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Today the research area on technology acceptance is mainly dependent on the theory of technology acceptance model (TAM). The TAM was used in this study primarily for the purpose of providing a basis for determining the impact of various external variables on the adoption of edtech platforms. The TAM is a theory of information systems that suggests steps for learners to take as they adopt and use new technologies. The primary TAM variables for adoption of edtech platforms are evaluated in this study: perceived usefulness (PU) and perceived ease of use (PEOU) by using the factors – perceived enjoyment (PE), information quality, electronic-word of mouth (e-WOM), perceived compatibility, computer self-efficacy and objective usability. By analyzing and defining the relationship between the external variables with respect to the adoption of edtech platform among students, we hope to contextualize the TAM model. The end result provides a clearer understanding of TAM and its growth as a useful model for technology adoption studies and for clarifying the relationship between the uptake of edtech platforms and technological acceptability. The study employed a qualitative methodology and selected publications and research papers about the adoption of technology. These were then carefully assessed, analyzed and scrutinized for the terms of how students adopted edtech platforms. It was proposed that the adoption of an edtech platform may result from proper training in technology usage and its application to real-world scenarios.

The chapter explores how gender has been an integral part of the nation building project in post-liberalisation Hindi cinema, popularly, known as Bollywood.

This chapter is based on primary data gathered through interviews with prominent members of the Hindi film industry along with a detailed content analysis of commercially successful post-liberalisation mainstream Hindi films.

It highlights how the representation of gender has been a central axis around which the tension between tradition and modernity has been played out in Hindi Cinema. The construction of Indianness post-liberalisation has questioned gender politics but proposed easy resolutions which fit into the larger nationalist narrative. In doing so, it has used the diaspora as a category to produce a nationalist account which is simultaneously essentialised and transnational in the quest for projecting India’s aspirations on the global platform.

The chapter provides important insights into the role of popular Hindi cinema, often brushed off as frivolous, in contributing to the mainstream discourse on nationalism post-liberalisation.