Mohammad Alamullah’s book is a vital intellectual document that bears witness to the changing media landscape, its social consequences, and, in particular, the helplessness of Muslims in the current environment
Khan Hasnain Aqib
A FEW days ago, I received a package from my dear friend Mohammad Alamullah. The packaging was aesthetically pleasing and remarkably sturdy, requiring some effort to open. It contained Alamullah’s book, From Paper to Screen; the cover instantly drew attention as the book emerged from its protective casing. Its elegant and attractive design stood as clear evidence of Manshoorat’s commitment to quality publishing.
Mohammad Alamullah hails from Jharkhand but his intellectual and ideological formation took place largely within Delhi’s academic and journalistic environment. His early education in a madrasa, higher studies in Mass Communication and Urdu from Jamia Millia Islamia, followed by an academic journey to the United Kingdom, have together shaped a rare synthesis in his writing; one where religious consciousness, contemporary awareness and journalistic skill seamlessly converge.
In the present age, Facebook is no longer merely a social networking platform; it has evolved into a multidimensional literary and intellectual space where pen, thought and ideology engage directly with readers. While its negative and disruptive aspects are evident to discerning minds, one of its notable contributions is that it has given new visibility to credible voices in literature and journalism and connected readers with writers who were once difficult to access.
Among such writers is Mohammad Alamullah; a serious, balanced and intellectually alert voice. I say this because most of his writings came to my attention through Facebook where his presence is measured and purposeful. He is not merely a columnist; he is a researcher keenly observant of contemporary media behaviour and a writer with a sensitive understanding of society’s pulse. From Paper to Screen is the outcome of this very intellectual observation and journalistic experience; written at a time when the paper appears to be drenched in blood.
Journalism is not simply the act of conveying news to readers or viewers; it serves as the voice of society’s collective emotions in moments of both tragedy and joy. Journalism does not wander aimlessly with the leash of power around its neck; it questions authority and holds it accountable. It acts as a bridge between the suffering of the oppressed and the interrogation of the oppressor.
However, in the modern era, especially after the rise of digital media, this ethical standing of journalism has faced a severe crisis. From this crisis emerged the term “Godi Media,” first used by prominent journalist and Magsaysay Award winner Ravish Kumar. In such circumstances, truth is no longer the primary criterion of news; instead, it has become a commodity judged by its market value.
Mohammad Alamullah has not only sensed this crisis but has remained at the very centre of this field, fulfilling his role with intellectual honesty and offering rigorous analyses of unfolding events. Throughout the book, one repeatedly encounters the realisation that contemporary media is more engaged in the “manufacturing of reality” than in the transmission of facts. Facts are no longer reported; they are produced in media factories. Once, Hitler’s propaganda minister Goebbels was infamous for such practices, but today nearly 95 percent of media personnel appear to be serving as propaganda agents for one authority or another.
In this context, From Paper to Screen narrates a continuous history of journalism’s journey; from being written on paper to reaching the mobile screen through technology. Today, journalism has become such a powerful weapon that it can shape public opinion at will. Its blade has grown so sharp that innocent people on both sides are caught in its strike, often deliberately so.
Although From Paper to Screen is formally a collection of essays, in essence it is a vital intellectual document that bears witness to the changing media landscape, its social consequences, and, in particular, the helplessness of Muslims in the current environment.
The book is divided into four broad sections: Media and Muslims, New Media and the Changing Landscape, Urdu Journalism: Decline, Causes, and Possibilities, and Media and Society. Each section contains several subtopics explored in depth. A defining feature of Alamullah’s writing is that he appears both serious and sorrowful, sorrowful because he writes with a sense of collective responsibility toward the community.
Only recently, an individual named Athar was brutally lynched in Bihar. One need only examine how this incident was reported across television channels, mobile screens and newspapers. The media, intoxicated with its own power, remains relentlessly active in steering society toward polarisation and destruction. Alamullah is a young writer gripped by this very anxiety, one whose intellectual restlessness finds solace in the act of writing.
In this book, he also subjects Urdu journalism to serious scrutiny, initiating what is less a dialogue and more a self-revelation. This is particularly evident in the third chapter where readers are compelled to reflect on the current state of Urdu journalism. It seems perpetually occupied with lamenting the absence of readers and buyers. Alamullah’s critique serves as a mirror for Urdu journalism and journalists alike, a mirror that recalls the poet’s words:
“People are busy cleaning mirrors,
While dust has settled on their own faces.”
Commonly, the decline of Urdu journalism is blamed on readers but Alamullah challenges this convenient narrative. He exposes the deeper truth placing much of the responsibility on editorial negligence, complacency, linguistic carelessness, intellectual stagnation, and professional unseriousness. Yet he does not remain merely a mourner; he also searches the desert for fireflies of possibility. This chapter guides the reader from despair toward hope.
When Afghanistan’s foreign minister recently visited Darul Uloom Deoband, the manner in which the media was briefed became evident to all. Alamullah discusses the relationship between madrasas and media with great clarity and reason. Perhaps the most hopeful chapter of the book is the one titled Media Opportunities for Madrasa Graduates where the author presents a compelling and eye-opening argument.
Traditionally, religious seminaries have tended to dismiss contemporary media as a source of corruption and chaos. But can filth be cleaned without entering it? Certainly not. This, then, is the most appropriate time for madrasas to play their rightful role and fill the vast vacant space for truth in the media. Only truth can occupy the space left empty by falsehood. This essay directly challenges the notion that religious teaching and preaching should remain confined to pulpits and prayer niches.
Although the book comprises essays written at different times, the continuity of contemporary events and the relevance of topics prevent any fragmentation in its overall impact. Each subject feels timely and necessary, as though it demanded attention precisely now.
Scholars should read From Paper to Screen as a reference document. Serious and high-quality writings on journalism are rare and this book fills an important gap. Congratulations to Manshoorat for publishing such a fine work and best wishes to Mohammad Alamullah; along with prayers that he continues his journey of growth with unwavering courage.
