motivated by personal failure, financial struggle, and the desire to prove himself. His ambition grows out of wounded pride and social pressure. Raghav is motivated by moral outrage and a vision for societal change. His ambition is inspired by justice rather than ego.

How do their ambitions shape their relationships and decisions?

Gopal’s ambition distances him emotionally and morally from others. His choices lead him into corruption and eventually strain his relationship with Aarti. Raghav’s ambition also affects his love life, as his dedication to activism causes him to neglect Aarti. In both cases, ambition complicates personal relationships and creates emotional conflict.

Is ambition inherently positive or negative, as depicted in the novel?

The novel suggests that ambition itself is neutral. It becomes positive when guided by ethics and social responsibility, as seen in Raghav. It becomes destructive when driven by greed and insecurity, as seen in Gopal’s journey.

Critical Questions:

Does Gopal’s ambition make him a tragic hero? Why or why not?

Gopal can be considered a tragic hero because his downfall is not caused by fate but by his own flaws—mainly insecurity, jealousy, and moral compromise. Like a tragic hero, he possesses strengths such as intelligence, determination, and deep emotional capacity. However, his unchecked ambition leads him into corruption and emotional suffering. His realization and sacrifice at the end bring moral redemption, which strengthens the tragic dimension of his character. He achieves material success but loses personal happiness, making his story deeply tragic.

How does the theme of ambition intersect with love and corruption in the novel?

Ambition, love, and corruption are tightly interconnected in the novel. Gopal’s ambition for wealth pushes him toward corruption, which eventually complicates his love for Aarti. His desire to prove himself financially is partly driven by his wish to win her affection. Similarly, Raghav’s ambition for revolution affects his romantic relationship, as his dedication to fighting corruption causes emotional neglect.

Thus, ambition influences both moral choices and emotional bonds. The novel shows that when ambition is not balanced with integrity and emotional responsibility, it can damage both society and personal relationships.

4. The Theme of Revolution

Discussion Prompts:

How does Raghav’s vision for a revolution differ from Gopal’s practical approach to success?

Raghav seeks long-term societal transformation through truth and activism. He believes change begins with awareness and moral courage. Gopal, in contrast, focuses on immediate personal advancement. He works within the corrupt system rather than trying to reform it. Raghav challenges the structure; Gopal benefits from it.

Does the novel succeed in portraying a genuine revolutionary spirit, or does it dilute the theme?

The novel portrays a sincere revolutionary spirit through Raghav’s dedication and sacrifices. However, the focus on romance and personal conflict sometimes weakens the political intensity. As a result, the revolutionary message feels present but not fully developed.

How is the title Revolution 2020 reflective of the story’s central message?

The title Revolution 2020 reflects the story's message through three key layers:

• Systemic Change vs. Personal Sacrifice: The "Revolution" refers to Raghav’s mission to dismantle India's corrupt system using youth power by 2020. However, the central message highlights that this societal change is only possible through individual sacrifice; Gopal is considered the "real hero" because he sacrifices his love for Aarti to enable Raghav’s path.

• Moral Purification: The title suggests a deadline for a "cleansing" of the soul and society. It reflects the idea that true success is found in virtue and goodness rather than money, a realization Gopal reaches after his entanglement with corruption.

• Commodification of Ideals: Critically, the title mirrors the "popular literature" aesthetic by framing revolution as a commercial brand (similar to IPL-Twenty20) to engage young readers, even though the plot often prioritizes "Love" over the actual "Revolution".

Critical Question

Why does Raghav believe a revolution must begin in small cities like Varanasi?

Raghav believes that true revolution must begin in small cities because they represent the heart of India—where traditional values, corruption, and rising modern aspirations collide. Large metropolitan cities often dominate political and media narratives, but smaller cities experience the same systemic problems without equal attention. By starting change in a place like Varanasi, Raghav hopes to inspire grassroots transformation. He understands that lasting reform begins at the local level, within families and communities, before spreading nationally.

Is Bhagat’s portrayal of revolution realistic or overly romanticized?

Bhagat’s portrayal of revolution is partly realistic and partly idealistic. It is realistic in showing the obstacles faced by reformers—political threats, financial instability, public apathy, and systemic resistance. Raghav’s struggles demonstrate how difficult genuine change can be. However, the idea of a single individual leading a sweeping transformation can appear somewhat romanticized. The novel balances hope with harsh reality, suggesting that while revolution is possible, it is slow, painful, and often overshadowed by personal and societal limitations.

References:

Barad, Dilip. “Revolution2020.”https://blog.dilipbarad.com/2021/12/revolution2020.html. Accessed 19 Feb. 2026. 

Barad, Dilip. Thematic Study of Chetan Bhagat’s “Revolution 2020,” www.researchgate.net/publication/388198619_Thematic_Study_of_Chetan_Bhagat’s_’Revolution_2020’. Accessed 19 Feb. 2026. 

Bhagat, Chetan. Revolution 2020 , https://www.boscogroupofschools.in/starstudentbuilder/educational-theory/E-Books/Novels/19-Revolution%202020%20-%20Chetan%20Bhagat_indianauthornovels.blogspot.in.pdf. Accessed 19 Feb. 2026. 

Lab Activity: Revolution 2020 by Chetan Bhagat

 This blog is based on a postgraduate worksheet assigned by Prof. Dr. Dilip Barad for the course Popular Literature / Indian Writing in English. It documents a series of activities on Revolution Twenty20 that use Gen AI as a learning tool, not a shortcut. The focus is on moving from basic understanding to critical evaluation through character maps, cover analysis, infographics, and thematic slides. Throughout the blog, AI outputs are questioned, revised, and rewritten to retain human judgement and critical voice. The aim is to study popular literature while learning how to use AI responsibly and critically. (Worksheet)

Activity 1: Character Mapping

Activity 2: Cover Page Critique (Understand → Apply → Analyse)

The book cover for Revolution 2020 by Chetan Bhagat uses specific design elements to create clear expectations for the reader regarding its themes, target audience, and commercial appeal.

Expectations of Revolution

The cover creates a sense of "revolution" that is likely social or personal rather than purely militant. While the title is bold and prominent, the tagline "LOVE.CORRUPTION.AMBITION" frames the revolution within the context of systemic societal issues (corruption) and individual desires. The background imagery, featuring what appears to be traditional Indian architecture and a boat on a river (suggestive of a city like Varanasi), implies a clash or a turning point occurring within a traditional setting.

Expectations of Youth

The silhouettes at the bottom of the cover clearly signal a focus on youth and contemporary relationships. The depiction of three figures—two holding hands and one standing slightly apart—strongly suggests a love triangle, a common trope in youth-oriented popular fiction. The casual attire of the silhouettes further reinforces that the story centers on the lives and struggles of young adults.

Marketability

The cover is designed for high commercial visibility:

• Author Branding: The name CHETAN BHAGAT is placed at the very top in a large, clean font, leveraging his status as a "brand" in Indian popular literature.

• High Contrast: The use of a stark black and vibrant magenta/pink colour palette ensures the book stands out on a shelf or in a digital thumbnail.

• Mass Appeal Themes: The tagline explicitly lists three high-interest themes—love, corruption, and ambition—which are designed to hook a wide demographic of readers.

Typography, Colour, and Symbolism

The design aligns closely with popular literature aesthetics:

• Typography: The use of a bold, modern, sans-serif typeface for the title and author name is a hallmark of contemporary commercial fiction, suggesting accessibility and a fast-paced narrative.

• Color: The magenta/pink wash against the black background evokes a mix of passion and drama. Pink often signals romance, while the heavy use of black adds a layer of seriousness or "darker" themes like corruption.

• Symbolism: The silhouettes are a classic popular fiction technique; they allow readers to project themselves or their own mental images onto the characters, making the story feel more relatable. The watercolor-style cityscape at the top adds a "literary-lite" feel, grounding the mass-market appeal in a specific cultural atmosphere.

Critical Move 

1. Oversimplification of Varanasi in the Background:

The Specificity of Varanasi

The background imagery—featuring the distinct silhouettes of temples (ghats) and a river—is an unmistakable visual reference to Varanasi. This choice of setting is vital for the "Revolution" theme because it places the modern conflict of "CORRUPTION" and "AMBITION" against the backdrop of one of the world's oldest and most traditional cities. The line-drawn architecture suggests a place rooted in history, which creates a sharp contrast with the bold, modern typography of the title.

The Boat and Personal Nostalgia

While the boat on the river sets the scene, it also serves as a poignant symbol of the personal narrative. You noted that the boat represents the nostalgia of Gopal and Aarti, and while their specific names and memories are part of the novel’s text (and thus external to this specific source image), the visual inclusion of two figures in a boat on the water reinforces the "LOVE" aspect of the tagline. It suggests a quiet, intimate past that is being overshadowed by the larger, "messier" magenta wash of the revolution and corruption occurring in the city above them.

Layered Meaning: Corruption vs. Tradition

When we combine your observation with the previously mentioned financial symbols (the faint numbers like "50.50" behind the title), the cover's full strategy becomes clear:

• The Traditional/Personal Layer: The boat and Varanasi temples represent the characters' roots and their emotional history.

• The Systemic/Corrupt Layer: The currency-like symbols and the harsh magenta "blood/ink" wash represent the financial greed and corruption that threaten those personal roots.

By failing to explicitly name Varanasi and the nostalgic weight of the boat, the previous analysis missed how the cover grounds its high-stakes themes (Corruption, Revolution) in a very specific, recognizable, and deeply personal environment.

2. Misinterpretation of Silhouette Dynamics: The AI previously described the silhouettes as "two holding hands and one standing slightly apart," framing it as a standard love triangle. A more detailed look at the image reveals a more complex and tense physical dynamic: the central female figure is holding hands with the man on the left while simultaneously being leaned into or embraced by the man on the right. The AI's initial description oversimplified this as one person being "apart," whereas the visual actually depicts a physical "tug-of-war" or dual intimacy. This suggests a narrative of being torn between two paths or people, which aligns more closely with the "AMBITION" and "LOVE" conflict mentioned in the tagline than a simple "standing apart" trope

Activity 3: Infographic from Video Discourse (Analyze → Evaluate)

Activity 4: AI-Generated Slide Deck on Themes (Evaluate → Create)

 

Homebound : Dignity, Aspiration, and the Quiet Violence of Belonging

 This blog is part of Sunday reading assigned by Dilip Barad in response to analyse core elements of  movie. Here is Worksheet to explore details.

Introduction

The screening of Homebound as part of the Department of English’s film study initiative offered more than a cinematic experience—it demanded ethical, social, and political engagement. Directed by Neeraj Ghaywan, Homebound is a restrained yet devastating exploration of aspiration, dignity, and systemic abandonment in contemporary India. Rather than dramatizing suffering through spectacle, the film insists on stillness, silence, and bodily exhaustion, forcing viewers to confront how marginalised citizens are made to earn what should be a basic right: dignity.

From Reportage to Aspiration: Rewriting the Source Text

Homebound is adapted from Basharat Peer’s 2020 New York Times essay A Friendship, a Pandemic and a Death Beside the Highway, which documents the real-life ordeal of migrant textile workers Amrit Kumar and Mohammad Saiyub during the COVID-19 lockdown.

The film fictionalizes them as Chandan and Shoaib, significantly altering their pre-lockdown identity from migrant workers to aspiring police constables. This narrative shift is crucial. While the original essay foregrounds economic precarity and state abandonment, the film reframes the story around institutional dignity. Chandan and Shoaib do not merely want employment; they want recognition, legitimacy, and protection under the authority of the state.

Ironically, this aspiration deepens the tragedy. Even those who seek to serve the system are discarded by it. The adaptation thus moves from documentation to indictment—exposing not only vulnerability, but the cruelty of deferred hope.

Production Context and Global Realism

The film’s realist aesthetic is shaped significantly by Martin Scorsese, who served as Executive Producer and mentor during script and edit development. His influence is visible in the film’s observational pacing, ethical restraint, and resistance to melodrama.

This global realist approach earned Homebound acclaim at international festivals such as Cannes Film Festival and Toronto International Film Festival, where subtle social realism is valued. However, the same restraint alienated domestic audiences accustomed to emotional excess and star-driven narratives. The film’s reception thus reveals a divide between global prestige cinema and Indian commercial expectations.

The Politics of the Uniform

In the first half of the film, the police uniform functions as a powerful symbol of social mobility. For Chandan and Shoaib—marked by caste and religion—the uniform promises invisibility of stigma, authority without explanation, and dignity without apology.

This fragile faith in meritocracy collapses under a brutal statistic: 2.5 million applicants competing for just 3,500 posts. The numerical imbalance exposes the illusion of fairness. Effort becomes irrelevant in a system structured to exclude. The uniform, once a symbol of hope, becomes an unreachable fantasy—revealing how institutions manufacture aspiration while denying access.

Intersectionality: Caste and Religion as Quiet Violence

Rather than overt brutality, Homebound exposes discrimination through micro-aggressions.

Caste:

Chandan applies under the General category instead of Reserved, despite being Dalit. This choice reflects internalised caste shame. Reservation, though meant as corrective justice, is socially stigmatized, compelling him to erase his identity to access dignity. The film shows how oppression operates psychologically, not just structurally.

Religion:

In a haunting office scene, a colleague refuses to drink water touched by Shoaib. There is no confrontation, no raised voice—only silence. This moment exemplifies quiet cruelty: a normalized exclusion that wounds without spectacle. The absence of drama makes the humiliation more devastating.

The Pandemic as Exposure, Not Disruption

The COVID-19 lockdown marks a tonal shift, transforming the film from a social drama of ambition into a survival narrative. Some critics view this as abrupt, but the film suggests otherwise. The pandemic does not create a crisis—it reveals one.

The lockdown magnifies pre-existing “slow violence.” Lack of transport, food, and institutional support exposes the state’s indifference. Their physical journey home mirrors the collapse of institutional trust. Citizenship dissolves into survival, and equality exists only in shared abandonment.

Embodied Performances and Conditional Citizenship

Vishal Jethwa’s performance as Chandan is deeply somatic. His lowered gaze, hunched shoulders, and hesitant speech visually register internalized caste trauma. When asked his full name, his body retreats—enacting centuries of imposed shame without explicit dialogue.

Ishaan Khatter’s Shoaib embodies restrained anger. His rejection of a Dubai job in favor of a government post in India reflects a desire for belonging at home. Yet the film repeatedly shows how minorities must prove loyalty to earn acceptance. Home becomes a space of emotional risk, not safety.

Janhvi Kapoor’s Sudha Bharti, though often critiqued as underdeveloped, represents educational privilege. Her relative empowerment highlights how class and education mediate dignity more effectively than aspiration alone—serving as a counterpoint rather than a parallel arc.

Cinematic Language: Exhaustion as Aesthetic

Cinematographer Pratik Shah employs a muted palette of greys and dust tones. Migration sequences focus on feet, sweat, and cracked roads, denying panoramic beauty. These ground-level close-ups produce an aesthetic of exhaustion, immersing viewers in bodily fatigue rather than visual pleasure.

The minimalist score by Naren Chandavarkar and Benedict Taylor resists emotional manipulation. Silence dominates moments of grief, allowing ambient sounds to carry affect. Tragedy remains unresolved, deeply personal, and unsettling.

Censorship, Ethics, and Market Hostility

The Central Board of Film Certification ordered 11 cuts, including muting everyday words and removing brief visuals. These changes reflect ideological anxiety rather than moral concern. Ishaan Khatter’s criticism of “double standards” exposes how socially conscious cinema faces harsher scrutiny than escapist entertainment.

Ethical concerns further complicate the film’s reception. Allegations of plagiarism and the marginalization of Amrit Kumar’s family raise questions about artistic appropriation. Can awareness justify exclusion? Ethical filmmaking demands accountability to lived realities, not just representational intent.

Despite international acclaim, Homebound failed commercially due to limited screens and weak distribution. Karan Johar’s remarks about avoiding “unprofitable” films expose the market’s hostility toward serious cinema in post-pandemic India.

Personal Reflection

While watching Homebound, I noticed the film’s deliberate silence on pandemic misinformation, political announcements, and religious coping mechanisms that shaped everyday life during lockdown. The absence of media narratives, public speeches, or faith-based responses narrows the film’s focus to individual suffering.

This choice strengthens emotional intimacy but limits sociopolitical scope. The film becomes less about the nation’s collective response and more about personal abandonment. Whether this restraint is ethical clarity or narrative omission remains open to debate.

Conclusion: Dignity as a Denied Right

Homebound ultimately argues that dignity is not a reward earned through obedience or aspiration—it is a basic right systematically denied. The “journey home” functions both as physical migration and moral metaphor. Neither the nation nor the village offers refuge.

The film refuses catharsis. Instead, it leaves viewers with a devastating truth: in a society structured by caste, religion, and institutional apathy, equality exists only when everyone is equally abandoned.