Chanting 'Bharat mata ki jai' is my right: Javed Akhtar in impassioned retirement speech in Rajya Sabha

May 10: Azaan is an integral part of the faith, not the gadget, says veteran writer-lyricist Javed Akhtar, asking that the Islamic call to prayer on loudspeakers should be stopped as it causes "discomfort" to others.

In a tweet on Saturday, Akhtar wondered why the practice was 'halaal' (allowed) when it was, for nearly half a century in the country, considered 'haraam' or forbidden.

"In India for almost 50 years Azaan on the loud speak was Haraam. Then it became Halaal and so halaal that there is no end to it, but there should be an end to it. Azaan is fine but loud speaker does cause of discomfort for others. I hope that atleast this time they will do it themselves (sic)," Akhtar tweeted.

When a user asked his opinion on loudspeakers being used in temples, the 75-year-old writer said everyday use of speakers is a cause of concern.

"Whether it's a temple or a mosque, if you're using loudspeakers during a festival, it's fine. But it shouldn't be used everyday in either temples or mosques.

"For more than thousand years Azaan was given without the loud speaker. Azaan is the integral part of your faith, not this gadget," he replied.

Earlier in March, Akhtar had supported the demand to shut mosques amid the coronavirus outbreak in the country, saying even Kaaba and Medina have been closed due to the pandemic.

He had also appealed to the Muslim community to offer prayers from home in the holy month of Ramzan, which began on April 24.

"I request all the Muslim brothers that now that Ramzan is coming, please say your prayers but make sure that this doesn't cause problems to anyone else. The prayers that you do in the mosque, you can do that at home. According to you, the house, the ground, this all has been made by Him. Then you can do your prayers anywhere," he had said.

Los Angeles, Mar 6: Filmmaker-writer Taika Waititi is set to direct two animated series based on Roald Dahl's "Charlie and the Chocolate Factory" for Netflix.

Waititi, who won an Academy Award in February for his adapted screenplay, "Jojo Rabbit", will also serve as the writer and producer on the animated series.

According to Deadline, the first series will be based on the world of "Charlie and the Chocolate Factory", while the second will be an original take on the Oompa-Loompa characters from the book.

The Oompa-Loompas are little humans who were preyed upon in Loompaland before Wonka invited them to work at his chocolate factory. They are paid in cocoa beans and love practical jokes and singing songs.

Netflix said the animation series would "retain the quintessential spirit and tone of the original story while building out the world and characters far beyond the pages of the Dahl book for the very first time."

The series will follow in the footsteps of Gene Wilder's 1971 portrayal of Willy Wonka and Johnny Depp's 2005 interpretation.

London, Feb 12: Oscar-winning British director Steve McQueen is returning to his art roots with a series of short films at London's Tate Modern art gallery, offering a sensory exploration of black identity.

McQueen, who became the first black director to win the best picture Academy Award in 2014 for "12 Years a Slave", is now based between London and Amsterdam and is focused on championing diversity in the film industry.

Visitors to his new exhibition will be greeted by "Static", a film of New York's Statue of Liberty, scrutinising the iconic symbol from every possible angle at very close range against a deafening backdrop of the helicopter from where the footage was filmed.

"What interests Steve is our view of the world, how humans are trying to represent Liberty," said Fiontan Moran, assistant curator of the exhibition.

"7th Nov, 2001" features a still shot of a body while McQueen's cousin Marcus tells of how he accidentally killed his brother, a particularly traumatic experience for the artist.

"Western Deep" is another visceral work, giving a sense through sights and sounds in an interactive installation of the experiences of miners in South Africa, following them to the bottom of the mine.

"Ashes", meanwhile, is a tribute to a young fisherman from Grenada, the island where McQueen's family originated.

The images of beauty and sweetness filmed from his boat are tragically reversed on the other side of the projection screen, which shows a grave commissioned by McQueen for the eponymous young fisherman, who was killed by drug traffickers.

African-American singer, actor and civil rights activist Paul Robeson (1898-1976) is honoured in "End Credits".

The film shows censored FBI documents detailing the agency's surveillance of Robeson, read by a voice-over artist, for five hours.

"He is... testing the limits of how people can be documented in an era of mass surveillance," said Moran.

In a similarly militant vein, the exhibition features the sculpture "Weight", which was first shown in the prison cell where the writer and playwright Oscar Wilde was imprisoned.

It depicts a golden mosquito net draped over a metal prison bed frame, addressing the theme of confinement and the power of the imagination to break free.

The show runs alongside an exhibition of McQueen's giant portraits of London school classes, many of which appeared on the streets of London last year.

"I remember my first school trip to Tate when I was an impressionable eight-year-old, which was really the moment I gained an understanding that anything is possible," said McQueen, adding it was "where in some ways my journey as an artist first began".

He recently told the Financial Times newspaper the difference between his art films and his feature films was that the former were poetry, the latter like a novel.

"Poetry is condensed, precise, fragmented," he said. "The novel is the yarn".

The exhibition opens on February 13 and runs until May 11.