DISCURSIVE LEGITIMIZATION OF RAPE-DISCOURSE IN BANGLADESHI POPULAR CINEMA MUHAMMED SHAHRIAR HAQUE East West University, Dhaka E-mail: [email protected] Abstract- The legitimization of rape-discourse in Bangladeshi popular cinema is literally unexplored. Until now, has been no study on rape in Bangladeshi popular cinema from a critical discourse analysis (CDA) perspective. Rape is a social taboo, yet it is not a subject that is avoided in popular Bangladeshi cinema. There is ample literature on rape in media, but hardly any on its treatment in cinema. This paper looks at whether certain discourse-ideological practices are being employed (sub)consciously to legitimize a monolithic rape-discourse ideology in mainstream cinema in an ever-increasing consumer-cultural society. Index terms- cinematic rape in Dhallywood, Bangladeshi popular cinema, critical discourse analysis (CDA), legitimization of rape-discourse I. CRITICAL IMPLICATION movies tend to have a strong frame of mind, where the victims themselves take revenge by killing the Cinema, whether popular or alternative, tends to rapists (I Spit on Your Grave, 1978, 2010, 2013; The explore the treatment of rape in myriad ways, some Last House on the Left, 1972, 2009), tackling them focusing on the psychological aftermath of the (i.e. rapists) in the courtroom (The Accused, 1988), victims of this heinous act while others on the taking psychological rape-revenge (Descent, 2007). physical violence and sadistic eroticism during the act Furthermore, Hollywood does not tend to shy away itself, and a few on all such elements. There is plenty from cinematic portrayal of male-rape (Deliverance, of literature exploring rape in media [see 1, 2, 3, 4, 5, 1972; Sleepers, 1996; I’ll Sleep When I’m Dead, 6, 7], while there is hardly any on its treatment in 2004), as well as incest-rape (Chinatown, 1974). Not cinema. This is one of the reasons which prompted a single Bangladeshi commercial film has dealt with Henry [8] to write Revisionist Rape-Revenge: such rape themes in its entire history. In Bangladeshi Redefining a Film Genre. Rape is a social taboo, and Bangla films, due to social stigma, people do not its implications can reflect upon how the victims are usually tend to go to court to prove their case(s); in treated and perceived in society. Cinema is a the alternative film Priyotomeshu (2009) by powerful medium; hence, when employing the Morshedul Islam, the rape victim goes to court and discourse of rape some people may not understand tries to prove the rapist guilty with the help of her the intended or apparent meaning, and therefore neighbour. In other words, Hollywood movies tend to might misread it in terms of its aberrant or unintended explore multi-dimensional themes of rape meaning. Consequently, the underlying ideology gets psychology, where the victims somewhat come to misconstrued. In an increasingly consumer-cultural terms with the physical and psychological trauma of society, it is important to explore whether certain rape, whereas in Bollywood and Dhallywood movies discourse-ideological practices are being employed usually rape is used as a motif for revenge (mono- (sub)consciously to legitimize a monolithic rape- dimensional theme of rape), taken by the protagonist discourse ideology in commercial cinema. Cinematic and not the victim herself. Though Asian cinema does rape has not been studied from a critical discourse not usually try to explore different facets of cinematic analysis (CDA) perspective in Bangladeshi. The aim rape, there are a few exceptions. The critically of this research is not to focus particularly on acclaimed Japanese film Rashomon (1950), even hardcore pornographic vulgarity or physical violence though produced almost 65 years ago, looks at the during the act of rape; rather to explore how rape- tabooed issue of rape from different perspectives and discourse is legitimized in mainstream Bangladeshi vantage points in trying to explore the various cinema. dimensions of ‘so-called truth’. The Bandit Queen (1994) cinematically depict strong portrayals of the II. CINEMATIC RAPE rape-victims. One may argue that The Bandit Queen is based on real events and therefore could not Rape, whether as main theme or sub-theme, generally deviate from the truth. However, Rashomon, a tends to be employed in popular films of the Indian fictional story, despite the fact that its protagonist was sub-continent for revenge-motive, where characters raped, was enthusiastically accepted by American other than the victims take revenge, with the critics and audiences but not so much by the Japanese exception of a few. The rape victims in Hollywood audiences in the 1950s. In Guerrilla (2011), when the Proceedings of 2nd Research World International Conference, New York, USA, 26th December 2015, ISBN: 978-93-85832-76-5 14 Discursive Legitimization Of Rape-Discourse In Bangladeshi Popular Cinema protagonist was about to be raped, she kills herself decisions as to what is or is not suitable for viewing. rather than being violated. Thus practicing the so- BFCB makes its decisions based on four sets of rules: called ‘St. Maria Goretti Law’—death is better than The Cinematograph Act, 1918; The Censorship of rape [9]. Films Act, 1963; The Bangladesh Censorship of Films Rules 1977; The Code for Censorship of Films III. BANGLADESHI POPULAR CINEMA in Bangladesh, 1985. Mohiuddin [25] looks at rules and regulations of Films produced by mainstream film industry of censorship implemented by BFCB, where it states Bangladesh, that is, Bangladesh Film Development films that depict “actual act of sex, rape or passionate Corporation (BFDC) are popular, commercial or love scenes of immoral nature” will be considered as mainstream cinema of Bangladesh. Generally these immoral and obscene. According to The Code for films tend to be commercial in nature, and are made Censorship of Films in Bangladesh, 1985 (No. in accordance to the rules and regulations of BFDC. S.R.O.478-L/ 85), Section 4 has specific regulations Film Development Cooperation (FDC) studio started regarding ‘Immorality and Obscenity’ which strictly its journey in 1957 through the enactment of a law by controls rape scenes. the East Pakistan Assembly, under the Ministry of Information, which was run by an eight-member V. CRITICAL DISCOURSE ANALYSIS board from various government and non-government organizations [see 10, 11]. Though Hiralal Sen started The discursive study of a piece of text, whether filming actuality footage during 1898-1901 in spoken, written, symbolic, visual, audio-visual, in Calcutta and Dhaka, the first Bangla film was called order to unveil opaque issue(s) that may be Mukh O Mukhosh (The Face and the Mask), which oppressive and/or exclusionary in nature, which are was directed, produced, written and acted by Abdul embedded in the social structure of a society is called Jabbar Khan [see 12, 13, 14]. After the independence critical discourse analysis or CDA for short [see 26, of Bangladesh in 1971, when this nation started 27, 28]. The primary objective of CDA is to expose reconstructing its infrastructure, the films that were such non-apparent issues to uninformed people of a produced predominantly had Muktijuddho society and make them informed of what they did not (Liberation War) related themes [see 13, 15, 16, 17, know or were ignorant about in order to make 18]. However, as the country progressed, FDC informed decisions so that they cannot be taken produced films that explored other themes based on advantage of or beguiled [see 26, 27, 28]. literature, fairy tale, social issues, folk, action, supernatural, children, history, comedy, adventure, VI. SOCIAL ATTITUDE TOWARDS RAPE fantasy, national awakening, biography, and so on VICTIMS [see 13, 15, 16, 17, 18]. Though rape was never employed as the main theme of commercial movies, Conservative attitude, collectivist mentality, strong it was employed in a number of Muktijuddho based patriarchal presence, and religious misinterpretations films, as well as action and some history based films. tend to inhibit the commercial film industry from Since FDC provides producers with logistic and exploring the different facets of rape in the Indian financial assistance, the state “automatically partners sub-continent, because rape related theme or sub- the financing and production of almost all popular theme of a film may not be socially acceptable; films and is also the main financer for FDC” [19]. particularly when the protagonist herself is the victim. Hence, whether the rape victims can live with the IV. CINEMATIC RAPE IN DHALLYWOOD abuse and/or be accepted by the family members as FILMS well as the society is also significant and needs to be explored in the cinematic portrayal of this hideous There is no empirical study in Bangladesh that crime. specifically looks at the discourse of rape in Society seems to have a polarized attitude towards the Bangladeshi commercial cinema from a critical act of rape, the victim and the rapist. Even though discourse analysis (CDA) perspective. However there feminists feel that they have the right to wear are a few studies that look at the construction of whatever they choose, sleep with whoever they women and/or their identity in war films [see 20, 21, desire, and be with as many partners as they want 22, 23], where rape is usually discussed as one of the [see 3], there is abundance of opinions from men, sub-themes of the studies. Hoek [24] looks at the women and even the legal profession/professionals to pornographic aspects of Bangladeshi action film in suggest otherwise [see 9]. The western society tends her analysis of cut-pieces. If the rape scenes are to pride itself in being a very modern society in terms sexualized and explicit, they are cut from films and of exploring sexual and/or promiscuous relationships become part of cut-piece collection. Cut-pieces are between unmarried people, gays and lesbians, and has censored portions of films that are not considered no problem with premarital sex and multiple sexual suitable for viewing by the Bangladeshi audience.