This paper seeks to illustrate how popular cinema has dealt with the liminality of the Muslim "Other" in the nation-space by representing Muslims either in a stereotypical manner or by appropriating them into the normative Hindu self especially post 1990s, displaying sentiments of "nationalistic supremacy". The key word here being "nationalistic or nationalism" – a political ideology characterised by the promotion of the interest of a nation-state, especially with the aim of gaining and maintaining sovereignty over "home-land"; and rejecting or ‘othering’ ideologies. The rejection of the ‘othering’ ideology refers to Islamophobia, which becomes another recurring theme in this essay.
Cinema, similar to its contemporary mediums, has acted as a capacious cultural space for politicians, reactionary ideologues, and the defenders of a particular social belief system to reconstruct and reinterpret the archaeologies of the imaginary world built on celluloid, in a manner that suits their own agenda. In the process of such reconstruction, cinema is used to establish linkages between the publicly contested socio-political and historical meanings prevalent in a nation and the filmic world created by cinematography.
Table of Contents
1. Introduction and Argument
2. The Conceptual Framework
3. The Muslim ‘Other’ & Media Framing
4. Historical Framework
5. Case in Point: Muslim ‘Otherization’ in Bollywood
6. Film Review: Exoticized, Marginalised and Demonized Muslims
7. Final Thoughts
Research Objectives and Themes
This work examines how Indian cinema has historically and contemporarily contributed to the "othering" of the Muslim minority. By analyzing the intersection of nationalism, Orientalism, and media framing, the study investigates whether Bollywood film narratives reinforce Islamophobia to promote a monolithic Hindu national identity, thereby marginalizing and demonizing Muslim communities.
- The influence of Orientalism on Indian national identity and the "othering" of minorities.
- Application of Framing Theory to understand cinematic representations of Muslims.
- Chronological evolution of Muslim portrayals from the 1940s to the present.
- The shift in Bollywood narratives from secular ideals to nationalist propaganda.
- Analysis of stereotypes categorized as "exotic," "marginal," and "demonized" Muslims.
Excerpt from the Book
The Demonized ‘Other’
Despite the industry’s attempt at embracing the secular ethos, the antagonistic ‘nationalism’ wave beginning from 1980s right up till the present times, influenced the how film-makers viewed Muslim minorities in the nation. The previous few decades showcased Muslims in a ‘marginalised’ light but benign, however, post the 1980s the Muslim characters began to appear in a variety of negative roles such as small-time crooks (Love Ke Liye Kuch Bhi Karega, 2001), hardcore criminals and underworld (Farz, 200; Company, 2002; D, 2005, Raees, 2017) , power-hungry and corrupt ministers and police (Bombay,1995; Shool, 1999; Bas Itna Sa Khwaab Hai, 2001), and terrorist (Roja, 1992; Fiza, 2000; Mission Kashmir, 2000; Aamir, 2008; Kurbaan, 2009) and Pakistan empathisers (Border, 1997; Sarfarosh, 1999; Gadar- Ek Prem Katha, 2001), in a more severe form. One could believe that the accumulated abhorrence, resentment, and overall feeling of distrust for the community resulted in such ‘demonization’ of Muslims in Indian cinema.
The growing communal riots, serial bomb blasts – a ripple effect of the three highly politicised events, gave fodder to Bollywood for its next spade of Muslim hate-mongering movies. The benign marginalised imaged was then swapped for anti-national sinister characters that engaged in acts of violence against the Indian nation. Manisha Sethi, in an article ‘Cine-Patriotism’ argues that “a perceptible shift that occurred in films through the 1990s and beyond, deploying aggression as one of the defining characteristics of the minority community. So, while earlier, Muslims usually appeared in character roles such as hero’s friend, by the 1990s they were wearing the villain’s boots.”
Summary of Chapters
1. Introduction and Argument: Sets the stage by defining the communication paradox of the modern world and introduces the premise that Indian cinema acts as a political megaphone to reinforce majoritarian ideologies.
2. The Conceptual Framework: Explores the theory of Orientalism and how the colonial construction of the "Other" established a foundation for current Hindu-Muslim tensions in India.
3. The Muslim ‘Other’ & Media Framing: Discusses the Framing Theory and its application in understanding how media constructs and manipulates public perception of minorities.
4. Historical Framework: Details the chronological evolution of Muslim identity in India across three distinct periods, linking socio-political events to the diminishing status of the Muslim community.
5. Case in Point: Muslim ‘Otherization’ in Bollywood: Examines the literature and history of Bollywood to contextualize the film industry's role in shaping national identity and political narratives.
6. Film Review: Exoticized, Marginalised and Demonized Muslims: Analyzes specific cinematic trends and film genres to illustrate how Muslims have been portrayed through shifting stereotypes over the decades.
7. Final Thoughts: Concludes with a reflection on the repressive reality faced by Indian Muslims and the failure of the film industry to maintain secular credibility in the face of rising nationalism.
Keywords
Bollywood, Islamophobia, Orientalism, Otherization, Indian Cinema, Nationalism, Muslim Identity, Framing Theory, Media Representation, Hindu Rashtra, Stereotypes, Cultural Hegemony, Secularism, Cinema, Political Propaganda.
Frequently Asked Questions
What is the core subject of this publication?
The work examines how Indian cinema serves as a tool for political propaganda that reinforces Islamophobia and creates a monolithic "Hindu" national identity by systematically "othering" the Muslim minority.
What are the primary themes discussed in the book?
Key themes include the political influence of media, the legacy of Orientalism in India, the application of Framing Theory in film studies, and the historical evolution of Muslim representation in Bollywood.
What is the author's central research question?
The study asks whether the majoritarian cultural assertiveness of a "Hindu" nation in India entrenches Islamophobia by "othering" the Muslim minority through cinematic representations.
What research methodology does the author employ?
The author uses a qualitative research methodology, incorporating a sample of 50 multi-genre Indian films from the 1940s to the present, alongside analysis of secondary sources to substantiate the theoretical framework.
What content is covered in the main body of the work?
The main body covers the theoretical underpinnings of Orientalism, the sociological concept of "othering," the evolution of the Indian political landscape, and an analysis of how film portrayals of Muslims have shifted from "exotic" to "marginalized" to "demonized."
Which keywords define this work?
Essential keywords include Bollywood, Islamophobia, Orientalism, Otherization, Indian Cinema, Nationalism, Muslim Identity, and Framing Theory.
How did the representation of Muslims in Bollywood change after the 1990s?
The author argues that after the 1990s, the portrayal shifted from benign but marginalized figures to demonized "anti-national" characters, often conflating Muslim identity with terrorism and violence.
What role does "Orientalism" play in the book's argument?
The book argues that Orientalism provided the foundational discourse used by colonial powers to create an ethnic divide, which was later adopted by Hindu nationalist politics to essentialize Hindu identity as the foundation of India while excluding Muslims.
What is the significance of the "Khans" of Bollywood mentioned in the book?
The author notes that while A-list stars like Aamir, Salman, and Shahrukh Khan dominate the industry, they primarily represent the "Hindu everyman," and when they do play Muslims, these roles often require them to emphasize patriotism to be accepted by the audience.
- Citation du texte
- Tanika Bansal (Auteur), 2018, Pride and Prejudice. The Hindu nation-state, Othering and Islamophobia in Indian cinema, Munich, GRIN Verlag, https://www.grin.com/document/497638
