Films: The Tool For Propaganda

We have ‘An Accidental Prime Minister’, ‘Uri: The Surgical Strike’, ‘Manikarnika’, ‘Thackrey’, etc. All these films might not be a coincidence but a pre-planned propaganda. More such films are in the making. On the off chance that political figures and significant authentic occasions were insufficient, include movies were made as of late which reacted to official strategy of the National Government. Shockingly these movies were made with good taste and humor and the group of spectators licked them to progress. For a starter it was 'Latrine: Ek Prem Katha' on domestic sanitation, at that point 'Padman' on close to home female wellbeing, at that point 'Sui Dhaaga' on independence. One up and coming film 'Lodging Mumbai' is engaged for discharge just before the March races, and a reminder of the fear monger strike at the Taj Mahal Hotel in 2008. Some more movies are in the pipe line, and some more will be on the drawing board.

Anything coming from any artist is a propaganda, even a brush stroke from a painter. When hubdreds of mythological films were made after independence, it was a political propaganda against the colonial forces. English rule in India did not empower political movies being made locally. The Administration, through its Cinematograph Act of 1918, additionally clipped down on the import of movies from remote terrains which legitimately or in a roundabout way held a political message. Movies highlighting Charlie Chaplin were altogether prohibited screenings in India as were movies made in the Soviet Union until 1955.

Both Tamil and Bengali territorial film likewise turned out with comparative assumptions. In Bengali film, Ritwik Ghatak, Mrinal Sen were early leaders making movies of social protest. They were joined by Satyajit Ray, and Tapan Sinha. in Tamil film, S.S Vasan, AVM, and B. Nagi Reddy squeezed forward the socialist subject effectively. A conceivable reason for the INC not changing its position on the national film was additionally the nearness of politicians who were absolutely deprived of any film sense or antagonistic to present day expressions. To begin with the principal Minister for Information and Broadcasting was K.K Diwakar, a Nehru follower who invested energy at the seat. He was trailed by BV Keskar who detested all non traditional strains in expressions. He got support from a woman in Mumbai, Mrs Lilawati Munshi spouse of Kanhaiyya lal Munshi, a great man of letters. She would hold a strike on anything which likened to modernism.

In our country, films have been a tool for propaganda, directly or indirectly. Films were the mass media which was accepted by all stratas of the society and thus, were made for the sole purpose of motivating people. People were motivated along the lines of the filmmakers’ ideologies. True cinema, unbiased, highlighting the true nature of the society, has never been made since independence. We are in dire need of pure and unbiased cinema which brings to foreground the not-spoken realities of the country.