Latest news with #PriyaSingh
Time of India
a day ago
- General
- Time of India
‘Hunar Haath' to train youth in domestic services
Lucknow: The Uttar Pradesh govt has launched the 'Hunar Haath' pilot project to provide skill-based training to youth in domestic services such as cooking, cleaning, care giving and household maintenance. Being implemented in five districts— Lucknow, Gorakhpur, Varanasi, Muzzafarnagar and Prayagraj— the initiative is led by the department of vocational education, skill development and entrepreneurship. Under the scheme, training will be offered to youth in cooking, cleaning, care giving and household maintenance in both residential and non-residential formats, implemented in partnership with govt and private training institutes. Once trained, the youth will be connected to a digital portal, making it easy for citizens to access their services and creating a strong link between skill development and everyday household needs. Additional mission director Priya Singh said: "Through 'Hunar Haath', a special platform will be created where trained young people can offer household services. This will make it easy for people to find skilled and trusted service providers." by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Descubre ofertas de cruceros con todo incluido de última hora insight-chronicle Undo Mission director Pulkit Khare said: "It will not only give young people job-oriented training but also create a trusted service network for everyday household needs." He added that the details of trained candidates will be uploaded to a central 'Hunar Haath' portal, making it easy for people to hire these trained youth. Principal secretary Hariom instructed officials to create a digital database of trained candidates where their services will be clearly classified for easy access. He emphasized the importance of focusing on training quality, safety and service standards so that this initiative can be developed as a successful model for the state. tnn
Time of India
4 days ago
- Business
- Time of India
After 12/6, demand for Air India's 787s crashes
Representative Image NEW DELHI: Planning an almost last-minute trip to Europe, Delhi-based financial consultant Priya Singh was in for a surprise when she checked return for fares for Delhi-Amsterdam (June 30) and Amsterdam-Delhi (July 6) on a leading online travel agency (OTA). Air India 's non-stop option on both sectors was costing Rs 66,323 - which was much less than Rs 87,153 on KLM, the only airline operating direct flight on this sector - and comparable to the one-stop options of carriers like Etihad, Qatar Airways and Lufthansa. "I wondered why this was happening and then found the plausible reason: AI equipment listed was Boeing 787. I will opt for one of the one-stops," she said. Multiple travel agents confirmed Air India is seeing lower demand for its B787s after the AI 171 crash because of which many flights operated on the Maharaja's Dreamliners are cheaper than non-stops of competing airlines on those routes. Ironically, many of these competing airlines on AI Dreamliner routes - Europe, UK, Far East and Australia - also use the B787 which passengers are ditching the Maharaja for, as of now. Non-stop flights are more expensive than one-stop ones. Some international routes have both non-stop and one-stop options, like Delhi to Paris/London/New York. The non-stop fares are benchmarked with each other and one-stop by one-stops. OTA searches show Delhi-London return fares (June 30 departure and July 6 arrival) are between Rs 54,000 and Rs 74,000 on AI; Rs 85,000-90,000 (check-in bag fares) on British Airways and over Rs 95,000 on Virgin Atlantic. Delhi-Paris return for these dates are about Rs 58,000 on AI and Rs 76,400 on Air France. Fares on flights operated by AI's other wide bodies, like the North America non-stops that are served by A350 and B777s, have bucked this trend. "There is concern among travellers (over flying AI B787s) and some have changed airlines as well. Safety is the prime concern for passengers and they are weighing the option of taking other airlines," said Anil Kalsi, Travel Agents federation of India VP, adding, "Demand for travel overall has dropped. Future leisure bookings are on hold due to airspace restrictions that has led to uncertainty and delays across all airlines on routes to and from the west. " Several other travel agents and OTAs confirmed this trend. A detailed multi-nation and multi-agency probe is on into the crash of the Dreamliner operating as AI 171 and what caused the same will be known only after the report is released. Till then everything is conjecture. Stay informed with the latest business news, updates on bank holidays and public holidays . AI Masterclass for Students. Upskill Young Ones Today!– Join Now
The Wire
31-05-2025
- Entertainment
- The Wire
One City, Two Tales: Tokyo Through Studio Ghibli's Lens
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories One City, Two Tales: Tokyo Through Studio Ghibli's Lens Priya Singh 42 minutes ago The dual representation of Tokyo in 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991) serves not only as a narrative choice but also as a reflection of the city's complex identity. Posters for 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991). Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now From Metropolis (1927) to Taxi Driver (1976) and Salaam Bombay! (1988) to Gully Boy (2019), cities on screen have long fascinated us – mirroring, distorting and reimagining urban life. Scholars such as Raymond Williams and David B. Clarke have shown how literature and film shape our understanding of cities, often revealing the tension between community and alienation, modernity and nostalgia. Thinkers like Marcus Doel and Henri Lefebvre remind us that cities are not just concrete and commerce. They are lived, felt and socially constructed. Few cities have inspired this dual gaze in films more than Tokyo. In Studio Ghibli's Whisper of the Heart (1995) and Only Yesterday (1991), Tokyo becomes a character in its own right; it can be both grounding and disorienting, echoing George Simmel's vision of the urban space as a site of both creativity and quiet estrangement. Studio Ghibli, founded in 1985 by Hayao Miyazaki, Isao Takahata and Toshio Suzuki, has become synonymous with animation excellence. Their movies have critiqued Japan's rapid urban growth, showcasing the delicate harmony between human development and nature's grandure. In an era of AI-generated imitation, the Studio's artistry, once quietly revered, now stands at the centre of a broader conversation about what makes art truly human. Yoshifumi Kondō's Whisper of the Heart presents Tokyo as a place of inspiration and dreams. It follows 14-year-old Shizuku as she wanders through the bustling city with a sense of wonder, finding creative inspiration in its vibrant neighbourhoods and the people she meets. Her journey through Tokyo's suburban landscapes, antique shops and libraries highlights the city's potential to nurture creativity and personal growth. A still from 'Whisper of the Heart'. The film uses a warm and bright colour palette for the city – yellows, oranges, reds and greens – that reflects the characters' mood and emotions, along with the seasons and time of day. The detailed animation brings Tokyo's streets and homes to life. The film's music, including its use of 'Country Roads', is upbeat and melodic, reflecting Shizuku's youthful enthusiasm and the lively city atmosphere. The animation is detailed and realistic, with smooth movements, expressive faces and intricate backgrounds. Background characters are never still; they actively engage with their surroundings, making the city a living, breathing part of the story. The style is influenced by manga and the works of Miyazaki, who wrote the screenplay and oversaw the film's production. Around 70% of the film follows Shizuku's everyday life and adventures in Tokyo, allowing the city itself to take centre stage. In contrast, Isao Takahata's Only Yesterday takes a more introspective approach and explores themes of alienation and nostalgia. The film follows Taeko, a 27-year-old office worker, who reflects on her childhood in Tokyo and her current life, feeling disconnected from the city's relentless pace and modernity. The film juxtaposes her desire for a simpler, more rural life with her present-day experiences in Tokyo, highlighting the emotional and psychological distance she feels. The film's animation and realistic portrayal of Tokyo's urban environment bring out her sense of disconnection and longing for a simpler life. The film employs a cold, dark colour palette with shades of blue, grey, black and white to reflect the monotony and gloom of the city, as well as the nostalgia and regret of the protagonist. Taeko's daily commute and office scenes illustrate the repetitive rhythm and routine of adult life in Tokyo. The use of muted and earthy tones for the city captures Taeko's introspective and occasionally melancholic state of mind. The soundtrack is soft and reflective, enhancing the film's contemplative atmosphere and tracing Taeko's emotional journey. A still from 'Only Yesterday'. The animation style is simple and stylised, characterised by minimal, sometimes rough movements, understated facial expressions, and sketch-like backgrounds. This approach is influenced by the watercolour paintings of the original manga, as well as the works of Takahata, who directed and wrote the film. Unlike Whisper of the Heart, the city occupies a small portion of the film, about 15%, as the story alternates between Taeko's life in Tokyo and in Yamagata, the rural neighbourhood she moves to. The dual representation of Tokyo in these films serves not only as a narrative choice but also as a reflection of the city's complex identity. Like many global cities, Tokyo is a place of contrasts where tradition meets modernity and where dreams can be both realised and shattered. This duality is a common theme in urban studies, which regard cities as sites of both opportunity and alienation. Furthermore, the difference in the protagonists' ages influences their interactions with and perceptions of the city. While Shizuku's youthful perspective adds a sense of excitement and discovery to her experiences in Tokyo, Taeko's adult viewpoint is more reflective and critical. By examining these two films, we can gain insights into how Tokyo's multifaceted nature is portrayed through different lenses. Whisper of the Heart and Only Yesterday show us that cities are not monolithic; they are experienced differently by each individual. They are shaped by who we are, what we remember, and what we hope to become. These films help us think more deeply about what it means to live in a city, touching on themes of identity, belonging and the pace of urban change. Together, the two films offer two distinct yet complementary views of Tokyo: one full of possibility, the other tinged with longing. Through their contrasting tones and visual styles, they capture how the same city can feel radically different depending on who is looking and when. It is this quiet attention to emotional texture that makes Studio Ghibli's vision of urban life so resonant and so deeply human. Priya Singh is a researcher at the Indian Institute for Human Settlements, Bengaluru, working on higher education access, qualitative research ethics and cultural representation through both fieldwork and film. Make a contribution to Independent Journalism Related News Banu Mushtaq's Importance Goes Much Beyond the Booker The Politics of 'Heart Lamp' Is Profound, Urgent and Reflects the Lived Reality of Millions Why Banu Mushtaq and Deepa Bhasthi's International Booker Is a Seminal Moment Humour, Scepticism and the Realities of the Familial in Banu Mushtaq's 'Heart Lamp' Ngũgĩ wa Thiong'o: The Kenyan Icon Who Wrote For Freedom Till the Very End Most Indians Can't Even Afford Entry-Level Cars. 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