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Home , Amole Gupte, Aniruddha Roy Chowdhury, Aparna Sen, Bharathiraja, Feroz Abbas Khan, Feroz Khan (actor)

Communicator Volume LII, Number 2, April–June 2017

Contents

1. The Odyssey of Portrayal: Woman in Indian Cinema 03 Akanksha Shukla

2. Visual Framing in Indian Print Media: 25 A Preliminary Investigation Sunil Kumar

3. Communicating Social Change through Cinema: 43 A Case Study Swikrita Dowerah

4. Cartooning in Journalism: Mapping the Origin 63 and Growth of Cartooning in Mrinal Chatterjee

5. Reflective Image of Honour Killings in Cinema: 75 Anthropological Inferences from Arunkumar A.S. & Jesurathnam Devarapalli

Vol. LII (2), April–June, 2017 Communicator

03

1 Associate Professor, Centre for Post Graduate Studies, National Institute of Rural Development and Panchayati Raj (NIRD&PR), Rajendranagar, – 500 030, India. Email: [email protected] Abstract

This study is an effort to understand the various stereotypical and novel images portrayed by women in Indian Cinema. All vehicles of media play a significant role in the life of an individual but the socio-cultural force that cinema holds is the strongest. Various media theories have been formulated which promulgate the idea that what is reflected in media, particularly cinema is a mirror image of the society. This study traces imagery as portrayed in Indian Cinema and points out works where the mould has been broken to go beyond the skin deep beauty and explore the inner self. The conclusion highlights the tangential relations between media, state and religion and its cascading effects on portrayal in cinema.

Keywords Indian cinema, Portrayal of woman, , Commercial cinema, Feminism Communicator 5 Vol. LII (2), April–June, 2017 . 1 (, 1997), (old) (,1982), the Indianthe Bhatt,1982), (Mahesh (old) Mrityudand Arth (2005) (Not withstanding that the director Page 3 ( Gopal Verma, 2007) with , with shades 2007) with Verma, ( (Jhamu Sughand, 2000),

he issues of media, identity and gender are a constant source of a constant source and gender are of media, identity he issues media as well as the thinkers amongst academicians, discourse of media to the discipline have become integral These issues industry. From the victimhood of women as reflected in the yester years daughter- years yester the in reflected as women of victimhood the From In this study, an attempt has been made to examine the changingthe examine to made been has attempt an study, this In

Astitva Nishabd himself was accused of casting couch aspersions). body signify one’s lordship of the woman, in essence actually eliminating lordship of the body signify one’s the thinking, soulful imagery of the woman as reflected in a few works like ’s ( Santoshi, 1993) and 1993) Santoshi, (Rajkumar cinema is replete with a typical formula treatment where the cinematic of theThe carnal taming aperture views women as a body to be possessed. with a kiss in the 1990s, and yet the up to date Jiah imagery as portrayed as imagery Khan Jiah date to up the yet and 1990s, the in kiss a with in of in-law under the invincible Lalita Pawar as the evil conniving mother-in law, law, as the evil conniving mother-in in-law under the invincible Lalita Pawar the 1970s to the silly girl being punishedto the arc glass belly shaking divas of cinema and regional language cinema. The explorations in this study areThe explorations cinema and regional language cinema. cinema better known as ‘Bollywood’ limited to mainstream/popular portrayal of women in Hindi cinema. While cinema in India mainstream cinema which holdsdiverse strand of expression incorporating is in itself a that engages with social issues, middlepopular appeal, art/ (Hamburger, 2003; Lamche, 1985). 2003; (Hamburger, Several international forums have recognised the ramifications in the access to media, their role transformed media environment on women’s of such a of their perspective in media coveragemedia structure and the presentation scrutinises and covers any issue – gender being an important one. Women are Women one. any issue – gender being an important scrutinises and covers they are represented in of mass media and thus the way also major consumers for the discipline (Byerly & Ross, 2008).media coverage is a major concern motives own media houses. It has been able to transcend borders and look at houses. It has been able to transcend motives own media perspective. rather than in the context of nationalistic issues more holistically Hence, these developments are bound to affect themanner in which media structure and the system have also undergone a sea change with privatisationwith change sea a undergone also have system the and structure and globalisation. Huge corporations from overseas with their own profit has its influence on constructing ideas and generating debate (Schnell, 2001). (Schnell, debate generating and ideas constructing on influence its has as there is a surplus India has expanded in the recent times The media scene in The 1999). & Butcher, to the audiences (Brosius of media choices available T of full and is popular Media domain. this in research with regular studies consequentially content media All consumption. mass of source a as diversity Communicator 6 Vol. LII (2), April–June, 2017 a bit critically in their role in celluloid and it was reflected in the movies movies the in reflected was like it and celluloid in role their in critically bit a look buttheimageryremained thesame.In80’s thewomenweretaken movie the in kiss dressing onscreen the Zeenat’s altogether. changed style Aman Zeenat and Munim Teena , of entry a swimsuit. film his for scene in themovie Parekh and . became the first woman to wear a bikini vamp andasubtleapprovalofthemodernising the heroineslike Asha sequences ofthevampsalthoughmaintainingasacrosanct distancefromthe pre-martial sexonscreen. Arunairani scene during the 70’s witnessed that the vamps of that era like Bindu, , to haveabeliefofvisualisingtaleheroandheroineincinema. The part ofataleinrelationtomaintainthesexualangle. Audience wereassumed in by was most the by ‘saree’. played a as in role clad stereotypical always The women weredepictedtobesubservientandintrovert,dependentfragile 1952), butthebasisandthoughtofportrayalremainedsame. The ideal played a more exigentandsubstantialrole in are easily available (Campbell, 2006). Though in the later years Nargis Dutt were scorneduponasprostitutesbythesocietyortaggedwomenwho In thebeginning,womenwhochoosemostunconventionalprofession The odesseybegins Gandhy, 1980). 2011;Choi, 2008; Shirvani, & (Poudeh analysis for & shades Benegal many of thiscountry. The representationofwomeninpopularcinemawitnesses ways, cinemaseemstoshapethecultural,socialandpoliticalvaluesofpeople on thismediumtohelpthemescapeaworldoffantasy. Inveryexplicit other. FilmsarebelievedtobetheopiumofIndianmassesaspeoplerely people andenjoymassappeal.Popularcinemaculturederivefromeach he dilne Anand,1973) andalsoher ever popularsongwithguitarinhand Umrao Jaan Suddenly from the jeans and ‘salwar kameez’ clad heroin, the the heroin, clad kameez’ ‘salwar and jeans the from Suddenly People drewpleasureinseeingtheactofsexorsonganddance As timepassedawaywhenthewomenincelluloidwereusuallyjusta The cinema of Bollywood is seen to exercise widespread influence over (, 1973) in 1973) Hussain, (Nasir

were the first heroines to engage into smoking, drinking and enjoy An EveninginParis (Muzaffar , 1981) and Prawtidandi . ( ( Samanta Yaado KiBaraat Paakizah , MotherIndia ( 1970) in which a woman wears 1970) inwhichawomanwears , 1967). SatyajitRay ( Amrohi, 1972). was the entry of a new wastheentryofanew Heera Panna , Khan, Mehboob Chura Liya Chura Liya

shot a shot a ( (Dev in 1986 in 1986

Communicator 7 such performances such performances that happened to enlighten women to take an upgraded position in the society reflected by cinema. Vol. LII (2), April–June, 2017 the inception With of shooting and horse riding in movies like the story of a woman was seen challenging the power of a man. This period witnessed many

No ), Pati), Bandit Astitva Janbaaz Chandani (, 2012) (Avtar Bhogal, 1988) (Avtar (A. Bhimsingh, 1968), (J.K. Bihari,1988 ), ), Gauri (Madhur Bhandarkar, 2005), (Madhur Bhandarkar, Zakhmi Aurat , 2001), Biwi ho to Aisi to ho Biwi Page 3 Lajja ( century, the role of women became more elastic and role of women became more elastic the century, (V. Shantaram,1950 (V. st (Raj Kumar Gupta, 2011 Dahej (Shekhar Kapoor, 1996). She was not a homely woman, whose only V. Madhusudan Rao,1970), Madhusudan V. Films like Cinema has also been reflected from a different perspective and that is With the inception of shooting and horse riding in movies like the inception of shooting and With , (Madhur Bhandarkar, 2001), , (Madhur Bhandarkar, Devi ( Devi held in a high esteem. The ideas of loyalty and compliance to the husband, held in a high esteem. 2012). Hindi cinema considerably institutionalised patriarchal values (Tere, religion and mythology. Women have essayed roles of various goddesses and have Women religion and mythology. beingthen they were treated as a supreme human who has no faults and is films which makesdivergence a between the Heroines wife and the other woman. and the vamp, the Indian society. Women in Bollywood have been uni-dimensional characters Women Indian society. There were sometimes white and black. who are sometimes good or worst or popularin was reinforced dichotomy This with. experiment to shades no Work, life and women Work, making in Hindi cinema, still the roleThere exists a cadaver of feminist film values upheld by theless conform to the that women play has been more or still the women has the power of accepting all the odds and made the way tostill the women has the power of accepting on the silver screen. be ‘Heroines’ are responsible for this upliftment. Not only bollywood, but every regionalare responsible for this upliftment. the status and role of women in theindustry has taken the step to emancipate started way back and has faced various turbulence,The journey silver screen. Bar One Killed Jessica cinema. Later in the 21 cinema. Later in the world cinemas. Movies such as has been taken into the platform of 2000), (Mahesh Manjrekar, (,1986), the story of a woman was seen challenging the power to many such performances that happened This period witnessed of a man. enlighten women to take an upgraded position in the society reflected by could win battles. shebut husband, the with pleasures exchange and family her serve to is duty was a fighter, a piece of courage, a symbol of power who when wronged The roles that showed her as a protagonist increased in frequency but theincreased in frequency as a protagonist that showed her The roles became more when woman the era of 90’s With did not change. stereotype the movie in act her through this proves Biswas substantial, The woman of the 1980s with titles like of the 1980s with The woman starring released in 1988 was the beginning of a new era. marriage. Although to carvetheirown gets thechanceto empowered, keen homely, satisfied after passingthe of afamilyeven path, butnever the boundaries heroines have to staywithin educated and institution of mostly been Bollywood open up.

Communicator 8 Vol. LII (2), April–June, 2017 for its audience and not make them think critically? Popular oratory culture culture oratory Popular critically? think them make not and audience its for to thesociety. Sowhycinemashouldbe engagedonlywithcreatingleisure Cinema. All thiswhile,therehasbeendiscussion aboutmedia’s responsibility not toofundamentaltoexpect somesocialawarenessfromthemediumcalled Where are these women in Hindi films? In an era of information overload, it is on the street, spend time working in office and return home after a tiring day. concern boils down to the personification of women who stay next door, walk nineties whichdemotedIndianwomentotheboundary ofthehome. The private firmin a doctorin Trishul in driver carriage) (horse Tonga village a as Malini Hema Mukherjee,1973); in knifesharpener asa Zanjeer Bachchan Jaya roles. working different in women (2003) Raza silenced. women building careers and working professionally? They have been almost achievement ofthemen. never getsthechancetoopenupanddosomethingwhichwillbelittle Although educatedandempowered,keentocarvetheirownpath,but the boundaries of a family even after passing the institution of marriage. demands loyaltytotraditionalvaluesofmarriageandmotherhood. for satisfyingthehusband’s egoterminatingtoaconservativeendthat depreciates fromthenonwhenthewifegivesupherthrivingmusicalcareer film the However, stereotype. the of boldness a is itself in This Bachchan). the wife(JayaBachchan)beingmoretalentedthanhusband(Amitabh example human’ becausetheyareshownas notbelongingtotherealworldlife.For ‘other the as portrayed really are They scene. the from missing completely no wrong. Their grievances,desires,ambitions,feelings,perspectivesare human beingsareelevatedtoahigherpositionofbeingidealwhocancommit normal as depicted being than rather women Thus, placed. are films these morals, ethics,principles,beliefshavedominatedtheframeworkinwhich women characters in Hindi films? This is something to debate about because the are real How families. own their for martyrs and figures perfect as wives Parmeshwar The working woman vanished from the popular blockbusters of the The workingwomanvanishedfromthepopularblockbusters ofthe the are Where films? Hindi in characters women the are real How within stay to satisfied homely, been mostly have heroines Bollywood (, 1978); (YashChopra, (Prakash Mehra,1973) Abhimaan (, 1975 Kala Pathar (Manu Desai,1958) Chhoti SiBaat (,1973) begins with premise of of premise with begins Mukherjee,1973) (Hrishikesh

talks about how Hindi cinema in the seventies had had seventies the in cinema Hindi how about talks (Yash Chopra, 1979); (YashChopra,

(,1975 Rakhee ascorporatesecretaryin )

and the general manager of a company in and thegeneralmanagerofacompanyin and a singer in

depicted woman as passive submissive depicted womanaspassivesubmissive

Vidya Sinha whoworksina Abhimaan ( Abhimaan ). Trishul Hrishikesh Hrishikesh and and Communicator 9 Vol. LII (2), April–June, 2017 (Noyce, 2010). There she was (Noyce, 2010). Salt (Karan Malhotra, 2012) does not have any Agneepath There is a minor diversion in American Cinema. Although the heroinesAlthough American Cinema. There is a minor diversion in In the action genre popularised by the effect of , Sunny A female A character in mainstream Hindi cinema is always used for the times, they take the liberty in leading Jolie in a romantic, sensuous mood in the film. An example is Angelina in their industry get the position of being a prominent part of the film, at track as a diversion for the audience from droning spell of violence. It istrack as a diversion for the audience from droning spell of violence. willunusual for our industry to witness a woman in a supreme role, which lead the story forward. Deol and Sunil Shetty; the heroines are abruptly positioned in the romantic to the long legs and the sharp curves in belly with Shilpa Shetty and Depikato the long legs and the sharp curves to create a sensuous ambience thoroughlyPadukone – every recopies – bound enjoyed by the men. role has shifted only slightly with time, whereas there was high emphasis there whereas time, slightly with only shifted role has on a pelvic in the 1950s with Asha Parekh, Kumari it and turned to a attention transferred then and Madhuri and Devi Sri with figure volumptuous sexual appeal it creates. A fine figure, with explosive get up, the imagery if The desires that it is suppose to allure. seldom is removed from the sexual a love angle for the hero, otherwise the commercial aspect of the film may get weaken a bit. fascination, respite and entertainment. For example, the character of Priyankafascination, respite and entertainment. Chopra in the movie up add to just script the into pushed was it story, the to resemblance effective role is charted out in the context of any male character which is central to in the context of any male character role is charted out the boss, an elderly male the father, the script. It may be the hero, the villain, figure etc. This kind of circumstances limits the role of women in providing is always a secondary character to the hero. The role of women becomes aThe role of women becomes character to the hero. is always a secondary The situation is more central position belongs to the hero. side part while the or less a centralised The one. heroine is devoid of any independent role. Her It is a past story that the narratives of Hindi cinema are always male dominated. male always are cinema Hindi of narratives the that story past a is It heroine The men. the of perspective the from created been have themes The empowerment. Cinema is an art which has no obligation in gender biasness. is an art which has no obligation empowerment. Cinema contours The focus on body international market in many South Asian and Western international countries market (Kripalani,in Asian many and Western South for a portrayal like this calls framework in a larger operating Thereby, 2005). womenof cause the to just also but accurate only not is which women of needs to be challenged and cinema can do it effectivelyif it exhibits some sensitivity to gender issues. This is because Hindi films now enjoy a huge Communicator 10 Vol. LII (2), April–June, 2017 . They arenotjustanobjectofone’s personalpossession. The and bringshimbackfromthe vamp. woman. The title of the film depicts that the bad wife wins her a husband at the as end film the through all demonised is and same the for blamed is new apart from her,drifts then it is the other womanessayed by Sushmita who is an ultra husband the When Khan. Salman by played husband her with is shown to sacrifice her successful career to experience domesticated ecstasy Biwi No.1 artificial. and different it make comedy reel romantic the hit blockbuster The it issaidtodepictrealityasamirrorofthesociety but suchdepictionson people generallyfaceintheirreallife. grey. Women aredepictedaseithergood orbadandnotasperthesituation refuses to take the middle path and treat women characters with shades of of thefemalecharactersisclearlydichotomous.StrangelyBollywood agitated and may have a complete negative shades imbibed. This depiction errant, reckless,courageous,hostile,andmostofthetimesambitious reference withnocoverageorrelevanceofherworklife. doctor in contrast. EvenwhensheisshownasacareergirllikeSonaliBendre or maybeideal,ontheotherhanddepictionofavampcomesassharp kinds ofroles. The womeniscompliant,domestic,honourable,noble,kind that theaudiencehasalmostbeentamedintoacceptingwomenincertain taste forher. bitter a leaves it end the in girl; career successful a as highlighted although treacherous wovenplotilluminatestheextrememadnessofleadbutagain woman revolvesonlyaroundherlovefortheman.Incaseof does notleavetheprotagonistatanypointofstory. The storyaboutthe and demonstrationofthefemalebody. The aspectoflordship andownership culture butsomehowtheunderlyingstatementhasbeencarnalpossession and media in freedom of aspect the or flicks above the both in script the of Joffe,2014) (Rowan in 2014released The plotiswomancentricandattimesshethecynosureofentirescript 1990) to her visionandactions.JuliaRobertsfrom on based was story entire the and courage and strength of lady a fighter, a Whereas on the one hand the reel is said to sell dreams, on the other hand, Whereas ontheonehandreelissaidtoselldreams, ontheotherhand, Conclusively, thishighlightsthevictoryoftraditionalism over Ontheotherhand,Bollywood Stepmom Hum SaathHai by (1999) Gone Girl (Chris Columbus, 1998) steals the lead of a protagonist. (ChrisColumbus,1998)stealstheleadofaprotagonist. but unfortunately even then whether it is the demand but unfortunatelyeventhenwhetheritisthedemand (DavidFincher, 2014)and (Suraj Barjatya,1999),

has the wife played by Krishma Kapoor

has dished out such female characters has dishedoutsuchfemalecharacters Pretty Woman

Before IgotoSleep it remains as a mere it remainsasamere

(Garry Marshall, (Garry Marshall, If the woman is Ifthewomanis Gone Girl the the Communicator

11 Vol. LII (2), April–June, 2017

No Paa (Sujoy Kahaani R. Balki, 2007), and in which we findthat

) Cheeni Kum ( (Abhishek Chaubey, 2010), (Abhishek Chaubey, (, 2011 ), (, 2011) Ra-one Raj Kumar Gupta, 2011), Dirty Picture Dirty Picture ( Mishra, 2004 Heroines still represent commodification and are the eye candy for In the recent year vulnerable. Despite this the director subtly introduces romance between thebetween romance introduces subtly director the this Despite vulnerable. audience are enthralled by entry of the woman other than a whore as one mayaudience are enthralled by entry of the woman other than a whore as one Sujoy Ghosh has introduced the top it the director, To assume in such areas. where she looks all the more protagonist as a female in her late pregnancy, lead by the Bollywood industry until now. The female lead pervades all theThe lead by the Bollywood industry until now. Whether it is her visits spaces that are traditional holds for male counterparts. theto the local Police Station or her staying in a cheap hotel where until now Ghosh, 2012), comes as a complete overhaul of the imagery given to femaleGhosh, 2012), comes as a complete Chameli (R. Balki, 2009), monotony of stereotype has been shattered by them and they dare to exploremonotony of stereotype has been shattered and expand subject concentrating on women. like one killed Jessica ( In Indian Cinema, there are few directors who have stifledThe depicting a strong protagonist. features and cast women in roles the untouched the game plan remains to make everyone happy with the status-quo. the game plan remains to make everyone diva The thought provoking of the motion picture. The interesting aspect is that any producer who risks of the motion picture. stereotypical a in heroine the casts type flick, commercial a making in money So row. front the of man common the irks it least profits the risking Not role. entertainment (Ahmed, 2013). Commodification as means to a dictionaryturn into or treat Here as the commodity. reference holds meaning the same commodity to add to commercial valueintent of using the female body as associate intellect diversity in the role of women.associate intellect the arms of the men? If not, then why are the reels depicting giveto scope a is there if audience the by out lashed be might story their feel it? Directors seems a big risk to to the women or the heroine. It still a centralise power the hero Are is women carrying still the heroine confinedin within his arms. halls. Scenes after scenes the same stylisation the hero saves the heroine and scenes the same stylisation the hero halls. Scenes after that is the greatest achievement of the film especially ifclimax. it happens in the every time and is rescued by the hero. It is reliving of the Cinderella era reliving of the by the hero. It is and is rescued every time the case as vice Take heroine. armour saves the prince in silver where the cinema the in session selling ticket zero a witness to bound is there and versa hero as the saviour and the heroine as the victim is also a routine script in the is also a routine heroine as the victim saviour and the hero as the mainstream Hindi cinema. The heroine is reflected as weak and in dismay Communicator 12 Vol. LII (2), April–June, 2017 and popular mainstream cinemas and how does it gets reinforced through this and popularmainstreamcinemas andhowdoesitgetsreinforcedthroughthis down theconditionsforideal womanhoodinastereotypicalway. laid films of kind such of Most film. the of text main the from absent were identities their still films, above the in characters important essaying were Johar of Indiansociety. DirectorslikeSoorajBarjatya made ablockbusterhit,butyetagaintheyhighlightedthepatriarchalvalues films The Bollywood. in dramas family various of emergence the witnessed curbed withinthetraditionalandpatriarchalframework”. The periodof90’s that thescenelooksgoodandhasasortofanattraction. They areverymuch cinema theroleofwomenisverymuchlikeadecorativeitem.Itstaysso Bachchan in (,1994), Kuch Hota Hein by played characters the are examples Some desired. be to lot responsibilities, yetsomewheretheexperimentationwith theirrolesleavesa heroines baggedtheroleofbeingaleadinglady, theprotagonist,withmany staying intouchwiththeirroots.Inthegenreofchamber dramathoughthe residing outside,sothattheirnostalgiaforeverything Indianisfelt,asif with thoseNon-residentIndiancommunityrepresenting migratedpeople her identity. willingness haschangedtheangleofcamerafromwomen’s bodyto Shabana and effort their and roles such bagged also have Das Nandita Azmi, has ledthischangeofdirection.OtherslikeJayaBachchan,SmitaPatil, the recent contemporary era heroines like , ‘heroines’ who faced the challenge in depicting bold characters on screen. In was being disseminate earlier. The credit for this change also goes to those varietyof the at look new a take roles essayedbythewomenandintrospectintokindofstereotypewhich to the creators forced have films These Paromitar Akdin in herdebut 1997), like films his in role supreme the in woman placed beginning very the from who industry alsoindulgeitselfintoit.FilmmakerslikeLateRitupornoGhosh, as protagonist andtheleadmalesupportactorplayedbyParambrataChatterjee policeman. Chakravorty (2002) reveals the relationship between patriarchal values Chakravorty (2002)reveals therelationshipbetweenpatriarchalvalues To quote film scholar and writer Soma Chatterjee writer and scholar film quote To film Bengali the then uniformity, the breaking is Bollywood When ( Unishe April

were the driving force behind such genres. The films also had a connect Ashuk Kabhi KhushiGham 36 Chowrongee Lane, (Rituporno Ghosh,1999)and Aparna Senwhomadeaclassic (, 1998), in (,2000), ,1994), Dil

to PagaalHai (Aparna Sen,1981) Mr. andMrs.Iyer (Karan Johar,(Karan 2001). women While (Yash Chopra,1997)andJaya Dahaan( , and Karan Karan and Chopra Aditya Hum Apke Hein Kaun (Aparna Sen,2002)

(2010) and later films like like films later and Rituporno Ghosh, Rituporno Ghosh, , “in Hindi Hindi “in ,

in Kuch Kuch .

and and Nisha were said were said Communicator (Sooraj 13 sisters Pooja to be a scientist and a painter but on respectively, the contrary they were never seen in their work place. Vol. LII (2), April–June, 2017 In the film Hum Apke Hai kaun Barjatya,1994) in which two (, 2000) who likes to go around with ) (Karan Johar,1998) is a tale of and convoluted wedding rituals. 2 (Sooraj Barjatya,1994) in which two in which (Sooraj Barjatya,1994) , was a doctor by profession,, Sonali Bendre was (Sharukh Khan Rahul were said to be a scientist and a painter respectively, a painter respectively, to be a scientist and were said , vermillion sindoor, Hum Apke Hai kaun Apke Hai Hum Humaara Dil Aapke Pass Hai Humaara Dil Pooja (Kajol) was a happy go lucky unconventional girl who falls and and tries to turn into a stereotypical make-up wearing saree cladand tries to turn into a stereotypical Hum Saath Saath Hain Hum Saath Saath mangalsutra Nisha In the movie In war movies, the women have been kept waiting for years for theirIn war movies, the women have been In Rahul Rai is a rape victim. She finds sympathy and an attachment of something which will just rouse some sentiments and the Indians are thesomething which will just rouse some sentiments and the Indians are master of viewing such tragedies. love with her, but sometimes may not really carry it till the end of marriage. love with her, Heroines are also put to withcalmness suits them and there it happens that the director mingles her evoke sympathy from the hero. The softness, husbands to return. Every time their screen presence is supported by somehusbands to return. Every time their sad songs, or some of good times. Heroines are the character who It so happens that the hero will fall inalso evokes sympathy from the hero. the film still has a huge viewership whenever it comes on television.the film still has a huge viewership of patriarchy. A man can marry twice, but the woman has to stick with one. man A of patriarchy. the cry, they more The onscreen. suffer women the make to like audience The why that’s and watch onetime a really not is This impact. emotional the more friend for beautiful girl. Under the veils of opulence, this film again reveals the mode girls who wear short dresses and carry the attitude of being seductive, butgirls who wear short dresses and carry homely girl. Men have a dual choiceon the contrary he prefers to marry and intentionally want to enjoy both the personality of women. His best Karan Johar’s debut an enticing young chap, kind of a girl who dutifully obeys her in-laws and places herself under their dutifully obeys her in-laws and places kind of a girl who In shadow. such films the homely role of the women was reinforced by the use of attraction. traditional timid, a is she Instead doctor. a as role her filmed was scene no but is said to be a heroine is looked as a character that can cook, help in domestic is looked as a character that can is said to be a heroine appealing signs of romantic lines and can show certain works, can speak few domesticated. This was an indication of an era which witnessed educated andThis was an indication of an domesticated. concluding that they women as insensitive, thus economically independent can only achieve success in woman playing in A nurturing a roles. film who but on the contrary they were never seen in their work place. They mostlyThey place. their work in seen never were they contrary the but on and have a they are modern Even though house and the kitchen. occupy the are eventually their family and to the desires of still they submit broad outlook, medium. In the film the In medium. sisters Communicator 14 Vol. LII (2), April–June, 2017 critical andcommercialsuccess. When wearetalkingaboutrealisticcinema, An exampleisthemovie life. The realsituations thatawomanfacesareconceptualisedon screen. these (Thounaojam, 2014). Sometimes track. beaten the theatres the of out off come they after even think to are audience the provoke films they short, In few. a name to storyline, styleofnarration,directionorphotography, editing,commitment, different from the usual mainstream movies. They are different either in their the charactersinamuchwiderspectrum.Parallelcinema, bytheirnature,is really have that hurry to rise abruptly in the popularity meter, it tries to reflect making. film of style different a got has It times. the of climate doesn’t it As serious content,realismandnaturalism,withakeeneye onthesocio-political its for known cinema, Indian in movement specific a is cinema, commercial as Art Cinema or Parallel Cinema as an alternative to the mainstream India in known Wave,commonly New Indian the And cinema. Hollywood classical and Neo-realism Italian by influenced 1960s, and 1950s late the of cinema was a blanket term coined by critics for a group of French filmmakers mostly adoptedfromreallifesituation.ParallelcinemaorNew Wave in Realistic cinema or as we say parallel cinema Women inrealistic cinema The fightoftheskintoneisstillanongoingaffair. tone. skin the of dark her for face to actresses had she finest difficulty the the expressed has country of one Das, Nandita make-up. glamorous and figure curvaceous skin, fair by embodied beauty feminine of myth the break bad thatistobedemonised(Datta,2000).Still,thestoriesandscriptcannot of womencharactersonscreen–thegoodthatistoberomanticisedandthe context inwhichIndianculturereside. This idealallowsonlytwocategories intention toportraywomanasidealstemmingfromthesocialandcultural structures donotimpartanysortofagencytowomen. There isalwaysan power the in structures thatgovernsthevaluesandmoralsofIndiansociety. justification These power find depiction such that important is It heroine. as asignofshowingsympathytowardsthefemalelead. concerning him with spreading Aishwarya proposes a marriage. This can also be seen rumours the about hearing after Kapoor Anil when story, the to atrocious incidenttookplaceinherlife. There isindeedahappyending love in The roles of the heroines have been given a broader space and a new the towards appeal sympathetic a has always script the cinema Hindi In

Anil Kapoor, who accepts her as a woman of true spirit after the the after spirit true of woman a as her accepts who Kapoor, Anil Queen (, 2014); it has achieved both both achieved has it 2014); Bahl, (Vikas 3 is a genre where stories are is a genre where stories are Communicator

15 Vol. LII (2), April–June, 2017 politics (Source: Author). Fig 1: Model describing interrelationship of media with state-religion andFig 1: Model describing interrelationship three dimensional changes. There are three aspects of this study. three dimensional changes. the age old norms of ancestral inheritance relegating second grade and citizenship granted Hindu to women, may Marriage not go Act without still ‘Infotainment’. Society remains male dominated, and that is hard to change are adopted post marriage and propertyas long as surnames of the husbands dilutingare Legislations Court Although Supreme male line. in the moves one cannot hide or isolate himself from the all pervading impact that cinemaone cannot hide or isolate himself from mightCinema unconsciously. or consciously psyche individual’s an has on formedium a its accurate more be to but entertainment, an of form a be Conclusion that one may like or dislike cinema butIt can be said in the right perspective the acceptance of realistic cinema has gone up, then a hope prevails that thisrealistic cinema has gone up, then a the acceptance of They in celluloid. undermine the presence of heroines genre will not really their own identity. the best opportunity to emancipate will and should get has given women an independent space on screen. They could showcase their an independent space on screen. has given women As the shadow of men. and nothing gets hidden under talent, their emotions the periphery of independent directors and low budget movies, but still the directors and low budget the periphery of independent negativity that was which is breaking all the odds and cinema is been made once a huge obstacle in the realm of making films. This experimental genre different festivals. This industry also changed the perspective of making a film. The contemporary age cinema conceptualisesof an experimental filmmaking has style got due recognition. This genre has mostly beenwithin then regional films also gets a priorityhas been into shinning it. with films The which are recognised all over the world at Communicator 16 Vol. LII (2), April–June, 2017 Jha, 1997), the traditionalsubjugation intheendisanexample, female protagonistdwells. the majority(spiralofSilence) (Noelle,1993).Itisinthisdomainthatthe and thereligionbutalwaysbodyofscripthas thesilentapprovalof this aspectisalsotheonefromwherechallengesarise forboththestate social politics dominates, and inter-caste orinterreligioussensibilities dwell, long assheshadowsherhusband. the subjugationofimagewomanhood,respect forselfisnotlostas remains strongbecauseofthegoodmanneredmales aroundhersodespite ground fortheladytofollow, depictsherasadependententityplace deer asperthewishofSita. Therefore, religionalthoughplacesahigh moral woman isgivenprominence–inmarriageorwhenRamfollowsthegolden of valour can attack him. But here very much like Ramayana, the wish of the harassed incourt,orShikhandiwhoisaeunuchandthereforenomanworthy of ambitionisagainnotforselfbutason. Bharat andharbouredambitiontomakehimthecrownedking. The depiction tricked DushrathaintosendingRamasshewasledbytheloveofherson Kaikaye how states Ramayana epics the Traditionally,even lord. male her religion isendowedwithdignityandrespect,subjecttohersubjugation powerful feminineentity. Nevertheless,thewomanwithindominionof like facets are there the incarnationofDurga bythesynergy ofthemalegods,thatmayshowa Sita, of likes the by reflected as woman the of image subdued yet dignified stable a give scriptures in religious Whereas religion. relationships matrixfunctionwithintheambitofstatebutoutside on themesnotrelatedtoreligionorlawbutbasedmorehumaninter- within theframessetbybothentitiesbutpartofmediawhichdelves the other. the statedominioncontinuesthroughrealmofpoliticsthateachexertson laws as per the religion but it certainly can’t ignore it. This game of pacifying pressure onthestateforadesiredresponse. The statemayornotframe another powerfulagency, thereligionwhichonanumberofoccasionsexerts function. Butthereexistswithintheallowedpervasivenessofstate what lawsandtoalarge extenttheenvironmentinwhichwegrowupand covers theentiregamutofexistenceabeing.Itdecideshowandunder The part which is outside the purview of the religion is the area where The partwhichisoutsidethepurviewofreligion istheareawhere isrepletewithinstanceswhetheritDraupadiwho Media whichissubservienttothestateaswellreligionfunctions According to the abovemodel State asanoverpowering agency Paroma (Aparna Sen, 1984), Queen (Vikas Behl,2014)whodoesnot follow Arth (old) (Mahesh Bhatt,1982), (old) (Mahesh Bhatt,1982), Mrityudand (Prakash (Prakash Communicator

17 Vol. LII (2), April–June, 2017

, 4 stands Kahaani (Mahesh Manjrekar, 2000) are all such motion pictures. But thesemotion pictures. are all such 2000) Manjrekar, (Mahesh It is for the cinema makers to adapt and modify the age-old beaten mouldIt is for the cinema makers to adapt and Cinema has changed, it is changing more, but we wait for a day whenCinema has changed, it is changing India. Another ritual generally followed by wearing of a thread put around the neck of theAnother ritual generally followed by wearing of a thread put around the neck of India. Bollywood, based in . 2 Sindoor or vermillion applied first time during marriage rituals in certain communities in Notes 1 The commercial which makes exclusively Hindi language films is called bring cardinal reshaping of the society. With time the society will adopt these With bring cardinal reshaping of the society. new images as the real actors, the real character and the real inspiration. of a man and recast it into a humane individual contemporary in approach.of a man and recast it into a humane not only time to construct the images of Cinema constructs images, now it’s change the image of the man and therebythe women but simultaneously also individual. Roles of women as politicians, as CID agents, as professionals but cinemaRoles of women as politicians, as CID makeover of the change of the imagemakers have to attempt a conscious nurturing and even household helpingof the macho man into a sensitive, within the functional society, herein the role of state comes into prominence. within the functional society, Act Violence stringent laws for protection and armed with Domestic With accepting challenging roles of women.we as a society are moving towards withheld from degradation if regional cinema sensitive to women issues andwithheld from degradation if regional the mainstream pace. Cinema has toreplete with stories of her heroism gets space for Indian women not outside butcreate a separate and independent as white and black is replaced by shades of grey which actually mark theas white and black is replaced by Their status can be their actual setting. personality level of an individual in who avenges the death of her husband. who avenges the death Their depiction to stand on the fringes. women are not neglected and made establishing parallel structure gets thumbs down. Strangely, structure gets thumbs down. Strangely, establishing parallel apart, inspite of the female pervading the male spaces; it gathered applause, protagonistthe of love silhouetted the or plot, the of ingenuity to due either presence on screen is attempted the stereotypic shadows loom large. Any loom large. is attempted the stereotypic shadows presence on screen breaks and attempts at the male superiority of the nation attempt at assaulting her to an eye candy stereotype. The social mindset demands a man who is aThe social mindset demands a stereotype. her to an eye candy sole responsible of and a woman who is the whole money churning machine, even when an equal roles are sharply divided therefore the household. Gender achievements of women are a rarity, and her recognition has been a cause to has been a cause her recognition and a rarity, of women are achievements empowerment in the era of women cinema Even the contemporary worry. reflects her as a zero figure aspiring curvaceous long legged lass, reducing Astitva cinema, mainstream of cult commercial the In collections. office box rare are Communicator 18 Vol. LII (2), April–June, 2017 Media, Lamche, P. (1985).Committed women. 171-188. Bollywood. of business The (2005). M. Kripalani, paulo são a in from Television representation: of Politics favela. (2003). E. Hamburger, Scientist, 28 Datta, S.(2000).Globalisationandrepresentationsofwomen inIndiancinema. Studies, Choi, J. (2011). National cinema: An anachronistic delirium? M.S.University ofBaroda. in selected hindi blockbusters Chakravorty, M.(2002). Madison: Universityof Wisconsin Press. Campbell, R.(2006). Wiley &Sons. (2008). K. Ross, & M., Byerly,C. change inIndia Brosius, C.,&Butcher, M.(1999). Cinema andMedia, Benegal, S.,&Gandhy, B.(1980).ShyamBenegal. Journal OfManagement,SociologyandHumanGenetics media. Indian in women of Commodification (2013). R. S. Ahmed, References 4 3 ParallelCinemadesignatesanalternatecinemawhichisawayfromthemelodramaof

forms ofabuseandcanleadtocriminalviolence(RetrievedfromDomesticviolence.org). are they behaviors, criminal not are abuse financial and psychological emotional, Although pushing, shoving,etc.),sexualabuse(unwantedorforcedactivity),andstalking. to controltheother. Violence canbecriminalandincludesphysicalassault(hitting, Domestic violenceandemotionalabusearebehaviorsusedbyonepersoninarelationship commercial filmsandattemptedadifferenttreatmentofcommerciallyviablefilms. wife bythehusbandisMangalsutramadeofgold/beads. http://www.jstor.org/stable/41552356

Framework: TheJournalofCinemaandMedia, (26/27), 36-44.Retrievedfrom

16 (2), 173-191.Retrievedfrom (3/4), 71-82.doi:10.2307/3518191 . NewDelhi:Sage. (12), 28-30.Retrievedfrom

Marked women:Prostitutes andprostitution inthecinema Cinema and society: Reflection of patriarchal values values patriarchal of Reflection society: and Cinema . [Unpublished Masters Dissertation]. Baroda: The

Image journeys: Audio-visual mediaandcultural Women andmedia: A criticalintroduction http://www.jstor.org/stable/44111051 http://www.jstor.org/stable/41490398

Framework: The Journal of Cinema and Framework: TheJournalof Cinema and http://www.jstor.org/stable/44111762

India Briefing: Takeoff at Last at Takeoff Briefing: India Framework: The Journal of Framework: TheJournalof

, 44 Vol.4 (1), 104-115. Retrieved

The JournalofKorean . International International

Social Social . John . John , .

Communicator

19 Vol. LII (2), April–June, 2017 [Motion Global Media . Retrieved from [Motion (3), 323-341. Retrieved(3), 323-341. 41 (2), 183-213. Biwi Ho to Aisi Biwi Ho to

[Motion Picture]. India: 18

, [Motion Picture]. India: Sivaji [Motion Picture]. India: Mahal [Motion Picture]. India: Indiatogether.org Gauri Paakizah Heera Panna Iranian Studies,

Umrao Jaan Political communication Interview with Shoma Chatterji: Role of women in IndianInterview with Shoma

[Motion picture]. India: Amitabh Bachchan Corporation [Motion picture]. India: Paa (1). 3 , . Retrieved from http://oorvazifilmeducation.wordpress.com/2010/10/08/ http://www.jstor.org/stable/25597465 Films P. Ltd. Films P. Picture]. India: Crystal Films Pvt. Ltd. A. (Producer & Director). (1968). Bhimsingh, Picture]. India: Channel Four Films & Kaleidoscope Entertainment Productions. Bhagat, S. (Producer), & Bihari, J.K. (Director). (1988). R.(Director). (2009). Big Pictures. Limited, Mad Entertainment & Reliance S. (Director). (1996). Bedi, B. (Producer), & Kapur, Navketan Films Productions. S., & Ramanathan, M. (Producers) & Balki,A., Manchanda, Bachchan, Pictures Pvt. Ltd. & Sangeeta Enterprises. Anand, D. (Producer & Director). (1973). Ali, M.(Producer & Director). (1981). Integrated Films & S.K Jain Productions. Amrohi, K.(Producer & Director). (1972). Films Journal Trends. study of emerging A The Hindi parallel cinema: Thounaojam, I. (2014). [Ph.D. Thesis]. Assam: Assam Central University. http://indiatogether.org/heroines-women Tere, N. S. (2012). Gender reflections in mainstream Hindi cinema. frame elite policy discourse. Raza, S. (2003). Bollywood homely’s heroines. interview-with-shoma-chatterji-role-of-women-inindian-cinema/ Schnell, K. C. F. (2001). Assessing the democratic debate: How the news media from Chatterji, S. (2010, ). cinema Poudeh, R., & Shirvani, M. (2008). Issues and paradoxes in the development of paradoxes in the development (2008). Issues and & Shirvani, M. Poudeh, R., An overview. cinema: Iranian national Noelle, E. (1993). The spiral of silence: Public opinion–our social skin. University social skin. silence: Public opinion–our The spiral of (1993). Noelle, E. Press. of Chicago Communicator 20 Vol. LII (2), April–June, 2017 Productions. Ghosh, R.(Producer&Director). (1997). Kahaani Gada, K.,Ghosh,S.,&Malhotra, V. (Producers),&Ghosh,S.(Director).(2012). [Motion Picture].India:PriyaFilmsproduction. Dutta, N.,&Dutta A. (Producers), &Ray, S.(Director).(1970). unknown. Desai, M.(Producer&Director).(1958). [Motion Picture].India:B.R.FilmsProduction. Chopra, B.R.(Producer),&Chatterjee,B.(Director).(1975). Yash RajProductions. Bhagwani, V. (Producer),&Dhawan,D.(Director).(1999). Productions. (Director). (1994). Barjatya, A.K., Barjatya.K.K.&Barjatya,R.(Producers)S.R. productions. (Director). (1999). Barjatya, A.K., Barjatya.K.K.&Barjatya,R.(Producers)S.R. Pictures and1942Production. (Producer &Director).(1998). Barnathan, M.,Finerman,W., &Radcliff,M.(Producers)Columbus,C. Chopra, Y.(Producer &Director).(1979). Picture]. India: Yash RajFilms. Chopra, A. (Producer),& Amin, S.(Director).(2007). Hai Chopra, A. (Producer),& Chopra, Y. (Producer&Director).(1997). Enterprises &PacificStandardProductions. D. (Director).(2014). Chaffin, C.,Donen,J.,Milchan, A. & Witherspoon,R.(Producers),&Fincher, & RainmakerDigitalEffectsProductions. [Motion Picture].UnitedStates:DiBonaventuraPictures, Wintergreen Productions Bonaventura, diL.&Prakash,S.(Producers),Noyce,P. (Director).(2010). picture]. India:SomfilmsProductions. [Motionpicture].India: Yash RajFilms. [MotionPicture].India:Boundscript Motionpictures. Hum Apke HaiKaun Hum SaathHai Gone Girl Stepmom [Motion Picture]. United States: New Regency [MotionPicture].UnitedStates:NewRegency [Motion picture]. India: Rajshri [Motionpicture].India:Rajshri [MotionPicture].UnitedStates: Tristar [Motion picture]. India: Rajshri [Motionpicture].India:Rajshri Pati Parmeshwar Kala Pathar Dahan [Motion picture]. India: Suresh [Motionpicture].India:Suresh [Motion Picture]. India: [MotionPicture].India: Chak deIndia [Motion Picture]. India: [MotionPicture].India: Biwi No.1 Choti SiBaat Prawtidandi [Motion [Motion [Motion [Motion Dil to Paagal Dil toPaagal

Salt

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Abhimaan Dirty Picture Agneepath Kuch Kuch [Motion Dahej [Motion picture]. [Motion picture]. Humara Dil Aapke PassAapke Humara Dil [Motion Picture]. India: Ra-One Kabhi Khushi Kabhi Gham Kabhi Khushi Kabhi [Motion Picture]. India: Prakash [Motion Picture]. [Motion Picture]. India: F.K. [Motion Picture]. India: F.K. Mother India Janbaaz Before I Go To Sleep I Go To Before Mrityudand

. [Motion picture]. India: Viacom 18 Motion pictures & Phantom Viacom [Motion picture]. India: [Motion picture] India: . [Motion picture] India: Queen [Motion picture]. India: S. K. Film Enterprises. Kalamandir, R. (Producer), & Shantaram, V. (Director). (1950). V. R. (Producer), & Shantaram, Kalamandir, Khan, F. (Producer & Director). (1986). Khan, F. International. Kashyup, A., Malhotra, V. &, Motwane, V.(Producers), & Behl, V. (Director). V. & Behl, V.(Producers), &, Motwane, V. A., Malhotra, Kashyup, (2014). Films. Kapoor, S. (Producer), & Kaushik, S.(Director). (2000). Kapoor, Hai Joffe, R. (Producer & Director). (2014). Joffe, R. (Producer Filmgate Vast, I Free Productions, Millennium Films, Films United States: Scott Films & Studio Canal. Johar, K. (Producer), & Johar, Y. (Director). (2001). Y. K. (Producer), & Johar, Johar, Dharma Productions. [Motion picture] India: Johar,Y.(Producer), Johar, H.(Producer) & Johar, K.(Director).(1998). K.(Director).(1998). H.(Producer) & Johar, Johar, Johar,Y.(Producer), Hota Hai Johar, K. &, Johar, Y.H.(Producers), & Malhotra, K(Director). (2012). & Malhotra, K(Director). Y.H.(Producers), K. &, Johar, Johar, Dharma Productions. [Motion Picture]. India: Jha, P.(Producer and Director).(1997). and Director).(1997). Jha, P.(Producer Jha Productions. dia: Nasir Hussain Picture]. India: Nasir (1973). [Motion (Producer & Director). Hussain, N. & United Producers. Fims Production picture] India: Films Valas Production. Valas picture] India: Films [Motion picture]. India: ALT Entertainment & . ALT [Motion picture]. India: A.(Director). (1981). 36 Chowrongee Lane [Motion S.(Producer) & Sen, Kapoor, India: Red Chillies Entertainment. S. (Producer), & Luthria, M. (Director). (2011). E. & Kapoor, Kapoor, Khan, M. (Producer & Director). (1957). Khan, M. (Producer & Director). (1957). Mehboob Productions A. (Director). (2011). Khan, G. (Producer), & Sinha, Kamat, S. & Jain, P.K. (Producers), & Mukherjee, H. (Director). (1973). Kamat, S. & Jain, P.K. [Motion Picture] India: Unknown. Picture]. India: Unknown. Communicator 22 Vol. LII (2), April–June, 2017 India: ShaktiFilmsProduction. Samant, S.(Producer&Director). (1967). Entertainment Ltd. Picture]. India:FriendsIndia, Jhamu SughandProductions&Satyashwami Sughand, J.(Producer),&Manjrekar, M.(Director).(2000). India: Roy, R.(Producer),&Ghosh,(Director).(1994).Unishe April [Motionpicture] Olympic Pictures, Venus Productions. Rao Madhusudan,V. (Producer&Director).(1970). India: Trimurthi filmsPvt. Ltd. Rai, G.(Producer),&Chopra, Y. (Director).(1978). Picture]. India:MantaMoviesproduction. Punjabi, A. (Producer)&Bhogal, A. (Director).(1988). Page 3 Pushkarna, B.&K.(Producers),Bhandarkar, M.(Director).(2005). productions. Anu Arts Pal, K.(Producer),&Bhatt,M.(Director).(1982). [Motion picture].India:RangitaPritishNandy. Nandy, P. (Producer),&Mishra,S.Balani, A. (Directors).(2004). [Motion Picture].India:RedChilliesEntertainmentProduction. Morani, K.&,Soorma,B.(Producers),&Santoshi,R.(Director).(1993). Picture]. India:Unknown Mohan, L. (Producer), & Bhandarkar, M. (Director). (2001). Silver ScreenPartnersIV. (1990). Milchan, A., Reuther, S.,&Goldstein, W. (Producers),&Marshall,G.(Director). Mehra Productions. Mehra, P. (Producer&Director).(1973). [Motion picture].India:ShemarooEntertainment& Vishal BharadwajPictures. Maroo, R.&Bhardwaj, V. (Producers),&Chaubey, A. (Director).(2010). Productions(Switzerland)(all media). [Motion picture]. Worldwide: ErosInternational(allmedia)& T-House Manchanda, S.(Producer),&Balki,R.(Director).(2007). [Motion Picture].India:LighthouseEntertainment. Pretty Woman [MotionPicture].UnitedStates: Touchstone Pictures& Zanjeer An EveningInParis [Motion Picture]. India: Prakash [MotionPicture].India:Prakash Arth Devi Trishul [Motion Picture]. India: [MotionPicture].India: Zakhmi Aurat [Motion Picture]. India: [MotionPicture].India: Cheeni Kum Cheeni Kum [Motion Picture]. [MotionPicture]. Chandani Bar Astitva [Motion Picture]. [MotionPicture]. Chameli [Motion [Motion [Motion [Motion Damini Damini Ishqiya [Motion [Motion

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Mr. And Mrs. Mr. [Motion Picture]. No One Killed [Motion picture]. India: [Motion Picture]. India: Sholay [Motion Picture]. India: Santoshi [Motion Picture]. Nishabd Lajja Paromitar Akdin Paromitar [Motion picture]. India: Triplecom Media Production. Triplecom [Motion picture]. India: Varma, R. G. (Producer and Director). (2007). R. G. (Producer Varma, Film Factory Productions. RGV Venkatesan, N. & Mehta, R. (Produces) & Sen, A.(Director). (2002). Mehta, R. (Produces) & Sen, N. & Venkatesan, Iyer Sen, A. (Producer& Director). (2000). Sen, Suravi Productions. Sippy, G.P. (Producer), & Sippy R.(Director). (1975). (Producer), G.P. Sippy, Entertainment. United Productions & Sholay Media & India: Sippy Films, Screwvala, R. (Producer), & Gupta, R.K. (Director). (2011). (2011). R.K. (Director). R. (Producer), & Gupta, Screwvala, pictures. Spotboy Motion India: UTV [Motion Picture]. Santoshi, R. (Producer & Director). (2001). R. (Producer & Director). Santoshi, Productions.

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1 Vice Chairman, Chhattisgarh State Planning Commission; and Research Scholar, Centre for Culture, Media and Governance, Jamia Millia Islamia, Jamia Nagar, New – 110 025, India. E-mail: [email protected] Abstract

This study investigates the manner in which Indian newspapers use visual frames to communicate news. Using the example of a news event covered by four leading English language newspapers published from Delhi, it analyses how each newspaper had used different frames in respect of visual data available from the same common pool of photographs. The study points to the scope for further research on visual framing of news in the Indian print media through correlation with the relevant editorial points of view.

Keywords Visual framing, Indian print media, Delhi Metro, Newspapers visuals, Prime Minister. n 6th September 2015, the Delhi Metro Rail Corporation extended 27

its metro services from ‘Badarpur’ on the borders of Delhi and Vol. LII (2), April–June, 2017 Communicator OHaryana to ‘Faridabad’ in the State of Haryana. All mainstream English newspapers published from Delhi covered the event, with textual as well as visual narratives. The Prime Minister of India travelled by taking the inaugural Metro-ride on way to the launch-event at Faridabad. It was widely reported that the Prime Minister had taken a surprise last minute decision to travel by Metro rather than flying on a helicopter which was previously scheduled. It was also reported that he boarded the Metro at the ‘Janpath’ Station and travelled with the other commuters till Badarpur (the last station of the route in Delhi), beyond which the Metro line was to be inaugurated. According to news reports, the Badarpur-Faridabad leg was travelled by the Prime Minister accompanied only by his entourage. It was also reported that on the return journey, Prime Minister boarded the train from Faridabad along with other commuters. Since Prime Ministers in India do not ordinarily travel by Metro, it makes for interesting news in itself.

A Prime Ministerial tour or travel is a widely covered event and it is not unreasonable to assume that the travel by the Metro (newsworthy in itself) would have been similarly covered. Indeed, there were releases pertaining to the event on the Press Information Bureau’s (PIB) website1, in which visual coverage from the time the Prime Minister arrives at the Metro Station before embarking on the journey has been released. It is, therefore, possible to reasonably assume that the photographer(s) may have been clicking away from the time the Prime Minister boarded through his journey to Faridabad and the return journey. Some of the visuals were, therefore, expected to be depicting the Prime Minister alone, for instance as reported between the Badarpur-Faridabad leg of the route; as indeed some others were expected to be depicting the Prime Minister in the company of his official entourage, or in the company of other dignitaries associated with the function, or with other commuters as they boarded the Metro at various halting points – as a matter of fact, PIB had released as many as 19 photographs relating to the event on 6th September, 20152.

For public office holders, or more specifically politicians, visual portrayals ‘convey cues and attributes that can affect the perceived credibility, truthfulness and suitability’ (Lobinger & Brantner, 2015). Images that the audience associates with political personalities depend on how they present themselves, and how they are represented by the media. Certain visual cues of representation by media can influence the way audience perceive the subject – nonverbal cues (like expression), formal cues of representation (like camera angle) and contextual cues (like others in the image) (Kepplinger, 2010). In issues “throughthe reader oraudience sense andidentify media istypically Individual frames audience helpthe literature focused actively tomake use ofselection, with thenews. exclusion and at thelevelof on ‘framing’, said toframe elaboration”. In termsof emphasis,

Communicator 28 Vol. LII (2), April–June, 2017 relation tocausalexplanations forexample. in words; than interpretations of range wider a to are they as prone possess; texts that accuracy explanatory the lack also visuals However, respect. this morphed orstagemanaged, canrepresentrealitybeingcloserthantextin images and theirmeanings can beinterpreted based onsimilarity, andunless an independent variable influencing audience frames (Entman, 1993). Visual understood bothasdependent onvariousfactors (Scheufele, 1999) as well as themes aswellembeddedideological meanings, because framingcanbe (Wischmann, 1987). Visual frameshavebeenanalysedinterms ofobvious frames, because they can both obscure issues as well as overwhelm facts 2000) ‘hidden meanings’ underlying a wide range of images in the media ( pictures areparticularlyelusive(Messaris& Abraham, 2001). 2003). Ithasalsobeenargued thatunverbalisedmeaningsembeddedin which stereotypes are subtly activated and maintained in society (Abraham, proposition’through visual form ‘implicit discursive that the 2004); be may (Fahmy,stereotypes communicate 2011);may Puhl, photographs news that, & McClure (Heurer, discrimination and prejudice pervasive reinforce may public opinion (Grabe & Bucy, 2009); and there is evidence that, visual images presented bythemedia(Scheufele,1999). framing can systematically influence the audience’s understanding of events that be would interpretation effects media The 1980). (Gitlin, audience the facilitates journalists to package the diverse elements of news effectively for (Entman, 1991). A functional interpretation could be that framing merely media frames atthelevel of thenewsarecharacteristic of thenewsitself and news; the with identify and sense make to actively audience or reader (Tankard etal.,1991).Individualframes atthelevelofaudiencehelp issues “throughtheuseofselection,emphasis,exclusionandelaboration” frame to said typically is media ‘framing’, on focused literature of terms In Locating visualframinginmedialiterature researcher’s ownperception. would associatewiththesevisualimagesasagainstthesubjectivity of the scope formoreexhaustiveresearchtoascertaintherangeofmeaningsthey the to a pointer as serve to intended is This influence. editorial and figures of fourleading English mainstream newspapers selected for their circulation this short case study, the visual coverage of the event by the Delhi editions The notionofusingvisualframesdrawsfromthebelief thatthereare In media literature, there are studies on visuals as instrumentsin shaping . Indeed, visual frames are considered to be more powerful than textual Barthes, In comparison to analysis of framing in textual narratives, the 29

selection of a photograph to the exclusion of other available photographs, Vol. LII (2), April–June, 2017 Communicator the foregrounding or backgrounding of subjects and objects, the focus, the blurring, the composition, the lighting and the contrast, the close up or the use of wide angles are all relevant to visual images; and serve a purpose similar to what choice of words, turns of phrases, punctuations, verse or prose do to the meanings conveyed by textual narratives in print media. Meanings should be ascertained and embedded meanings should be deciphered from the visual, which is challenging, because one of the handicaps with visual images is that imagining what has been included or excluded from the media frame may be highly subjective when viewed from the audience frame.

Visual narratives in sample newspapers

The visual narratives in the Delhi edition of (TOI), (HT), and , which are four of the leading English language newspapers published from Delhi, have been selected as sample.

Visual narratives in The Times of India

The Times of India carried the picture of the Prime Minister inside the Metro rail on its front page of 7th September, 2015. The main news item pertaining to the inaugural event – “Vikas Comes to F’bad riding on the Metro” was spread across two columns which was carried in the inside page (Times City) along with a photograph of the large crowd gathered at the inauguration. There was a two columned news item on the Chief Minister of Delhi not being invited to the inauguration at Faridabad. There was yet another three- column news story on how it was one; small trip for PM; but ‘a big-ticket moment’ for all his fellow passengers on that metro trip – this news on his trip was accompanied by yet another photograph of the Prime Minister presenting him interacting with some young passengers sitting next to him.

The coverage of the Prime Ministerial visit as well as the controversy relating to the Chief Minister having not been invited, both given extensive textual coverage, indicates to the broadly ‘neutral stand’ of TOI on the controversy. TOI’s visual coverage of the Prime Minister’s Metro-ride is shown below. Figure 1 (image) shows the Prime Minister talking to a small group of young girls travelling on the Metro. Figure 2 (image) carried on an inside page by the newspaper shows the Prime Minister with several commuters sitting alongside him as well as on the opposite seats. Communicator 30 Vol. LII (2), April–June, 2017 in itself. The newsstory was spreadacrossfourcolumnsinwhichthevisual had notbeeninvitedtothe inauguralfunction,whichisanewsworthyissue Metro inauguration”. The storyledwiththenewsthatChief MinisterofDelhi at Kejriwal “No headline the with broadsheet the of half lower in the Hindu, The of page front the on published was that headline news The Visual narrativesinTheHindu Fig 1:CoveragebyTheTimesofIndia,Delhi/NCR Fig 2:Coverageby The TimesofIndia,Delhi/NCR Communicator

31 Vol. LII (2), April–June, 2017 , in a front page news item, carried the photograph (Figure , in a front page news item, carried the Fig 3: Coverage by The Hindu, Delhi/NCR Fig 3: Coverage by The 3 led with the Prime Minister’s travel to the function for launching the Metro the for launching function to the travel Minister’s Prime with the led topical issue of the demand for “One Rank One Pension” that was being issue of the demand for “One Rank One Pension” that was topical announcement and Prime Minister’s at the time by Ex-Servicemen agitated prerogative not to have Again, it is well within the editorial on that demand. 4, image) of the Prime Minister interacting with other passengers in Metro. with other interacting Minister 4, image) of the Prime inaugurate to function the of site the to travel Minister’s of Prime story The and the Metro service was anchored with, perhaps even more newsworthy Visual narratives in The Indian Express narratives in The Indian Visual The Indian Express of the news coverage by The Hindu, photographed from a hard copy of the 3, image). is shown below (Figure newspaper, preference to the news about the Prime Minister travelling to inaugurate the to inaugurate travelling Minister the Prime to the news about preference Metro service is, quite obviously, an ‘editorial discretion’. The portion The relevant of India (PTI). Trust agency Press to the news attributed picture is coverage consisted of a picture of the Prime Minister. Leading with the news Leading Minister. of the Prime consisted of a picture coverage – in inauguration the at present not being of Delhi Minister Chief of the Communicator 32 Vol. LII (2), April–June, 2017 which hadbeencarriedonthefrontpageby Times ofIndia. travelling by thesameMetrotrain–coincidentally, itisthesamephotograph, pages, showingthePrimeMinisterinteracting with someyounggirls has alsobeenreleasedbythenewsagency. therefore, wemaypresumethatthephotographcarriedby Times ofIndia and PTI; to attributed been has picture the and papers; official some holding showing thePrimeMinisterinteracting with othercommuters,heisseen carried bythe Express (Figure4,image)isthesamethatwas Times ofIndia, service betweenDelhiandFaridabad. The photographcarried by theIndian The newspaperalsocarriedyetanotherpicture(Figure5)intheinside Fig 4:CoveragebyTheIndianExpress,Delhi/NCR Fig 5:Imagesource:PressInformationBureau Communicator

33 Vol. LII (2), April–June, 2017 Image source: Press Information Bureau published the following photograph (Figure 6, image) (Figure the following photograph published 4 Fig 6: Fig 6: Image Source: Press Information Bureau Fig 6: Image Source: On an inside page (page 2), there were three other photographs of the photographs other three were 2), there (page page On an inside by The Indian Express on its inside page. The Indian Express by is being considered for the study, is that of the Prime Minister interacting Minister Prime of the is that study, for the is being considered with some young fellow passengers (Figure 7); and happens to be the same India on its front page and of Times the photograph that has been carried by moving on the platform of the Metro station in the company of Haryana’s Another photograph is that of passengers Chief Minister and other dignitaries. enjoying the first Metro ride, and the third photograph given which below, event carried by The Hindustan Times – one showing the Prime Minister the official website of Government’s information machinery. Indeed, it is the is it Indeed, machinery. information Government’s of website official the of India Trust that has been credited to news same photograph agency Press The Indian Express. (PTI) by The Hindustan Times Hindustan The a with interacting Minister Prime shows the page, which also on its front (PIB), Bureau Information Press to is attributed passengers, and few fellow Visual narratives in The Hindustan Times narratives in The Visual journey. Therefore, as 19photographs ride, tohisreturn out fortheMetro released asmany covering various Minister hadset accessible toall is commonand event, fromthe fact, itisfound time thePrime As amatterof aspects ofthe the sampleof for thisstudy that PIBhad photographs newspapers.

Communicator 34 Vol. LII (2), April–June, 2017 Information Bureau,andused byPTIaswell. to other commuters girls the frontpageinwhichPrimeMinisterisseen with agroupofyoung the samephotographinothernewspapersthat photograph carried on mentioned inthenewspaper,found fromtheuseof eventhough,itwas ‘big-ticket those whoweretravelling with the Prime Minister. No photocredits were a of headline the giving moment’, the newspaper alsoconveysthat it was ahistoric event for By him. with interact and Minister passengers travelling with thePrimeMinistercouldapproach To thereadersof The Times ofIndia,thenewspaper mayconveythatthe Analysing visual‘framing’ from amongthe19photographs‘uploaded’ byPIB. the visuals published by every newspaper are a consciouseditorial preference respect ofthevisuals. Therefore, itcanbereasonablyassumed,further, that by anewspaper, itcanbefairlyconcludedthatthereisnosourcebiasin by thesame news agency, andthe PIB photo releases may or may not beused there issimplynoscopeforanybiasinproduction orreleaseAs ofthepictures journalists belonging to any newspaper, in so far as the visuals being studied. newspapers. We cansafelyruleoutanybiasonthepartofin-housephoto- the sampleofphotographsforthisstudyiscommonandaccessible to all Minister hadsetoutfortheMetroride,tohisreturnjourney. Therefore, photographs Express. has been attributed to PIB by The Hindustan Times, and to PTI by The Indian between PIB andPTIcanbeobservedbythe fact that the same photograph image management on behalf oftheGovernment,thatthereisphotosharing agency. can bereasonablyexpectedtoresponsibleforthe While PIB fact that all carry, fromtime to time, news dispatches attributed to that which haveaccesstobothsources. Their accesstoPTIisborneoutbythe The sample consists of the leading English language ‘National’ newspapers, and PIBwebsiteisaccessible withoutbarrierstoallregisterednewspapers. Information Bureau. Access toPTI,photoservicesisthroughsubscription, to befromonlytwosourcesbeingthePress Trust ofIndiaandthePress Note thatall photographs used bythe sample of newspapersareacknowledged Source ofthevisuals 6 It isalsoobviousfromthe coverage by The IndianExpress, The As a matter of fact, it is found that PIB had released as many as 19 and the photograph showing him seatedalongsideaswell asopposite andthephotographshowing 5 coveringvariousaspectsoftheevent, from the time the Prime 7 , were actually released by the wire agency, the Press Communicator

35 Vol. LII (2), April–June, 2017 , used by The Hindu. Considering 8 Another difference between the two contexts is that of non-routine In the two imaginary instances, it is naturally to expect that the Prime the that expect to is naturally it instances, In the two imaginary The comparison of the visual coverage in the four national newspapers newspapers the visual coverage in the four national The comparison of depicted alone in a photograph taken at his work desk or at his residential alone depicted of the Prime expectation is no such audience there lawns. On the contrary, nature of the event. The Prime Minister can be expected to be in his office or office his in be to expected be can Minister Prime The event. the of nature occasionally be may he though even of routine, matter his residence as a at negative perceptive range – distance, coldness, aloofness if not arrogance, – distance, range perceptive negative alone etc. culture of special privilege of travelling VIP and the or guests at his residence. The expectation of solitude on a Metro-ride is not on a Metro-ride of solitude expectation The his residence. or guests at it has connotations other than that of and if at all, similarly value-neutral, may be more in the And such connotations for reasons of security. insulation in the former instances, the expectation of solitude is value-neutral, and no is value-neutral, of solitude in the former instances, the expectation be many other would there After all, needs to be drawn. adverse inference moments when the Prime Minister would be meeting visitors to his office carried by visual used by The Hindu, can also be similarly interpreted in the carried by visual used by for from other commuters, of the Prime Minister being insulated expectation reasons of security. However, the cues in the two instances are different – Minister has moments to himself in solitude, if not privacy. The picture The privacy. not if solitude, in himself to moments has Minister him on a stroll in the lawns of his official residence. Both instances are liable are instances Both residence. official his of lawns the in stroll a on him to be interpreted differently from the picture under differs. context-driven-expectation of the audience scrutiny, because the the occasion. For the sake of argument, let us imagine a picture published the occasion. For the sake of argument, work desk in South Block, or showing the Prime Minister at his depicting the Prime Minister. Whether or not a visual image dominated by the subject by the dominated image visual a or not Whether Minister. Prime the does as the sole subject in the (as in the instant case, the Prime Minister of and setting depend on the context photograph) can be positive would from the other three which show the Prime Minister interacting with other with interacting which show the Prime Minister from the other three other commuters, The visual coverage depicting Metro. commuters on the for said to be favourable and positive with him, could be shown interacting shows how the same event has been differentlypresented by The Hindu, that the PIB had uploaded all pictures and the news agency had released the had released agency news and the pictures all PIB had uploaded the that newspapers had the three other the even subscribers, all to question in picture The Hindu. visual used by option of using the with fellow commuters; even though they may or may not have consciously figure lonely the showing photograph the of release PTI the use not to decided alone Minister travelling of the Prime Hindustan Times and the Times of India, that the editorial desks in the three Times and the Times Hindustan interacting Minister Prime the showing visuals the use to chose newspapers Communicator 36 Vol. LII (2), April–June, 2017 newspapers foreground the Prime Minister in the picture frame, The Hindu The frame, picture the in Minister Prime the foreground newspapers for a public representative. Again, while the pictures used in the other three people, cold, inaccessible, and anarchetypical VIP –each anegative frame of someonenotseeninthe companyofpeople,asaloof,distanced from in thebackgroundorinteraction with him, conveys arather stern image the Prime Minister used by The Hindu, showing no commuters alongside, or negative meanings into the visuals carried. On the contrary, the picture of meanings in the visual narrative carried by each, they would not read any an elected words, even if readers of the three newspapers were not to read any positive office, public a of holder representative of people,inanaturalandto-be-expected frame.Inother the show does Metro-ride, the on in thatsensewasnotanewproject. Metro service to Ballabhgarh) onwhich work hadalready commenced and mentions that the Prime Minister hadannounced a project (extension of the related news withaheadline “Modi fauxpasleavespeoplesurprisedatrally” “PM’spassengers onthefrontpage,forPage2news, fauxpasatrally.” The just ‘teaser’, below the photograph of Prime Minister interacting with fellow to project the Prime Minister favourably, in which, for instance, there was a that there was definitely no such intention on the part of The Hindustan Times readers, thatmaynothavebeenthecase.Onotherhand,itcanbesaid intended that a positive frame ofthe Prime Minister be conveyed to its Indian Expressand The Hindustan Times. friendly, affable and accessible frames conveyed by The Times of India, The mingle with fellow passengers, conveys a forlorn image against the people- picture of thePrime Minister, captured at amoment when hewasyet to actually interact with theothercommuters during theMetro-ride. The lonely other the what with contrast in newspapers conveytotheir respective readers –that the Prime Minister did – readers its tell not does Hindu, The by accessibility, andisexpected-to-be at easeamongpeople. The visualused is expected to beassociated withwarmth,people-friendly appearance, be positive. not beingshowninthe company of people can certainly not beperceived to personality political a for Hindu, by The used Minister,picture Prime the in represent thepeopleandeventhoughthereisnothingadversevis-a-vis normal mode of transport of thePrime Minister of India. Thirdly, politicians Minister taking anotherMetro-rideroutinely, becausetheMetroisnot The significant factor is that a picture, which depicts other commuters other depicts which picture, a that is factor significant The It is not important whether, or not, the three newspapers consciously ademocracy, in office public a holding representative, public A Communicator

37 Vol. LII (2), April–June, 2017 This caption is direct and matter of fact, and also news-worthy, and also news-worthy, of fact, and matter is direct caption This . Let us limit ourselves to the academic questions – what possible – what questions academic the to ourselves us limit Let Since the scope of this study is limited, we need not examine the examine not we need study is limited, of this scope the Since Sunday” Metro. by the travel to India in Minister Prime for a usual is not it that given Captions used The caption in The Hindu read, “Prime Minister Narendra Modi took on Line Badarpur-Faridabad of the inauguration for the Janpath Metro from the differently from theTo other study newspapers. the same, let us lookat the captions carried by each newspaper along with the visuals used. as no in-house photojournalist has been credited with the photograph. The with the photograph. credited has been as no in-house photojournalist or otherwise, the editorial advertently, that therefore, remains possibility, Metro-ride Minister’s Prime news of the the framed desk could have visually were not to be expected in the photograph. Owing to the use of common pool use of common the Owing to the photograph. in expected be to not were discussed, we cannot PIB, already the of sources of these photographs from attribute photojournalistic-bias in the use of the photograph by The Hindu possible interpretation by the reader of The Hindu could be that since the thrown had not been it from Faridabad, was to be launched Metro service open for the general public until after the launch; and, hence, commuters Ministerial travel – a virtual red rag for the middle classes, who may be classes, who red rag for the middle – a virtual travel Ministerial allergic to any preferential treatment being extended to ‘VIPs’. Another have exhibited editorial bias to any extent? One possible embedded meaning embedded possible One extent? any to bias editorial exhibited have to pointing be may picture the in commuters of other absence the is that for the Prime have been got vacated the Metro coach may that the fact with Prime Minister’s Metro-ride? And, again, could the preference for an pleasing picture, leaving out use of any visual of the otherwise aesthetically be said to on way, with fellow commuters having interacted Prime Minister meanings could the reader of The Hindu, coming across the picture, associate picture, the across coming Hindu, The of reader the could meanings the visual coverage, without going into the textual narratives of accompanying without going into the textual narratives the visual coverage, textual of analysis the to taken being is recourse no obvious; are news-stories carried by the sample newspapers. narratives in the stories understand the comparative use of visual framing by newspapers, without by newspapers, framing use of visual the comparative understand and itself could be a valuable thereof, which in going into the causality of comparing even though the limitations insight. Consequently, interesting ideological reasons behind visual framing, or the editorial bias, or examine or bias, editorial or the framing, visual reasons behind ideological the agenda setting and gate keeping effort,We if are any. merely trying to the background, making the element of solitude and remoteness even more remoteness even and of solitude element the making background, the pronounced. uses the picture in which the empty seats in front and the windowpane of and the windowpane seats in front in which the empty picture uses the to receded Minister Prime the with foreground, the in are coach Metro the Communicator 38 Vol. LII (2), April–June, 2017 ht h Pie iitr s oua, am n acsil; n passengers and accessible; and warm popular, is Minister Prime the that was their co-passenger, andinteract with him. The readermaydecipher that passengers travelling on the Metro could approach Prime Minister, who To conclude, tothereaderof The Times ofIndia,thenewspaper mayconvey Conclusion and thePrimeMinister. commuters between interaction the to points specifically newspapers other the of each in used captions the Hindu, The to contrast in Thus, 2015.” 06, passengers while travelling by the Delhi Metro to Faridabad on September identical: “The Prime Minister, ShriNarendra Modi interacting with the co- were Hindu, The than other newspapers, the by used photographs both of Again, for the record, the captions released by PIBon its website in respect out to people on issues of salience for the nation from his perspective. reach to Office, assuming after Minister Prime by introduced name, same “ The Times ofIndia’s mainstorycarriedonthesecondpagewascaptioned: scheduled to take a chopper to Faridabad “ The captionusedby The Times ofIndiaforoneitsphotographswas by MetrofromJanpathtoFaridabad” Times, Hindustan The by used “ caption The Hindu. The by used Metro” “interacting with co-passengers” iscontrasting with the words “took the travelling by DelhiMetrotoFaridabadonSunday” as of theBadarpur-Faridabad MetroLineonSeptember06,2015”. Narendra Moditravelling by theDelhiMetrotoinauguration ceremony the actual caption used onthe PIB website was: “The Prime Minister, Shri have struck with a lonely Prime Minister on board the Metro. For the record, newspaper could not have used because of the sheer incongruity that may the words, used – co-passengers’ with substitute ‘interacting the words, the be for Hindu to The by found is Metro’ the ‘took words, the of use the newspapers, other the by used captions the with contrasted However,when shown inthe frame – the Prime Minister, theMetrocoach, andthe seats. was what to supplement truthful a is it more, is what and itself; picture the Minister, the caption that the subject ‘took the Metro’ is not out of place with event of theMetrojourney as it took place. The subject being the Prime The Metro-rideisinitself the news,andtherefore, the picturerefersto Sharing theirMannkiBaat….. hewas asearlier by surprise officials Metro and passengers took Modi Prime MinisterNarendraModiinteractswithco-passengerswhiletravelling “ Prime MinisterNarendraModiinteracting with co-passengerswhile The photographcredited to PTIwascaptioned The byIndianExpress ”, alluding to aradioprogrammebythe , also uses the ‘peg’ of ‘interaction’. of ‘peg’ the uses also ”. The photograph accompanying . The useofthewords 9 Communicator 39 friendly, warm friendly, and accessible Prime Minister, who wants to experience the trip as any other common passenger would. Vol. LII (2), April–June, 2017 The Indian Express conveys to the reader a frame of people- In comparison, how would a reader of The Hindu look at the coverage Similar to The Indian Express and The Times of India, The Hindustan The Indian Express conveys to the reader a frame of people-friendly, people-friendly, conveys to the reader a frame of The Indian Express researchers for a comprehensive analysis. For the limited purpose of this purpose of analysis. For the limited researchers for a comprehensive preliminary investigation, suffice it say that the meanings conveyed through Unveiling the motivation for using a positive, negative or neutral frame by frame neutral or negative positive, a using for motivation the Unveiling any newspaper is beyond the immediate scope of the present analysis; and, media to available of analysis techniques tools and other obviously are there no other commuters, except the entourage of the Prime Minister. Even Minister. Prime of the entourage the except commuters, no other so, the selection of the photograph for use by The Hindu, given alternative available options, does point to the possibility of editorial ‘framing’. interest. It is quite possible that the photograph released by PIB/PTI had photograph released interest. It is quite possible that the were ride, when there of the lap Badarpur-Faridabad the taken during been consists of a picture of the Prime Minister sitting all alone on a seat on alone on all Minister sitting of the Prime consists of a picture the Metro. There is no other human of presence the Prime in Minister the is picture. seemingly officious, The and figure makes for little human Hindu did. of the same event by the newspaper? The visual coverage by The Hindu not the creation of the newspapers in question, rather because of the PIB not the creation The as well have chosen to ignore, as releases, which the editors could just presence of youth in photographs used by the three newspapers, indicates a indicates newspapers, three the by used photographs in youth of presence informality of sense The Minister. Prime the and youth the between ‘connect’ are frames such positive Obviously, also positive. is visual the by projected Times shows the easy access allowed to passengers to interact with the with interact passengers to to access allowed easy shows the Times not could arrangements security the reality, though, in even Minister, Prime depicting the the add Prime to Minister, the positive ‘frames’ be To relaxed. Express, it may be concluded, has also used a positive ‘frame’. concluded, has also used a positive Express, it may be other common passenger would. By using a photograph showing the Prime By using a photograph showing the passenger would. other common shown with passengers and also in sitting alongside him Minister interacting Indian Minister, Prime by the occupied row of seats opposite to the one the warm and accessible Prime Minister, who wants to experience the trip as any who wants to experience Prime Minister, warm and accessible the Prime Minister means business even while travelling, that is to say, he that is to say, means business even while travelling, the Prime Minister waking moment of his who does not waste any comes across as someone another positive frame. tenure in office – ‘frame’ ‘frame’ to the trip. The Prime Minister is seen holding an officialfile, but air of projects an the fellow passengers is shown paying to he the attention And, the files and official papers also succeed in conveying that informality. were happy to interact with him, as evident from the smiles on the faces of smiles on the faces from the as evident with him, to interact were happy interest human gives a This Minister. Prime of the side the by seated women Communicator 40 Vol. LII (2), April–June, 2017 unmaking ofthenewleft Gitlin, T.(1980). for CommunicationStudies,66, Fahmy, S.(2004).Picturing Afghan women. 6–27. narratives oftheKAL andIranairincidents. Entman, R.M.(1991).FramingUScoverageofinternational news:Contrastsin Journal ofCommunication,43 Entman, R.M.(1993).Framing: Towards clarificationofafracturedparadigm. Barthes, R.(2000)[1957]. Pictorial stereotypes inthemedia Abraham, L.(2003). References 9 Sep/l2015090669448.jpg 8 Sep/l2015090669434.jpg 7 Sep/l2015090669442.jpg 6 5 pressdisplay.com/ 4 delhi-metros-faridabad-corridor 3 2 1 Notes of doubtistobecreditedthe‘desk’. the visuals may be subtle or blatant, depending on whether or not the benefit September, 2015 PM inauguratesBadarpur-Faridabad Metroline;pib.nic.in/newsite/erelease.aspx on6 PIB (CNR:72117 PhotoID:69448).Retrievedfrom http://pibphoto.nic.in/photo//2015/ PIB (CNR:72103PhotoID:69434).Retrievedfrom http:// PIB (CNR72111 PhotoID:69442).Retrievedfrom http://pibphoto.nic.in/photo//2015/Sep/.... Hindustan Times (Delhi),Dated7 Accessed on Retrieved fromhttp://pib.nic.in/newsite/photo.aspx aspx on6 inaugurates Badarpur-FaridabadPM Metroline. Retrievedfrompib.nic.in/newsite/erelease. th September, 2015 http://indianexpress.com/article/cities/delhi/pm-narendra-modi-launches- The wholeworldiswatching: Massmediainthemakingand through http://ap5.auth.athensams.net/my/resources Media stereotypes of African Americans. Imagesthatinjure: . Berkeley, CA:UniversityofCaliforniaPress. Mythologies. (4), 51–58 91–112 . Westport, Connecticut:Praeger. th September, 2015,accessedon .

London: VintageClassics. . Journal ofCommunication,41 Gazette: TheInternationalJournal http://pibphoto.nic.in/photo//2015/ pibphoto.nic.in/photo//2015/ http://library. (4), th

Communicator

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976–87. , (9) Journal of (pp. 215–226). . Wiesbaden: VS . Wiesbaden: Visual Communications, Visual Framing public life

. Image bite politics: News and the visual politics: News and . Image bite 67-74. Nonverbale medienkommunikation . Journal of Health Communications,16 . Journal of . New York: Oxford University Press. Oxford University York: . New (1), 103–122. O. Gandy, & A. Grant (Eds.), & O. Gandy, (1), 15–40. Wischmann, L. (1987) Dying on the front page: Kent State and the Pulitzer Prize. L. (1987) Wischmann, Journal of Mass Media Ethics, 2: Communication, 49 Approaches to conceptualisation and Media frames: J. et al. (1991). Tankard, measurement. Mahwah, NJ: Erlbaum. (1999). Framing as a theory of media effects. A. Scheufele, D. Messaris, P. & Abraham, L. (2001). The role of images in framing news stories. The role of images Abraham, L. (2001). & Messaris, P. In S. Reese, Lobinger, K., & Brantner, C. (2015). Likable, funny or ridiculous? A Q-sort study Q-sort study A C. (2015). Likable, funny or ridiculous? K., & Brantner, Lobinger, of visual portrayals of politicians. on audience perceptions 14 Kepplinger, H.M. (2010). H.M. (2010). Kepplinger, für. Verlag Heurer, C. A., McClure, K. J. & Puhl, R. M. (2011). Obesity stigma in online news: news: online in stigma Obesity (2011). M. R. Puhl, & J. K. McClure, A., C. Heurer, content analysis visual A Grabe, M. E., & Bucy, E. P. (2009) P. E. E., & Bucy, Grabe, M. elections framing of Communicator 42 Vol. LII (2), April–June, 2017 Communicator Vol. LII (2), April–June, 2017 43 Research Scholar, Department of Cultural Studies Cultural of Department Scholar, Research Sonitpur, Napaam, University, Tezpur – 784 028, India. Assam Email: [email protected] 1 Abstract

Media can play an important role in the success of communication for development initiatives by highlighting key issues in development and promoting new ideas among the people. Experts have acknowledged the role of entertainment in educating the masses. In this case, films, with their ability to interlace information with entertainment, can serve as a powerful tool in laying the foundation for change. This study aims to critically analyse the social issues raised by popular Bollywood films and their role in creating an ideal ground for putting forward key issues in the society which could further aid in the better reception of development initiatives by the people. The study offers a reading of ’s to emphasise how films can embed in its narrative social issues without compromising its entertainment value and therefore serve as an efficient tool for communication for development.

Keywords Social change, Communication for development, Films for change, Swades, Bollywood Communicator

45 Vol. LII (2), April–June, 2017

for the a people or by a people by Keywords: A Vocabulary of Culture and Society and of Culture Vocabulary A Keywords: ultural theorist Raymond Williams (1974) while discussing the (1974) while Williams Raymond theorist ultural came up with a number popular culture between high and distinction of definitions to express the term “popular”. He popular defines but by others” (unlike folk culture) and therefore it is accused of it and therefore folk culture) but by others” (unlike

A A new field called “entertainment-education”emerged in the Visual media’s ability to influence people has been acknowledged since acknowledged been has people influence to ability media’s Visual

development discourse after the success of Sabido, who produced seven soap development using television operas with social messages to promote social behaviour potential to attract people’s attention. potential to attract people’s director Miguel Sabido in Mexican television) proved that the same medium same the proved that television) Sabido in Mexican Miguel director could be used for ushering positive change, that film and television are not had the and above all, and educative, but also informative escapist solely medium was equally criticised for its negative impact on the society. As on the society. for its negative impact medium was equally criticised the debate over the uses of film and television continued, later researches by experiments television eg. 1980s (for 1970s and the towards especially potential, it being a commercial medium drew flaks from various critiques of critiques various from flaks drew medium commercial a being it potential, and stories entertainment sold cheap media the that who felt culture popular the came, when television Similarly that are masked in illusions of reality. political end that it served, the medium gained popularity among the people end that it served, the medium gained popularity political that worries in the entertainment who found escapism from their mundane commercial films offered. Though film was recognised to have immense enough potential to stimulate mass action; that with the strong emotionally their by vilifying content, it could trigger hatred for the enemies charged positions and in turn achieve glorification of the self. But apart from this mass indoctrination was recognised during the First World War when a series War World First was recognised during the mass indoctrination of propaganda films were made by rival countries to sell ideas about their proved that Wars the enemies film2015). (Smither, The mediumWorld has the time of its advent. However, the role of film as an object of propaganda and propaganda of object an as film of role the However, advent. its of time the ‘popular’ ‘popular’ in popular culture, Storey (2008) the simply “is culture popular that fact the by acknowledging of the term provides a simple definition by people” ( p.5). culture favoured, followed and liked people the all While (p.111). favour people’s win to agendas setting deliberately above definitions provide varying degrees of understanding of the term culture was elaborated in was elaborated culture (1983) where he reiterates that “popular culture was not identified by range from customs to works.” Williams also acknowledges that popular also acknowledges Williams to works.” range from customs culture may refer to “a different kind of culture that has been developed a people by an internal or external social group…”. His ideas about popular C developed that has been “a kind of culture culture as, over a and values, own meanings to express their of a people the majority Communicator 46 Vol. LII (2), April–June, 2017 perspective. In the overall debate on the effectiveness of popular films as films popular of effectiveness the on debate overall the In perspective. None oftheresearch studied and belongingness amongthenon-residential Indians (Ranganathan, 2010). homeland (Chakraborty, 2011; Sinha, 2012) as also for fostering inclusiveness to the diasporic audience for investment in the country or their return to their on the construction of the ideal Indian identity (Valančiūnas, 2008), theworld articles from range these of Some over film. the on perspectives their in all pouring scholars different with discussions, academic various the grassroots. at change positive affect to communication for development as used be to films commercial for scope the up opens also it but approach that stands out for being a champion of the abounds incommunitymessagingstrategies. is supportedbytheanalysisof Ashutosh Gowariker’s argument The entertainment’. through ‘education partin of a scope the broadening play also could films popular how and entertainment-education in their approachtowardssocialissues. indirect more are films the of majority therefore and films commercial education through entertainment, education is nevertheprimary focus of programmes. While these programmes are chiefly concerned with imparting therefore, profit-making is considered secondary or inconsequential for such Education uses entertainment content as a bait to spread social messages and communication or communication for development. Entertainment- with entertainment-education whichcomesunderthe ambit of development content or areconsidered secondary in importance. This isnotthe case themes, though present are often either veiled under the entertainment social therefore and films of goal primary the always is entertainment mass nature, commercial its to Owing educate? to or entertain to used be fictions should and is film of purpose real the what was film regarding question The films. commercial the with case the not was this productions, their in goals While television andradiobegantoincreasingincorporate developmental at theendofeveryepisodetorecount the lessonslearnt from that episode. by Doordarshanin1997. was format also replicated in the Indian superhero series This 2009). (Kumar, audience the to message a gives Kumar Ashok actor film popular episode, every of end the at where issues social context, using fictional genres to spread social messages (Tufte, 2005). In the Indian started radio and television where Brazil, and Tanzania Kenya, countries India, by like adopted also was strategy the success, its after Soon fiction. In this study, an attempt has been made to look at the trajectory of Hum Log 1 was the first indigenous soap opera dealt with different with dealt opera soap indigenous first the was Shaktimaan Swades component by development organisations played by Khanna appears Khanna Mukesh by played fromtheentertainment-education communication fordevelopment Swades Shaktimaan Swades hasbeenasubjectof Swades is not simply a film a simply not is 2 that was telecast (2004)which

to a plea

Communicator 47 as a process in which individuals move from a traditional way of life to a modern, technically developed way of life. Vol. LII (2), April–June, 2017 American scholar Everett Rogers came up with the diffusion theory (1962, 1983) where modernisation was conceived

experts often overlook the role of experts often overlook tool, this study attempts to show through to show through this study attempts tool, as well as by referring to other Bollywood films made films Bollywood other to referring by as well as Swades communication for development communication But this model of development could not be sustained for long. One could But this model of development development, gender equality, promoting literacy, peace building, conflict is that of such strategy advantages most important One of the etc. resolution Singhal (2004)) have recognised that development goals can be achieved by goals can be achieved development recognised that (2004)) have Singhal introducing an entertainment value to education. The range of fields where rural to agriculture, from widely is used varies entertainment-education many Since of popular texts. in the form are materialised processes that ideological (2005), Rogers, Cody & experts (Tufte the last few decades, communication (Servaes, 2008). While acknowledging the direct role that interpersonal that role direct the acknowledging While 2008). (Servaes, change, can play in bringing social and various mass media communication to interpersonal communication in bringing about any attitudinal change or change in bringing about any attitudinal communication to interpersonal is less mass communication that This meant in the adoption of a new idea. likely than personal influence to have a direct effect on social behaviour approach (Melkote, 2001). In this model, it was also seen that although seen that was also it 2001). In this model, (Melkote, approach could play to this end by spreading Rogers stressed on the role mass media role a greater he attributed and practices, awareness about new possibilities recipient’s recipient’s depth of knowledge, one-way flow ofinformation, pro-source, women, especially that fact besides the bias etc, pro-persuasion, pro-literacy in this neglected disproportionately in the rural area in the 1970s remained approach was its incongruence with the cultures of the localities where it was where with the cultures of the localities approach was its incongruence focus extreme its for criticised also was innovation of diffusion Roger’s tested. of the neglect content, message to inattention its mass media, to on exposure of the main reasons paradigm of modernisation for the failure of dominant of life (Melkote, 2001). The focus was on developing the skills of the farmers The focus was on developing 2001). of life (Melkote, along the modeled to a structure countries according in third world agrarian nations. lines of those in the western developed American scholar Everett Rogers came up with the diffusion theory (1962, as a process in which individuals was conceived 1983) where modernisation way developed to a modern, technically way of life move from a traditional born out of the need for an alternative approach to the use of communication to the use approach for an alternative born out of the need the goals, more precisely of development execution in the transfer and 1960’s, early During the innovations. and of new ideas and adoption spread Locating films within entertainment-education discourse Locating films was development’ for ‘communication that here understand to pertinent is It on social themes, the immense possibilities that popular filmsopen up for social change. encouraging communication for development for communication analysis of the Communicator 48 Vol. LII (2), April–June, 2017 programme orshouldbe doingsocialmerchandising, which involves be ofvalue, the programmes should beeither a longrunning massmedia “to (2007), Singhal to According discussion. for a space find not do films in asocially-desirabledirection(p.6). initiatives policy influencing in agenda-setter advocate, mobiliser, social as systemic level. The programmes serve as catalyst for socialchange by acting which help in setting the necessary pre-conditions for social change at the environment external audience’s the influence programmes entertainment diagnosed withleukemia. Singhal andRogers(2004) acknowledgethat of protagonist the after Brazil in manyfold increased committed suicide in villages actively oppose the Brazilian soap opera called examples ofprogrammeslaunchedinIndialiketheentertainment-education they can be more provoking and enlightening than other mediums. Citing and unworthyofacademic consideration, inreality, becauseoftheirappeal, most ofthetime,popularentertainment contents areregardedasescapist content can have a greater impact than factual ones. He argues that although radio andtelevision. engage people to identify and involve themselves with the stories told in genre for development is the fact that it has a wide mass appeal and can attractive an television makes what that writes Tufte telenovelas, Brazilian action and tobringaboutstructural change. Drawingonhisownresearch approaches to identify problems of powerinequalities, to enhance collective of aspects ambit its social marketing aswell as variousinterdisciplinary and transdisciplinary within cover to expanded now has field the how and since the1950sand1960sforcirculating pro-development behaviours, education entertainment of trend growing the traces He (p.162). agendas” change social of articulation citizen-driven and liberating the to individual behaviours of marketing social defined narrowly more the from range can communicate about development issues in a manner and with a purpose that entertainment as a communicative practice crafted to strategically participation indevelopmentworks. enhancing socialmobilisation, collective action toarticulating people’s thereby changes attitudinal influence or promote to techniques subtle uses it In thisentire discourse onentertainment-education for development, Similarly Singhal (2007) talks about the various ways in which popular useof “the as, entertainment-education defines (2005) Tufte telenovela Tinka Tinka Sukh in 2000, he shows how theymade listeners inthe in 2000,heshows Tinka Tinka Sukh

practice of dowryafter the show’s protagonist in radio and and how newdonorregistrations Lazos deSangre Lazos de Sangre , a popular was Communicator

49 Vol. LII (2), April–June, 2017

refers to several works refers to several praxis. communication for development communication initiatives. While radio programmes radio While initiatives. communication for development To support this argument, an article by Franklin Fearing (1947), an article this argument, support To communication for development communication of meanings or ideas which are received by a passive mind. Rather, what Rather, mind. passive a by received are which ideas or meanings of the individual is ‘gets’ determined by his background and his needs;” that people after watching films. Franklin also rubbishes claims made by various by made claims rubbishes also Franklin films. watching after people experts who question the film medium for beingparticipatory by authoritative saying insteadthat motion of picture does not “have a fixed pattern films on audience. He specifically refersPayne of the aegis 1930s under the and Peterson during the Thurstone by to the attitudinal done research of attitudes the in changes measurable registered they where Foundation Influence of the Movies on Attitudes and Behaviour published by major experts in the field of attitudinal research like Herbert of popular and Peterson to show the impact Thurstone Dale, Edgar Blumer, closer to the treatment, its delivery changes from country to country and region to region. to region and country to country changes from delivery its treatment, a Without pro-literacy bias, films can easily reach even the people from the which brings it an ability ladder, lowermost rung of the socio-economic into the audiences’ psyche. For instance, popular commercial its films leverage by have firstly, being inclusive of all people irrespective of gender, for message prescription has no rigid it because and secondly, creed, caste, contents like documentaries to affect change. It should be understood that commercial films also has the capacity to induce positive or negative ideas and way of life by slowing penetrating about certain attitudes, behaviours films as part of their entertainment-education agenda. Yet, commercial films films commercial Yet, agenda. entertainment-education their of part as films for are hardly looked upon as a material audio-visual on folk forms or other focus is more the Instead, initiatives. from the audience, thereby increasing And their although recall films value. cannot be specificallytailored according to the development projects, there relevant workers pick up socially development that is always the possibility acknowledged this fact, one can also not deny the influence that films exert and one-liners scripted images, technology-enhanced The on the audience. quick responses to register enough ability have presence a strong celebrity agenda that is sustained over time. goals, Also, films because are of not its considered profit oriented as entertainment-education tool. Having for can constantly for a long duration and therefore or soap operas continue reinforce the development messages every day, films do not have a fixed strategically employ media role models to promote socially-desirable socially-desirable promote to models role media employ strategically It is with this behaviours. undesirable socially and dissuade behaviours tools strategic of list the in feature never films commercial that consideration a conscious placement of a social message in the popular mediated mediated popular in the message of a social placement a conscious programmes other words, entertainment-education (p.260). In narrative” finally lead towards compromising on identification and value. This could value. This its entertainment debated, without where important consciousness, in turnhelp raising public provide asite issues canbe Films could raised and problem change.

Communicator 50 Vol. LII (2), April–June, 2017 that world, making us experience both alienation and similitude” (quoted verisimilitude, but insteadinitsability to both resemble anddecompose the material world “does not rest in any narrow notion of representational of PhysicalReality her deconstruction of Siegfried Kracauer’s responses in the psyche of the viewers, even if subtly. Miriam Bratu Hansen in as amediator of issuessocialimportance, a sitewhereideascantrigger ofpopular role its justifies it an example then understandings, social collective of site as a is culture film, if Therefore, 2008). (Storey, out played signification’ are of politics ‘the which on terrain a provides It created. are Hall (2009), popular culture is a site where ‘collective social understandings’ live in, acritique of the world, orapicture of analternate world. According to image oftheworld. This image couldeitherbeaportrayal oftheworldwe consequences.” Therefore, goodorbad,apieceofartalwaysincludesan German playwright Bertolt Brecht (1978) said,“Artisnever without Films andsocialchange role increatingaclimateofacceptancetonewthoughtsandideas. socially relevant messages initsnarrative and hence can play an essential communication for development Learning Theory (1977). The study argues that popular films can complement film critical andencouraging thinking amongthemasses. This studyprovidesareadingoftheBollywood issues social raising in films Bollywood of role lead towardschange. The aimofthisstudythereforeistohighlightthe finally and identification problem consciousness, public raising in help turn debated, without compromising on its entertainment value. This could in p.166). Filmscouldprovideasitewhereimportant issues canberaisedand act, collectively aswell as individually, uponthe problems (Tufte, 2005, entertainment-education programmes canenhance and encouragepeopleto people areabletoidentify These could be overcome by a participative mode of communication where power imbalance, structural inequality, andindeepersocietal problems. is notatthecoreofproblembutratherrootliesin and chaotically”(p.70). haphazardly occur to appear which events of universe a in himself orients role, andthevaluesofhisgroup.Italsoameansbywhichindividual as ameansthroughwhichtheindividual understands himself,hissocial play,morality medieval the or folktale, the “like just regarded be may films Swades Over the years, there is a strong recognition that a deficit of information (2004)andtheanalysisisguidedby Albert Bandura’s Social (1960) writes that for Kracauer, a film’s relationship to relationship film’s a Kracauer, for that writes (1960)

the problemsintheireverydaylivesandwhere activities and supportthembyembedding Theory ofFilm:TheRedemption Communicator

51 Vol. LII (2), April–June, 2017 , Shanta Duniya Na Maane (1937) produced in the same year same the (1937) produced in (1936) condemned the debilitating (1936) condemned the debilitating (1937) produced by Ardeshir Irani also Ardeshir Irani by (1937) produced took up the issue of communal disharmony took up the issue of communal

(1922) Duniya Na Mane Duniya Achhut Kanya Kisan Kanya (1946) paved the way for in Indian films where films Indian in realism social for way the paved (1946) Razia Begum (1935) though a romantic tragedy questions the patriarchal system tragedy questions the patriarchal (1935) though a romantic Taking up such a theme at a time when women’s inferior position in position inferior women’s when time a at theme a such up Taking Since the very beginning, social themes have been taken up by conscious up by conscious taken been have themes social beginning, very the Since where the star system flourished and escapistand social serious filmsliked longer no people was that pulse The entertainment. were made for mass Dharti Ke Lal This was of 1943. he discussed the human dimension of Bengal followed by a period in Indian films, known mostly as the golden period the household was almost a taken, was a commendable task. P.C. Barua’s Barua’s task. P.C. the household was almost a taken, was a commendable Devdas Abbas’s K.A. love. separates that structure class and caste rigid the as well as treats women as commodity. treats women as commodity. Apte plays the role of an empowered woman who stands up for her rights Apte plays the role of an empowered which the society against her wedding in revolt and refuses to consummate took up the theme of women empowerment. In took up the theme of women empowerment. girl. Mori Gidwani’s Mori Gidwani’s girl. dealt with the peasant revolt against feudal filmsoppression. like Similarly, Shantaram’s Vankudre while Franz Osten’s basis of caste on the people which discriminated system of untouchability untouchable an and boy brahmin a of story love the portraying class by and did finally make a mark after an initial period of delay. In the years 1929- 30, about 27 films were made on social themes (Thoraval, 2000). Dhiren Ganguly’s the silent era (1912-1934) were driven by the mythological tales of a country of tales by the mythological the silent era (1912-1934) were driven importance issues of social history, rich in folklore, legends and ancient filmmakers who believed that films surpassed mere entertainment but needed but entertainment mere surpassed films that believed who filmmakers of films early the of most although Therefore, purpose. social more a serve to of virtue and vice to various subject positions, to question the system in the to various subject positions, to question of virtue and vice form of a storyline, lies the capacitypopular tofilm’s induce social change, for take-off’. then to create the ‘preconditions if not to directly act qualities about films is that it can initiate a thought process without seeming without process thought a initiate can it that is films about qualities ideas attach thought space, to to prick the perceptual This ability to do so. entertainment, star power and tried and tested formulae for success, but it but for success, formulae tested and tried power and star entertainment, is never divorced from social reality. It rather reflects the common themes most magical forms. One of the the real world in palatable and exigencies of the multiple perceptual viewpoints that is offered by the medium. Films in other words offer new modes of seeing and experiencing the world around us. With commercial aims in mind, films may be a complete package of in Hansen, 2012, p.277); it rather involves the viewer as a engaging subject as assimilates as well sensory imaginations the experiences which both Communicator 52 Vol. LII (2), April–June, 2017 Ktn et,05 o cletv efrs o sca cag, t andthe etc change, social for efforts collective on Mehta,2015) (Ketan (, 2015) onwater scarcity, shows thestoryofpeople with special abilities. and AIDs patients surrounding God, Oh MyGod! about women’s right and raises a voice against female foeticide, Matrubhoomi: A Nation Without Women (ManishJha,2003)speaks shows peasant empowerment as welltakes up theissueofuntouchability 1990s to2000ssawahugenumberoffilmsmanyon socialthemes. caste systemandtheoppressiveforcesofelite politics. The later part ofthe rural handloom weavers. was produced by agroupofworkercooperatives, to highlight the plight of Similarly,p.159). 2000, (Thoraval, film the film the of production the for each 2 Rs. contributed who Federation Milk Co-operative the of farmers the by produced be to world the in film by setting up cooperatives and ushering in the milk revolution. It was the first Kheda district in Gujarat who had the vision to take control of their situation of the White RevolutionofIndia-1970,tracesasmallsetpoorfarmers development lives insorrowanddeprivation. boycotted from thecommunity andwereexpected to spendtherestoftheir about talks widow remarriage at atime ofaconservative India, whenwidowswere Kolhapuri and Kapoor Rishi starring 1982) Kapoor, themes to be found in Indian films during that time. The film system, untouchability, widowremarriage etc were someoftherecurrent social toentwine started also message andentertainment together. Women films empowerment, casteandclass many this, with along but continued stereotypes andembracechange. during this period tried to encourage people to break free from the social made films The system. social discriminatory the attack to untouchability Roy’s Bimal films. during thisperiod,directors did notstepbackfrommaking socially relevant political subjects andallwereinsearchofpureentertainment. Buteven, Margherita with a : OnceUponaTime inIndia The 1976 film hits office box popular producing of trend the 1990s, to 1960s the In discourse. The film by set amidst the backdrop , (,2004)dismantlesthesuperstitious believes ’s PhirMilenge (, & , 2007) Madhvani, Ram & Gupte Amole Khan, (Aamir Sujata

Straw Samar made in 1959 once again broaches the topic of particularly stood outinthe (Shonali Bose & Nilesh Maniyar 2014) which Water (, 2004) takes up the cause of HIV/ of cause the up takes 2004) (Revathi, (1999) by Benegal also takes a dig at the (2005) on widow remarriage, films like Susman (Ashutosh Gowariker,(Ashutosh 2001) Manjhi - The Mountain Man Kaun Kitney Paani Mein (Shyam Benegal, 1986) communication for Prem Rog OMG – (Raj ,

Communicator 53 argued that people argued learn by observing and media provides the stimulus for individuals to act and these are then reinforced through various agencies. Vol. LII (2), April–June, 2017 Miller and Dollard

, with in the Swades (, 2017) that encourages that encourages 2017) (Saket Chaudhary, century. In all these films, different aspects of the social social the of aspects different films, these all In century. st Disinhibitory effects: where the likelihood of adopting the model’s representation behaviour in a media or prohibited threatening to it (Baran & when they see some rewards attached increases Davis, 2015). Observational learning: Here, the audience acquires new patterns new patterns Here, the audience acquires Observational learning: models in a representation; the of behaviour by simply watching Inhibitory effects: where audiences arediscouraged fromfollowing punished after witnessing him/her being a model in a representation and for exhibiting certain behaviour; Following from Bandura’s social cognitive theory, the popular films with films popular the theory, cognitive social Bandura’s from Following 3. 1. 2. According to the Miller and Dollard model, the process Miller and Dollard model, the According to the of social It can be summarised from the above that Hindi films have a long standing long a have films Hindi that above the from summarised be can It the audience. For instance, a film like replete is film the yet and film popular a it make that elements the all has lead social themes can be used for triggering and reinforcing learned behaviour in behaviour learned reinforcing and triggering used for be can themes social operates in three major ways: screen” (Baran & Davis, 2015, p.171). According to Albert Bandura’s social Albert Bandura’s According to 2015, p.171). (Baran & Davis, screen” representations use of media the through cognition social theory, cognitive symbolic representations of the behaviour and these ‘pictures in their heads’ heads’ their in ‘pictures these and behaviour the of representations symbolic behaviour. own subsequent their base to which on information them provide Media characters can influence behaviours simply by being depicted on the by observing and media provides the stimulus for individuals to act and these act to for individuals stimulus provides the media and by observing Learning Social Contemporary agencies. are then reinforced through various acquire can “one that argues, Theory Cognitive known as Social Theory learning takes place in two ways: by imitation of what one sees and by of what one ways: by imitation two in place takes learning identification with the broader characteristics or qualities learn people that of the observed and Dollard argued Miller (Baran & Davis, 2015). model film, television, video, etc. over time among the members of a social system. social a of members the among time over etc. video, television, film, Albert Bandura’s refined version of the theory, known as the Social Cognitive Social the as known theory, the of version refined Bandura’s Albert is a here as they suggest that there relevance of particular Theory (1986) is such as channels, through media social change possibility of communicating history of embedding social messages in their narratives in entertaining in narratives their in messages social of embedding history and learning (1941) of social theories and John Dollard’s Miller forms. Neal issues during the 21 issues during been covered. life have most recent film enrollment into government schools are some of the films made on social Communicator 54 Vol. LII (2), April–June, 2017 towards the dowry system. The sequence opens upthe discussions to the to demand dowry. Through this, Gowariker also exposes Geeta’s abhorrence while stating that had shenotrefusedtheproposal,theywouldhavegone on daughters, their from sacrifice such demands which society the of mentality domestic work andchild rearing. Further, Geeta also speaksupagainst the marriage proposal asarejection ofthenotionthat women aremeant for this patriarchal mindset through the agency of Geeta who turnsdownthe questions film The independence. economic for right girl’s a restricts also and honourtolet their daughters workoutoftheir homes. Suchanattitude in theIndian society which considersit a disgrace to the family’s name of aworkingdaughter-in lawreinforces the patriarchal mindset prevalent once themarriage takes place. The reactionofthegroom’s familytotheidea proposal after getting to know that she will not be allowed to continue her job In one sequence, Geeta, the female protagonist of the film rejects a marriage Questioning thepatriarchal set-up a as development it mark that film the in sequences various the of in the field of childeducation, dowry, like school-dropouts, human rights, equality of sexes,child labour also make it an interesting study of issues treatment film’s through community mobilisation and people’s participation. Besides, the communication for development of the redeeming features of the movie which makes it so interesting for a action amongthevillagerstosolveproblemofelectricity shortage.One how ahighlyeducated man armedwithtechnical skills encouragecollective the entire village, one is the issue of frequent electricity cuts. The film shows remote villageofIndiacalledCharanpur.the variousproblemsthatgrapple Of a to Mohan takes search Kaveri The Amma. nanny his of search in India to NASAa Khan, Rukh Shah returning by scientist played Mohan with begins as well as for prescribing to a participatory model of social change. The film worth anexamination for aseriesofcritical questions itraisestoitsviewers minds of the audience. The film starring Bollywood actor Shah Rukh Khan is can provide a site for promoting social action and critical thinking in the film The Analysis of Gowariker’s for development with componentsthatmakeitaptforstudyasanappropriate Swades Swades material. Swades communication for development material. This isfurthersubstantiated by thecasestudyof by Ashutosh Gowariker is a perfect example of how films how of example perfect a is Gowariker by Ashutosh . studyisitsspecial focus ondevelopment . The following is an analysis communication for communication Communicator

55 Vol. LII (2), April–June, 2017 , school dropouts continue. Sarva Shiksha Abhiyan becomes successful in changing the opinion of the villagers regarding villagers of the opinion the changing in successful becomes low reason for the the that process, Mohan discovers During this education. in the village wrestler, an insider in the villager as his conduit in changing an insider in the villager wrestler, in the village wrestler village The education. children’s of favour opinion in public Mohan whose assistance through leader opinion the of role the plays here In order to help Geeta retain village school premises, Mohan takes it upon it Mohan takes premises, school village retain In order to help Geeta ropes He school. to children their sending for people the persuade to himself like the gender bias in education Voicing school dropouts then the school will require a large premise. Through this, premise. require a large school dropouts then the school will and school drop-outs of low school attendance problem Gowariker raises the where despite government initiatives areas of the country, in many remote school to smaller space. Geeta requests the authorities to allow her to use to allow her to use space. Geeta requests the authorities school to smaller parents if all that assurance with the time for some more premises the of problem the control can one if and to school children their sending start Stressing importance of primary education importance of Stressing to shift her asks Geeta panchayat village the Again in another sequence, hand in hand. Therefore, they stress the importance of education in bringing Therefore, they stress of education in bringing the importance hand in hand. about positive social change. the government for inaction. Geeta’s prescription of development is rooted development of prescription Geeta’s for inaction. government the Mohan, all three participants, culture. In this discussion, in the country’s Geeta and Kaveri Amma are one with the fact that literacy and poverty go and practices. Geeta proposes that to change people’s mindset one need not need one mindset people’s change to that proposes Geeta practices. and but rather what is required of the realisation traditions break away from one’s own than blaming hands rather by taking action in one’s potential, of one’s an alternative perspective and states that it is the traditions and cultures that and states that it is the perspective an alternative a proposes words, Geeta In other country together. holding the been have cultures indigenous ones’ from is not removed which model development failure, and termed them as obstacles in the path of development, Mohan also in the path of development, Mohan them as obstacles failure, and termed and traditions, as India clings on to its age-old customs states that as long it cannot be developed or harbor progressive thoughts. this To Geeta offers shows a discussion among Mohan, paradigm problems. Like the modernisation Geeta the country’s probable cause of and Kaveri Amma about the traditions for its cultures and the oriental blamed of development which Promoting the role of indigenous culture in development culture of indigenous role the Promoting Gowariker proposal, marriage of the rejection scene post Geeta’s In a dinner larger problems facing the country like illiteracy, poverty and caste system. poverty and the country like illiteracy, problems facing larger notions thatabound the socialproblems he directlytargets Through Mohan, exposes someof the stereotypical the Indianrural that isrampant in thecountry. and stigmas Gowariker, landscape.

Communicator 56 Vol. LII (2), April–June, 2017 Apart from taking up socially relevant issues like child labour,Apart fromtakingupsocially relevantissues literacy, show Gowariker’s advocacy foruniversalschooleducationall. does not escape the audience. and The above scene is once again an attempt to isunmistakable it for and disgust sorrow protagonist’s the fleetingly, heart fills with sorrow. Here, although the issue of child labour is shown only from theothervillage,hesees,childrensellingteain the stationsideandhis traditional profession in order totry for something new. Also, while returning evils oftherigidcastesystemwhichpunishesmenfor deviating from their to collect Geeta’s money from a poor farmer in another village, he realises the of caste based discrimination is clearly debated in the film. As Mohan travels even the lowest rung of the society to send the children to school. The issue education is forall, irrespective of caste, creed and sexandtherefore pleads as achampionforuniversaleducation.Mohanconvincesthepeoplethat Mohan constructs he Here, landscape. rural Indian the abound that notions rampant in thecountry. is Through Mohan,hedirectly targets thestereotypical that stigmas and problems social the of some exposes Gowariker, film, explains that his daughter would soon be married off. Therefore, through this gives the same patriarchal explanation that a girl’s place is in the house and rampant. When Mohanrequeststhe man tosendhisdaughter to school,he in manyremote villages and evenurbanareas, caste discrimination is still the lessprivileged castesinthecountrytobringthematparwithothers, government has churned out a number of schemes for thedevelopment of and statesthat education is notmeant for peoplelikehim. Although the partiality of thesystemtowardspeople belonging to lessprivileged classes Geeta’s schoolcomes across the family of a labourer who ruesabout the of caste based discrimination. Mohan, while trying to get more children into Again, another social malaise that Gowariker exposes in the film is the issue Promoting equalityformankind out ofschoolstocontributethefamilyincome. remains thatinIndia,thedropoutamongboysisalsoonraiseastheyroll Gowariker highlights the gender stereotype in the field of education, the fact household training ismoreimportantthanschooleducation. Although girl’s ultimate aim inlifeistorunthehouseandrearchildrenforwhich dropout their daughters fromschoolatanearly age astheybelieve that the who villages in many of opinions the of reflective is reason His schooling. his granddaughters from pursuing any further education after their primary patriarchal bias towardseducation. Even the head of the village holds back enrollment rates in village schools is deep rooted. Firstly, Mohan finds out the Stressing theimportanceofselfhelp:Towards aparticipatoryapproach Communicator

57 Vol. LII (2), April–June, 2017 in Sri is not just a film communication for communication Swades praxis is in force but also how (, 2016), (Aniruddha Roy Chowdhury, Pink Sarvodaya Shramadana Sarvodaya Shramadana Movement it was Shah Rukh Khan who played the role is loud and clear; that no amount of explanation, of amount no that clear; and loud is Pink Swades, material, it is pertinent to mention that the film also shows how shows also film the that mention to pertinent is it material, communication for development communication In the above discussion we saw how the film In the film, the role of Mohan is that of a facilitator. He brings in his he sends out in the film the in out sends he of the facilitator, in the recent film recent the in facilitator, the of forward some this role by putting who played Bachchan Amitabh it was message The resounding truth about stereotyping of women in the country. sends out a message against caste discrimination. It must be noted here that sends out a message against caste discrimination. Bollywood has always come up with films on interesting subjects of social While importance. in Encouraging use of folk media for social change Encouraging use of folk media for social Through the dance drama of the Hindu epic Ramayana, Gowariker also from its storyline and content, that makes the film an apt an film the makes that content, and storyline its from development important social messages. folk forms could be used to spread where the films can raise critical awareness about the social Apart evils in the society. approach” attitude and rather advocates community development through development community advocates and rather attitude approach” participation and collective action. people’s knowledge and expertise to solve the problem of electricity shortage but the but the shortage of electricity problem the to solve expertise and knowledge effort is collective and executed in consultation with the villagers. The film therefore in its final analysis, reproaches the “God takes care of everything energy and labour. and labour. energy resemblance to the model of the to the resemblance model This of Sarvodaya. concept by the Gandhian is inspired which Lanka resources, through sharing of time, for all and welfare inclusivity advocates knowledge, builds the infrastructure for generating electricity. This takes us takes This electricity. for generating infrastructure the builds knowledge, together where people come development participatory back to the idea of also draws sequence above The problems. and lives their to take control of be generated in the village and through discussions with the village elders village and through discussions be generated in the with his own technical teamed men and women, of all, and participation administration had been a concern for the villagers. Mohan with his sharp Mohan with his for the villagers. had been a concern administration solve to come together and unite to villages the urges background technical this problem. He, along with the villages investigates how electricity can criticises the villagers for their laidback attitude to solving their problems and to solving their problems attitude laidback for their the villagers criticises collective own hands through in their them to take development encourages of the district attitude lackadaisical cuts and the The frequent power action. dowry, gender dowry, the equality, film also directs the attentionof the viewers to Mohan Here, efforts. collective and communication participatory of idea the Communicator 58 Vol. LII (2), April–June, 2017 by observation or by imitation and are therefore influenced by what they what by influenced therefore are and imitation by or observation by 1986, & 2006) Communication expert and social theorist Albert Bandura (1970, 1971, movements is motivating people to make changes in their everyday lives. play. to role major a has medium a as film A to the larger masses. Therefore, inthe process ofbringingsocial change, are providingedutainmenttotheaudience. Swades, silent role that popular commercial films can play to achieve this objective. In attitudinal change strategies to bringabout this change, it often overlooks the While in direct contradiction to theirage-oldbelief systems, culturesandcustoms. must also the new set of ideas and innovations, most of which are to bringaboutdevelopment and socialchange,thepeopleofcommunity locals of the region and themselves take up the role of a facilitator. However, idea, communication for development experts must attempt to involve the the local sentiments. In orderto facilitate this change or to introduce a new of aim The reflection. the lives ofthepeopleacommunitywithout disruptingordisregarding for site a provide communication for development is to bring about progressive changes in and concern social of issues The above reading of the film Conclusion discussions andcontemplationontheseissues. of social importance in the public domain opening the gates to more critical issues raising in role crucial a played have films where examples many are class. Similarly apart from the above, as have been already discussed,there upon thetopicofremarriage and thebroadeningmindsetofIndianmiddle insemination and howit is becoming the need of the hour. Italsotouches of Indian society as well as films. It talks about sperm donation and artificial and castediscrimination. starrer Khan Aamir the Again, victims. the of trauma the and HIV communicating of pitfalls Shetty,Shilpa HIVof issue the up. taken was AIDS the about talks film The after shehasdeniedaccesstoherbody. reason and excuse will suffice to when one tries to violate a woman’s dignity Through popular films, messages have been generated and passed on passed and generated been have messages films, popular Through film the in Similarly, communication fordevelopment as well as in the other films in discussion, it is seen how filmmakers

in his ( Lagaan

Social Learning Theory stated that individuals learn

Phir Milenge (2001) broaches the subject of untouchability Swades , 2012) shows how films can broach important expertsusevariousbehavioural and

is amovie that breaksmanytaboos (2004)

big challenge for challenge big , starring and Khan Salman starring social change social Communicator

59 Vol. LII (2), April–June, 2017

. The soap opera which was produced . Simplimenta Maria (July 7, 1984 to December 17, 1985) was India’s first indigenous soap opera made opera soap indigenous first India’s was 1985) 17, December to 1984 7, (July It is in this light that I argue that popular films with its equally popular by Sobha Doctor and directed by P Kumar Vasudev was sponsored Scripted by Manohar Shyam Joshi, in the 156 episodes of the soap opera, the makers made by Maggi Noodles. on the lines of Mexican Telenovela Telenovela on the lines of Mexican Hum Log

Notes 1 the society so that any further intervention by social groups and organisations organisations groups and by social intervention further any so that society the could be successful. films, through its entertainment content has the ability to silently penetrate changes that attitudinal and trigger into the subconscious of the audiences, in acceptance of climate a create can films way, this In pro-development. are complement it with other development initiatives. What is needed now is is needed What initiatives. development other with it complement that Bollywood films especially popular stars endorse films with important Bollywood popular that concluded be can it above messages. From the social their activities instead of blindly following their favourite celebrities. In this In this celebrities. instead of blindly following their favourite their activities way, films can also be usedby development communication facilitators in conjugation as a first stage to create a climate of positive social change and comparing the actions of the protagonists with that of the community. Such of the community. of the protagonists with that the actions comparing are audiences two way process, where a however be discussion should a upon points of view and contemplate their alternative to express encouraged gathering crowds in big numbers but also easing the community members in big numbers but also easing the community crowds gathering then can experts. Every screening development with the into cooperating be followed by a discussion on the social themes raised by the film and development organisations or NGOs can start by screening popular in help only not can which time of period sustained a for audience the to films audiences remain engrossed in the entertainment a film offers, they are also which can provide food for further perspectives to new ideas, and introduced discussions. As a starting point, I propose that after problem identification, be compared to the effect a documentary film or video has on the people. effect a documentary film or video be compared to the star cast have the capacity to While influence the mindsets of the audiences. peers. Therefore, the effect that a Shah Rukh Khan or AmitabhTherefore, Bachchanthe or effectpeers. that a Shah Rukh Khan or Salman Khan has on their fans in the various pockets of the country cannot about how the world works and decide whether or not to incorporate that or not to incorporate whether works and decide about how the world stars endorsing favourite their fans see When own lives. their into behaviour to their them and also pass them on idea, they too try to emulate a particular worship or look upto. In this case when popular stars endorse ideas, they are they ideas, endorse stars popular when case this In upto. look worship or One can it. about and discuss act, the remember fans that by their followed assumptions fans can make celebrities, favourite their by watching that argue watch. However, it has been observed that the influence is more when the adore, whom they it outside or circle peer in the performed by people is same Communicator 60 Vol. LII (2), April–June, 2017 agnta, . 21) Twrs mr icuie nin dniy A case A identity? Indian inclusive more a Towards (2010). M. Ranganathan, world: Theoryandpracticefor empowerment (2001). N. Hopkins, & S., Melkote, Publishing House. (2009). K.J. Kumar, and TheodorW. Adorno Hansen, M. B. (2012). Motion Pictures. Gowariker, A. (Producer&Director).(2004). from http://www.jstor.org/stable/1026142. of the American Academy ofPolitical and SocialScience behavior. and attitudes on F. movies Fearing, the of Influence (1947). Swades. Chakraborty, C.(2011). ShamingtheIndianDiaspora,askingfor“returns:” ferment, andfuture (2015). K.D. Davis, & S.J., Baran, References and like 2 Shaktimaan children on different subjects like saving water, electricity, health and sanitation issues, andsanitation education andrespecttoelders,patriotism,environmentalawarenessetc. health electricity, water, saving like subjects different on children come up withanepilogue on thelinesofsoapopera suicide and hurt themselves in the hope of being saved by Shaktimaan), they decided to commit to started children that reports (even children the among popularity and influence series began as apurely entertainment show butwhenthe makers sawthe scale of its and his alter ego Pandit Gangadhar Vidyadhar Mayadhar Omkar Nath Shastri. Initially the Shaktimaan of role the played Khanna Mukesh National. DD on aired were around episodes 400 and 1997 20, September on telecast first was series The Jani. Dinkar by directed series superhero western by Influenced television. Indian of history the in series superhero many soapoperastousesocialandeducationalcontentintheirprogramme. empowerment, public welfare, political corruption etc. harmony, alcoholism, national integration, health problems andfamilyplanning, women a studydonebyRogers&Singhal (1991), the soap operacovered themes like family Based on the letters, the makers incorporated several changes in the storyline. According to passimportant to nature as it allowed viewers towriteletters to themakerscommunicate their observations. appeared Kumar Askok actor messages basedonsocialthemes totheaudience. was alsoparticipatory The show in film popular where epilogue an with revolved aroundalowermiddle class northIndianjointfamily. The showendedeachday a conscious effort to blend entertainment with education in the form of a fictional story that Choti ParMotiBatein. Batman, Superman, etc TOPIA: Canadian JournalofCulturalStudies , which was telecast every Sunday on Doordarshan, was one of the first Indian first the of one was Doordarshan, on Sunday every telecast was which , (7 Mass communication in India th Cinema andexperience: Siegfried Kracauer, Walter Benjamin, ed.).NewDelhi,India:CengageLearning. . Los Angeles, UnitedStates:UniversityofCalifornia Press. Satmn eis a poue b Mks Kan and Khanna Mukesh by produced was series Shaktiman , Inthissegment,Shaktimanhimselfappearstoadvice Communication fordevelopment in thethird Mass communicationtheory:Foundations, Swades (2 nd ed). Hum Log Hum Log (3 [Motion Picture].India:UTV

rd : SagePublications. , ed.).Mumbai,India: Jaico 26 , 254 , 11-28. provided the roadmap for called, (1), 70-79.Retrieved Sorry Shaktimaan The ANNALS

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, ed.). th (5 (pp.158- International (revised ed.). (21),15. (1), 41-59, doi: (1), 41-59, Entertainment-Education Entertainment-Education Acta Orientalia Vilnensia Orientalia Acta Indian Institute of Mass Indian Institute of

(pp. 3-20). London, England: (pp. 3-20). London, (2), 259-269. . India: Macmillan. New Republic, 171 In O. Hemer & T. Tufte (Eds.),

National Identities, 12 Retreived from http://encyclopedia.1914- Retreived Communication for development and social and social for development Communication (2), 185-196, doi: 10.1080/14746689.2012.682868. 10 (pp.17-25). : , Keywords: A Vocabulary of Culture and Society of Culture Vocabulary A Keywords: Cinemas of India (1896-2000) Sage Publications India Pvt Lmt. Sage Publications

Cultural theory and popular culture: An introduction introduction An and popular culture: theory Cultural Brown Journal of World Affairs, 13 Journal of World Brown New Delhi: (2),159-174. New York: Oxford University Press. York: New Williams, R. (1974). On high and popular culture. Williams, R. (1983). Williams, Valančiūnas, Valančiūnas, D. (2008). Myth in popular constructing Hindi contemporary film: The Indian case of Ashutosh identity Gowariker. in 9 Media and Glocal Change. Rethinking Communication for Development for Communication Rethinking Change. Glocal and Media CLACSO and NORDICOM. Argentina: Aires, 174). Buenos Thoraval, Y. (2000). Y. Thoraval, Between communication. in development Entertainment-education (2005). T. Tufte, people. empowering and behaviours marketing Storey, J. (2008). Storey, London, England: Pearson Longman. Encyclopedia of the First World War. First World of the Encyclopedia 1918-online.net/article/filmcinema Sinha, S. (2012). Return of the native: Swades and the re-thinking of Diaspora. Swades and the re-thinking of Diaspora. Sinha, S. (2012). Return of the native: Asian Popular Culture South In “1914-1918-online. (2015). Film/Cinema. Roger. Smither, and Social Change: History, Research, and Practice Research, History, Change: and Social Lawrence Associates. Erlbaum Singhal, A., & Rogers, E. (2004).The status of entertainment-education worldwide. worldwide. & Rogers, E. (2004).The status of entertainment-education A., Singhal, (Eds.), E. Rogers & M. Sabido M.J. Cody, A. Singhal, In Singhal, A., & Rogers, E. (1991). Hum Log story: From concept to Communication after-effects. 2000 AD Communication. Singhal, A.(2007). Popular media and social change: Lessons from Peru, Mexico, from Lessons change: social and media Popular A.(2007). Singhal, and South Africa. Servaes, J. (2008) (Ed.). Introduction: (2008) (Ed.). Introduction: Servaes, J. change. study of the Bollywood 10.1080/14608940903542631. film Swades.

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1 Professor & Regional Director, Indian Institute of Mass Communication, Sanchar Marg, Dhenkanal, Orrisa – 759 001, India. E-mail: [email protected] Abstract

This study maps the origin, growth and present status of cartoons in India. Though India has had a long tradition of lampooning and caricature in its popular culture, ‘cartoon’ as the term is understood now was a British import to India. Gradually the desi fervour grew, and the typical Indian humour began to play a greater role. Cartoons in India exposed the soft social underbelly of our society, it helped India’s freedom struggle by fanning hostile attitude against the British administrators and Government. It played a role of social critique. After independence, cartoons, especially political cartoons became even more popular. However, it suffered a decline in finding space in mainstream newspapers from 1990s. This study attempts to analyse the reasons thereof and it also attempts to document the different sub genres of present cartooning in India.

Keywords Cartooning in India, Punch, Indian cartoonists, Comic magazine, Indian freedom struggle, Popular culture Communicator

65 Vol. LII (2), April–June, 2017 from a century: published th

century: th . It produced a produced . It from , a (literarily it means (literarily stated, “No literary stated, Punch Purneah Punch bat tala and even Indian Charivari , an weekly from Moradabad. , an Urdu weekly from Moradabad. . Indian Charivari , which lampooned Indian society and society Indian lampooned which , an English comic magazine Punch, art of and Rafiq Punch Indian Punch pata Indian Charivari , nevertheless maintained utmost secrecy about its about secrecy utmost maintained , nevertheless The inaugural issue of The inaugural . Basantak aricaturing and lampooning of public figures and social codes existed existed codes social and figures public of lampooning and aricaturing long India for a very in traditions and story-telling in the singing criticism social of weapon systematic a as caricature However, time.

mores attained the ruthless candour of Gillray and Rowlandson. British lack of self-criticism may be explained by the fact that the imperial bureaucracy had ossified into benevolent despotism enough, so did the early Indian cartoonists. The significant The significant enough, so did the early Indian cartoonists. in India viewed difference was that while British cartoonists the Indian subjects from the lofty heights of moral certainty, Indian cartoonists generally engaged in penetrating self-parody and social comment rather than using the new-found weapon against the Raj. In Bengali cartoons, the exposure of social Mitter (1994) writes about cartoons in India in the early 19 Mitter (1994) writes about cartoons D’Oyly initially poked gentle ….Although artists like Sir Charles Anglo-Indian lifestyle in the early nineteenth century, fun at the object of mirth. Interestingly they soon turned to the Indians as an According to Lahiri (2012), Calcutta’s and India’s cartoon legacy dates legacy cartoon and India’s Calcutta’s (2012), According to Lahiri Modern caricature as a form of journalism was a British import in India. was of journalism as a form Modern caricature

manners, presumably for the consumption of British residents in colonial manners, presumably for the consumption India, and its answer, from two publications – publications two from The Indian Punch, Delhi Sketch Book, Momus, The Oudh Punch, Urdu Punch, Punch, Momus, Book, The Oudh Punch, Urdu The Indian Punch, Delhi Sketch Punch Gujarati Punch, Hindi Punch, Parsi remote town in Bengal and impression in India than the English comic magazine 19 the of half second the during offspring its of procession riotous The magazine inspired similar publications including the popular Bengali magazine operations. However no single humorous publication made a deeper from London public men may be which the faults and follies of our vehicle exists by humorously ventilated.” our own various grievances exposed, and satirically In 1872, Colonel Percy Wyndhem started Wyndhem Percy In 1872, Colonel comic magazine inspired by even the coarse and the vulgar were employed as sectorial tools. Colonial as sectorial the vulgar were employed even the coarse and to these in the nineteenth century. Calcutta gave rise C the popular began with under the Banyan Tree, figuratively it means low-brow)literature, where 66 as the British community, now confined to clubs, cantonments and hill stations, became more and more racially exclusive. The most brilliant representations of expatriate life were G. P. Atkinson’s Curry and Rice or The Ingredients of Social Life at Our “Station” in India (1859) (p. 17). Communicator One of the longest running English-language comic magazines published by an Indian to take up political issues was Hindi Punch (1878-1930). Its

Vol. LI No. 2, July–Sept, 2016 Vol. editor, Barjorji Naorosji, who belonged to the Parsi community in Bombay, supported the moderates in the Indian National Congress founded in 1885. It cleverly adapted prints by the universally popular academic painter Varma to make a political point. In a 1905 cartoon it depicted Lord Curzon, the bête noire of the nationalists, as Saraswati, the Hindu goddess of learning in a parody of his high-handed treatment of academics at the Shimla education conference. By 1910 a number of Punch titles were published in various parts of Eastern, Western and Northern India including North Western Provinces and Avadh. But interestingly hardly any Punch clone was published from .

The variety of comic-based Punch versions indicates that much graphic satire was being produced in Urdu at that time. The Kanauj Punch, an Urdu weekly had a circulation of 500 copies. The Rafiq Punch, another Urdu weekly from Moradabad had a circulation of 450 copies. In Ahmedabad Gujarati Punch, an Anglo-Gujarati weekly published by Somalal Mangaldas Shah had a circulation of 3400 copies (Khanduri, 2013). Though later day cartoonists were critical of the quality of cartoons published in these Punch versions both thematically and stylistically (Laxman, 1989), these cartoons played an important role to satirically highlight the socio economic and to some extent political situation of the country.

One of the first cartoons by an Indian to make a political impact was published in the Bengali newspaper Sulav Samachar1 in 1870, highlighting a glaring injustice. During this period poorer Indians were often assaulted by the Europeans leading to their death. If the case came to court at all, the victim’s ‘enlarged spleen’ was blamed for his death. The cartoon shows a One of the dead coolie with his wife weeping next to him. A European doctor conducts longest running a perfunctory post-mortem while the offender stands nonchalantly smoking English-language a cigar. The cartoon, with its suggestion of collusion between European comic magazines published by an authorities and the offenders, was one of the seditious pieces that provoked Indian to take up the British administration into imposing vernacular press censorship in 1878. political issues was Hindi Punch Two modern innovations, printing technology and the process of (1878-1930). Communicator

67 Vol. LII (2), April–June, 2017 . Sen’s . Sen’s cartoon, was cartoon, Punch Bharat Barsha (Goddess of Famine). and , greatly expanded opportunities opportunities expanded , greatly (Dream of Monkey) (1927), and (Dream Manasi (which means ‘migratory’ or ‘non- Kshamadevatha Kajjali century. Pictorial journalism became an journalism became Pictorial century. Prabasi th Masik Basumati Masik and (1927). These remain some of the most inventive (1927). 4 Manasi , henpecked husband, pompous academic, obsequious clerk, obsequious husband, pompous academic, henpecked (The going on) (1924), going (The

The erosion of social values under the impact of westernisation remained of westernisation values under the impact The erosion of social Cartooning as an instant, satirical art form has been very popular in very popular form has been art satirical as an instant, Cartooning From 1917, one of the most popular cartoonists of Bengal, Jatin Sen, Jatin Bengal, of cartoonists popular most the of one 1917, From never the cartoon on page one. Turn the pages and you’ll find more. ’s Kerala’s more. find you’ll and pages the Turn one. page on cartoon the never language the Indian in elsewhere than professional are more cartoonists as well”. press, and organised showcased by the editor (as yet anonymous) as a satirical visual form a satirical (as yet anonymous) as showcased by the editor Unny (2012) that so popular became form art The West. the in popular but masthead, the go without newspapers might “ commented, Kerala. The earliest Malayalam cartoon excavated so far was published in humor journal, titled 1919 in a local on the predictably drawing, modeled line bare The behaviour. Goddalika Hanumaner Swapna in social ridiculous eye for the keen with their life, of Bengali parodies the Nationalist Oriental art. A chance meeting with Rajsekhar Bose, a well- with meeting chance A art. Oriental the Nationalist known literary figure of this time made him join hisworks, satirical brilliant for Bose’s inspiration the became cartoons his literary circle. Soon idiosyncrasies with national peculiarities, was unmatched for the period. A A period. for the was unmatched peculiarities, national with idiosyncrasies and art graphic Sen turned Art School, Government Calcutta the at student to make headway in failing hoardings, after for cinema to cartoons images featured regularly in the leading monthlies, in the leading regularly featured physiognomic types, blending individual observation of Bengali penetrating the market with his favourite fish or the thin school-teacher with stick-like well captured in drawing after drawing. arms and legs were (landlord) behaviour Characteristic favourites. cartoonists’ the were Brahmin illiterate from returning clerk head plump the as such situations, cultural typical and for aspiring cartoonists. The most popular Bengali cartoons, however, were cartoons, however, The most popular Bengali for aspiring cartoonists. being the hypocritical The stock characters social and not political. resident’) became a model of publishing early this century. The use of high The century. this early of publishing model a became resident’) quality illustrations and graphic art in Bengali monthly magazines such as Barsha Bharat indispensable part of literary culture. The Bengali educated enjoyed a educated The Bengali culture. part of literary indispensable rich harvest of illustrated magazines, thanks to the brilliant whose Chatterjee, Ramananda entrepreneur, mechanical reproduction turned Bengal into a society dominated by the dominated society a into Bengal turned reproduction mechanical 19 in the mid visual image Communicator 68 Vol. LII (2), April–June, 2017 and Hindu mythology and animals. He used the moderates in Congress Party. His cartoons employed folklores, proverbs of theIndiansbyEnglish. Another target ofBharti’s viciouscartoonswas devoted tooneormorecartoons.Oneofthestandardthemes wasexploitation 10) Nadu daily Justice Partyanditsdoings. Dr. P.the Varadarajuluattacked Naidu, Editorof cartoon the “Horace”, himself signed who artist an by drawn Sangu used duringCivilDisobedienceMovement. T.S.Choklingam’s portrayed. After Bharti,therewasalullofaboutdecade. Then cartoonswere shown theengravermanyofposturesandgrimaces he hadwantedtobe his ideasasperfectly as possible. In fact, he isreported to haveposedand then engraved. Bharti would spendhourswiththe artist engraver to bringout blocks had tobedrawnonpaper, copied inreverseonleadorwoodenblocks,and cartoon method; process photo the by blocks making for facilities and Murthy(2014)observesthatthosewerethedays whentherewereno fables. Each cartoon wasaccompanied by elaborate commentary. Rao nationalist Tamil weeklynamed fiery a in (1906-11) period Swadeshi in cartoons employed He Journalism. observes: cartoons, but byfarhismostoriginal ones weresocial satires. Mitter (1997) Screams). Gaganendranath produced some sharply observed political Opposites), lithographs beganappearing from 1917onwardsin level of highart. A nephewofRabindranath, Gaganendranath’s trenchant unsentimental eye of Gaganendranath Tagore, who raisedcartoons to the most prevalent topic across the regional languages. But nobody match the the favoritetopicofMalayalam andBengalicaricature. In factitwasthe (Rao&Murthy, 2014).Oftenthe entire front page of the weekly was The Hindu in Tamil cartoonist first the was (1882-1921) Bharti Subramania C. Gaganendranath admired(p.18). drew inspirationfromthetechniqueofJapaneseprints,which flat surfaces.Fromtheirstylesitseemslikelythattheyultimately their stronglines,grotesquefiguresandfacesuseofbroad in 1896.BothGermanandIndiancartoonsarerecognisableby cartoons publishedin ferocity alsoboreanuncannyresemblancetoexpressionist …If hedrewwiththeeconomyof earnedthewrathofColonialGovernmentbecause itscartoons. and Adbhut Lok in 1925 had published its first political cartoon which was which cartoon political first its published had 1925 in weekly , wasaloverofcartoons.Many cartoonsinthe (Realmof and Absurd) Simplicissimus India (Madras 1906-08, Pondicherry 1908- , theGermanpaperfounded Pata Panchatantra of Kalighat,his Naba Hullod Birup Bajra 2

tales and Aesop’s tales 3

Sudhantira (Reform (Playof Tamil Tamil . Bharthi Communicator 69 Rama Rao (1906- 1960) was born in Jeypore, . by lawyer a was He profession. His first in appeared cartoon 1930 in a monthly titled Vol. LII (2), April–June, 2017 Telugu The first Tallisetti cartoonist

The The ’s Shankar’s India’s first India’s

, Shankar’s Weekly Shankar’s . century. However, However, century. th of Bombay migrated of Bombay The Hindustan Times , which provided space , which provided Punch (first published 1928) and 1928) published (first Shankar’s Weekly Shankar’s The Bombay Chronicle, The Free Press Press Free The Chronicle, Bombay The and vice versa. Mali, the ace cartoonist, versa. Mali, the and vice Ananda Vikatan Ananda . In 1932, Joseph Pothan, the editor of . In 1932, Joseph Pothan, the editor . Subsequently his cartoons were published . Subsequently his The Merry Magazine The Free Press Journal Press The Free . He drew cartoons to educate the public about public the educate to cartoons drew He . in 4 Bharthi The Hindu published from Delhi that made political cartoons cartoons published from Delhi that made political Prabha It was started in 1890 by Anandrao Ramachandra in 1890 by It was started to and , he was granted study leave for a year so that he could go to offered him a job as staff cartoonist. After six years with years six After cartoonist. staff as job a him offered Bhoot. published in the late twenties were drawn by K.R. Sarma. The Weekly Herald The Weekly and

was as popular in India as the legendary Political cartooning in India, which was a British import – gradually import British which was a India, in cartooning Political The first Marathi newspaper to carry cartoons on political andsocial The first Telugu cartoonist Tallisetti Rama Rao (1906-1960) was born in born was (1906-1960) Rao Rama Tallisetti cartoonist Telugu first The two years later he started his own journal, he started two years later Shankar’s Weekly Weekly Shankar’s

Andhra Patrika journal of political cartoons, which became very popular. In fact very popular. cartoons, which became journal of political Weekly Hindustan Times In 1946, he quit London and study art professionally. and Hindustan Times started sending cartoons regularly to regularly cartoons sending started Journal his student days. When he was working as private secretary to the shipping shipping the to secretary was working as private he When days. his student soon and time, spare his in doodle used to he Morarjee, Narottam tycoon it was K Shankar Pillai, popularly his known as Shankar (1902-1989) and a hobby with Shankar from had been Drawing caricatures popular. immensely very popular but ceased publication in 1904. very popular but ceased publication started to find its own style and idiom by the turn of 20 matters was matters It was on every new and full moon day. It used to get published Dharandhar. in Eenadu, one of the largest circulated Telugu daily since its inception in inception its since daily Telugu circulated largest the of one Eenadu, in 1974. were the first leading cartoonists inTelugu. Mention must be made of the cartoon pocket daily a publishing who has been Sridhar, cartoonist popular more people to draw cartoons (Rao & Murthy, 2014). Subsequently, many 2014). Subsequently, cartoons (Rao & Murthy, more people to draw Murthy, Viswanathanarasimha journalism. Telugu into came cartoonists other R.S. Naidu and Rambhatla Krishna Murthy (the first political cartoonist) in Though they and slavery. dowry consumption of liquor, the ills of smoking, they still paved the path for of a cartoon, the sharp punch and satire lacked Jeypore, Odisha. He was a lawyer by profession. His first cartoon appeared in appeared cartoon first His profession. by lawyer a was He Odisha. Jeypore, titled 1930 in a monthly its sister magazine in English, cartoonists. for cartoons and encouraged The Indian Express The Indian by S. discovered Sadanand to asset an became and Madras to Nadu Weekly from moved Vasu Thanu and South India like cartoonists of Other notable got fromthemedia social andpolitical houses andpublic. and 1980swasthe India inthe1970s independence for the cartooniststo practice theirart. support thatthey of cartooningin A fairlytolerant Another reason milieu ensured for thegrowth fair amountof

Communicator 70 Vol. LII (2), April–June, 2017 Triambak Sharma,EditorCartoonwatchsays: Hindustan started publishingcartoonsprominently. Insidelastpageof and 1970s consider many 1980s tobethegoldenperiodofcartoonsinIndiaacrosslanguages. Therefore flourish. to art their for atmosphere regional language newspapersalsohadbrilliant cartoonists andaconducive Major Keshav. and Kutty Sivanand, Mohan Kumar, V., O. Kamath, Maya Gurera, Shekhar Gupta, Shubham Gopikrishnan, Tailang, Sudhir Ravishankar, Miranda, Mario Abraham, Abu Laxman, R.K. about readers and became household names. Among them mention must be made cartoonists workinginmainstream newspapers becameverypopularwiththe amount of independence for the cartoonists to practice their art. Some of the houses andpublic. A fairly tolerant social and political milieu ensured fair India in the 1970s and 1980s wasthe support that they got from the media emerged inthemedia scene. Another reason forthe growth ofcartooning in for standardsyounger cartoonists. As a result a bunch of cartoonists by influenced greatly was Abraham, Abu and Laxman R.K. including cartoonists, Indian post-independence of cartoonists. become professional to artists generation of generation first The of existence, it created a demand forcartoons and alsoinspiredawhole closed down in August 1975 after 27 eventful years. During its three decades Diwakar andSagar. like BhagwatSahu, Ajay Saxena,NishantHota,Dhanesh B.L.Wahi, S.R. Tailang, Triambak Sharmaandyoungcartoonists English ones.InChhattisgarh wehaveseniorcartoonistlate B.V.Panduranga RaoinBanglorealsodrawsHindicartoonswith in GujaratarealsoworkingonHindicartooningfordecades. in Jabalpur, PankarGoswamiinBikanerandNirmish Thaker with HindiandregionalBiharilanguagetouch.Rajesh Dubey Chandrasekhar Hada.Biharisblessedwithcartoons of Pawan and DevendraSharma.InJaipurwehave Abhishek Tiwari and and Chander. InIndorewehaveIsmailLahiri,KirtishBhatt have ShyamJagota,ShekharGurera,KajalKumar, JagjeetRana, have PrashantKulkarni,Prabhakar Vairkar, Manjul.In Delhiwe the nextgenerationcartoonistsworkinginHindinewspapers, we S.Phadnis andPrabharkarJhalkeof Yevala, Maharasthr. Among readers. Hindicartooningwasalsoblessedwithcartoonistlike Sudhir Tailang, SureshSawantandKaakwereintroducedto …Those dayscartoonistsSushilKalra,Shiksharthi,SudhirDar, like magazines Hindi, In was kept for cartoon column “Kaisi Rahi’’ made by Ravindra. Dharmyug, Saptahik Hindustan Shankar’s Weekly. It setabenchmark and Saptahik

As

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71 Vol. LII (2), April–June, 2017 . 5 Creators ”. It claims It ”. . 6 Shankar’s Weekly Shankar’s that covers news or non-fiction events using the

– a combination of words and drawn images. – a combination journalism comics Another novel attempt is ‘Grassroots comics’– taking cartoon strips to A new genre of journalism is being created called: Comics Journalism. Comics called: is being created new genre of journalism A By mid 2016 many cartoonists have made their presence felt on cyber By mid 2016 many cartoonists have Besides print, television and internet have been providing excellent have been providing excellent and internet Besides print, television There was a dip in the visibility of cartoons in newspapers post 1990. in newspapers post of cartoons a dip in the visibility There was the grassroots. The use of Grassroots Comics is relatively a new phenomenon, The use of Grassroots Comics is relatively the grassroots. months diploma course at University level in Comics Journalism. This in Comics Journalism. course at University level months diploma course is soon to flag off in different Universities in India information and documents, incidents in visual form and later unfolds all and information information and facts in one story format. Comics India has developed a six World person accounts, but not always. These stories are mostly first of Comics Journalism use visual medium to tell the story or disseminate the tell to medium use visual Journalism of Comics collects and area/field specific one to travels Journalism Comics information. It is a form of of framework are using social media. Content wise also, there has been much expansion. much has been there wise also, Content media. using social are and social subjects – from politics Cartoons are being drawn on various science. issues to management to sports, even world, with own websites, online cartoon exhibitions, etc. Many of them etc. Many of them cartoon exhibitions, world, with own websites, online professor was the first Indian to have a daily cartoon column on the internet the on column cartoon daily a have to Indian first the was professor cartoon first India’s introduced and website cartoon first India’s launched He channel on a horizontal portal. has become easier to draw cartoons with the software available. Many software available. the with to draw cartoons easier has become Priya Raj, a management moving from print to other media, are cartoonists opportunity for cartoonists. Technology has been a boon. And in fact one fact And in boon. a been has Technology for cartoonists. opportunity It media. social in life of lease fresh a found has cartooning that say can launched Cartoonwatch, a cartoon-centric magazine “to fill the gap left by much-missed and renowned the of closure the of its kind in the country. to be the only magazine dose of humour. New crop of cartoonists are drawing witty cartoons with are drawing witty cartoons with of cartoonists New crop dose of humour. increasingly ‘in-your face’ attitude. In 1996, Cartoonist Triambak Sharma only has color entered the front pages, the pictorial presentation and design design and presentation pictorial the pages, front the entered color has only gimmicks have completely edged the cartoon out However, to cartoon total insignificance. has its appeal and attraction for readers who need a there is also the aspect of changing habits of readers. In the earlier days, earlier of readers. In the changing habits the aspect of there is also on the front particularly news matter with used to be crammed newspapers not Today, the only visual relief. providing cartoon the pocket page, with This also happened across languages and regions. Pande (2003) noted that noted (2003) Pande regions. and languages across happened also This Communicator 72 Vol. LII (2), April–June, 2017 pp.69–92. Laxman, R.K.L.(1989).Freedom toCartoonFreedomSpeak. Mitter, P. (September, 1997).CartoonsoftheRaaj. References 8 http://www.cartoonistsindia.com/htm/home.htm 7 5 4 4 3 2 The 1 Notes cartooning inthecountry. established with theaim of showcasing,promoting and preservingtheartof based the country. Kerala Cartoon Academy has been functioning from mid-1960s up withanideaofusingcomicsascommunicationtool. using theirskillbeyond livelihood and betterment of the society came like-minded cartoonists, development journalists andactivists looking for The GrassrootsComicsmovement started inthelate nineties. A groupof and a few countries in Africa, Latin America, the Middle East and Europe. after itsinception inIndiaithas beenreplicated in otherSouth Asian countries http://www.keralacartoonacademy.com/ http://www.worldcomicsindia.com/comicsjurnalism.html Toon Talk Sulav Samachar believe wascomposedaroundthe3rdcenturyBCE isattributedto November15, 2010. theFree started hehad 1927 In the paper. of editor Press ofIndia Agency, whichwasthefirstnewsagencyownedandmanagedbyIndians. first the was He 1930. in Journal Swaminathan his own,Dinasariin1944. on daily a started of also editor T.S. He first Dinamani. the daily was Tamil Chokkalingam prose, arrangedwithina and pricesofcommodities,apartfromgeneralnewsurbanruralareas. British administration, importance of science and scientific explanations in elementary form education, abuses ofthe peasants, theadministrative system, measuresfortheuplift of thecommon people and their of themasses. The weekly dealt with diverse subjects such asthemiserable condition of the Umanath Gupta was the first editor of this cheap journal (priced one pice) for the information Cartoonists now have several organisations to promote their art across Panchatantra . InterviewwithProf.PriyaRaj, The Times ofIndia, Bhubaneswaredition, Sadanand was started on 16 November 1870 from Calcutta by Keshub Chandra Sen. isan ancient Indian InstituteofCartoonists zamindari frame story (1900–1953) founded the English-language The Indian system and exploitation by the , abuses of the . The original . The collection of interrelated

Sanskrit 8 History Today isanothersuchorganisation, work, whichsomescholars animal fables Sharma Daedalus , pp17-18. in verse and Free Press , . 7 .

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73 Vol. LII (2), April–June, 2017 . Delhi: . . Paper presented in the . Paper presented . Kolkata: Patra Bharti. God’s Own Country God’s Asian Punches: A Transcultural Affairs, pp. Affairs, Transcultural A Punches: Asian Cartoons and An Analysis Newspapers: Cartooning chartbusters Cartooning Bangalir Rangabyanga Charcha Bangalir Rangabyanga New York: Springer Heidelberg. Springer York: New Hans, Harder, Barbara & Mittler (Eds.), Mittler & Barbara Harder, Hans, 165–184. Lahiri, C. (2012). Khanduri. R.G. (2013). Punch in India: Another History of Colonial Politics? In Rao T., R. & Murthy D.V.R (2014). Murthy D.V.R R. & T., Rao Publishers Kanishka Unny, E.P. (September, 2012). 2012). (September, E.P. Unny, on the topic in Kerala organised symposium

Communicator Vol. LII (2), April–June, 2017 75 Department of Anthropology of Department Research Scholar, Department of Anthropology of Department Scholar, Research Puducherry – 605014 , India. Kalapet, R.V.Nagar, Email: [email protected]. Puducherry – 605014 , India. Kalapet, R.V.Nagar, Email: [email protected]. 1 2. Assistant Professor, Abstract

With the series of incidents of honour killing frequenting in media and channels in recent past, the bilingual (in Tamil and Telugu) filmGauravam reckons significant accord for its stern message on honour killing. This study with the anthropological acumen has tried to foreground the structural root cause of honour killing with reference to India, that is, the caste underpinnings in social realm and link it with the contents and allegories of cinema – Gauravam. While there have been many Tamil cinemas that had the caste resignifications, the film Gauravam stands for its critique on caste system in terms of honour killing. This study therefore, probes the caste contours of Tamil cinema as well as the portrayal of women as chastity and pronouncing ritual status. In doing so, it compares the core valour of theme that were set in general contour for Tamil cinema. Moreover, the study will culturally try to understand the resentment of society towards the choice of mates and love marriages.

Keywords Gauravam, Tamil cinema, Honour killing, Caste system, Family dishonour Communicator

77 Vol. LII (2), April–June, 2017 society. The first from from first The society. Kurdish Kurdish intellectuals was that the murder had nothing to do with with that the murder had nothing to do intellectuals was culture, rather explained in terms of psyche – as her father was father was in terms of psyche – as her culture, rather explained Kurdish Kurdish nthropology as a discipline of keen observer of social instances of social instances of keen observer as a discipline nthropology on on the popular case itself to be phenomenon, proved and social who (1975-2002), the Fadime Sahindal assassination of sensational

This anecdote apprehends the gist of intensity through which the issue intensity through which the issue This anecdote apprehends the gist of

Kurdish the intervention that could possibly be made in annihilating it. This precise This precise the intervention that could possibly be made in annihilating it. of form a as reflective promptly been has notion existential its of recreation cinema and has widened the campaign against this social misnomer. on the killing of youths in the name of honour. The narration in the above The narration in the above on the killing of youths in the name of honour. anecdote was to not only apprehend the existential nature in the problem of honour killing in society but to also emphasise on refract a reflective in gained for the same reason of threat of murder by the family, Sahindal’s Sahindal’s of murder by the family, gained for the same reason of threat life could not be saved. It is agonistic to see every day or other; the dailies any of the part of the county reporting containing at least a column from of honour killing can be understood. Unduly because, the fact that despite Unduly because, the fact that despite of honour killing can be understood. the wide campaigned fame which she every preparedness with caution and even lend turning to stem such an interpretation to racist bias. it However, that countered honour killings. gave a brave turn to the fate of discussions Kurkiala as a responsible anthropologist expressed his unwillingness and in a local daily despite, the threat of the dissatisfaction over the testimonies could fate in cultural terms which widespread reluctance to explain Fadime’s taking up a middle stand because in first perspective the father was not been been not was father the perspective first in because stand middle a up taking case it provides a generalisation to generalised at all and while in the second Mikael (p.7). act the on sanction motivated culturally of category specific a there was no such notion of honour killing instead the incident needs to be killing instead the incident needs to be there was no such notion of honour in the universal patriarchal structure. reviewed from the root cause that lies In both these assertions Kurkiala (2003) finds a conspicuous missing of the male the as considered but related of kind was which assertion other the While crazy. Unfortunately, during the year 2002, Fadime Sahindal’s father shot her on father shot her on during the year 2002, Fadime Sahindal’s Unfortunately, incident the on reactions first The dishonour. family of allegations of row the notion among the provoked a two perspective migrant women. She had also raised the issues of migrant women in the migrant women in the She had also raised the issues of migrant women. country as campaigner. and constantly moved across the Sweden parliament public the threats from her family after the mysterious death of her Swede death of her Swede from her family after the mysterious public the threats for her life by family the trail of continuous threat With boy-friend in 1998. the deprived status of to grow stronger talking on members, she continued A projection and media by newspaper interviews the public icon had become lineage for making Turkish the rage of patriarchal standing against for boldly Communicator 78 Vol. LII (2), April–June, 2017 K. Karunanithi, M. G. Ramachandran and J. Jayalalithaa were prominent were Jayalalithaa J. and Ramachandran G. M. Karunanithi, K. Annadurai, N. C. 2009). 2004, Prasad 2009; Rogers, 1993; Dickey, 1992; Pandiyan, 1981; (Sivathamby states the of leaders the become even have Andhra Pradesh.Cinestars werethronetohalloffamethroughcinema had beenthefateofpolitical lifeinboth Tamil Naduandearlierundivided cinemas of50sand60sduringthepostIndependence renaissanceperiod the of ideas provocative socially and radical Tosignificantly,say, the very proven impactespeciallyamongthe Tamil and Telugu audienceinhistory. Though notapanIndianscenario,impingeofcinema haswideanddeeper South Indiancinema rational thinkers. happening in Tamil killings’ NaduofIndiawhichoncewasthelandanumberpolitical ‘honour based caste the symbolise to effort bold a is similar storyline of the Hindi cinema – – cinema popular the Tamil is list the in film such Indian socialstructurecoupledwiththecontourofhonourkillings. And one Indian socialsystemandhaveprojectedtheformofcasteoppressions the to pertinent been have films plague. These social this against campaign 10 , 2010), evil tragedy. organisations, scholarlywritingsandmediajointlyarebarging againstthis anti-establishment ofhonourkillinginthesociety. Liberalmovements, on the violence on women in thename of honour and campaigns the 2012); 2007) Oguz, films Turkish the like killings honour on films Several forms. different in killings honour on registered are contentions political that hamperthesocietylikeofhonourkilling. Across theworldstrong vividly comprehended through its social actions on the realm of exigency is the story importantly, it should be presupposed that the social purpose of cinema is – whereby fictional both recreated orinsomeinstance,asdocumentationofrealevents.More addressing of form the in either killing worldwide. There had been some cinemas which featured contents honour the against campaign the in role effective an up taken has Cinema Films onhonourkillings Review ofliterature (Navdeep,2015), There have been Indian films too in the list

Iranian film Iranian

and tşn ütğ Yer’ Düştüğü Ateşin The StoningofSorayaM. Sairat (NagrajManjule,2016)etc.actuatingthe Aakrosh. ‘hr te lm Fls, Gunes, Falls’, Flame the (‘Where Sbah aor 2015), Kapoor, (Subhash (Nowrasteh, 2008)mediates viz. Aakrosh The film Gauravam Mutluluk (‘ Gauravam (‘Aggression’, whichhasa indeed Bliss’, NH- Communicator

79 Vol. LII (2), April–June, 2017 – husband are acts of vengeance, are acts of vengeance, defines honour killings

, filmed by Mohan, and team both in Chief Minister and emerged as a major political as a major political and Chiranjeevi emerged in Chief Minister - Gauravam Honour killing is experienced in all parts of the world especially where where especially world the of parts all in experienced is killing Honour Meanwhile in Andhra Pradesh, N. T. Ramarao had been for some some had been for Ramarao T. N. Andhra Pradesh, in Meanwhile familial power structures including reproductive powers. He contends that towards this act, Professor Sharif Kanaana (cf. Ruggi, 1998, p.13) believes that honour killing reflects the patriarchal orientation aimed at creating a system of social control designed to protect important of these countries countries in the Middle East, when a woman’s family believes that her family believes that her countries in the Middle East, when a woman’s killing her is seen as the behaviour has threatened the “family honour,” only alternative (Lesnie, 2000, p. 12). In reasoning out the cultural attitude the equality and rights of women are considerably low. In some parts of the In some parts of the considerably low. the equality and rights of women are world, including , India, , Brazil, Uganda, and many trivial reasons, like dressing in a way deemed inappropriate or displaying deemed inappropriate or displaying trivial reasons, like dressing in a way 2014). behaviour seen as disobedient (Holt, arranged marriage, being the into an arranged marriage, being the reasons including: refusing to enter from a abusive victim of a sexual assault, seeking a divorce–even for very victims of rape, sometimes or (allegedly) committing adultery, usually death, committed by male family members against female family family members against female family usually death, committed by male A brought dishonour upon the family. members, who are held to have by (individuals within) her family for a variety of woman can be targeted Social structural roots of honour killings killings of honour Social structural roots (2001) Watch Human Rights killing practised among the caste community in order to keep up the pride in order to keep up the pride killing practised among the caste community of caste creed. the specific cause that portrayed the social system in real is the bilingual cinema- in Tamil and The Telugu. basic one-line of the film was based on honour or portraying on caste disjunctions, direct attacks on creed or individuals individuals on creed or attacks direct disjunctions, caste or portraying on mostly contained. form of contemporary life were and portraying crude In recent periods, one such film that caught the eyes of antagonism for utilised this medium all to its behest. Nonetheless, both Tamil and Telugu Telugu and Tamil all to its behest. Nonetheless, both utilised this medium problems through consistently talking about the social cinema have been on explicitly narrating intervals of time. But then, caution its lens at regular years sworn cinema, strong Tamil of in the history More emphatically, leader of the state. appropriated and contents on Dravidian ideologue political and social the eminent leaders of the state. state. leaders of the the eminent personalities personalities who had the affiliation with Tamil cinema as emerged and Vijaykanth Nadu. Tamil of Chief Ministers and the became and UttarPradesh, killings tookplace honour killingsin In India,statistics Haryana, Punjab indicate roughly in therestof while additional 100-300 honour 900 reported from 2010 country.

Communicator 80 Vol. LII (2), April–June, 2017 low. The social sanctionof patriarchal assertion of castesystemhas deemed theposition ofwomenas be oflowcaste’s progeny(Beteille,1990,p.493).Since, akin tobeast,becauseofchildbornoutthemarriage isconsideredto considered tobeasocialstigma,condemnedandthe girlisout-castedor of higher castefemaleresortstomarryalowermale. The phenomenon higher castemalemarriesalowerfemaleand across of marriage forms the different on description detailed the provides on thescriptionsof that casteor status as devised in the concept of (p. 5).Perhaps,eveninthemaritalorderfemaleareprocuredwithlower hierarchical subordination of social groups and reproduction of patriarchy” practice ratherwas“evolvedandconsolidatedintheprocessofregulating practice of caste endogamy was not a borrowing or survival of aboriginal society throughthelineofpatriarchy. According toJaiswal(2008)the the on varna based primarily is that society Hindu Mainstream patriarchy. the (Chowdhry, 1997,p.1019). of notonlytheimmediatefamilyalsoclan,andcastegroup conceived thatanybreachinthenormativesystembringsdownstatus group inturnprovidingawidersocialleverageandpolity. Meanwhile,itis the kinshipallianceandrelationsestablishedbythemstrengthencaste are consideredtoprovideastructurallinkbetweenkinshipandcastewhereby norms inmarriagepracticesandstrictendogamy. Marriagesinthissystem of the significant characters of caste system in India is its prescribed unique caste, lurking thesocialsystemstoactivelypromotethisphenomenon.One with unique society differentiated hierarchically and patriarchy of 130). Unlikeothercountries,thesocialstructureofIndiaisconsolidation honour killings took place in the rest of the country (Annavarapu, 2013, p. 100-300 additional while Pradesh, Uttar and Punjab Haryana, in killings power (Awwad, 2001,p.40). it isaimedatprotectinganimportantfamilialpowerstructure,reproductive honour killing is not aimed at controlling women’s sexual behaviour; rather, the femalehastoendorse it withchastityandvirginity, lucidlygivingher pratiloma pratiloma varna The alliancesysteminIndiabestowsthesexualityupholding In India,statisticsfrom2010indicateroughly900reportedhonour categorisationofcastesystem,establisheseveryinteractioninthe elaboratelyinthetalesoforigincaste. whereamaleisneverquestioned forhisillicitactivitiesinstead when the higher caste female marries a lower caste male is varna exogamyisnotanewphenomenonfromits anuloma anuloma and pratiloma anuloma doesnotacknowledgethe sanctionof and marriagesystems. The text pratiloma pratiloma Anuloma vedic . It is evident iswherethe iswhenthe periodthe vedic text Communicator

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khap khap khap Khap 2014), 2014), , panchayat, panchayat, (caste) / khap Jat marriage (members marriage (members sagotra 2014). The stern attitude of 2014). panchayats who sternly interfere panchayats who sternly interfere panchayat is significantly noted. , khap khap are considered as the brother and sister; thereby of Haryana (Dogra, 2013; Thapar-Björkert 2013; (Dogra, Haryana of gotra Babli panchayat of Jhajjar district, Haryana, declared a married and khap Manoj In the year 2008, on the perpetual denouncement of In the year 2008, on the perpetual Caste until today operates in organised form to protect its character. its character. protect to form organised in until today operates Caste The patriarchal character of Indian society imposes a strong constraint a strong constraint Indian society imposes character of The patriarchal their marriage as legal (Thapar-Björkert panchayat is evident from many more such incidences across India. Singhwala district, an Ayurvedic medical practitioner was murdered in his medical practitioner was murdered in his Ayurvedic Singhwala district, an after wife his back bring to way on his while men of group a by house in-laws the legal judgement by the High court of Punjab and Haryana, legitimising a father despite his daughter’s pregnancy, allegedly tied her hands and legs tied her hands and legs allegedly pregnancy, a father despite his daughter’s over to a tree along with her husband brutally murdered them by running the tractor in Karnal District of Haryana. Then, further during 2009, in marriage between is considered incest) within the same caste. within the same caste. marriage between is considered incest) where the couples were murdered by the order of the where the couples were murdered as The conviction was reasoned panchayat. belonging to same of traditional norms like the issues on incest is still dealt rigidly by these on incest is still dealt rigidly by these of traditional norms like the issues 2007 on India in reported case major ever first the instance, For panchayats. was the termination of the marriage just because the couple violated the principle of the couple violated the principle of termination of the marriage just because in the carry forward Any disturbance village exogamy (Rajalakshmi, 2004). committing crimes like filicide in the name of caste chastity and honour. In In committing crimes like filicide in the name of caste chastity and honour. 2004, the They ordered the woman being pregnant. despite couple brother and sister, Reports and cases filedagainst these killings reveals thatmost number of the perpetrators are the community members even to the extent of into the issue forcing the household Very interestingly, in the cases on honour killing in India, the intervention intervention the India, in killing honour on cases the in interestingly, Very of caste panchayat, otherwise the upper caste horror of hypo-gamy (Abraham, 2014, p. 57) substantially the 57) substantially the of hypo-gamy (Abraham, 2014, p. upper caste horror with a ritual status. women were provided Nur Yalman argues that “it was land, women, and ritual purity that castes castes that purity ritual and women, land, was “it that argues Yalman Nur sexuality” women’s this was done through controlling sought to protect and the caste, especially, to protect the purity of Thereby, 1963, p. 27). (Yalman, protect the purity (cf. Abraham, 2014, p, 57). For the Hindu theory, purity of of purity theory, Hindu the For 57). p, 2014, Abraham, (cf. purity the protect (Beteille, 1990, p. the cornerstone of caste and kinship women has been long Anthropologist the hegemonic patriarchy is sustained. 492) through which on the human character and conduct of women. They are as Das (1976) are as Das (1976) They conduct of women. character and on the human policed to needed to be of caste and the “gateway” considered argues the delusive pride of community and family. and family. pride of community the delusive Communicator 82 Vol. LII (2), April–June, 2017 out ofsituationandneed. Further, shesuggeststhatexigencyisasocial through socialactions.Miller (1984)assertsthatgenreisconstructedduly aspects ofdailylifethe society. Itdevelopsthechange in thegenre political routineorincorporates bothpopularlynoticedandunnoticed it simultaneouslyfromthesociety. appropriate else or culture popular of set specific a formulate they either as cinematic oeuvres are devised through implicit admiration from the society culture (Harbrod, 2002, p. 15). And being a medium of cultural expression, provides atensionbetweentheforcesofchangeandstasis operatingintaste with narrativesofmodernismandpost-modernism thatsimultaneously 1992, p.10)providesthegeographicalandculturalboundary tothecinema In assertingtheconsumernotionofcinema,taste culture(Bourdeiu, with other capital for theirownlife-worldsandthosewithothers(Mechling,2001,p.67). consumer ofavailable elements intheculture.Itevokesunderstandingbetweencategories repulsion and affiliating in exigency. Taste cultureaccordingtoFoley(1990),intersectsthechoice reproduction thatisrecreatedaccordingtothetastecultureandsocial social of a system is it disciplines, different from studies film in scholars the vogueofcountersocialactiontoexigencyhonourkillings.For in mediatingtheeventualityofhonourkillingasasocialmisnomer purposed has category this under films But viewers. its for entertainment The popularcinemaofIndiahasalwaysmaintainedtoprovidewith Theoretical understanding with theFreedomofMatrimonial Alliances) Bill,2011. proposed newbill– The ProhibitionofUnlawfulassembly (Interference the indulgenceof honour killingwithinthepurviewofmurderandsanctioneddeclaration disapproved theproposalofGovernmenttoamendSection-300include however, systems of tradition archaic The 23). p. 2013, (Kokal, murders wishes is wholly illegal and referred this actsnothingbut barbaric and brutal to killorphysicallyassaultayoungman/womanwhomarriesagainsttheir caste andwithin Public InterestLitigation(PIL)seekingprotectiontocouplesmarriedinter- account foranysortofbanonsuchmarriages(Kokal,2013,p.23). amount forincestbut,theIndianPenalCode(IPC)doesnotconstitutionally panchayat enforcesadistortedclaimon Meanwhile, socialexigencyenvisagesthehappenings inthesocio- On the continuing trail of honour killing the Supreme Court basedon the gotra, Khap fromthewrathofthesepanchayatsobservedthat– panchayatinthesecrimesasunlawfulunderthe sagotra marriagesasitwould Communicator 83 eventualities and precariously bring to the screen- the past, present and future social systems, cultural practices and dogmas of society. Vol. LII (2), April–June, 2017 Cinema being a product of the incorporation of social facts and phenomenon that exist in the society, in one sense, it also act as buffer to document the survives survives

that Shanmugam was was Shanmugam that

Gauravam It is quite interesting to observe that both in Tamil and Telugu format, format, Telugu and Tamil It is quite interesting to observe that both in In a later development, Arjun along with his friends put up tireless effort effort tireless up put friends his with along Arjun development, later a In agony of gang rape during the riot. The child is taken care by Selvi and The child is taken care by Selvi and agony of gang rape during the riot.

couple. On the orders, the launches a wide search and manages couple. On the orders, the Saravana launches a wide search and manages the film though had same storyline, eventually screens the The landlord wants his son Saravana to go for an intensive search for different climax. event by some men nearby the old temple provokes to probe further filing of a case against the murderers who as expected were the son and his allies the upper caste landlord. a wrecked old temple in the disengaged part of the village. Accidently the Accidently the part of the village. a wrecked old temple in the disengaged his collections showing the murdering hero spots the sketches in one of the village. His mother and father were killed and his sister Selvi the rest of the world spending his time in always likes to isolate himself from He notably finds a clue from This child was house. to Shanmugam’s neighbourhood child staying next the drawing skills of a retarded mentally that took place some years back in a feeble victim of the communal riot investigating, tenting in the village probing Shanmugam’s whereabouts. whereabouts. probing Shanmugam’s investigating, tenting in the village in relation and eloped with a girl, who is the daughter of upper caste land- in relation and eloped with a girl, who the villagers show an Angry on their elopement lord of the same village. talk about them. indifferent attitude by not willing to way he finds dejected attitudes of villagers but ultimately seeks the help of paternal in relation and his friend’s an advocate with whom he later falls brother - his Maasi. he To dismay, finds from Maasi friend Shanmugam’s village while on the way to his business venture and venture and while on the way to his business village friend Shanmugam’s finds annoying replies on enquiring about his whereabouts. He manages to All along his father who was helpless, frail and sick. meet up Shanmugam’s Tamil cinema and film Tamil happens to visit his Arjun fortunately starts with the The story eventually bring to the screen – the past, present and future social systems, cultural systems, cultural – the past, present and future social bring to the screen of society. practices and dogmas objects provide a reflective of social actions. Also cinema being a product of of product a being cinema Also actions. social of reflective a provide objects in exist in the society, of social facts and phenomenon that the incorporation precariously and eventualities the document to buffer as act also it sense, one socially negotiated and that it mediates between private intensions and and private intensions it mediates between negotiated and that socially of the cinema the combination 1984, p. 163). In (Miller, social exigency interests, and of events, with mutual construing exigencies and eventualities process and a form of social knowledge (, 2015, p. 70-71). Therefore, Therefore, 2015, p. 70-71). knowledge (Chess, a form of social process and theory is in a sense, genre in Miller’s purpose communicative the genre’s Communicator 84 Vol. LII (2), April–June, 2017 an uncertain circumstance would be the first plot point (the rise of conflict of rise (the point plot first the be would circumstance uncertain an recreating acinematicimage, thedisruptioninfamilyorderlinessdueto build-up witharhetoricconversation ofmodernityandtradition. Thus in and familyvaluepride. culture A stereotypicformulationwasconventionally the on contents the were films based family these in set theme of 60s and 1950s during milieu social the to effect counter inception of Tamil cinematoencouragefamilygenrewhichassuchwasa when comparedtothesocialcinema.Ittookalmost fourdecadesincethe In thehistoryof Tamil cinema,thegenreoffamilyhadaverylateentry Family andhonourinTamil cinema Analysis ofthefilm its perspectiveinthereflectivemodeoncinemascreen. then and killing, honour of problem the understand socially first us let But the need for the two different version of film making to satisfy the audience. through themediumofcontentanalysisthisstudywouldalsounderstand relevance withthecontemporarypoliticalandsocialscenario.Moreover, tolerance in understanding the intend change needed for the upsurge of film the of Telugucounterpart by usage the number ofcasesinrecentlyreportedissueshonourkilling.Meanwhile, asserted as an immediate reflective on the contemporary social exigency on in Tamil cinematounraveltheapartheidcultural nexusanditcouldbe Indian society. Apparently, more emphasis has been laid on the signification anthropological contexts especially by analysingits root in the structure of critically on honourkillinginthepublicsphereandtriestoanswerthemwith discusses it And film. aforesaid the with relevance in structure caste groups. This write-upisanattempttounderstandtheexistingsocial killing whichseemstobeperformedupholdtheprideofcertaindominant honour of India’s practices with social deal cruel films these both of theme in interpreting and determining the scope of the culture of audience. The lord immediately fires Saravana and surrenders the court for killing his son. and takesSaravanatolandlordforconvictinghisassaultofcouple,theland murder insteadkeptaselopedcouples.Later, when Arjun probestheissue arrested. While inthe Telugu version,thelandlordisnotinformedabout the landlordkillshimselfafraidofdishonourarrestandSaravanais to haveinvolvedinhidingoutthematter. Finallyinthelegalproceedings Tamil version,thelandlordisinformedaboutincidentandshown In death. to couple the thrashes he anger of fit a in but couple, the find to The difference in the climax is the understanding of the film-maker the of understanding the is climax the in difference The Gauravam has shownabitof 1 . The mainvalour Communicator

85 Vol. LII (2), April–June, 2017 the word literally meaning -‘honour’) is rooted in the murder that resulted to to is rooted in the murder that resulted Gauravam Gauravam ( through the disturbance that arose due to the couple’s couple’s arose due to the disturbance that through the Gauravam Gauravam The base plot of film of plot base The As a bilingual film, 48). Perhaps it is void and profoundly seen that infusion of caste dimensions 48). Perhaps it is void and profoundly seen that infusion of caste dimensions Sara Dickey (1993) views that the restoration of melodramas whose fortuitous Sara Dickey (1993) views that the restoration of melodramas whose fortuitous resolution may indicate an avoidance of the true conditions of most viewers (p. viewers to hope offering endings happy by characterised are which lives a number of incidents of honour killings reported in the media. cinema Contentions of caste in Tamil resulting in the death of Ilavarasan and eventually creating social debates debates social creating eventually and Ilavarasan of death the in resulting not There might be many such incidents occurred which were across nation. of Ilavarasan and Divya there were reported or unnoticed but after the issue during the period of release in . Perhaps, none would have Perhaps, none would have Nadu. Tamil during the period of release in Tamil Nadu, that eventually the forgotten flashing events of Dharmapuri in and Divya (Arivanantham, 2013) followed by the elopement of Ilavarasan happenings on honour killings in the state. This may be the reason as a hint be the reason as a hint This may state. happenings on honour killings in the Tamil change of climax according to the of envy observed in the purposeful audience which is significant for the political social and climateexisted caste to reinstate the honour of the family. This film is a reflection of social social of reflection a film is This family. the of honour the to reinstate caste continuous social audience on to vigil the Nadu. It tries Tamil envy in keep up the pride and honour of the family. Irrespective of all the sentiments Irrespective of all the sentiments family. keep up the pride and honour of the and emotion of being a loving daughter theand girlaffectionate was sister, lower from a partner her brother for choosing by her own lynched to death them brings about social denigration. them brings about social denigration. hierarchy with strict social roles, encouraging competition amongst men amongst men social roles, encouraging competition hierarchy with strict It is widely believed that conforming and sexual constraint among women. would yield status and deviating from and abiding to the prescribed code conduct codes, requiring specific manifestations of pride, assertiveness, and and assertiveness, pride, of manifestations specific requiring codes, conduct independence of men, and sexual purity of women” (p. 196). Honour for place in the social family provides a structure and a society/community/ term honour is comprehended always with the complementary opposite, opposite, always with the complementary term honour is comprehended societies of center-piece the is “honour (2006), Kamir to According shame. to adherence to rigid members and rank them according that evaluate their emphasises in its crux the filicide in the nameof honour as its theme. The the film pride forms in upholding the the village order in the family or elopement plot. the first in cinematic term) of the film, subsequently, emphasising the importance of of importance the emphasising subsequently, film, the of term) cinematic in in appeal is upright formulaic The same conventional the family. honour of basically adopts the ingredients ofcaste facet, ithastriedto on theconstructive nature ofhierarchy side ofthesociety put itthoroughly the contravening existing incaste film by protracting and exposing Though the Gauravam, system.

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Vol. LII (2), April–June, 2017 forcefully separated and his fate ends as a demented beggar in the roads. love betweenthehighercaste girlandthelowercasteboyeventuallybeen the of scenario the reflects film film the of blockbuster theme the the 2004), , Balaji in And bus. local the in female for theveryreasonhehasdistortedinattracting the perpetrator’s caste film the In honour. and (Prabhakaran, 2012), theinitial scene opens with the murder of ayouth pride of act the is women of Perpetually, themainstreamcinemahas alwaysmaintainedthat,theprotection Gender andmateselection dalit castes. follow strictrestrictioninmarriagealliancebyavoiding marriagewithother the hierarchyisprevalentevenamonglowercaste dalitsastheytoo nature ofruralsocialstructureandthevillagenowheresidesaysthat On otheroccasionthelocalleaderofpoliticalpartyexplainsintact get tea in a tea glass and chatter unnecessary stuffs sitting on the tea bench. moves himselfasidetoacornerawayfromtheshop,whileothervillagers and tea the gets He shop. the besides standing tree the in hung cup throw village’s caste hierarchy. Say forinstance,thescenewhichopensin Tea shopdescribestherural of Tamil cinema,ithas appropriatedthecasteimpingeswithsoftcriticism. history film conventional the from breakthrough a As system. caste the in by protractingandexposingthecontraveningnatureofhierarchyexisting facet, ithastriedtoputthoroughlyontheconstructivesideofsociety especially thelowercaste. on eithertheantagonismofcastewithingrouporwithothers based is film the of point plot the films such In audience. the of minds the (, 1997)etc.resultingandsettingsimilarmelancholicimpressionon (, 1999) Vennilla Kabadi Kuzhu projects a climax resulting in separation. There are many more films like the his nephewfallsinlovewithlowercastecobblergirlrespectivelyalso fair proximitytowardsamigrantlowercastewomanandatthesametime Mariyathai join rather, succumbtoatragicaccidentresultingseparationandin between affair films based rural ’s In ending. filthy or sad with film the of climax in cinemasespeciallywithcomplyoflowercaste,naturallyhadmovedthe Though the film the Though Vedham Pudithu (“First Tribute”, Bharathiraja,1985)theprotagonistdevelopsa , Kadhal Thevar Gauravam, boyandhighercastepriestly (‘Love’, Balaji Sakthivel, 2004) Sakthivel, Balaji (‘Love’, (‘Vennilla Kabadi Group’, Suseendran, 2009) ‘e Ae etmn’ Baahrj, 97, the 1987), Bharathiraja, Testament’, Age (‘New Maasi comes to the tea shop and finds a use and use a finds and shop tea the to comes basicallyadoptstheingredientsofcaste Brahmin , Bharathikannama Khaadal Sundarapandiyan girldonot (‘Love’, Muthal , Sethu

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87 Vol. LII (2), April–June, 2017 the female characters have been the female characters have been Gauravam, there are two inter-caste love plots that entangles plots that entangles love two inter-caste there are Gauravam, between nation (imagined as an autonomous, sovereign, sovereign, between nation (imagined as an autonomous, both processes such as nation-state) and modernity (including democratisation and the spread of mass communication, and discourses such as those which produce the very distinctions and ‘modern’) (p.139). between ‘tradition’ ...the Indian women are produced at a particular conjuncture a particular conjuncture ...the Indian women are produced at Even in case of the film In subsequent period, the theme of Tamil cinema has converted cinema has converted Tamil of In subsequent period, the theme In the film the In (heroine) is opened with a regular sequence as a social activist involving (heroine) is opened with a regular sequence as a social activist involving given considerably less significance. The lead female charter of the film economical and civic life. Niranjana (2000) presupposes the image of (2000) presupposes the image of economical and civic life. Niranjana with the naive of nationalism, she women in a further commercial version asserts that: its contour of woman keeping in pace the social development, political, pace the social development, political, its contour of woman keeping in fringes of caste and tried to put every thought in rational temper. Thereby, Thereby, thought in rational temper. fringes of caste and tried to put every other words choice of the second couples love or to say in of this couple. their will was accepted by the environs couple. Arjun being an urban bought-up though has a peripheral vicinity vicinity Arjun being an urban bought-up though has a peripheral couple. whose father And the advocate his girl. of caste, had the liberty to choose to a Bengali woman did not mind the is a rational thinker himself married ultimately killed the couple. Another couple Arjun of investigating the missing former love with each other during the course and Yazhini, fall in of caste system. Irrespective of the educational acclaims these couple could these couple could of the educational acclaims of caste system. Irrespective notion of on concrete social frame of stern through because it not make of the family and community which belief and value on the pride, honour and felt that was the reason why the villagers respect him. While the boy’s While the boy’s him. reason why the villagers respect and felt that was the living section oppressed the mostly and workers, labourers were family who by dominant enclaves had to obey the norms put forth in the same village leader had been a renowned person in the village especially among his caste- renowned person in the village especially leader had been a for all his endeavours. caste boundaries are his limitations men. For him his community his of values and norms traditional the upholding on believed He with respect to modernity and tradition needs critical evaluation. The first social structure that the fate of defeat duly because of the couple had to face caste who was a dominant of the girl father The close nexus. their in existed endogamy against love affairs to the viewers. against love affairs endogamy These Tamil cinemas in the contemporary social period of modernisation, modernisation, of period social contemporary the in cinemas Tamil These strict caste norms of to abide the traditional wave of caution signals a Communicator 88 Vol. LII (2), April–June, 2017 and itsmodularformofdocumentation isthereflectionofsuchcomments. again intheregionsofDharmapuri’. Understandingtheimpactofcinema trailer of the film by saying ‘this sort of film would erupt communal tension association, issuingapublic pressstatementafterthelaunchofpromo episode. Itarousestremendousdeceitfulcomments like theleaderofcaste Divya, the film their temper. to knowaboutthemurderbyuppercastemembers theybecomeoutof incident they face and were to their regular business. But when they come issues ofatrocitiesoncasteestablishesthatthevictims apathyisaregular indifference the prevailing in the village, attitude oflocaladministration handling the to touch extra an provides reason silly a for trashed and oppressed section asthe scene, where suddenly some of youths arechased film-maker the in certainoccasionshascapturedthegenerallyprevalentattitudeof instances for Say film. the in realities social of inclusion film, conscious socially a As Conclusion that wassuccessfullyalignedinthefilm procedural undergoings subsumed with the taste culture of the audience cinema toreachuntiltheaudiencewithallitsintentnessrequiresalengthy city which is famous for its multiplicity of theaters. The process of But, the film-makers could only manage to get a single theatre for its show in Krishnakumar, 2016) has a strong storyline of voice against honour killing. consciousness. social film with released recently The films promoting in accessibility of reach the social constructofrapeandvirginity. as a gain provided film the of signification rape abandonedherfrommarriageandwasasymbolofsympathy. But,the seven yearsback. Though shebelongstothesamevillage,notionof of the character portrayed astherapevictimofvillageduringriotsthatoccurred is them of significant But, orders. her motherwhoaretypicallythesubduedwomenabidingtopatriarchal Other womencharacterstomentionare–theelopedgirlssister-in-law and as acharmyounglookinggirlsupportingthequestsofmaleprotagonist. filmthe in outlook feminine a give only could it advocate an being though, herself inpublicissues. The characterdidnotenhancetherolefurthereven Just afteraboutsixmonth’s periodoftheincidentIlavarasan Sometimes the complicated nexus of cinema industry isfar beyond Gauravam hitthescreenwithsimilarcontentofdreadful Yenru Thaniyum Gauravam Gauravam. hastriedtoincludepossible Maasi (‘When Shall it End’, Bharathi End’, it Shall (‘When marryingherbreaksthe Selvi who hasbeen and Communicator

89 Vol. LII (2), April–June, 2017

(1/2), (1/2), 24 is the is the , Retrieved (3) 489-504. 25 Gauravam , The Hindu. (2), 56-65. 49 (50), 129-132. , 48 , New Series , Man Social Thought & Research The rules of art: Genesis and structure of the literary of the literary The rules of art: Genesis and structure Economic and Political Weekly Economic & Political Weekly The projection of honour killing in the film California: Stanford University Press. California: Stanford University Press. reflected in the form of increased number of social cinemas starred by MGR, while at the proliferation that were equally in the verge same time, there were also family based genre starred by Sivaji Ganesan. Tamil cinema found the major impact of Dravidian ideology and prominence that were of Dravidian ideology and prominence that were cinema found the major impact Tamil Chowdhry, Prem. (1997). Enforcing cultural codes: gender and violence in northern Prem. (1997). Enforcing cultural codes: gender and violence in northern Chowdhry, Bourdieu, Pierre. (1992). field. 39-52. A. (1990). Race, caste and gender. Beteille, Awwad, A. (2001). Gossip, scandal, shame and honour killing: A case for social case for social A Gossip, scandal, shame and honour killing: A. (2001). Awwad, constructionism and hegemonic discourse. Arivanantham, R. (2013, July 22). Dalit youth found dead. Arivanantham, R. (2013, July 22). Dalit from http://www.thehindu.com/news/national/tamil-nadu/dalit-youth-ilavarasan- found-dead/article4881007.ece. Annavarapu, S. (2013). Human rights, honour killings and the Indian law scope for for scope law Indian the and killings honour rights, Human (2013). S. Annavarapu, a right to have rights. Abraham, J. (2014). Contingent caste endogamy and patriarchy: Lessons from our our from Lessons patriarchy: and endogamy caste Contingent (2014). J. Abraham, understanding of caste. References References

Note 1 to restrict and intrude fundamentalism into the minds of young generation. of young generation. fundamentalism into the minds to restrict and intrude Thus this film Gauravam upheld the reflective responsibility of cinemato lucid phenomenon. unravel the socially Eventually cinemas that hold the responsibility thoughts progressive the threatening and diverting them sublime problems of reflecting the social woman. Honour killing is the reaction on the female choice of life partner which in turn is of traditional norms and hierarchy as against the clutches of polity. and upsurge as the network of status, safety considered culturally provided a discussion on social structure that denounces the status of women of women denounces the status structure that a discussion on social provided The patriarchal social order that defines the norms and symbolic in society. chastity of with character and status of family pride and values connotes appropriation appropriation of reflection found in the social order. The intent has idea Communicator 90 Vol. LII (2), April–June, 2017 gender andviolence and the subject of feminism. In P. Chatterjee & P. Jeganathan (Eds.), Cinema Indian South Contemporary refigured: Nationalism (2000). T.Niranjana, Studies Mechling, J.(2001).Introduction:MarthaStewartand taste cultures. Lesnie, V. (2000). Dyingforthefamilyhonour. (1975-2002) intheSwedishPress. Sahindal Fadime of story The killings: honour Interpreting (2003). M. Kurkiala, Kokal, K.(2013).Hopeforjustice. sociological theory. for Implications “Unforgiven”: film the in dignity and Honor (2006). O. Kamir, Scientist Jaiswal. S.(2008).Caste,genderandideologyinthemakingofIndia. human-right-women-and-genderperspective-violence-against-women . Retrievedfromhttp://www.hrw.org/en/news/2001/04/05/item-12-integration- Human Rights Watch (2001, April). policy andpractice (2014). K. Roberts & C. Strange, A., Gill, Retrieved fromhttp://www.bbc.com/news/world-asia-27619669. daughters? their kill families do Why 25). June (2014, G. Holt, Harbord, J.(2002). Philadelphia: UniversityofPennsylvaniaPress. Foley, EDouglas.(1990). India. Dogra, S.C.(2013). in SouthIndia. Dickey, S.(1993). The politicsofadulationcinemaandtheproductionpolitician University Press. Dickey, S.(1993). India. Economic andPoliticalWeekly , , 42 36 (2), 67-69. (1/2), 3-39. The Journalof Asian Studies Cinema andtheurbanpoorinSouthIndia. , Hamsphire:PalgraveMacMillanPublishers. Film culture. Law andSocietyReview (pp.138-166).Delhi:Permanent BlackandRaviDayal Manoj andBabli: A hatestory. Learning capitalistculture: DeepintheheartsofTejas. London:SagePublications. Anthropology Today Economic andPoliticalWeekly. Violence againstwomenandhonourcrimes , 32 (19) 1019-1028. , , Honour killingandviolence:Theory 52 40 (2), 340-372. (1), 193-233. Human Rights NewDelhi:PenguinBooks , 19 (1), 6-7. New York: Cambridge , 27 BBC News Asia BBC (3), 12-4.

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91 Vol. LII (2), April–June, 2017 . (pp. (pp. Vennila Vennila . India: Fox . India: Fox (23). Retrieved (23). Retrieved . Chennai, India: . Chennai, India: 21 , (pp. 97-114), London: London: (pp. 97-114), Journal of South Asian Asian Journal of South Guddu Rangeela Frontline (29), 68-76. (1), 25-58. 93 Muthal Mariyathai , Stars: The Film Reader (30), 62-68. (2), 12-15. 24 , The Tamil The filmsTamil as a medium of political communication ‘Honour’ Killing and Violence: Theory Policy and Practice Killing and Violence: ‘Honour’ Economic and Political Weekly, 44 Weekly, Economic and Political India: Image Creations. (1), 63-85. Middle East Report, 206 Kabadi Kuzhu. Bharathiraja, P (Producer & Director). (1985). Bharathiraja, P Manoj Creations.. Chakravarthy, K. A. (Producer), & Nallusamy, S. (Director). (2009). Ahir, S. (Producer), & Kapoor, S. (Director). (2015). (Director). S. Kapoor, & (Producer), S. Ahir, Star Studios. Films Yalman, N. (1963). On the purity of women in the castes of Ceylon and Malabar. Malabar. N. (1963). On the purity of women in the castes of Ceylon and Yalman, Institute Anthropological Journal of the Royal khap-directed honour killings in northern India. In A.K.Gill, C. Strange Roberts (Eds.), and K. Palgrave McMillan. York: 256-289), New Thapar-Björkert, S. (2014). Ff there were no khaps [ ... ] everything will go haywire haywire go will everything ] ... [ khaps no were there Ff (2014). S. Thapar-Björkert, into the same gotra: understanding [...] young boys and girls will start marrying Sivathamby, Sivathamby, K. (1981). Madras: New Century Book House. Studies, 32 Ruggi, S. (1998). Commodifying honour in female sexuality: Honour killing Palestine. in Rogers, M. (2009). Between fantasy and ‘reality’: Tamil film star fan club networks networks club fan star film Tamil ‘reality’: and fantasy Between (2009). M. Rogers, and the political economy of film fandom South Asia. Rajalaksmi, T. K. Rajalaksmi, April T. (2004 2015). Caste injustice. from http://www.frontline.in/static/html/fl2123/stories/20041119001304900.htm. Prasad, M. M. (2009). Fan bhakti and subaltern sovereignty: Enthusiasm as a a sovereignty: Enthusiasm as and subaltern (2009). Fan bhakti Prasad, M. M. political factor. Prasad, M. M. (2004). Reigning stars: The political career of South Indian cinema. Indian cinema. The political career of South Reigning stars: Prasad, M. M. (2004). Landy (Eds.), In L. Fischer & M. Routledge. Pandian, M. (1989). Culture and consciousness: An aspect of MGR phenomenon, phenomenon, An aspect of MGR and consciousness: (1989). Culture Pandian, M. and Political Weekly Economic Publishers. Communicator 92 Vol. LII (2), April–June, 2017 Palaniswamy, K (Producer), & Krishnakumar, Bharathi. (Director). (2016). (Director). Bharathi. Krishnakumar, & (Producer), Palaniswamy,K Oguz production. India: AVMProductions. Saravanan, M. (Producer), & Udayakumar, R V. (Director). (1993). Duet Movies. Raj, Prakash(Producer),&Mohan,Radha.(Director).(2013). Thaniyum. Oguz, Abdullah.(Producer & Director). (2007). 10. Motwane,V.& Kashyap, A. (Producer), & Singh, Navdeep. (Director). (2015). Stoning ofSorayaM.UnitedStates:MpowerPictures. McEveety, S,.&John,S.(Producer),Nowrasteh,Cyrus.(Director).(2008). The Chennai, India:GayathriFilms. Lakshmanan, C(Producer),&Bharathiraja,P. (Director).(1983). (2010). (Director). India: BigScreenEntertainment. N. S Priyadarshan, & (Producer), Mangat Kumar (1999). (Director). India: SharmashaProductions. Bala.. Pazhanisaamy, & (Producer), A. Kandasamy, India: Janani Art Creations. Janani Arts (Producer),& Bharathiraja,P. (Director).(1987). Productions. (1997). (Director). Cheran. & (Producer), Henry Flame Falls). Turkey: Aynur GunesandBaranSeyhan. Günes, Ismail.(Producer&Director).(2012). (1999). Krishna. Vamsi, Creations. Anandhi Art & (Producer), B. R. Choudary, (1994). India: SuperGoodFilms. (Director).. S. K Ravikumar, & (Producer), B. R. Choudary, Films. India: Anandhi Chettiyar, V. (Producer),&Udayakumar, R V. (Director).(1992). India:CleanSlateFilmsandPhantomFilms. India:UniversalPictures. Mutluluk tşn ütğ Yer’ Düştüğü Ateşin Bharathikannama (Bliss). Turkey: Abdullah(Bliss). Anthapuram Gauravam Vedham Pudithu . Mann Vasanai . India:Pankaj (Wherethe Ejamaan Aakrosh. . India: . India: Sethu Yenru NH- . . . . .

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93 Vol. LII (2), April–June, 2017 . . India: S India: S Sundarapandian Kaadhal. Kizakku Cheemaiyile . (1997). Suryavamsam, Chennai, India: Super Good Chennai, India: Super Good . (1997). Suryavamsam, . (Director) Vikraman. Films. Thanu, S.(Producer), & Bharathiraja, P. (Director). (1993). (Director). (1993). & Bharathiraja, P. Thanu, S.(Producer), India: V Creations. Shankar, S (Producer), & Sakthivel, Balaji. (Director). (2004). Balaji. (Director). & Sakthivel, S (Producer), Shankar, Pictures. Sasikumar, M (Producer), & Prabhakaran, S R.. (Director). (2012). S R.. (Director). & Prabhakaran, M (Producer), Sasikumar, Productions. India: Company Communicator 94 Vol. LII (2), April–June, 2017 financial and institutional sustainability. It is studies within framework the technical, of social, radio stations, study the afew case discusses interlinked challenges by faced community India. While providing abrief account on the of various community radiostations in withradio sector some insights from functioning issuecritical of sustainability community inthe This study is an attempt to deliberate the upon Shweta Prajapati inIndia Community Radio Insights from thePast: Exploring theFuture of and inIndia. practiceswithin CRsector the research with changing the environment policy are and newer the perspectives prospects for evolved, transformed and progressed and what and –how ahalf foundations academic the have research on community radioover last the decade changes that have field witnessed inthe been of makepaper linkages, also where possible, to the informed her research findings and analysis. The grassrootsthe experiments of narrowcasting for community radioinIndia and some of of country. the It how traces campaign the was not a reality broadcasting in the ecology author at not-for-profit the when atime sector on ‘Community in India’ Radio out carried by the paperThis doctoral the reflects on first ever work Kanchan K.Malik of Journey andscences aConceptual Empirical Remini-Researching Community Radio: developmentthe process. marginalised and ensured participation their in has empowered and given voice to most the howdiscusses Community inIndia sector Radio decisionin the making process. This study a forparadigm involvement of beneficiary the proved its effectiveness and reach and created as aparticipatory communicationRadio tool has development communication, Community the for Community the Media. In context the of a diversity of and create media also aspace a conscious effort to theopen up airwaves to February 1996, has made declaring airwaves as public property. Since Supreme gave Court its landmark judgement It over has been 20years since Hon’ble the S.KarEsther Communication Tool asaParticipatory Community Radio People’s Empowerment through Radio: *** *** Migrant communities are among most the Ramakrishnan N. Voice and Community Radio A Home away from Home: their Migrants, indicate towards possible solutions. interesting observations fromwhich fieldcan the upon common concerns and share also some incidents have put been together to deliberate one of stations. the Insights from varied these her own managerial of experience working with community radiostations across India and also on author’s the based interactions with different science movementscience country. inthe initiatives have laid foundation the of apeople’s as enshrined Constitution inthe of India, these scientific temper, citizen’swhichevery is duty, name Shubh Kal. While contributing to raising change, a programme that series bygoes the Mathsradio or Radio and of science the climate Health and Nutrition’ and mathematics on – aprogramme on ‘Science series for Women provides aglimpse of three such interventions that listeners their understand. This article inalanguagescience language) (evencolloquial communities to demystify and communicate creativethe abilities of radioreporters inthe Together, three the experiments integrate all Stations as to so broadcast programmes. science harness facilities the of Community Radio inclination to report on ablebeing science to to ability the of ordinary citizens with the threeThe instances citedpointthis in article Patro Basant Bijay Communication Science An Emerging ToolCommunity Radio: for discussions. spaces for migrants to participate incommunity through sensitive programming and affirmative issuethe of migrants’ rights and inclusion explores how community radiohas addressed of voice poverty as applied to migrants. It themselves. This examinesthearticle challenges is owned, managed and by run communities ofuse community radio, aform of radiothat out. One important way to achieve is this the communities to express themselves and speak establish spaces and platforms that allow migrant establishing migrant rights is to for societies discrimination. An important component of and faceextensive they xenophobia and marginalised communities inany society *** *** Communicator

95 Vol. LII (2), April–June, 2017

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