Cinema
Bangladesh
National Cinema in the Age of Globalisation
Catherine
Masud
Today
we live in an age of the overpowering influence of "global"
cinema with its uniform stamp of mainstream American values.
Global cinema is often considered synonymous with American
cinema, but this is misleading, as it in no way reflects the
artistic and cultural diversity of American films; global
cinema is rather the product of a particular type of film,
emanating from a particular regional industry (Hollywood)
and system of production. In the face of this overpowering
onslaught, there is paradoxically a hunger for diverse and
original cinematic expressions coming from outside that imposing
stream. The tools of film production have become more accessible
and more affordable to people even in remote regions of the
globe. This is why we see a trend of new emergent "national"
cinemas coming from lesser known countries. In the decades
after the Second World War, it was the "new" cinema
of Italy, France and Germany that burst upon the global scene,
breaking through the vise of Hollywood. In the '80s and '90s,
Iranian, Chinese, Taiwanese, Argentinian and other national
cinemas became established as major artistic trends. For India,
Pather Panchali was the single film that launched decades
of international prominence for Indian cinema. In all of these
cases, there was already an established local film industry
and infrastructure in place that facilitated the emergence
of original talents. However, in recent years, new national
cinema is emerging from such obscure regions of the world
as Chad and Bhutan, countries that lack even a single cinema
theatre, let alone an industry. International film festivals
in particular are eager to be the discoverers of heretofore
"unknown" talents from far flung regions of the
globe, particularly when such films are authentic and complex
representations of local tradition, history and culture. Neo-colonial,
postcard perfect films trumping oriental exotica have lost
their appeal and credibility abroad. It is rather those small
voices, with insightful, inside views and a critical perspective,
that garner enduring appreciation. At the same time, the most
successful examples of national cinema treat universal human
themes, their appeal effortlessly transcending national boundaries.
Often such films are picked up by international distributors,
and are seen in theatres and on television screens around
the globe, mostly in their original language. Thus national
cinema becomes universal, and has the potential to confront
global cinema, if not on an equal footing, at least as a significant
countervailing force.
When
we speak of "national" cinema, this does not necessarily
imply a state-supported cinema, or even a country's mainstream
cinema produced through its major industrial studios. National
cinema is rather defined by its quality as an authentic reflection
of a country's tradition, society, history and culture, in
all its diversity and richness. Such a cinema may or may not
emerge through industrial channels. In Bangladesh, an industrial
studio film more likely than not will be a crude song-dance-fight
formula copied from the Bollywood model--a model which, incidentally,
is arguably not an authentic representation of the diversity
of Indian culture any more than Hollywood is of America. In
exceptional cases, however, through a fortuitous combination
of factors such films may be original, creative works. Likewise,
an independently produced film may adopt the crude conventions
of typical commercial cinema, without adding anything meaningful
to the artistic legacy of Bangladesh's national cinema. The
primary factor behind the creation of "national"
cinema is the creative vision of the individual maker. It
is the maker, with the contributions of his/her creative team,
who can tap into local traditions and translate these into
a cinematic expression that is at once a reflection of particular
aspects that define cultural and ethnic identity and a universal
expression of the human condition. Secondary factors behind
national cinema are the requisite favourable conditions for
producing such films, financially, politically and technically.
For
Bangladesh, 1971 is the defining moment in national memory
and identity. Not surprisingly, the Liberation War has figured
prominently as a theme in a number of films, both those produced
through the industry and outside of it. Although these films
vary widely in terms of originality and quality, the creative
inspiration of '71 is the main identifiable characteristic
that sets Bangladesh cinema apart as a national phenomenon.
In this sense, even certain films produced before Bangladesh's
independence, such as Zahir Raihan's Jibon Theke Neya,
could be considered examples of national cinema.
However,
the works of filmmakers who attempt to treat the subject of
'71 are often compromised by two major pitfalls: firstly,
the tendency to fall back on time worn conventions and sentimental
cliches, and secondly, an inability or unwillingness to maintain
a dispassionate distance from their subject matter. The national
cinema of Bangladesh has also touched upon a range of themes
beyond '71, themes which reflect the cultural diversity of
the country, and the richness and complexity of its traditions.
The challenge is to present these themes not only creatively,
but also authentically and critically, as a truthful depiction
of the society and its roots.
Often
an original and creative filmmaker's work may contain elements
critical of certain aspects of his/her society and culture.
In our sophisticated era of instantaneous global communication,
it is naive to believe that local attempts to limit such internal
critiques through intimidation and censorship will ultimately
be effective. Negative portrayals, particularly of the Muslim
world, are already being propagated in abundance by outsiders,
and a critique with an insider's perspective is far more likely
to present an authentic, balanced and nuanced view. The Iranian
government, for example, has wisely chosen to promote the
work of its most talented filmmakers abroad, regardless of
subtle critical elements which may exist in their films, and
has been in large measure successful in counterbalancing the
continuous wave of negative stereotyping from the Western
media. The success of Iranian cinema has far-reaching implications
that go beyond the immediate realm of the cinema world itself.
Because of the power of film to transform the viewer's understanding
of reality, decision and policy makers, potential investors,
media representatives and ordinary audiences have an alternative
impression of the life and culture of Iran. Conversely, attempts
to suppress cinematic expression on the part of government
authorities has only served to embarrass those authorities,
both at home and abroad, and eventually tends to support the
same negative Western stereotypes about predominantly Muslim
countries that the authorities profess to be against. To make
small but rich voices of cultures such as Bangladesh's heard
above the din of the contemporary world demands intelligence
and foresight. If we can successfully rise above petty factions
and debates to promote our national cinema, this will serve
the nation's interests, both locally and globally.
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(R) thedailystar.net 2004
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