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Bollywoods of many diseases – The Hindu

 


The suicide of actor Sushant Singh Rajput has sparked a discussion of how some people or families control the film industry and often exclude strangers. There are allegations that some powerful elites decide the flow of the industrial economy and also distribute privileges without paying too much attention to professional ethics. Allegations go that talented artists suffer due to patronage in the industry. The deaths of the suspects sparked a critical discussion of the many illnesses in Bollywood.

Read also: Fabric used by Sushant Singh Rajput to undergo a tensile test

Dominated by social elites

The nepotism debate also reveals other structural injustices in the industry. There is a lack of social diversity in Bollywood films, the technical and artistic units being dominated by social elites. A discussion of the bias of the Bollywood middle class would also show that the urban poor are the new outsiders neglected in the multiplex. This exclusivity stopped the improvisation of cinema as a socially responsible art form. This domination excluded the poor as an audience and prohibited the Dalits, Bahujans and Adivasis from becoming an integral part of the filming process.

First, the rhetoric that cinema is the mirror of society is untenable. The traditional narratives of the films represent the taste and values ​​of the social elites and visibly neglect the life stories of the Dalit-Bahujan-Adivasi world. Instead, popular Bollywood movies project the cultural desires and social imaginations of the caste elites while veiling the terrible social realities of the majority of the population. The industry avoids the difficult questions about caste and social exclusion. Even if such problems are explored on the screen (Sujata, Ghulami, Mrityudand, Manjhi, Article 15, etc.), the industry must operate according to the emotional and psychological concerns of social elites. Marginalized social groups remained the perpetual strangers.

Second, more than nepotism-based relationships, the economy operates with a conventional cultural network and often prevents foreigners from entering. Dalits, Bahujans and Adivasis are considered foreigners because they lack the attributes of social networks and also the niche professional skills required. Films in Hindi are written, directed, technically assisted and produced by a dominant body of clan and club members, most of whom are social elites. Even film critics, critics, historians and film specialists belong to similar socio-cultural groups.

Film making is an expensive and competitive market. In the post-liberalization period, the political economy of Bollywood has changed considerably. Business capital now invests mainly under the popular names of any business, making film production an exclusive business. The privileges and profits of the company are therefore regulated through a well-woven social network which is often based on affiliations of castes, regions and clans (often called favoritism). Such an atmosphere undermines creative instincts and a solid respect for artistic talent. It shows its limit in breaking the clutch of commercial logic and has failed to produce a cinema that can be honored worldwide for its creative motives. Even in online streaming shows, mediocrity is visible.

Repelling the poor

Third, the poor working class audience is deliberately left out of the cinema today. The films are specifically designed to meet the tastes of upper middle class audiences, especially those who have the ability to spend three times more than the average moviegoer. Multiplex culture has marginalized single-screen audiences, primarily the poor. Films in Hindi, which previously entertained and fulfilled the dreams and values ​​of the average Indian, are now categorically intended to offer specific types of surrealist narratives (films like Omkara or Gangs of Wasseypur), appreciable mainly for the new educated public of the middle class.

Marathi and Tamil cinema has recently demonstrated that stories with strong social themes, diverse distribution and emotional logic are well appreciated at the box office. However, Hindi cinema has not taken much clue from its regional counterparts. Although Bollywood directors like Anurag Kashyap and Dibakar Banerjee have improvised the narrative conventions on screen qualitatively, they have not democratized the themes and social values ​​that shape the stories.

Bollywood has not responded to popular criticism from historically neglected groups. Concern for the diversity of castes on and behind the screen has recently been debated in Dalit circles, but has not yet found a wider deliberative audience. In addition, very few reflect on the means of re-connecting the poor public to the cinema. When we discuss the evils of nepotism in Bollywood, these partner diseases also need an equal diagnosis so that a more complete cure can be prescribed.

Harish S. Wankhede is Assistant Professor, Center for Political Studies, JNU

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