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Large dams have played a key role in the economic development of a country. They serve a variety of purposes, including electricity generation, flood control and irrigation. Nevertheless, development-induced forced migration of human population for the construction of Tehri Dam in Old Tehri of Garhwal–Himalayan region of Uttarakhand has invited lot of controversy in the recent past. A new city has been designed and presented by the government as a solution for the new settlement of migrated people. A large dam has enormous consequences for people's lives and livelihoods. Tehri Dam transforms landscapes of the region greatly, creates risks of irreversible impacts including controversial issues such as displacement and resettlement and also alters the natural functioning of the entire ecosystem. As a consequence of ecological disruption, a large number of human populations lost their migratory routes and considered as ecological refugees in their new habitat. The present study aims to understand how the forced migration has changed people's daily lives in social, cultural, religious and economic aspects. People's perceptions were discerned through participatory discussions. The field work has been carried out through direct communion with the villagers to explore how the government has reacted to the voices of the resettled citizens and how the development process has affected traditional livelihoods of the rural communities.

On 20 March 2020, the four adult convicts of the 2012 Delhi rape case were executed after a long debate regarding the punishment for their crime. The Delhi rape case, unlike others, was also given to the fast track court because of the worldwide outrage India received in its aftermath. Otherwise, most rape survivors rarely speak out and if they do, their lives are often endangered and threatened, depending on the severity of the case itself and the perpetrator's rank in the society. Through the analysis of Aniruddha Roy Chowdhury's, 2016 film Pink, and Ajay Bahl's film Section 375 (2019), this chapter explores the different ways in which mainstream Hindi cinema deals with such questions, especially in its depictions of courts. Both these films foreground India's contemporary cultural systems of fear that silence the rape survivors. They also imply that in the court cases, unless the specific court case faces intense global publicity, as was the case of the Delhi gang rape, rape survivors will never want to speak out. Moreover, the rape survivors will also hesitate to file a First Information Report (FIR) – a document that records crimes by the police against their perpetrators – limiting any possibility for justice for them. The laws surrounding rape cases are obscure and complex and finding justice for a rape victim (unless it is on a global level) is not an easy venture in India. At the time of the #metoo movement, the rape laws in India are not designed in such a way to arguably encourage victim-survivors to speak up. Instead, if rape survivors do decide to confront their perpetrators, they not only face ostracisation from society but also the danger of losing loved ones and endanger their lives as well.