&ldquo;IIT Jodhpur is committed to impart quality education to facilitate the creation of qualified, competent and responsible human resources to meet the emerging technological challenges of the world. It is working towards creating an equitable learning platform that is positive, accessible and effective in the face of the modern societal and scientific advancements.

Flexibility in curriculum, in all its academic programs, encompassing elements of teaching, research, creativity, innovation and entrepreneurship is the most unique feature of IIT Jodhpur. The Department of Science and Technology (DST), under the National Mission on Cyber Physical Systems, has identified IIT Jodhpur as a Technology &amp; Innovation Hub in the area of Augmented Reality and Virtual Reality. The institute has also been nominated as the coordinator for the Jodhpur City and Knowledge Cluster by the Office of Principal Scientific Adviser, Government of India.

The sprawling 852-acre IIT Jodhpur campus is a majestic tribute to the deep-rooted diverse cultural heritage of the region. The campus is an architectural masterpiece, which is slated to become an international exemplar of sustainability with net-zero energy, and advanced water and waste management strategies.&rdquo;

IIT Jodhpur

Heritage represents everything of the past for which we can be proud of today. In this chapter, we introduce the readers to the different categories of heritage as defined by UNESCO. The chapter then discusses the various techniques being developed and different research efforts going on in the world to digitally preserve cultural heritage-both its tangible and intangible aspects. The UNESCO World Heritage Site of Hampi in South India, with its historical and mythological significance, deserves preservation in physical and digital space. This book is an outcome of the India Digital Heritage project supported by the Department of Science and Technology of the government of India, focussing on the digital preservation of the heritage of Hampi. It attempts to show how multidisciplinary engagement across technology and humanities can provide significant impetus to the cause of documentation, showcasing and interpretation of cultural heritage and in some situations productive explorations of historical debates using digital tools. © Springer Nature Singapore Pte Ltd. 2017.

Department of Computer Science & Engineering

World University root node

Department of Electrical Engineering

School of Liberal Arts (SoLA)

Digital Hampi: Preserving Indian Cultural Heritage

Introduction

How do we define the globalized cinema and media cultures of Bollywood in an age when it has become part of the cultural diplomacy of an emerging superpower? Bollywood and Its Other(s) explores the aesthetic-philosophical questions of the other through, for example, discussions on Indian diaspora’s negotiations with national identity. © Vikrant Kishore, Amit Sarwal and Parichay Patra 2014.

Bollywood and its Other(s): Towards New Configurations

Bollywood and its other(s): Towards new configurations

Salaam Bollywood: Representations and interpretations

Salaam bollywood: Introduction

The way cinema was banished: The intervention of cinema studies in India

The term shastriya, while aligned with an art form such as cinema, sounds extremely anomalous. Shastriya connotes the sense of something classical, used primarily within the confines of North Indian/Hindustani classical music. It is not without reason that cinema remains dissociated from epithets like these, especially since cinema’s self-imposed inferiority gets in the way. This inferiority stems primarily from the publicness of cinema, from its status as a public institution. So when Mani Kaul tried to define his cinema with a preference for a term like shastriya, it was a decisive statement against the supposed publicness of the medium. His Uski Roti (1969) was given the Sunday evening slot in television, a slot better known for the popular Bombay films. Kaul, on a lighter note, suggested a different slot for his shastriya cinema: [I]t was as if they had shown a classical programme during Chhaya Geet. The point is not that classical music is superior to film music, it is that you cannot confuse the one with the other. They could have had a programme called Shastriya Cinema or something and shown Uski Roti there-like they have Mallikarjun Mansur on Shastriya Sangeet! (Rizvi & Amladi, 1980, pp. 9-10). © Palgrave Macmillan, a division of Macmillan Publishers Limited 2014.

Bombay cinema’s aesthetic other: Hindi shastriya cinema in retrospect

This book traces the journey of popular Hindi cinema from 1913 to contemporary times when Bollywood has evolved as a part of India's cultural diplomacy. Avoiding a linear, developmental narrative, the book re-examines the developments through the ruptures in the course of cinematic history. The essays in the volume critically consider transformatio. © 2016 Vikrant Kishore, Amit Sarwal and Parichay Patra. All right reserved.