Zeichen Journal ISSN No: 0932-4747
Hindi Cinema and Society: Select Films and their Filming
A study on the factors of narrative techniques that influence the society
Rochak Saxena1, Dhruv Dave2 1Assistant Professor, Faculty of Journalism & Communication, The M S University of Baroda, Vadodara, Gujarat 2Student, Bachelors in Journalism & Mass Communication, Institute of Language Studies and Applied Social Sciences (ILSASS), Sardar Patel University, VallabhVidyanagar, Anand, Gujarat
Abstract
Examining the Hindi film industry, subjects selected and the elements of treatments seem prolific. Since its inception, Hindi cinema is debated and discussed on various aspects at extremes. However, films are appreciated for the diversity and versatility reflected in it, they have witnessed a major relation with how society functions at two main fronts. The perennial argument of whether the films are influenced by the society or it happens vice versa has always been doing the rounds. While the actual answer could be that it occurs both ways, it also depends on the subjects that a film is made on or an individual’s perception whether or not it will strike a conversation in the society. The initial ideation for a story rises from the ingrained issues in the society and eventually to give a potential solution to them by means of screenplay and characterization. However, the films also then have a direct or indirect, conscious or subconscious effect on the way how a particular subject is received by the mass. The present paper aims to study the aspects of filmmaking of the Hindi films made on societal issues prevalent in the times they were made inand their influence to the effective dimension of the moral for the masses within the society. To assess the progression of the films and their techniques in the exact direction, the study attempts to identify the elements of films on which they became influencing talking points in the society. 1950s saw the emergence of parallel cinema movement in Hindi films (first in Bengali cinema inspired by Italian Neo Realist movement) wherein the films emphasized on social realism. Since then, Hindi films have chosen social issues as key subjects or at times merely touched upon a notion while presenting an altogether different genre. The present paper studies the time period from 1990 to the most recent one till 2019to understand the influence the films have had on the audience. With qualitative in nature, the study is based on Bollywood movies as primary data purely. The purpose of the study is to identify evident techniques and how they have impacted the society on a larger level. Why a certain film could do the needful for the society, and why some couldn’t is also what the researchers are trying to find out. The striking results identified peculiar and distinct elements of narrative and filmmaking techniques including those in screenplay, characterization, and dialogues that enable certain films to find a foothold in the society. As a result of the analysis, the researchers gauged the box office collections of the films in question, the awards that the films received, the trends and lifestyle patterns, and the conversations that the films struck in the society.
Keywords: Hindi cinema, Society, Filmmaking, Narrative, Characterization
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Introduction:
For over a century now, there has been a perceptible presence of cinema existing pan India, in diverse capacities of stories, narrative forms, and languages. Right from the silent age marking its inception in 1913 with Raja Harishchandra (by Dadasaheb Phalke) to the time when talkies emerged in 1931 with Alam Ara (by Ardeshir Irani), there has been a plethora of incredible changes in terms of subjects and treatment. With the advent of dialogues and songs forming an essential part of the cinema narrative after all this time, cinema had truly revolutionized with wider expanse of the medium.
“What really distinguishes the New Indian Cinema is a definitive set of liberal-humanitarian values, embracing progressive solutions to urgent problems, sensitivity to the plight of the poor and oppressed, a faith in the ultimate movement of man toward change. Drawing its inspiration largely from the neo- realists, it is a cinema of social significance and artistic sincerity, presenting a modern, humanist perspective, more durable that the fantasy world of the popular film.” Geetanjali Bhatia and Sudha Chandra stated this in their paper‘Social impact of Indian Cinema- An odyssey from reel to real’, 2019, referring to what Raghunath Rai, a former IIS officer said. It has been clearly observed right from the time of the first film in India to even the most recent ones that films have found a close relation with society at large. On one hand while it is seen that society influences films and their subjects, it can also be observed that films have had the power to make a lasting impact on the society in varied capacities. The subjects for the earliest of the films produced in India concerned mythological figures, stories from the epics like Ramayana and Mahabharata (leaving behind a significant impression in popular Indian imagination), and even ranging from the country’s cultural diversity. After the Indian independence, films by Satyajit Ray (most notably Apu Trilogy) or Bimal Roy (Do Bigha Zamin, for instance) mirrored the society directly. Taking inspiration from Italian Neo Realism, the Golden Age films by Satyajit Ray, RitwikGhatak, Bimal Roy, V Shantaram, Mehboob Khan, produced right after the Indian independence, clearly depicted the Indian society struggling to come to terms with the glaring divide of rural and urban areas, and also the widespread existence of bandits and dacoits. As time passed, more and more variety in terms of stories was seen. While the subjects still majorly concerned the folklores and mythical figures, crime, love stories, and tales made on the backdrops of prostitution significantly made their way to the audience.
But this hasn’t remained a uni-dimensional structure of how cinema functions broadly. “Cinema is greatly influenced by society and society is also greatly influenced by cinema. From the introduction of cinema in the world, it tried to portray the social reflection through its big screen” (Sharma, 2018)
Looking at the Hindi films of 1950s and onwards, it can be seen in a generalized manner that cinema has been functioning at a dual dimension. The films have borrowed their subjects from what occurs in the society, but they have also struck a conversation after they have seen the light of the day. However, this solely depends on how a film is made and eventually how it is perceived by the audience.
The central idea for the present study arises from the need to study the aspects of filmmaking of Hindi films made on issues prevalent in the society and how they have influenced the audience.“Cinema as a medium was informed by what one may term ‘intertextual excess’ whereby it could borrow both from high and low cultural universes at the same time and recombine them in unexpected ways”, says Umesh Kumar in his paper ‘Cinema and the Indian nation- A history of Bombay talkies 1934 -1954’. A film may or may not bring about a revolution in terms of the approach of the film; it can only affect a certain fractional section of the society in some or the other way. Films based on HIV or LGBTQ as a whole try to bring about an awareness or sensitivity in the entire society about the issues of a certain section. Similarly, films featuring Sunny Deol or Nana Patekar in late 80s or 90s like Krantiveer, Prahaar, Narsimha, Ghatak or Ghayal have portrayed the angst of common man that prevailed already in the society, but also have been extremely influential after their release, in terms of the appreciation they
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garnered. Deepa Mehta’s Fire or Water have brought out the realities of society. Not only were they seen as brave attempts at filmmaking, they also had to face criticism from several authorities including a ban, signaling at how films influence the societal framework.
“It can be argued that if Neorealism in Italy emerged out of opposition to Fascist and escapist cinema which was away from reality then Indian neorealist cinema was also rooted in the milieu of colonial oppression and post-colonial apathy of the elected Indian government towards the contemporary issues of caste and class discrimination, patriarchal set up, social oppression, economic inequality, bourgeois domination and increasing antipathy towards democratic traditions.”(Sharma, 2012). Ever since 1950s, when the parallel cinema movement began in our country, films have emphasized on social realism. But not all films including the ones having a targeted approach to make an impact in the society have been able to do the needful. The reason therefore is a matter of question as to why certain films strike a conversation and initiate a dialogue in the society while some fail to do so.
The present study thus works at two levels. For one, it directs at studying and analyzing select films from the select time frame based on their narrative and filmmaking techniques wherein a peculiar observation is made in screenplay, characterization, and dialogues of the films. Secondly, to be able to gauge the effect the films have had on the society, the study has taken into consideration the box office collections of the films in question, the awards that the films received, the trends and lifestyle patterns, and the conversations that the films struck in the society.
The study is an attempt to settle on factors of Hindi films from 1990 to the most recent one till 2019 that have had an influence on the audience. The society has changed drastically over the years, with more and more deliberate discussions being done out in open. The issues in the society have been diverse, and so have been the narrative techniques. With an understanding of the changing narrative techniques and then their influence over the society based on the fixed parameters, it can be understood on why certain films had the power to affect the societal paradigms and how did they do so.The study is targeted to observe the influences in the society, if any, and to witness the art form for a comprehensive understanding of how cinema is perceived and consumed in the present era, giving a peculiar peek in the times to come.
Study Layout:
Relevance of the study:
“The cinema can be used as an instrument to help people, to get rid of obscurantism and also to guide them along the right path. It can help in removing ignorance from our society. Not only this, several much needed social reforms can be introduced and brought about with the help of the cinema”, says one of the students in his essay submitted in UK essays website in 2016.The present study aims to come forward with learning’s on how Hindi cinema has influenced society over the years, in the context of how a film is presented to the audience. The period from 1990 to the most recent 2019 has been taken into consideration from where noticeable paradigm shifts can be observed in subjects and treatment and eventually their impact in the society. With an emphasis to know whether or not Hindi films have affected the society and how they have done so over the years, the study will give a clear understanding of what factors have directly or indirectly led to making an influence in the society and in what capacity. Knowing the same will inform us about what does/ what does not work in today’s times, to be able to understand in what varied capacity is society influenced. In one of the studies done by Firoj Iftekar from Aligarh Muslim University, published in the year 2016, states clearly that we’re in the 21st century, though there are incidents of women killing women. He talks about ‘NH-10’ directed by Navdeep Singh, one of the most popular films on Honor-Killing, which was released in the year 2015. Anushka Sharma and Neil Bhoopalam were the lead actors. He says that the story was loosely adapted from Manoj-Babli honour
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killing case; which was happened in 2007. The film’s title referred to the 403 kms long National Highway 10 in India. There was a scene in the film where a group of people were shown inhumanly beating a young girl and a boy, almost in an attempt to kill them. It is eventually revealed to the audience that one of the men in the brutal group was the brother of the girl. Satbir (DarshanKumaar) was killing his own sister because she was in a relationship with a boy who didn’t belong to their own caste. Iftekar mentions that it is hard to even imagine this happening in this era, which by the very course of reality, happens in the society around us.It is also brought to light in the later part of the film that the older woman of the family is the main antagonist. Therefore, it is the need of the hour to come up with more such movies of societal concern. One of the reports published by National Crime Records Bureau (NCRB) in October, 2019 emphasizes that the number of crimes committed against women have increased in 2017 by 6%; as compared to the year 2016. The report also says firmly that a mega city like Hyderabad is holding the top most position in the list for increasing number of crimes committed against women. Women form just a segment of the society; there are other segments of the society too where the number of crimes are increasing; not just in numbers but also in intensity and frequency.
Objectives of the Study:
To analyze films basis their narrative techniques, particularly screenplay, characterization, and dialogues To study how and in what volume the narrative techniques of films influence the society
Research Design:
For this study, researchers have adopted qualitative type of research design. In this study, they have tried to study the narrative techniques in Bollywood movies over the years and eventually observe their influence on the society. Thus, it is descriptive in nature.
Universe and Sample:
The universe of this study was all the films released between the period of 1990 and 2019. And thus, from the mentioned time frame, the researchers have chosen selected movies as per their convenience in order to avoid ambiguity of any manner.
Variables
Independent Variables:Bollywood films Dependent Variables:Narrative techniques, Influence on society
Method of Data Analysis:
The researchers have adopted content analysis method. The films were chosen so as to give a proper justification to the time period. The films, thus chosen vary in their narrative techniques, where the researchers have comprehensively selected the films. The films were then analyzed based on the factors of screenplay, characterization, and dialogues. The researchers then gauged the box office collections of the films in question, the awards that the films received, the trends and lifestyle patterns, and the conversations that the films struck in the societyto study the impact on the society.
Limitations of the study:
Time constraint was one of the obstacles that the researchers faced. Researcher’s opinions and perceptions could be subjective.
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Operational Definitions:
. Narrative technique: A method or strategy used to convey particular information to the consumer/audience/reader. . Box Office: The place at theatres where the tickets are sold to the customers, wherein the income is generated sans other rights . Characterization :The description of the distinctive features and nature, including traits, physical attributes, style given to a particular fictional character, for the purpose of telling a story, in this case, a film . Neorealism:A movement or an ideology in art or philosophy representing a modified form of realism. In this paper, the term refers to Italian Neorealism, a movement in cinema that began in Italy after WWII, having a particular set of features and traits.
Major Observations and Discussions:
The results of the study are based on two points: First point: Narrative techniques- screenplay, characterization, dialogues Second point: Impact on society- critical and box office reception, accolades, trends and patterns in society, conversations the film struck in society
1. Many movies in 90s talked about social issues (like Krantiveer, Pardes) or taboos (like Raja Ki AyegiBaraat) but they all had their first point strong and approach was to make them with entertainment which eventually leads towards audience’s interest losing in actual issues like Biwi No.1 or Judaai. All these films had so much masala that it overshadowed issues relating to society being talked in the film so somehow audience didn’t react much to it. On the other hand, it was still 20th century; audience wasn’t open enough to accept and understand problems which societies were actually facing. Thus we cannot find any movie in 90s which talked about some disease apart from cancer, and that’s the reason why in almost every movie, the first point is stronger but the second is not. For instance, Mammo and Suraj Ka Satva Ghoda, etc. Beginning of 21st century somehow brought maturity and understanding. Filmmakers didn’t have to put unnecessary masala elements to convey message just to keep audience stick to their seats and movies like My Brother Nikhil and Chori Chori Chupke Chupke came and got proper recognition. 2. In addition to that this generation started reasoning like after effects of Kabir Singh but some part of the society has still remained the same as they still get offended on normal issues like protesting against Padmaavat and Article 15. The movies of 1990s like Paanch or Fire got banned because of the censorship issues, evidently signaling that only the government was concerned about it. But it is widely seen that almost every movie that releases nowadays has to face resentment of a random group of people because it will somehow effect or relate to them. They then protest and threaten to get their way out. Padmaavat not releasing in Gujarat is an example. The society has been divided into two parts; unlike 90s when the audience was neutral and didn’t care enough to change the way of watching movies. It can also be said that this neutrality of the audience was good for the entertainment industry as they believed in watching movies as just a medium of entertainment. The disclaimer at the beginning of the movie also majorly suggests that it is solely made for entertainment purpose. 3. Taking movies too seriously has got off on the wrong foot. When a film like Tamasha or Udaan or Kabir Singh talks about common men facing normal issues, we must know that films are mirror to the society. What you see in the movie is makers’ idea of actual people around us with a fictional touch.
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4. There have been films with pristine concepts like marrying off a girl to the boy who raped her in Raja Ki Ayegi Baraat. An opinion was put forth. But very poor execution due to flawed screenplay and very bad actor choices along with messed up characterization is the reason why the film couldn’t score. Kya Kehna won the Best Story award at Filmfare and it is today seen as a landmark film in the pre-marital pregnancy terrain, it didn’t quite attract masses at the time of its release. 5. Films like Zakhm (probably the only film made on communal harmony in 1990s other than Bombay), 1947 The Earth, Bandit Queen, were received well by the critics. But failed to connect with the audience outside of one section of audience due to their mature and sensitive writing. 6. Jogger’s Park and Cheeni Kum were made on a similar concept. The former couldn’t find any takers. The latter is very much within the hearts. Point one here is more lively and catering to the mass, rather than Jogger’s Park where it was convoluted and too serious. Bala and Ujda Chaman were made on same issues, but the former worked as it stuck to the issue, and the latter got lost in a parallel track. 7. Khalnayak, Krantiveer, Pardes, Daraar, Agni Sakshi, Aitraaz, Munnabhai franchise among many others are films made on strong societal issues and also finding a strong foothold in the society. Talking about their narrative techniques, we must give it to their strong influential characters and powerful dialogues for conveying a particular notion. For instance, the portrayal of two kinds of males in Pardes, or the anti-hero of Daraar. Coming to think of it, it was Shahrukh Khan in Darr who was more popular than Sunny Deol. Similar cases include Kabir Singh, Dhoom franchise, and so on. The topic in Aitraaz was unheard of, and it is the unapologetic characterization that led to mass appeal. Munnabhai MBBS and Lage Raho Munnabhai talk about spiritual concepts of humanity, but have been extremely influential only because of their powerful first point. “After watching Lage Raho Munnabhai, people started talking and behaving in a polite way” (Singh A.). She also talks about the film 3 Idiots in her research and how the film has inspired the youth to work as per their interest and choice. She also highlights elements like Jaadu Ki Jhappi from Munnabhai MBBS to throw light on important aspects like class divide and social inclusion. 8. Baghban, OMG Oh My God, Swades, Taare Zameen Par (TZP), Dear Zindagi are films which became great talking points in the society and how it brought a revolution. Rang De Basanti revealed a “visible streak” on varied opinions on Hindu-Muslim friendship wherein an idea was conveyed how youth is more open to choosing their friends, without any bias for religion preference (Chandra G. and Bhatia S., 2019). While Baghban initiated a conversation in the society about old age homes and how several people admitted to rectify their mistakes; OMG Oh My God also started a discussion on the actual meaning of faith.“Baghban attempted to highlight the culturally rich message that it brings to the fore and rekindles a sense of pride in the dimming lustre of our values.” (Walia D., 2014). Swades gave the idea of nationality on a widespread level.“The film challenges the paradigm Bollywood films have set for representing the Indian diaspora by questioning the idea of originary bond between the diasporic subject and his homeland.” (Sinha S., 2012). Aamir Khan’s directorial debut TZPmade incredible impression in the society where it showed “how love, care and more attention could help the patient improve…such disabilities should not be looked down upon as a social stigma of mental illness” (Chandra G. and Bhatia S., 2019). There were seminars and debates all across where parents came together to discuss on how a child can be understood well. Dear Zindagi normalized the concept of mental health and the film is seen as a pathbreaker in the territory. 9. Udta Punjab is one film that works on both levels. Taking the subject from the society and then giving it back. Starting conversations at a mass level on drug abuse, it was seen as a hugely popular film. 10. Chak De India popularized Hockey to a great deal and Dhoom made the youngsters crazy for bikes, for how it was used in the film. Weaving a commodity in the screenplay and making the film rest on it was done successfully. Similarly, Dabangg’s red goggles, Tere Naam’s haircut, are examples of this phenomenon.
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11. My Brother Nikhil, Phir Milenge, My Name Is Khan, Taare Zameen Par,and Paa are films that tried to create awareness on diseases. They did so successfully. Gone Kesh however couldn’t connect with the audience, majorly because of poor promotions, and not lacking in the first point. For the film My Brother Nikhil, (Chandra G. and Bhatia S., 2019) say “the film showcased the subject of homosexuality as incipient from a universal, right-based standpoint… it might not have proved numbers in the box office, but was a revolution for the nation owing to its theme that aided in bringing about serious concerns out to the audiences that mainstream cinema could not.” 12. Films of the recent times like Vicky Donor, Shubh Mangal Saavdhan, Badhaai Ho, Padman, Article 15, Section 375, and the fact that they have been blockbusters means that societal issues have been accepted large and wide, but because of their powerful first point. 13. Kabir Singh has been extremely influential. While it’s become a box office phenomenon, it has resulted in widespread discussion of both positive and negative kinds. The film has drawn a lot of comments on all kinds, basis its very strong first point. 14. Films made on LGBTQ issues have been many. Some portraying them well, some in a comical way. Fire was probably the first one in Hindi cinema on the issue. While a ban was called for, it showed how strongly it impacted the society. Dipanita Nath in her column titled ‘Keeping the flame alive: What made Deepa Mehta’s Fire such a pathbreaking film’ in The Indian Express, March 20, 2016 recalls several incidents that occurred in the country involving various political parties after the film’s release. She also puts forth elements that make the film striking. Although it didn’t cater to mass initially, it was widely watched eventually and discussed across the society. I Am by Onir hasn’t been widely popular but critically acclaimed travelling in several film festivals. More recently, Ek Ladki Ko Dekha Toh Aisa Laga opened new avenues, but it couldn’t find more takers, due to half-hearted writing.
Conclusions:
1. It can’t be said that strong first point can lead to strong second point. Films like Poorna, Inkaar, Gone Kesh, Iqbal, Dor, Fire, etc. have been very strong in first point. But their second point isn’t as strong. Reasons vary from film to film. Lack of promotions, and reduced release in minimal theatres are a few causes. 2. Audience in present time has become extremely sensitive can’t stand actual facts showed on screen and gets easily offended unlike 90s audience who in true sense used to enjoy movie’s true purpose which is providing entertainment. Nowadays, audience evenchooses threatening path for proving their point about a movie. 3. In order to discuss and oppose some not-so- important aspects of movies, audience actually tend to miss real issue which movie talks about; due to misconception of taking the movie seriously. 4. Powerful characterization is seen to influence society on a wider level. Films like Swades, Chak De India, Rang De Basanti, Khalnayak, Nayak, Kabir Singh, Munnabhai franchise, etc. are examples. 5. Sticking to social issue is seen of importance and not mixing it up with other things in the films is how a film finds foothold in the audience. Raja Ki AyegiBaraat, Ujda Chaman, etc. are examples. 6. Catering to mass and their sensibilities is also important. Films like Zakhm, Bandit Queen, 1947 Earth, Water, Kya Kehna, etc. suffered and are majorly seen to be ahead of their times. On the other hand, Baghban, OMG Oh My God, Taare Zameen Par, Dear Zindagi are contrasting examples. 7. The film doesn’t necessarily make an impact at the holistic level. Small elements woven in the screenplay can also be very influential. For instance, hair style in Tere Naam, goggles in Dabangg and Kabir Singh, etc.
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Therefore, it can be concluded that there is not only one element which contributes in the overall impact of movies on the society. It is the amalgamation of the several elements of the movies such as storyline, screenplay and narrative techniques. On the other hand, one element over powers the others and it purely depends upon the structure and the system of the society. The overall set-up of the society influences people and their perception – which is a known fact since years. Therefore, any specific element doesn’t hold strongimportance when it comes to the Hindi Cinema and Society.
Bibliography:
- Sharma, Archana. "ROLE OF CINEMA IN CREATING SOCIAL AWARENESS", 2018 - Cherian, V. K. India’s Film Society Movement: The Journey and its Impact. SAGE Publications India, 2016. - https://thoughteconomics.com/the-role-of-film-in-society/ - http://essaysandarticles.com/science/the-cinema%E2%80%94-its-impact-on-society/ - https://amityuniversity.ae/gmj-ae/journals/Sudha-Bhatia-Geetanjali.pdf - http://hdl.handle.net/10603/255508 - http://hdl.handle.net/10603/31855 - Divya, Walia. "Films as the ambassadors of culture: a discourse with reference to Baghban." Scholars Journal of Arts, Humanities and Social Sciences 2.2 (2014): 258-260. - Sinha, Suvadip. "Return of the native: Swades and the re-thinking of diaspora." South Asian Popular Culture 10.2 (2012): 185-196 - Sharma, Manoj. "Neorealism in indian cinema 1944 69”, 2012. - Aparna, Singh. "Social change through hindi cinema special reference to Rajkumar Hirani."
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