This chapter, titled “The Principles and Practice of Digital Content Writing,” focuses on the pivotal question: ‘If AI-guided writing tools can seamlessly produce written content, what is the need for human intervention in content development, and what is the significance of human imagination?’ One of the biggest challenges in contemporary content creation is negotiating the space between AI-driven content and human ingenuity. To find meaning and worth in the words and the sentences that journey from the tips of our fingers to the cloud of online platforms, the chapter delves into approaching the foundational concepts, ethics, and practices necessary for developing digital content that is readable, concise, visually appealing, and enriched by human creativity. It begins by exploring the aesthetic and practical differences that distinguish digital content from other forms of writing, followed by an analysis of audience expectations and behaviors. It examines the key components of digital content and the nature and variation of different platforms, providing insights into how these factors shape content strategies. Ethical principles are crucial in content development, ensuring digital content remains responsible and trustworthy. Additionally, this part of the book emphasizes the importance of search engine optimization and the art of crafting effective prompts for search engines as essential skills in the digital age. By analyzing the structural and content-specific nature of various digital content formats, the chapter offers practical guidance on creating content that resonates with diverse audiences, harnessing values of inclusivity. The approach is inductive and case study-specific, drawing from examples encountered in everyday digital content development. This method facilitates the identification of emerging patterns and trends, offering readers a comprehensive understanding of the principles and practices that underpin successful digital content writing.

The guiding principle concerning the question of bodily agency and the feminist discourse of employing a focus on abortion in extending liberation for women since the mid-1900s in the West finds a nemesis in sex-selective abortion in India. Unfortunately, the sociocultural baggage, lack of sensitization, and fanatic adherence to tradition allow the illegal practice of prenatal sex determination in considerable parts (both urban and rural) of India a wide berth. The eventual criminalization, harassment, and oppression of women who fail to bear male offspring within an all-encompassing heteronormative patriarchal system problematize the context further. The use of a monistic colonial discourse in delineating these practices negates the plurality of the problem. Hence, employing decoloniality to comprehend these issues against a socio-legal framework might aid. The oeuvre of Indian cinematic narratives showcases a severe dearth of intervention when addressing these issues. Anchoring on decolonial feminism and feminist consciousness-raising, and taking liberty with genre and medium fluidity, this article investigates the irreconcilable gulf between the two conflicting aspects of abortion in India through five cinematic works: Matrubhoomi: A Nation Without Women (2003), Kajarya (2015), Brina (2016), Chhorii (2021), and Jayeshbhai Jordaar (2022).

Who is a woman? In a gender-fluid typical world, the answer to this question invites a serious exposition of non-linear and non-binary possibilities. As the biological definition becomes more inclusive of fragmented identities, it becomes extremely complicated to arrive at a simplistic, innocent truth of recognition. Within the third-world dynamics, this question invites more dimensions. Set against the backdrop of mass female genocide on the occasion of perfecting cloning, Manjula Padmanabhan in her works of futuristic dystopian fiction, Escape (2015) and The Island of Lost Girls (2017), has taken up this issue of womanhood and furtively trodden to arrive at a philosophical space that allows the modernist epistemological notion of a "woman"as a well-defined category to reincarnate within a postmodern paradigm to help locate women beyond the generic nuances of reproduction and menial labour. Through analysing the selective works, this research article aims at arriving close to the model of womanhood and depicting the plurality of truth in action.

In a world where postmodern feminism aims at inclusivity and intends to do away with the politics of defining categories, the overturning of the landmark 1973, Roe vs Wade judgment complicates the very notion of reproductive rights and justice. It further brings under scrutiny the institution and practice of motherhood and abortion. Literary fiction dealing with the issues of abortion is numbered but within that limited oeuvre, Red Clocks (2018) by Leni Zumas approaches these issues from an essentially postmodern perspective. The trope of multifarious vantage points of four major characters, the Biographer, the Mender, the Wife, and the Daughter; with the overarching life story of the polar explorer Eivør Mínervudottír simultaneously offers conflicting and converging notions of motherhood, agency, and freedom. The speculative setting of the novel adds to the crisis and the dystopian air further problematizes the issues. By employing the method of close textual reading and anchoring on the theoretical models of feminist critical dystopias and feminist epistemology (postmodern narratives) this research paper intends to investigate the narrative space of the novel to depict the variegated shades of motherhood, the nuances of abolishing the abortion rights and the autonomy over the body.

Cinematic works around indigenous lives in India have long been marginalized within the scope of “film as an entertaining art form.” Striking a balance between a faithful rendition of an indigenous community and the infusion of entertainment seemed impossible within the Indian film industry until Kantara struck the silver screen. Since its release, the film has been subjected to constructive and positive criticism, but the representation of women in the film has either remained unattended to or viewed negatively. This research paper intends to approach the use of indigenous media and epistemology in the film as a symptomatic representation of fourth cinema and then to address the representation of women from the perspective of faithful representation and indigeneity.

Anchoring on the core notions spiraled out of a close reading of Hélène Cixous’s “The Laugh of the Medusa” (1975), this article intends to interpret four short stories of Vandana Singh from the anthology The Woman Who Thought She Was a Planet (2008) by using écriture feminine as a tool of analysis. The selected stories belonging to the genre of speculative fiction respectively oscillate around four women characters and leave us with an emerging pattern of searching for a lost “self.” The ingenious story telling with elements of the imaginary addresses subtle yet complicated gender issues. Apropos to this, compartmentalized into three primary sections this work develops an argument toward recognizing an unconventional and original literary tradition in the making that might partially realize the intricate nuances of woman’s writing within a South-Asian (Indian) context.

The representation of menstruation in Indian media texts (films, short films, and advertisements) is limited. Besides the advertisement of industrially produced sanitary napkins, we hardly come across their mention. Even in cinematic spaces with female leads, the issue remains unuttered. Since the last half of the previous decade, there has been a conscious attempt to raise awareness around menstruation. Considering menstruation as a socially mediated biological process, in which bodies become sites where social constructions of differences are mapped onto human beings to inflict violence upon the subject, these works have resisted this systematic patriarchal oppression by asking an appropriate question, “which bodies are producing knowledge about which other bodies?” (Harcourt, 2009, p. 13), indicating that this assigning of impurity to menstruation through myths, taboos, and restrictions is a patriarchal construct. In many parts of India, menstruating women are not even allowed inside the kitchen or the temple. This forced isolation is indeed gender-based violence, which is driven by sociocultural and religious beliefs compounded with gender norms. The research paper argues that by reading menstruation through the lens of body politics and in the context of media representation currently prevalent in India, it is now possible to understand and decode menstruation as a phenomenon of gendered oppression. Additionally, through these compelling narratives, it is also possible to reflect on the process by which these interventions contribute to the altering of everyday practices and their limitations. This might lead to social change by demystifying taboos around the menstrual body and showing women their situation in a way that affirms they can act to change it and reconstruct a meaningful relationship to their bodies.