India's film censorship machinery and its agenda has been criticised for being caught in a colonial past. But in reality, the censorship regime in India presents a problematic engagement between the colonial past and the post-colonial present that supersedes any 'Victorian' legacy. The need is to examine how far the 'present' departs from the 'past' and to what extent the 'past' still resides in the 'present'. While modes of content control characteristic of colonial times still exist, these too are constantly being manipulated in response to emerging modes of address - seeming to create a facade of change.
