Media and Social Issues

Topics: Cinema of India, Film, Hoi polloi Pages: 2 (462 words) Published: September 30, 2010

The Indian Constitution has placed the freedom of expression and the Censor Board alongside each other; we have a new Official Secrets Act apace with the Right to Information Bill. As it is extensively believed that no right is unlimited, the officiating of these despotic institutions seems questionable. Is their existence an attack on the freedom of expression? The large scale social issues of the world need the support of the hoi polloi. They may not dynamically participate in the blitz but may support its substantiality. Indian cinema began exploring propositions for the perspicuous portrayal of the various creeping issues of war, protection of rights, maltreatment of women, and the like. As we all know, Indian cinema, over the years, has not only excogitated as a mode of entertainment, but as an alternative form of chronicle as well. So, in all these years, it has not just indulged and captivated the audience with its sheer ingenuity and creativity, but has ridden the shotgun for social and political matters as well. And all along the way, it has played the role of an alert watchman, hollering Jaagte Raho at regular intervals. However, Indian cinema has had an attenuate streak in them and managed to delineate their feelings through films without hurting the inclinations of others. But all this gradually changed as we reached the 1990s. The film production and distribution system in contemporary India is so adapted that it becomes difficult for the director with a different view to raise funds for such films. Then there was the leitmotif of tackling with unemployment problems, the underprivileged, heartless profiteering and the underdog. The notion that a film could be watched “with family” or not, is often indicative of the safeguarding and concern of women and children. These constraints do nothing to uplift the status of women, but are a rather infantile approach to...
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