the time. The ‘witnessed moments of freedom’ depicted the leaders involved, violence, massacres and persons taking flight. He drew our attention to the important questions of how memories are represented, the fact that remembrance is active, and how to revive the issues surrounding partition. These are particularly pertinent concerns given that India remains relatively silent on partition, including in artistic terms. He argued that cinematic representation of partition; specially the bodily experience of partition has been captured in Ritwik Ghatak’s works. Meghey Dhaka Tara (The Cloud-Capped Star, 1960), Kormal Gandhar (The Gandhar Sublime, 1961) and Subarnarekha (The Golden Line, 1962) form a trilogy around the socio-economic implications of Partition. 
Some of the film clippings of Chinnamul (‘The Rootless’) by Nemai Ghosh signified the birth of realism in Bengal and a move away from mainstream narration. The excerpt of the film provided documentary evidence of partition, which showed not trained actors, but communist activists on the train journey from East to West Bengal, and images of the homeless congregated on the platforms of Kolkata train stations. 
The work of Ritwik Ghatak was then introduced as making an attempt to locate temporal loss in the wider perspective of historical loss in order to reconstruct the post colonial version of history.
Finally, the film “Subarnarekha” by Ritiwik Ghatak was screened. This film represented the distant impacts of partition and the plight of being a refugee. The central character of this film Sita – a Hindu, East Pakistani refugee girl through out the film longed for a “home” after they had to leave East Pakistan. Through Sita’s narrative and her son’s life the filmmaker shows that the search for the “new home” is a never-ending one and establishes that forced migration induced by partition is a continuing process rather than its product. At the end of the  

film, the son repeatedly asks, “where is my new home? Is there any new home waiting for me?” This film shows the struggle, the life force of the refugees as well as their defeated values.
2. The details of the One day Media Workshop is provided in Section 12 of this report.
3. Ariella Azoulay presented a collection of photographs from her exhibition, which dealt with 40 years of Israeli occupation in Palestine. Ariella discussed the idea of the civil contract that exists in photography, and the agency and active participation of those being photographed. Ariella’s photographic presentation also explored the inter relationship between photography, statelessness and citizenship, emphasising the importance of ‘administrative memories’ and the need to contextualise photographs. 
The excerpts of her lecture on “ What can be seen: from "invisible" to visible occupation” are produced below.
To photograph what exists on the verge of catastrophe entails one’s presence at the onset of a catastrophe, looking for its eventuation, that is, being able to see it as an event that is about to occur. Since the beginning of the second intifada, the verge of catastrophe is the actual, on-going condition of Palestinian existence in the occupied territories. Catastrophe has altered its form, turning from a sudden event that affects someone into a perpetually impending state. The new conditions of catastrophe still include elements of the old form of catastrophes with which we are familiar, elements that have the potential to disrupt routine. An entire village street is wiped off the face of the Earth; a building is destroyed by bombs; or an entire area is subjected to heavy artillery fire for several days, with inhabitants suffering severe physical and emotional injuries and unable to treat their casualties. The fact that such events are so numerous and frequent is what transforms them into a routine aspect of daily life.