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Abstract
Films have become an effective tool of propagation of messages, cultures, conflicts and ideologies. USA, Russia, China, Iran and other countries are also using it to achieve their goals to project their national agendas. Indian film industry has become the largest film producing industry in the world, and the Bollywood movies are being watched and liked all over the globe. Since the partition in 1947, India and Pakistan are considered harsh rivals. This study examined the portrayal of Pakistan image in Bollywood movies during the year of 2013. The researcher used mixed method to conduct this research. The Sample of this study was Bollywood movies released in 2013. For this purpose, the researcher scientifically investigated and analyzed about how and to what extent Bollywood movies are showing the face of Pakistan querulously. The study applied theory of framing to investigate that how Bollywood represent Pakistan.
Key Words:
Bollywood, Pakistan Image, Framing, Indian Movies
Introduction
A movie is also called a group of motion pictures. Which sharing certain traits (atmosphere, style, subjects, matters) in U.S and Europe movies have played their part to bring the high standards of cognition among the masses. In United States social realism in Germany gangster’s films in USSR films dedicated to the October revolution and in the France the up heave of realism is the examples of movies impact on the social setup in all of these countries (Borde & Chaumeton, 1955). Cinema is a bonafide tool to provide five functions clearly which are correlation, transmission, economics, surveillance and entertainment. Cinema acts as interpreters of events (correlation) as conveyer of culture, norms, values and myths (transmission) acts as a watchdog of government (surveillance) earns foreign exchange (economics) disseminate pleasure and leisure (entertainment). So in this regard movies and cinema are integral parts of any social setup. Cinema can influence not only the native masses but also the masses around the world. Through cinema easy, compact, soft, and rough or any other kind of message can be sent according to capacity of target audiences (Coleman, 2005).
In current eon the world is moving through the age of transfigure with the inception of social media and easier approach to the knowledge and all kinds of events now the role of cinema has become even more critical more complex and more important because it has the ability to redirect the assumption of issues, events and the approach of thinking of film viewers (Banaji, 2007). Films are now a day’s being used as a tool of propagation. It is being used by the country on world level to set their thinking agenda on the masses of the world. In this regard Hollywood became a universal and worldwide communicative source which is playing its part for the domination of American hegemony on the world. Because Hollywood is providing a ground to American establishment to enforce their agenda on the world and is paving way to keep the masses in satisfying state of mind and where required Hollywood is also producing an air of mistrust, fear, misconception and vague situation which directly gives an upper hand to the authorities for which Hollywood is presenting its services.
In the past during Vietnam and Afghanistan war movies like “Rambo 3, The beast, Cargo 300, Afghan Breakdown, Black shark, Peshawar Waltz, The Soldier’s Star, The fog of war, Rescue Dawn, The Deer Hunter And Hearts and Minds” served American government in a big way to pave and upheld its agenda on the world. Through these movies US Government revealed to the world that actually fighting in both of the countries American Soldiers are rendering their great services for the humanity and to save the future of the world even though US Government was only involved in imposing their own Political and Strategic recipe on the international political scene (Shaw, 2007).
Hollywood movies prove more than handful to fulfill the scheme of American think-tank. After World War 2 the clash of capitalism and Communism was in full swing during the next four Decades. Both USSR and USA wanted to convert the people minds and thinking ability not only in their respective countries but globally to satisfy the general opinion in their favour. Both Opponents tried their hot out to make malicious and poisonous propaganda against each other political and economic way of life. In this era the hinge of the Hollywood turned around the excel of anti Communism propagative war and the Hollywood remained busy as honey bee to present communism as worst menace of the mankind at the time. Movies like “Repentance, Eleni, Strike and the lost City” infuriated the people against communism (Stafford, 2013).
In this way Hollywood was proved as an effective and powerful communicative cane to out maneuver the thinking of populous in their favour. Recently during Arabs Spring Hollywood produced films with the titles “The Nile incident, hyper normalization and Damascus time” to make people “understand” the actuality of the phenomena of Arab spring. Here again the Hollywood movies reintroduced the meaning of Arab spring as they wanted to. More ever Hollywood is a source of a cultural hegemony for the west. The Hollywood produced and is producing movies to outplay culturally the peripheral countries. Through these movies they induce their own cultural taste over the globe and paint the picture of the world as their brush pleases (Silver, 2007).
The Evolution of Bollywood
The Indian film industry traces its origins to 1896, when the Lumiere Brothers showcased six silent short films at the Watson hotel in Bombay. Hirala Sen's "Flower of Persia" in 1898 set the tone and trend for future filmmakers as pioneers (Hafeez & Ara, 2016). Considered the founding father of Indian cinema, D.G. Phalke's legacy was cemented with the release of "Raja Harishchandra" in 1913, India's first feature film. The industry saw further development with the production of "Alam Ara" in 1931, the first talkie in Indian cinema history, directed by Pardeshir Irani. Throughout the 1940s, the industry produced a large number of high-quality movies that were widely appreciated by audiences. Until the partition of the subcontinent in 1947, the Indian film industry was fully grown, producing several films on different aspects of society (Guru, Sapna, & Kumar, 2015).
The Dominance of Bollywood
Indian cinema has established its dominance in our part of the world, thanks to its expansive audience and economical sector. With over a thousand movies produced per annum, Bollywood's power and influence is evident. Entertainment, particularly cinema, is among the fastest-growing sectors in the Indian economy, growing by 16% annually and adding billions of dollars in foreign remittance (Chirstos, 2014). The quality and quantity of Bollywood films make them widely accepted across the globe, with the Indian film industry producing more movies than any other industry. In fact, in 2013, the Indian film industry produced 1/5th of the total number of feature films produced worldwide, with a total of 1724 films. This number far exceeds that of other major film producing countries, such as the USA with 738, China with 638, Japan with 591, and France with 270 (Chirstos, 2014). It is worth noting that Nigeria's low technology film production format means that it is not included in this race for numbers.
Bollywood & Representation of Pakistan
The study aims to investigate the portrayal of Pakistan in Bollywood movies, particularly in the current geopolitical scenario where the image of Pakistan in India is gaining symbolic political importance. Both Pakistan and India emerged from the same sub-continent in 1947, sharing similar culture, people, language, art, music, and geography. However, despite their commonalities, both countries decided to remain at odds with each other, with their animosity reflected in recent Bollywood films. In the past, during times of peace, Bollywood produced films that portrayed Pakistan as civilized and friendly. But in times of tension, the movies propagated Pakistan as an uncivilized terrorist and peace-killer country. Bollywood is now producing a fictional patriotic Indian identity that mostly represents Pakistan as a wicked and spiteful enemy. The study seeks to identify how Bollywood is destroying the image of Pakistan in the eyes of the world and how Indian cinema has portrayed Pakistan during the year 2013, given the current circumstances of the subcontinent and the world-changing politics. With the BJP government in office, which is known for its anti-Pakistan and anti-Muslim sentiments, the study becomes even more crucial in understanding how Bollywood shapes the image of Pakistan in the minds of its audiences in India and abroad.
Framing of Pakistan in Bollywood in the Past Years
The characters of Pakistani and Muslims are often portrayed as peace killers and opportunists in Bollywood movies. Bollywood has a great following and admiration in Pakistan, and young people adopt the style and wardrobe of Indian Heroes and Heroines. Bollywood movies have a great impact on Pakistan young generation, and may develop a cultural hegemony and cultural superiority of Indian Society on Pakistani culture. In the past, Bollywood has shown Pakistani characters according to their taste and necessities, and the image of Pakistan has been portrayed in positive films like "Henna 1991, AA Ab Laut Chalen 1999, Veer Zara 2004, Main Hoon Na 2004". These films have a positive, friendly, peaceful and civilized collective image, and the characters shown in the movies were also very positive. Pakistan and India have gone through numerous passages of good and bad relations politically, and when the Political air was pleasant the reflection was immediately shown on the silver screen during these years.
The portrayal of Pakistani characters and the sober image of Pakistan is not a constant practice in Bollywood. During the Kargel war in 1999, the character of Sardar Khan transformed into the character of Gulfam Hassan Khan, a classical singer performed by Naseer Ud Din Shah. In 2001, Ghadar aik Praim Katha was released and the character of Ashraf Ali performed by Amraish Poori was shown as a piousness minded man full of haltered Anti Indian and anti-Hinduism. This study investigated the portrayal of Pakistan image in the releasing movies of 2013 and identified the attempts of Bollywood on distorting the image of Pakistan by connecting the country to the terrorism undemocratic behavior and threat to world wide peace.
Literature Review
Modern media is becoming more influential due to technology personalization and collective control, as well as the help of technology persons and institutions. Movies are now not only entertainment, but also a source of infotainment. Movie makers consciously or unconsciously control and redirect the psychological makeup of individuals and societies. (Happer, 2013).
The role of movies and the portrayal of different characters can have a therapeutic role. Cinematic effectiveness plays a crucial role to imply any kind of product placement psychologically. The audiences of the movies are of different psychological backgrounds, so it is easy to dismantle the thinking process of people who are already segregated in classes. Movies are responsible to change the attitude and behavior of their observers (Fearing, 1947). Individuals are often passive when watching movies, but movies are planned and programmed according to the needs of their organizers. Observers will cognize and configure elements of comprehension according to the programmer, not their own independent flight of thinking (Jeffe, 2007).
The effectiveness of movies reaches a new level when the word "programmed" is used. This study argues that movies and what are shown on the Bollywood silver screen are directly responsible for making people think on the lines they have drawn on the silver screen according to their instruction and direction. Small trailers of movies are also responsible for stirring the imagination of the viewer instantly, as they are well rounded and well shaped with the aim to absorb the attention of the audience. This study broadens our presumptions that how small chunks of movies can influence the thought process of the lay man (Christoforos & Christoforous, 2017).
Motion pictures have a negative effect on children's brains, leading to social trauma and the image of Pakistan in Bollywood being more important in the current situation due to its bulk of the world population before 1947 partition (Cline, 1972).
Bollywood is constantly producing negative images of Pakistan, sometimes for political purposes and other times for money making. This has become an integral part of the Indian national political scene, as it can help a party or individual win an election by putting anti Pakistan or anti Muslims sentiments into the brains of their people. This can have a negative impact on the social setup on either side of the border, as both countries are prosperous and possess nuclear weapons (Banaji, 2007).
Literacy rate in India is low, leading to uneducated and undomesticated minds being educated by Bollywood movies (Sheikh, 2013).
Bollywood often portrays negative images of Muslims in their movies, such as "Rang De Basanti 2006" and "Aray Ooo Kairrr Pakistani". In the movie, a character named Aslam is persecuted by Panday, a Hindu extremist who considers Hindustan as a country only meant for Hindus. Panday utters the words "aakhir tum apnay pakistan kiyon nahi chaly jaaty"? (Why don't you go to your own Pakistan?). This directly shows that Bollywood can cause a broiling situation by naming Muslims Pakistani. Media of both countries have been involved in wrath-spreading activities against each other.
The Pakistani Lollywood film industry is producing movies in which Hindus and Indians are symbolic degenerated specie. Whenever there is a need for an antagonist character in war movies, they are portrayed as a Hindu character, which adds to the national and religious sentiments and increases the chances of movie success. Both countries are involved in showing each other's image in tortuous ways, but the Indian Bollywood film industry has a broad linkage worldwide and a product of entertainment, making it more accepted than the Pakistani film industry. (Alam, 2006).
Theory of Framing
Framing theory is used to analyze how Bollywood has framed the image of Pakistan in their movies during the year 2013. It is linked to agenda setting tradition and focuses on the essence of the issues under research or at hand rather than on a peculiar topic. Framing is a quality of communication that leads audiences to accept one directed meaning over another, and is also applied in organizational communication (Fairhurst & Star, 1996).
Language helps communicators remember information and transform it in a way that meets their needs. To use language effectively, people must think on their own interpretive framework and those of others. Leaders should also learn to frame spontaneously and abruptly in certain circumstances (Deetz, S.A , Tracy,S.J & Simpson, J.L, 2000). Frames are important for influencing how people think about an issue, as they are the most easily available and retrievable from memory (Hestie & Park, 1986). The Nature of the Research is divided into Two Major and 20 Sub-Categories.
Table 1. Major and Sub Categories.
| Category A width="265" valign="top">Category B | > Protagonist width="265" valign="top">Antagonist | > Sub Categories width="265" valign="top">Sub categories | > Civilized width="265" valign="top">Uncivilized | > Positive width="265" valign="top">Negative | > Peaceful width="265" valign="top">Terrorist | > Gentle & Meek width="265" valign="top">Violent | > Joyful width="265" valign="top">Barbaric | > Open minded width="265" valign="top">Dark minded | > Peace lover width="265" valign="top">Terrorist | > Democratic width="265" valign="top">Authoritative | > Polite width="265" valign="top">Rude | ||||||||||||||||||||||||||||||
| Movies Name width="132">Movies Duration width="210">Time Given to Pakistani Characters width="75">Percentage | > War Chor na yar width="132">01:54:00 width="210">57:58 width="75">50.87% | > Vishwaroopam width="132">02:28:48 width="210">05:37 width="75">04.05% | > Bhag Milkha Bhag width="132">02:39:19 width="210">45: 30 width="75">28.43% | > The Attacks of 26/11 width="132">01:56:00 width="210">01:07:00 width="75">57.75% | |||||||||||||||||||||||||||||||||||||
| Movies width="117">Movies width="151">Pakistani Character Scenes width="134">Percentage | > War Chor Na yar width="117">89 width="151">43 width="134">48.31% | > Vishwaroopam width="117">189 width="151">10 width="134">5.29% | > Bhag Milkha Bhag width="117">117 width="151">42 width="134">35.89% | > The Attacks of 26/11 width="117">68 width="151">51 width="134">75% | |||||||||||||||||||||||||||||||||||||
| Scene Frame width="179">Frequency width="179">Percentage | > Episodic width="179">176 width="179">35.2% | > Thematic width="179">198 width="179">64.8% | > Total width="179">374 width="179">100% | ||||||||||||||||||||||||||||||||||||||
| Movies, Appearance & Role Selection width="148">Pakistani Characters width="179">Indian Characters | > War Chor na Yar | > Abusive Language width="148">14 width="179">03 | > Peace Loving Dialogues width="148">07 width="179">14 | > Democratic Behaviour width="148">02 width="179">20 | > Rude and Barbaric width="148">13 width="179">01 | > War Dialogues width="148">05 width="179">02 | > Civilized width="148">05 width="179">20 | > Disciplined & Civilized width="148">07 width="179">18 | > Funny width="148">14 width="179">03 | > Vishwaroopma | > Abusive Language width="148">00 width="179">03 | > Peace Loving dialogues width="148">01 width="179">11 | > Democratic behaviour width="148">00 width="179">01 | > Rude & Barbaric width="148">03 width="179">03 | > War Dilogues width="148">00 width="179">02 | > Civilized width="148">00 width="179">14 | > Funny width="148">00 width="179">05 | > Bhag Milkha Bhag | > Abusive Language width="148">05 width="179">02 | > Peace loving Dialogues width="148">03 width="179">08 | > Democratic Behaviour width="148">00 width="179">09 | > Rude & Barbaric width="148">12 width="179">00 | > War Dialogues width="148">00 width="179">00 | > Civilized width="148">01 width="179">05 | > Funny width="148">00 width="179">03 | > The Attacks of 26/11 | > Abusive Language width="148">07 width="179">11 | > Peace loving Dialogues width="148">00 width="179">08 | > Democratic Behaviour width="148">00 width="179">12 | > Rude and Barbaric width="148">24 width="179">04 | > War Dialogues width="148">19 width="179">11 | > Civilized width="148">00 width="179">09 | > Funny width="148">00 width="179">0 | ||||||||
| War Chor Na yar width="179">14 width="179">11 | > Vishwaroopam width="179">02 width="179">02 | > Bhag Milkha Bhag width="179">11 width="179">10 | > The Attacks of 26/11 width="179">04 width="179">03 |
| Character Profession width="179">Frequency width="179">Percentage | > Army Personnel width="179">32 width="179">46.9 | > Gangster width="179">03 width="179">4.34 | > Sports man width="179">01 width="179">1.44 | > Politician width="179">05 width="179">7.24 | > Shop Keeper width="179">04 width="179">5.79 | > Terrorist width="179">16 width="179">23.18 | > Others width="179">08 width="179">11.59 | > Total width="179">69 width="179">100 |