Editions

  1. Home
  2. Editions

FIRST EDITION Oct-Dec 2020 (Volume 1, Issue 1)


K Gorakhnathan

Nov - 2020

Abstract: Journalism in today’s world has grown in multiple dimensions due to the phenomenal development in the field of technology. Journalism in past was primarily considered a male domain but with the change in time more women chose to join this profession. While the challenges in journalism are similar to men and women, being female journalists pose some extra challenges. Problem areas like reporting hard news from battle zones or news related to covering crime, rape and violence pose some limitations for female journalists. At numerous occasions the journalists face imminent threat to their lives especially during war like situations and during natural disasters. This paper aims to discuss the problems faced by female journalists. The paper examines the physical challenges faced by women journalists. Major issues such as sexual harassment, pay disparity, desk jobs, limited roles in policy making decisions dampen the spirit of women in the media industry. The methods used for data collection include qualitative and quantitative study.

Introduction

The media over these years have undergone a drastic change and is continuously evolving and developing in all its forms be it print, electronic or web media. This significant development has been due to the technological advancement, commercial advancement and corporatization of the media all over the world. Media is a powerful tool in today’s environment. It has a tremendous potential in both its constructive and destructive forms. It has the power to bring the progressive as well as regressive changes. Media occupies a pivotal role in today’s political, social and economical environment. Fueled by globalization, there is an amalgamation of new ideas and values at both national and international level. It has a considerable effect on people irrespective of sex, class or creed. Women in media industry in India have played a significant role over the years. However, it is felt that the full potential of the women empowerment has still not been fully exploited. This paper is an attempt to explore the problems being faced by women journalists in India.

Media has a powerful influence on how women are perceived and how we see ourselves. (Magezis, Joy, Women Studies, London 1996). Despite the fact that there is a considerable number of women working in media today in the Western countries, there is still a lot more to be desired. The media industries are still dominated by men even in the developed countries of US and UK. Women are very much a minority in the ‘man’s world of the media’. There are some platforms of media which are favoured by women than others such as public relations and advertising. (Zoonen Feminist Media studies London, Thousand Oaks and New Delhi stage publication p 49-50). This research focuses on the problems faced by female journalists in India. Women in westernized countries are increasingly voicing their grievances and organizing to fight collectively for equal employment opportunities while the same is seemingly less prominent in India.

Indian women still face the traditional norms and values dominated by male’s views of women’s capabilities. The prejudice still exists on employment over women’s capacity to cover news in specific areas such as borders, clashes, riots etc. Editors may be reluctant to assign women journalists to cover specific issues as ensuring their safety is more complicated and costly. While doing their work in conflict and fragile security zones, journalists experience threats, violence and abuse. Women journalists face such threats as sexual assault and abuse more often than men.

The problems being faced by the women journalists have to be analyzed with the social economic context. The resurgence of women’s movement in the 1970s called as the second wave of women’s struggle saw a large number of women’s participation in the field of journalism. The influence of Marxism, socialism and feminism from the Western countries resulted in a significant impact on the female journalists as they raised fundamental issues. However, peculiar problems such as gender discrimination, unfair assignment and promotion, pay disparity, lack of support infrastructure continues to exist. Few other problems being faced by the female journalists are listed below:-

  • Perception that journalism is primarily a man’s job as it entails toughness, courage and dynamic personality
  • Women considered as distracted due to her commitment as a wife, mother, and journalists.
  • Sexual harassment by colleagues, seniors and news sources as well.
  • Mindset that certain areas of coverage are men’s job such as crime, sport or war are considered as ‘men’s beats’ as women are considered incapable to address them.
  • Lesser weightage while on promotions and limited role in decision making in media industry.
  • Women journalists assigned soft news pertaining to features on children, society, culture, health, education. Hard news such as politics, economics, defense and current affairs are predominantly covered by male counterparts.

It is pertinent to mention that the above-mentioned problems may not be totally relevant in today’s context but it is necessary to give us an insight into understanding the relationship between media and women.

Review of literature

A brief description of the following feminist ideology will help in understanding the matter that are related to gender issues and will serve as a reference and framework to comprehend the problems faced by female journalists.

The Feminist Theory

The model which helps in understanding the relationship between man and woman. This theory gives us a basic frame work for exploring the facts and evaluating its relevance. The application of this theory in understanding the relationship between media and women began in 1970s. (Lent John A “Women and Mass Communication” Gazette Netherlands p 127-129). It primarily concentrated on the socializing role of media for women. Simply put the feminist theory in media studies is generally applied to study women as audiences, readers or the stereotypes.

Liberal Feminism

The liberal feminists primary argument relies on oppression of women in terms of inequality between man and woman based on gender role. Women liberation lies in enabling equal rights, equal representation and equal access to opportunities in various fields such as education, politics. They advocate legislation process to end gender discrimination.

Radical Feminism

The radical feminists define the oppression of women in terms of ‘patriarchy’, the universal system of male dominance over women. Radical feminists insist on overthrowing the system of power or patriarchy which exploits women’s biological incapacity. They feel that since the media organizations are primarily owned by males, they will be operated to the benefit of a patriarchal society. The strategies of radical feminism proved problematic as the feminist mass media proved to be inadequate in attracting readers and audiences beyond the feminist parish. (http//www. isiswomen.org/advocacy/media1999/com)

Marxist and Socialist Feminism.

Marxist Feminist provide an insight on the sexual division of the labour.The Marxist feminist observes class as the ultimate determinant of women’s current social /economic status while the socialists feminists view gender and class as socially oppressive phenomenon. Marxist feminists fail to understand the question of reproduction and sexuality such as sexual harassment, rape and pornography.(Karmaker,Preeti, Feminist Theory and knowledge, Pune: Women;s Studies Centre/University of Pune,1995 p 38-39).

The holistic study on the role and problems faced by Indian women journalists is published on the works of John A Lent in 1985. In his research title “Women and Mass Communication- The Asian Literature” he reported that the percentage of women journalists in media organization was not only very low but they were also marginalized in covering the hard news. Women journalists usually remained associated with women’s journal, film periodicals and children’s paper in the 1970s.(Lent John A “ Women and Mass Communication” Gazette Netherlands p 127-129).

A study conducted by YWCA on new Directions Opening in Mass Media of Communication, another important and relevant study on status of women journalists’, revealed similar outcome. Another study of Rama Jha concluded that the problems of Indian woman journalists were deeply embedded in the hierarchical nature of the newspaper organizations including male chauvinist attitude.(Jha, Rama “Women in print media initiating new perspective, Women’s Issue Ed Lakshmi Mishra New Delhi, Northern Book Centre 1992 p 84-85). While considering the representation of women in mass media, Suchitra S Eashwar reports on her essay ‘Press Coverage of Women and Women’s Concern’reveals that press coverage on common women was very poor and women issues were basically restricted to fashion, beauty tips, motherhood,etc. Serious issues concerning women such as rape, dowry and domestic violence were reported as sensational news.(EashwarSucharita S ‘Press Coverage of Women and Woman’s concern’. Indian women in media, New Delhi, Lithouse publication 1984 p5,6,15,16,17).

Another important study revealed that in 1986 the status of women journalists in mass media organizations was better and the women journalists had accepted the fact that sexual division of the labour had reduced a lot. Another research in this period concluded that the English medium newspapers were more sympathetic to the serious women issues raised by women’s movement in comparison to the vernacular media. Similarly, the English women’s magazine gave more concern on serious women issues.(Joseph Ammu and Kalpana Sharma. Whose News, New Delhi, Thousand Oak and London Sage Publication 1994).

In the late 90s, Kargil war coverage catapulted the role of one particular female journalist, BarkhaDutt, to new heights. She became an overnight media sensation when she bought the war from far flung border area straight into the living rooms of people in India. It was probably first time ever a female journalist was found reporting the events of war while facing tremendous hardships and braving the gunfire at the front. However, that appeared to be one isolated incident.

Research methodology

The methodology of this research follows definition of terminology, objectives of study, development of hypothesis, population, sample selection, data collection, data analysis, interpretation.

Definition of Terminology

Women Journalists.

Women journalists refer to women who are involved in the profession of journalism and involved in presentation of both hard and soft news.

The Problems of Women Journalists

The problems of women journalists are characterized by the professional problems that women journalists face. It involves social and family background, nature of job, work conditions, gender discrimination, promotion, monetary benefits etc. In addition, issues such as weaker sex, assignment of jobs, managing multiple front at office and domestic life are also focused upon.

Duration

The duration of the study focuses primarily from 1960s till the current date.

Objectives

The study aims to uncover answers to the following questions: -

  • The problems faced by women journalists in media organizations.
  • To ascertain critical problems related to social, cultural and financial background.
  • To analyze the motivational factor for women to take journalism as a profession.
  • To discuss the problems concerning their role in decision making, promotion and such others.
  • To find out about measures adopted by media organizations to address the problems faced by female journalists.

Sample

The sample in this study are randomly selected from women journalists in from print and electronic media irrespective of reporting hard news or soft news. A questionnaire was circulated to the respondents.

Data Collection and Analysis

The place of data collection and analysis is Bangalore city.

Interpretation and Generalization

The interpretation and generalization is done on data analysis resulting to the conclusion which includes the merging of qualitative and quantitative study into one.

Findings

The present-day India is witnessing a new change in a way women’s role has evolved in today’s society. Education has played a key role in the way woman’s position in the world has progressed. It has provided a means for financial independence besides making them realize their self potential. Women in various professions share their problems such as employment avenues, difficult work timings, transportation, negative attitudes by male counterparts, dual role etc. Women in journalism also face their problems inherent to their profession but they are not much different from other professions. Some of the problems faced by women journalists are enumerated as under

  • Prejudice does exist in terms of promotion. Media organizations have a feeling that they are better at reporting soft news.
  • Women journalists who are highly professionally due to professional jealousy by their male counterparts.
  • The notion that women in general work less due to maternity leave.
  • Denial of promotions due to as women journalists usually not prefer late night shifts or cover assignments that require their physical involvement such as reporting crime, war or incidents related to violence.
  • The conflicting role of a homemaker, mother and working professional may lead to extreme physical and mental stress.
  • Similar to other professions, the problem related to sexual harassment does exist. There remains the possibility of sexual exploitation either by colleagues, superiors or the news cover itself.

Some other facts that emerge out from the study are as under: -

  • Majority of the women journalists are from middle class and has joined the profession of journalism. Most of them have got encouragement to do so from their family members and spouse and who remain supportive.
  • In present era , despite the effect that many women are recruited in the media industry, there appears to be a certain bias after they are inducted into the profession.
  • Most women journalists basically deal with deskwork and involved in soft news reporting.
  • Very few complained on the gender issues related to pay remuneration. However, few reported that they have to work harder to be at par with others. Gender discrimination does exist in some form or other.
  • Most feel that there is some or other form of sexual harassment does exist mostly from the colleagues or superiors.
  • Majority of the women journalists are involved in reporting sections like women, children, art culture etc. whereas male journalists tend to get involved in politics, crime, sports etc.
  • Most women felt that the women are much better than men in field of journalism as they felt that they were intellectually equal if not superior and women tend to be more meticulous, patient and organized.
  • Majority felt that the sexual division of labour does exist.

Conclusion

The primary aim of the study was to identify the problems faced by female journalists. Journalism as a profession has been predominantly dominated by men for ages. Since 1990s there has been significant increase in the influx of women into media industry. However, women are still not fully integrated in the full structure. The media organization needs to adopt new strategies and bring about concrete measures in order to maximize the efforts put in by the female journalists. The involvement in policy decisions and providing equal division of labour will definitely pay rich dividends to any media organization. The rise in new technology has helped women journalists broaden their skills and developed proficiency in various fields of journalism. Growth opportunities for women in the media exist. Women should be encouraged to accept challenging work while providing them the requisite safety and administrative framework. The media organization should deal the cases of sexual harassment swiftly and decisively. Media organisation should provide equal platform to both men and women purely on basis of their expertise and qualification.

Reference:-

Magezis, Joy, Women Studies, London 1996

Zoonen Feminist Media studies London, Thousand Oaks and New Delhi stage publication p 49-50.

http//www. isiswomen.org/advocacy/media1999/com

Karmaker,Preeti, Feminist Theory and knowledge, Pune: Women;s Studies Centre/University of Pune,1995 p 38-39.

Lent John A “ Women and Mass Communication” Gazette Netherlands p 127-129

Jha, Rama “Women in print media initiating new perspective, Women’s Issue Ed Lakshmi Mishra New Delhi, Northern Book Centre 1992 p 84-85

EashwarSucharita S” Press Coverage of women and women’s concern”. Indian women in media, New Delhi, Lithouse publication 1984 p5,6,15,16,17.

Joseph Ammu and Kalpana Sharma. Whose News, New Delhi, Thousand Oak and London Sage Publication 1994.

Saly Joseph, Researchscholar,
Vice principal St. joseph’s college
Dr. Jagadeesh Prakash
Nov - 2020

Abstract

Myths and traditions are like two pillars of every Religion. To build mutual understanding within a Religion we often quote the past glory, of a particular religion without seeking its origin. This paper will try to analysis the consequence of Myths related to Sabarimal temple Issue that triggered an all India Religious controversy. To answer this, the researcher used qualitative methodology, consisting of observation method, Grounded Theory and case study method. The primary data for the study was collected through various media Reports from September 28, 2018 onward, were investigated and data were collected. Secondary data was collected through informal interviews and social media information such as Facebook and whatsapp messages. The preliminary study reports proved that Mythological dimension reflected more strongly in the controversy than historical reality.

Introduction

Kerala which is popularly known as “God’s own country had underwent series of challenges, to break through, the so called 'Religious pride,' based on myths and beliefs. Sabarimala Temple, one of the prominent temples of Hindu community in Kerala, situated on a hill top of Pathanamthitta district, was constantly under media vigil in recent days, for constituting controversy, against Supreme court verdict that” man and women are equal before God”.It is a Historical breakthrough in the history of Hinduism in Kerala.At present Sabarimala Temple controversy is pointing not much on gender equality, rather, it points out to the myths that outshine the faith.

It is important to look at the traditional faith and the myths that are attached to it. Hinduism is one of the oldest Religions in India, and in the world at large, has anchored itself on oral traditions. It is significant to notice that, the oral traditions change according to the experience and thinking of the people. In this context, it is essential to study the origin of a Religious tradition, the myths that are attached to it, its purpose, and the changes that took place during the course of the years.

Mythology is the main component of every Religion. It has its positive and negative impact on Religion. A myth has no identity of its own. Disconnected from Religion, a myth may lose its relevance. As part of Religion, myths have super natural powers or sacredness, which draws a border line around the faith of the people, breaching which, people are challenged with dire consequences. Religious myths are like a bio fertilizer that boost the growth of a Religion.

Myths have played a key role in determining the quality of a religion. They are based on stories and individual or community experience, which has a supernatural explantion.it is always concerned with supernatural beings or a power that envelops human existence. Religious myths are a kind of magical power that pulls us to a Religion and facilitates our growth. Myths lead to supernatural realities

In recent years, religious myths have played a vital role in determining the degree of purity of a Religious deity, place of worship and Religious rituals. It has given birth to violence, protest and bloodshed. In spite of its ability to hold people, it has damaged the faith of the people through its rigidity and inflexibility. It has taken the religion to the next realm of holiness, with fear and insecurity and has created a niche for itself among Religions of the modern society.

This study mainly focused on to understand the effectiveness of religious myths in sabarimala controversy in Kerala; the following questions are being examined.

  1. To what extend the religious myths played a pivotal role in Sabarimala verdict
  2. What aspect of mythological dimension constituted the Sabarimala controversy?
  3. How did Religious myths pave way for Sabarimala controversy?

Background of the study

The concept of Myths is considered as one of the most important aspect in the scenario of Sabarimala controversy. It is believed that the existence of ‘Lord Ayyappa’ who is considered as a mysterious person due to his origin is based on myths which human minds cannot comprehend. He is supposing be born out of a union between two male Gods (Lord Vishnu and lord Shiva) trace the paths back to the factionary and imaginative world. Although, the Historians depict ‘Lord Ayyappa’ as a destroyer of evil and saviour of goodness, it still leads to the new horizons of a creative world. It opens up to the reality that the Religious myths still play a vital role in defining faith of the people. Religious Myths are like gate keepers, who decides who should enter and who should be rejected.

The scholar Radhika Sekar in her book “The Sabarimala Pilgrimage and Ayyappan Cults” observes two main aspects. Firstly, that the Ayyappa is a legend of mythology which is not found in any major puranas. Secondly the devotion to ‘Lord Ayyappa’ is not found in the northern parts of India. Thus, it is difficult to determine its puranic origin as well.

According to T.A. Gopinatha in his observation of the origin of ‘Lord Ayyappa’ in his “elements of Hindu iconography” says that ‘Lord Ayyanar‘ a village deity of Lower cast people, have an iconographical similarities to ‘Lord Ayyappa’. Because of their etymological feasibility it can be considered that the origin of ‘Lord Ayyappa’ could be another version of ‘LordAyyanar‘.

It is perceived that the myths relate to Sabarimala deity is centred on Pandalam dynasty which is emerged from Pandya dynasty. There are many legends about the birth of Lord Ayyappa. One of such stories is as follows.

Raja Rajasekharaverma who was supposed to be the emperor of the Pandalamdynasty, during one of his hunting expeditions, heard the cry of a child in a forest. On finding a child with a bell around his neck, the childless emperor decided to adopt him as his own son, at the advice of sage. He was brought to the place of the emperor, and named him as Manikandan, and was given the states of a prince. When the queen, the foster mother fell ill with a rear illness, which could be cured only by drinking the milk of a tiger, which was not an easy task. When none of them had the courage to take up the responsibility, the legend says that Manikanadan, requested of his father emperor to send him to the forest to complete the task. His father unwillingly accepted his request, send him to the forest. He fulfilled the mission, by bring tiger itself to the forest, which could be milked in the presence of his people. After which he expressed his desire to renounce his princely life for a life of asceticism and prayer. The emperor then built a house for him on the top of a mountain which later came to be known as Sabarimala.

Literature Reviews of the national and regional studies of Sabarimala proved that, the myths play an important role in the creation of Sabarimala and the deity enshrined over there. Various studies have pointed out that there is no historical point to support its origin. The deity Ayyappa can be a creation of local deities of tribal people or an imaginative power of God.The study in general points out that Sabarimal and deity enshrined there is a human creation, to show the power of God to destroy evil and support goodness.

Some of the studies points out to the purity related to the deity.According to the legend, Ayyappa was born of a union between two male Gods (Lord Vishnu in the form of mohini and Lord shiva) itself points out to the mythological dimension of faith. Though people consider him as a celibate God, many studies have shed the light on it by showing it an imaginative colour stitched together to form a beautiful art.

This mythological ideology is what is being targeted by the Supreme Court of India, by the judgment. It does not attack the supremacy of God; rather, it tries to enlighten the people that Religious myths that lead to differences among people should be eradicated.

Methodology

To understand the effectiveness of myths and its consequences related to Sabarimala and its deity, the researcher investigated various dimensions and possibilities. Digging deep in to the legends, it has paved way for impossible possibilities which cannot be comprehended by the Human minds. The researcher opens up layers of allegorical ideas that envelop Sabarimala faith.

This research was centered on qualitative method, to gather information regarding mythology element in Sabarimala devotion and worship. This methodology investigates the role played by legends created by human minds, to inculcate faith that based on fear and scrupulosity. Beside this the researcher also explored various possibilities that lead to making myths in to reality through observation and case study.

To obtain an in-depth scientific result, the researcher used applied research methodology to use the exiting knowledge to develop new idea. The reference knowledge were collected from official documents of the Supreme Court related to Sabarimala, writings of various historians and scholar on the authenticity of sabarimala, newspaper reports and various articles from websites.

Result Analysis

In the process of investigation, the main focus was given to Religious myths, Mythological dimension in Sabarimala controversy and its consequences. The result of which will be discussed in the following paragraphs.

Religious myths have created an identity, and have placed its signature in all realms Religion. It is difficult to understand between true and false Religious doctrines of every Religion. The origin of every religion is deeply rooted on myths combined with Individual or group experiences. Today it is difficulty for a Religion to exist without myths. The human minds search for evidences, miracles and signs which myths have in abundance. This nature of myths has played the pivotal role in Sabarimala, when it has to take a turning point. It had nothing to show in document, yet legends and traditions proved stronger than historical documents. The stories of Lord Ayyappas birth from the union of two male Gods have made him an exclusive God of male flock.

There are three mythological dimensionsthat constituted in the history of sabarimal. The first mythological dimension is regarding the origin of the place and its deity. Second mythological dimension it regarding the mission accomplished by Lord Ayyappa and third mythological dimension is regarding the faith of the people.

Myths related to the origin of sabarimala and the deity: It is very important to look at history of Sabarimala. It is one of the five sastha temples founded by Lord Parasuramaon the hill top which was unreachable for more than three centuries and was rediscovered by prince manikandanofPandalam dynasty who later came to be known as Lord Ayyappa, the deity of sabarimala. The existence of LordParasuramaitself is a mythological figure, representing Lord Vishnu, in his sixth incarnation. Again, there is no historical evidence to prove his existence apart from the stories and fictions. The mysterious birth of lord ayyappa, and his rediscovery of Sabarimal, has given a spiritual dimension, with oral Traditions, giving divine power to an imaginative God.

Mythological dimension of the mission accomplished by Lord Ayyappa: The mysterious birth of lord Ayyappa and his upbringing in the palace of Pandalamdynastyhas itself, create in our minds the extraordinary power given to Lord Ayyappa. This figurative nature of power boosted with myths and legends accomplishers an unbelievable mission, which can be fulfilled only in fairy-tale. The myths has given Ayyappa a super natural power to control over everything and made him equal with God.

Mythological dimension in the faith of the people: This is the most important one. It proves the power of Religious myths which is still predominant among the people of this contemporary world. People are being taught and made to believe in anything that creates fear in us or astonishing stories about something that can infect our lives if we break the traditions. When we look at the faith of the people regarding Sabarimal we come across similar reality. Young women are kept away from the Sabarimal to preserve the sacredness of the temple and the celibate deity, created by legends and traditions. Breaking which people are warned with dare consequences that can affect their personal, family and social life. In conclusion we can say that Religious myths play a prominent and role in the creation of Sabarimala.

Key Findings

After analysing various Documents, Newspaper articles and reviews the researcher has emerged with a mythological outlook on the history and faith of Sabrimala and the deity Ayyappa. The main focus of the study was to bring out the mythological part hidden in the faith of the people. The attitudes of the people were mostly moulded by the traditions, than evidences. Some of which are mentioned below.

There is more than one legend related to the origin of Lord Ayyappa. Various stories connected together to give a Divine power to Lord Ayyappa , created by human imagination The birth of Ayyappa from the union of two male God is being propagated to proclaim his celibate life. This aspect created the mythological dimension that the presence of the females can invite his wrath.The Depiction of Lord Ayyappa, enthroned on the top of a tiger is mainly to create fear among the people can be prey to the attack of wild animals if anything goes against the will of Lord Ayyappa. Lord Parshuram, supposed to be the founder of Sabarimala and the architect of Kerala state itself is not a historical figure rather he is a mythological figure.

Inclusion we can say that

Conclusion

Majority of the people in Kerala and other parts of the nation believe that the sabarimala is ideology of Religious myths wrapped in faith, while Hindu community of Kerala hold fast to the traditions that overlook mythological aspect. In spite of its fictional back ground, it is one of the prominent places visited by large number of people every year. It has the capacity to attract people with stories of wonders and fear. They hold back their admiration of the deity Ayyappa , through various technologies such as Short movies, Pictorial presentations and devotional songs which elevates people's faith above myths.

On the other hand, researches and studies done on the origin of the Sabarimala shed light on the hidden horizons of deep Religious myths. It is the presentations of an imaginative God, created to give meaning to a particular place. Lord Ayyappa. The deity of Sabarimala is depicted as a God who is enthroned on the top of a tiger, creates the fear of attacked by the wild animals if we dare to go against the will of the deity.Though his name is not mentioned any where among the prominent God's of Hindu puranas, he plays a vital role among the Hindu Communities of Kerala

Bibliography

Acevedo, D. D. (2018, october 27). Retrieved August 26, 2019, from Edconomic Political weekly: https://www.epw.in/journal/2018/43/commentary/pause-thought.html
Corresponden, L. (2019). Kerala plans law for Sabarimala temple. National: The Hindu.

News, B. 2019). Sabarimala: India's Kerala paralysed amid protests over temple entry. Bangalore.

Pattanaik, D. (2016, July 7). Is Hinduism A Religion, A Myth Or Something Else? Retrieved September 9, 2019, from Devdutt: https://devdutt.com/articles/is-hinduism-a-religion-a-myth-or-something-else

Rautray, S. (2018). Women of all ages can enter Sabarimala Temple, rules Supreme Court. Bangalore: The Economic Times.

ROY, V. (2014). Myths and metal. Bangalore: The Hindu.

Sirdesai, N. (2019). The Secret of Sabarimala Temple and Kundalini. Notion Press.

staff, T. (2019, september 7). Kerala govt mulls separate administrative authority for Sabarimala temple. Retrieved september 7, 2019, from Tne news Minutes: https://www.thenewsminute.com

Thadathil, A. (2019, January 9). Adivasi Claims Over Sabarimala Highlight the Importance of Counter-narratives of Tradition. Retrieved August 12, 2019, from Economic & Political Weekily: https://www.epw.in/engage/article/adivasi-claims-over-sabarimala-highlight-the-importance-of-counter-narratives-of-tradition

Vaidyanathan, K. (2014). Pilgrimage to Sabarimala. Bharatiya Vidya Bhavan.

Astika Chattopadhyay,
Dec - 2020

Abstract

This paper studies how women have been falling prey to the lustful gaze of men through the genre of item songs. They have been treated as sexualised objects through the focus of the camera on their bodyparts with almost bare body or through the usage of lyrics like, “ChikneMujhpeFhisal Gaye…. Naam Jalebi Bai Aha”. The items songs have now barely become promotional pathways for movies. Apart from women surrendering themselves to robust male gaze, these catchy songs usually tend to have very little relatedness with main plotline of the movie therefore portraying the woman to be incidental. The recent trend is of where even males are attracting female spectators.

Introduction

Ever since the evolution of item songs, item numbers have been an integral part of Bollywood films. “Item songs in Indian movies portray women as sexual objects to be looked at and touched lasciviously – the dancers are shown to enjoy it, so men think, “Why not?” For many decades, Indian cinema has been known for song and dance sequences.

Songs combined with dance are not only marketing and promotional tools, but also enhance the feel of the movie without disrupting the flow of the plot.

However, there are special songs called item songs which have no importance to plot but are still shown as part of the movie. They feature an actress, who is not connected to the movie plot, dancing to vulgar lyrics for the male audiences. They are gratuitous, offensive and they may even be dangerous for society.” (https://www.womensweb.in/2016/06/an-end-to-item-songs/)

Bollywood item songs are the songs where a woman wearing provocative clothes, is served as a sex object among many men through obscene lyrics. Songs play a very important role in Bollywood movies because one third of the story is expressed by the songs of the movie. Portraying females as object and using obscene words for them is not new in Indian songs and this is getting worse day by day. (https://www.ijhsss.com/files/39_6qu9mlnr.-Supriya-Dwivedi.pdf)

Bollywood has a great influence on the Indian society. Songs has always been covering an important aspect of Bollywood. They are not just meaning of narration but also portray emotions. Item songs are one of the most important genres in vogue now-a-days. “Item songs” are usually referred to the itemization of sexy women dancing to catchy melodies in Bollywood. The concept of item songs isn’t something new. When we take a look into our history, we can we can trace it down to our famous actress Helen dancing to the beats of “piyatu ab tuaja”/ mehbooba mehbooba. But recent trends have become very queer. The more vulgar and indecent the content of the song is, the more popularity it gets. They are also a source of promotion these days. With each passing the day the concept has degraded a lot which included visuals, lyrics, body languages and dance moves. There has been a noticeable negative shift in the paradigm.

  1. Helen got introduced in the 1970’s as the queen of cabaret and her monopoly faded in the 1980’s.
  2. Next came the phase of Madhuri Dixit who marked the trend of the pioneer of the modern trend.
  3. Late 1990’s and early 21st century change witnessed the change in trend. (Showcasing raw sexuality, explicit stimulation and erotic songs)
  4. The current trend is of top-notch actors also being objectified as source of entertainment.

Bollywood and its songs are the ones that make our Indian film industry so popular. With the change in trend of Bollywood item songs, they have also started becoming an important factor for the commercialisation of films. From “pinky haipaisewaloki” to latest, ‟ munnibadnam hui darling tereliye”, these item numbers represent women as objects. This might be an illustration of creativity or means of promotion, but a song and dance sequence portraying a woman being wooed and objectified by a group of men is incongruous.

Literature of review

With the reference to existing literature, the study explores:

MALE GAZE - Male gaze usually refers to the sexualised way of looking at a woman which give power to the man and objectifies the women. Male gaze is a term coined and popularized by feminist film critic Laura Mulvey through her essay ‘Visual Pleasure and Narrative Cinema’ (1975).

“It refers to the tendency of filmmakers and films to assume the point of view of a heterosexual male” according to Collins Dictionary. The field of visual media is one that objectifies the female body in various ways, according to feminist theories. One gets frustrated time and again by the way a woman is shown to own nothing, not even her body, and by own, I mean possess something of worth or value. At the same time a man is appreciated for his smartness, or talent or his achievements. Pretty Woman a 1990 film starring Julia Roberts and Richard Gere and directed by Garry Marshall is a classic example of how popular film industry perceives being an eye candy as the highest goal a woman can achieve. Julia Roberts who plays the role of Vivian, the female lead is introduced to the audience in fragmented close up shots of her face, buttocks, legs etc. and this way of presentation is maintained throughout the film, that too only for her. Nowadays, even video games portray a stereotypical notion of a sexually attractive woman- petite, fair with large eyes, luscious hair and a “feast for the eye”. Popular films, which are supposedly a reflection of popular culture at least in the Indian context, is mostly a narrative seen from the perspective of a heterosexual male. Everything about the story would be in relation to him, and the females in such a narrative, are almost always represented in relation to one such male.” Ashima, Vol. 3, Issue 4 (December 2017), 53-54. .( Male and Female Gaze in Bollywood Films Ashima Jose Assistant Professor Christ Nagar College University of Kerala, http://tlhjournal.com/uploads/products/8.ashima-article.pdf)

According to Mulvey women are not the maker of meanings but the bearer of meanings which suggests that women are not placed in a position where they can take control of a scenario, instead they are simply placed there to be observed from the point of view of an object. In addition, she believes that this way of watching film is never alternated so that the men are in fact the ones who are being viewed in this manner. This inequality enforces the ancient and outdated idea of “men do the looking, and women are to be looked at.”

SCOPOPHILIA- In the fields of psychology and psychiatry, the terms scopophilia and scopophilia describe a person's deriving aesthetic pleasure from looking at something and from looking at someone. In human sexuality, the term scopophilia describes the sexual pleasure that a person derives from looking at prurient objects of eroticism, such as pornography, the nude body, and fetishes, etc., as a substitute for actual participation in a sexual relationship. Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Scopophilia. (6th September 2019)

” Laura Mulvey’s argument is the most prominent argument in contemporary film theory. She separates visual pleasure/gaze by gender, where men gaze, and women become the object of this gaze by displaying what she calls “to-be-looked-aptness.” This perpetuates scopophilia (the pleasure of looking) and male dominance in a society that has gender inequality. Many have concurred with her argument. Derné states, “[c]consistent with Mulvey’s expectations, Hindi films position male viewers to gaze at on-screen women by making women the object of both the camera’s gaze and the gaze of men within the narrative.” Item numbers are an especially fitting example of this. The camera often zooms into exposed or sexy body parts of the item girl’s body and provokes the male gaze; but what is really interesting to me is that it shows the men gaping, jeering and salivating over the women; and puts the audience in a position to look at the act of looking; thus putting in place a double voyeurism. Moreover, because Bollywood has such an influential role in people’s idea of sexuality, this sort of scene promotes the idea of women existing for the purpose of men’s pleasure, and the behavior of the lustful men on screen as what is expected and normal. Also, the structure of most item songs progresses from the man just looking to the man interacting with the woman in quite a disrespectful manner, for example dancing with her very vulgarly or grabbing her. This drives home the notion that it is normal to mistreat women, and that they are in fact subordinate. What is worse is that the women in the item songs don’t seem to mind the behavior; rather they pride themselves on being able gain such a reaction and welcome the men. Avantika, (April 2013), 17-18. Semantic scholar. Retrieved from https://pdfs.semanticscholar.org/4a6b/4ead98192b8fd97f58b466841c1de3596e6f.pdf (6th September, 2019.

OBJECTIFICATION- Women have always been treated as a feast for the men’s’ eyes. Laura Mulvey referred to the term active male and passive female in her essay ‘Visual Pleasure and Narrative Cinema’ (1975). An active/passive heterosexual division of labour has similarly controlled narrative structure. According to the principles of the ruling ideology and the psychical structures that back it up, the male figure cannot bear the burden of sexual objectification. Man is reluctant to gaze at his exhibitionist like. Hence the split between the spectacle and narrative supports the man’s role as the active one of forwarding the story making things happen. The man controls the film fantasy and also emerges as the representative of power in further sense: as the bearer of the look of the spectator, transferring it behind the screen to neutralise the extra-diegetic tendencies represented by woman as spectacle. The character in the story can make things happen and control events better than the subject/spectator. (Laura Mulvey, 1975, 838.)

“Anti-pornography feminists Catharine MacKinnon and Andrea Dworkin take inequality to be tightly linked to objectification. In the eyes of both these feminists and Kant, there is the powerful objectifier on the one hand, and on the other hand there exists his powerless victim. Due to their unequal power, the former objectifies the latter. This situation of gender inequality which troubles our societies and is so tightly linked to the objectification of women is, MacKinnon and Dworkin believe, created and sustained by men's consumption of pornography.

Pornography is defined as “the graphic sexually explicit subordination of women though pictures or words that also includes women dehumanised as sexual objects, things, or commodities; enjoying pain or humiliation or rape; being tied up, cut up, mutilated, bruised, or physically hurt; in postures of sexual submission or servility or display; reduced to body parts, penetrated by objects or animals, or presented in scenarios of degradation, injury, torture; shown as filthy or inferior; bleeding, bruised, or hurt in a context that makes these conditions sexual”” (MacKinnon 1987, 176) . (https://plato.stanford.edu/entries/feminism-objectification/)

Research methodology

In this paper, we see how the genre of item songs are ruling the film industry irrespective of having very less or sometimes no connection at all with the plotline of the movie. In order to understand these songs from the perspective of being women being objectified, the variables are lyrics, moves, male gaze and costumes with reference to three different eras in the history of Bollywood.

  • Lyrics
  • Male gaze
  • Costumes

The objective of the study is to see how this genre of music is being one of the most important aspects in commercialisation of films in Bollywood. Also, this study shows how top-notch actors are also being objectified these days. Irrespective of having less significance, these item songs are having such a great impact, that it is not just limited to females being objectified, but men as well.

Findings

The first era analyses the song PIYA TU AB TU AJA, of the cabaret queen Helen. “Up to the 1970s, Bollywood often relied on a female "vamp" character – usually playing the role of a cabaret dancer, tawaif/prostitute/courtesan, or male gangster's moll – to provide musical entertainment deemed more risqué. While film heroines also sang and danced, it was the vamp who wore more revealing clothes, smoked, drank, and sang sexually suggestive lyrics. The vamp was portrayed as immodest rather than evil, and her dance performances were sexualized by male producers. The trend was started by Cuckoo in films like Awaara (1951), Aan (1952) and Shabistan (1951).”

In the early 50s, Cuckoo introduced the Burmese-Anglo Helen as a chorus girl. In time Helen would come to be the most popular vamp of the late-50s, 60s and 70s,[9] having had performed in scores of item numbers including such popular songs as "Mera Naam Chin Chin Choo" from the film Howrah Bridge (1958), "Piya Tu Ab To Aaja" from Caravan (1971), "MehboobaMehbooba" from Sholay (1975) and "Yeh MeraDil" from Don (1978). During this era, Helen was performing the item number as well as the vamp role. Thus, it can be concluded that dancing amidst a group of men in a bar as a source of providing entertainment, it marked the beginning of male gaze into Bollywood songs. Women have always been portrayed as objects for visual gratification. This officially marked the beginning of women sizzling and dancing to catchy dance numbers. (https://en.wikipedia.org/wiki/Item_number)

The second era witnessed a slight change in the pattern of item songs. Madhuri Dixit marked the pioneer of trend where the main protagonist acted as well moved to the beats of the dance numbers which in turn made her a superstar as well. This era also saw the debut of many film actresses into the world of item numbers. This era saw the onset of pornographised lyrics like "Choli KePeeche Kya Hai" (English: "What is hidden beneath the blouse?"). This was rated the hottest song in Bollywood by a survey conducted in 2013 because of its sensuality. The content of the song somewhat goes like this, “in a nightclub with the mood lighting of a surgical theatre, a village belle is crying out for a husband. Her friend Champa encourages and chastises her by turns; her male audience is invited to be the bells on her anklets. (She promises, with a flare of derision, that serving her will make him a king.) Her costume, the color of a three-alarm fire, sparkles as she holds center screen. The song and camerawork build to a frenzy as if unable to contain her energy; the dance floor’s nearly chaos by the time she ducks out—she alone has been holding the last eight minutes together. And the hardened criminal in the audience follows, determined not to let her get away.” (https://en.wikipedia.org/wiki/Choli_Ke_Peeche_Kya_Hai,https://musings.oscilloscope.net/post/158969772386/choli-ke-peeche-kya-hai-bollywoods-scandalous)

From this we can conclude that, women have been made incidental. As was cited by Mulvey, 1973, “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female form which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness.” (Visual and other pleasures 1989)

Previously it was just in the movies but with time this trend started seeping in the making of item songs. Women are given costumes accordingly in an item song that is eye-catchy so that the male remain attracted towards her. This song also became popular because of the use of its racy lyrics. Thus, this era marked the beginning of a different trend of item songs in Bollywood.

Item songs are absolutely a different genre in the film industry. Item songs usually refers to the catchy dance numbers with suggestive or pornographised lyrics like (Beedi jalayileh/ jigar se piya/Jigar maabadiaaghai) where the women’s bodies are objectified and placed at the center of the imagery.

The last era saw a significant change in the trend. It showcased raw sexuality, sexual stimulation and erotic visuals.

“What sets item songs apart is that 90% of them have female lead. She is, by rule, barely dressed. Mostly, she is the sole girl in a huge group of men where each one is openly lusting after her. She knows this and provocates them further with suggestive dance moves. It is a no brainer that these songs objectify women completely. Just the word “item” makes that clear. A woman is reduced to an object that exists for male sexual gratification. What is even more bothersome is the fact that these songs promote an attitude/ notion that it is ok to openly lust after a woman because she will enjoy the attention and reciprocate it somehow. This lust leads to harassment in no time.” (https://noharassment.wordpress.com/2012/04/15/item-songs-and-objectification-of-women/)

Conclusion

“It is a matter of debate if cinema reciprocates society or society reciprocates cinema. In the case of item songs, it is the latter. The fact that one can hear them everywhere from a barber shop to an auto ride helps integrate it into our own psyche. These songs paint a dangerous portrait of a woman. I shudder at the thought of a woman who would love to jump right in the middle of lust eyed men as done by Katrina Kaif in “chiknichameli”. She will surely be grotesquely raped in no time. The songs create a fantasy world where her moves have no further implications on her safety from not one but hundreds of men. No woman can enjoy dancing in such an environment. Sadly, many believe in the illusion. No wonder these songs are a major contributing reason for sexual harassment.(https://noharassment.wordpress.com/2012/04/15/item-songs-and-objectification-of-women/)

With change in time, there was change in the paradigm as well. These days not just women, but men have also started being objectified. Songs like “dard-e-disco” where Shah Rukh Khan plays the main protagonist or in the song “make some noise for the desi boyz” where Akshay Kumar and John Abraham are the source of female gaze. It’s not just about male gaze these days but also female gaze. Mulvey had clearly denied the existence of female spectatorship in order to appreciate the traditional way of Bollywood. But Ananya Sensharma cited in her paper “Laura Mulvey and Bollywood songs: male gaze and female spectatorship” that Mulvey’s concept of transvestitism can also be negated since there is also an objectification of male lead actors. The analysis showed that the camera did focused somewhat on the male actors fragmented body parts as well.

This camera focus on the male body, eyes, muscles and face is to attract female spectators. Although Mulvey had associated the male gaze and spectatorship with women objectification, but studies have also shown evidences of female gaze and spectatorship in recent times not just for the for the roles played by them in the movie but in item songs as well. Previously female gaze was limited to hero or the villain of the movie, but with the increase in number of item songs being produced in a year, top-notch actors all also being the imagery of fantasy for women. (https://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=4353&context=etd_theses)

References

Women’s web, retrieved from [(https://www.womensweb.in/2016/06/an-end-to-item-songs/)] on 6th September 2019.

Dwivedi, S. (2017). Sexual Objectification of Females in Bollywood Rap and Item Songs. International Journal of Humanities & Social Science Studies, III(IV), 399-406.

Jose, A. (2017). Male and Female Gaze in Bollywood Films. TLH Journal, III(IV).

Wikipedia, retrieved from [https://en.wikipedia.org/wiki/Scopophilia] on 6th September, 2019.

Saraogi, A. (2013). The Bollywood Item Number: From Mujra to Modern Day Ramifications.

StandfordEncyclopaedia of Philosophy, retrieved from [https://plato.stanford.edu/entries/feminism-objectification/] on 6th September, 2019.

Wikipedia, retrieved from [https://en.wikipedia.org/wiki/Item_number] on 6th September, 2019.

Wikipedia, retrieved from [https://en.wikipedia.org/wiki/Choli_Ke_Peeche_Kya_Hai] on 6th September, 2019.

Oscilloscope laboratories, retrieved from [https://musings.oscilloscope.net/post/158969772386/choli-ke-peeche-kya-hai-bollywoods-scandalous] on 6th September, 2019.

Mulvey, L. (1975). Visual Pleasure and Narrative Cinema.

Wordpress, retrieved from [https://noharassment.wordpress.com/2012/04/15/item-songs-and-objectification-of-women/] on 6th September, 2019

Sensharma, A. (2007). Laura Mulvey and Bollywood songs: male gaze and female spectatorship.

Nisha Mukherjee
Oct - 2020

Abstract

The roles portrayed by men and women are changing in every arena around the world like academic sectors, corporate sectors, in media and advertising etc. They have distinguished themselves in every walk of life. But has the representation of genders in advertisements changed? Or does it still conform to the old traditionalist ideas and notions of the society? These are the questions that are dealt with in the following paper. The first section of the paper reviews the Role Portrayals in Advertisements. The paper also oversees two randomly selected television ads from India and was content analyzed to examine both the recurrence of appearance and pervasiveness of gender stereotypes.

The roles portrayed by men and women are changing in every arena around the world like academic sectors, corporate sectors, in media and advertising etc. They have distinguished themselves in every walk of life. But has the representation of genders in advertisements changed? Or does it still conform to the old traditionalist ideas and notions of the society? These are the questions that are dealt with in the following paper. The first section of the paper reviews the Role Portrayals in Advertisements. The paper also oversees two randomly selected television ads from India and was content analyzed to examine both the recurrence of appearance and pervasiveness of gender stereotypes.

Keywords: Gender roles, Indian Television Advertisements, masculinity, femininity, gender stereotypes

Introduction

Advertising play a significant role in a modern society that has developed complex social boundaries that are progressing with time. Industrialisation and commercialisation make the world go around. Social constructs like gender, sexuality and gender roles are used as a tool to advertise and promote products, services and ideas in a global scale. The behaviour, attitudes, and socially defined gender roles are mimicked on the screen which leads to the misconception of the viewers regarding the reality. Erving Goffman called it “Commercial Realism”. Goffman argues that advertisements do not look strange to us, when they should. Advertisements take something that exists already in the world and they change it, forming a distorted reflection. "They emphasize some things and de-emphasize others," it is a hyper ritualization of the world, and we recognize, and even relate with some of the images.

“A gender role, also known as a sex role, is a social role encompassing a range of behaviours and attitudes that are generally considered acceptable, appropriate, or desirable for people based on their actual or perceived sex or sexuality.” (Wikipedia, https://en.wikipedia.org/wiki/Gender_advertisement)

It is argued that these images could be teaching the viewers a vast array of social cues, and even the most subtle ones make an impact on the viewers. (Baran, Stanley J.; Dennis K. Davis (2005). Mass communication theory: foundations, ferment, and future). Further it is said that gender relations are learned through advertisements. (Jhally, Sut. "What's Wrong With a Little Objectification?")

Television advertisements follow the socials constructs of gender roles most of the time. Therefore, the predefined gender roles of masculinity and femininity are followed. It has always been said that to be woman is to be feminine and to be a man is to be masculine. These are mostly learned roles. There is little room for variation or a reversal of roles, except within the smaller frame of niche marketing.

Four of the most common kinds of gender stereotyping are:

  • Personality Traits
  • Domestic behaviours
  • Occupations
  • Physical appearance

Masculinity in Advertising

According to Jhally, Sut. The Codes of Gender. Media Education Foundation , some of the most common ways in which men are portrayed in advertising are :

  • Alert and conscious of surroundings
  • Standing upright
  • Eyes open and looking around
  • Bodies are controlled
  • Mean expression on face
  • Gripping things tightly with hands
  • Hands in pockets
  • Serious
  • Physically active

Femininity in Advertisement

According to Jhally, Sut. The Codes of Gender. Media Education Foundation , some of the most common ways in which women are portrayed in advertising are :

  • Touching self
  • Caressing an object
  • Lying on the floor
  • Sitting on a bed or chair gracefully
  • Not alert
  • Confused
  • Vulnerable
  • Body contorted
  • Dressed like a child
  • Holding an object or a man for support
  • Sexy and sexually available
  • Seductive
  • Playful

Review of literature

With the reference to existing literature, the study explores:

Definition:

Advertising is an audio or visual from of marketing communication that employs an openly sponsored, non-personal message to promote or sell a product, service or idea (William J. Stanton, Fundamentals of Marketing, McGraw-Hill, 1964).

Role of Advertising:

Bishop (1944) mentions that majority of the advertisements are persuasive in nature and intention and that advertising is regarded as a vast apparatus which assails the eyes and the ears of the public with cunning inducements to prefer certain products over the other or to buy certain products in his book, ‘The Economics of Advertising’ (p. 19).

Gender Role Portrayals:

Past research indicates that in India, as in other nations, men and women are likely to be shown in stereotypical ways in television ads. (Gupta and Jain 1998; Jha Dang and Vohra 2005) 72% of teenage girls in major cities state that they would like to have a career (Reddy et al. 2007).

Stereotyping in Advertisements:

The gender stereotypes in advertising are so common place that it has become synonymous with the attributes being construed about each sex. According to Goffman (1979, p. 8) gender representations in advertising reflect “fundamental features of the social structure,” such as values, beliefs, or norms.

Advertisements depicting stereotypical roles of the genders help in creating cognitive schemes that reflect the typical and fundamental elements of reality among the viewers. Gender roles have also been impacted by the media and advertising. SlutWalk is one phenomenon that emerges through incontemporary "third-wave feminism". The SlutWalkmovement helps increase victim visibility and reintroduces sexual violence issues to the public. (SlutWalk: Feminism, Activism and Media, Kaitlynn Mendes)

Classification of gender roles are a reflection of today’s society. Through the ages men have been considered to be financial providers, career-focused, assertive and independent, whereas women have been shown as low-position workers, loving wives and mothers, responsible for raising children and doing housework. Nowadays a family model is based rather on a partnership than on patriarchy and women have more rights and possibilities on the labor market. Feminist environment had a significant impact on the change in this situation. Women's liberation movement fought for the rights of women and for redefining traditional gender roles. Although females and males are still not equal, the differences between genders are not so vast anymore. Nevertheless, many social institutions, such as mass media, still use gender stereotypes, based on the assumption that they are well known to everyone and help the receivers to understand the content of the message. ("Gender stereotypes in mass media. Case study: Analysis of the gender stereotyping phenomenon in TV commercials. | Krytyka.org – Nauka, Polityka, Kultura, Społeczeństwo")

Semiotics as a tool in television advertising

Television advertisements uses semiotics as a tool to create constructs and ideas in the minds of the viewers. Semiotics refer to the use of signs, symbols and looks to analyse and derive meaning or an idea. ‘Semiotics’ (or semiology) is one of the most powerful and influential ways of thinking about media, Bignell (2002, p.1-3). The name semiotics and semiology derive from the ancient Greek word ‘semeion’, which means ‘sign’.

Research methodology

This study explores how socially established masculine and feminine characteristics are used in Indian television advertisements. In this qualitative research, content analysis is used to find out the different type of Role portrayed by men and women in Indian TV advertisements.

Objectives

The objective of the study is to find the various gender roles portrayed by men and women by content and semiotic analysis of two randomly selected Indian television advertisements

Two randomly selected Indian Television Advertisements are selected to explore the gender roles and how it adheres to the socially defined expectations put on a man and woman

To examine the recurrence of appearance and pervasiveness of gender stereotypes in Indian television advertisement through the content analysis of two randomly selected Indian television advertisements.

To achieve the above objectives, I have examined two randomly selected Indian advertisements, Amul Macho, Men’s Underwear and Imperial Blue. They are analysed on the basis of:

  1. Theme
  2. Representation
  3. Stereotyping

Findings

Amul Macho (underwear)

This Ad is rated as one of the most controversial in India and for the most obvious reasons was banned by the Advertising council. "Ye to bada toing hai.." is rated as one of the most vulgar and sexually explicit ads in the history of Indian advertising. This ad, with the women making suggestive movements as if she is up to something naughty, although banned, increased the market share of the company sharply with a turnover of Rs. 201 crores in 2007-2008.

The Theme and Representation:

In spite of it being exclusively a men’s product, women are used in the advertisement to depict manliness by representing the woman in a decorative family role as the woman is shown carrying a bundle of clothes to be washed, and the first cloth that she washes is her husband’s underwear. The expressions of the woman allude to coitus and sexual fantasies. The piece of clothing being used also refers to the depiction of manliness, confidence, macho image in front of the other women who are also washing clothes. There is an underlying allusion of impressing women.

The sari and the jewelleries worn by the woman shows that she is newly married and the other women who are washing clothes looks at her in contempt and scepticism, but as soon as she pulls out her husband’s underwear their expression change. The woman also adorns a look of pride and expressions that alludes to the underlying implication of coitus.

Signifier: In this advertisement the visual codes like the expressions of the newlywed woman, her expressions, washing of the underwear and the use of a washing bat are the signifiers.

Signified: The idea or the mental concept behind the visual codes are the macho image of the man, impressing women, alluded coitus, sexualizing the act of washing and woman in a decorative and family role.

Stereotype

Fictionalized dramas reinforced the sex role stereotypes of men as decisive, assertive, dominant, and career- oriented, and of women as emotionally dependent, eager to please, sentimental, and primarily concerned with family relationships. Female characters in these series were most often housewives, secretaries, teachers, or nurses. Women were featured more often (56% of content) than men in Indian commercials, yet were shown performing stereotyped female activities such as shopping, preparing meals, and dressing to obtain the sexual approval of men. This sex role stereotyping in the media is seriously impeding the struggles of women in India to achieve economic and political autonomy. (SK Behra, Gender Role Biases on Indian Television)

Stereotypical gender roles of men and women are portrayed subtly through the advertisements where the woman is shown in decorative family roles. In the Amul Macho advertisement, the woman is seen as washing the clothes and her presence is also used to market a male product through the sexual implications. The tag line of the product is “Crafted for fantasy”, this shows that the product USP is also connected to sexual fantasies between a man and a woman rather than the factor of comfort or fabric. The role of the woman in the given advertisement is to ad the fantasy aspect of having coitus with the man wearing the underwear.

Imperial Blue

Imperial Blue is a surrogate advertisement where the ad for the whiskey brand is advertised as music CDs. Society has cast men as earners and providers, and there’s also that pesky gender pay gap that means women don’t make as much. This is among a series of advertisements on the theme “men will be men”. This is an age-old adage.

Theme and Representation:

The advertisement shows a man pressing all the buttons of the lift together as a woman is about to enter the lift in hopes of spending more time with the woman in close proximity. Unlike the man who is wearing a suit, the woman is shown in a Saree, and is subjected to male gaze. There is another woman who is also in a suit looking at her file, but she is not given any attention by the man. The advertisements depict how men will always be superficial and would want the attention of a woman who adheres to the socially established characteristics of being beautiful. The advertisement also targets only the male audience through the advertisements. The woman is majorly used for a decorative purpose as she wears a saree in the corporate environment and garners the attention of the man. According to SK Behra, often in commercials women are shown to dress to get the approval of a man. The fact that the woman in suit does not get the attention of the man but the woman in saree does highlights this factor.

Signifier: The man is seen as pining for the attention of the woman in saree as he pushes all the buttons of the elevator to delay the lift. The other woman in the suit is ignored Signified: The signified idea here is the mental concept that men will always remain men and seek the attention of a woman.

Stereotype:

The advertisement of Seagram Imperial Blue’s comes with the tagline “Men will be men”. The idea was utilized by Pernod Ricard’s (the holding company for Seagram’s distilled brewery business) whiskey brand to connect to society and hence increase the interest towards their product. The catchy tagline became successful and left its impression on every man and woman as what is shown in the advertisement is considered to be the ‘obvious’ behavior of a man. The question now arises, how and why men will be men? The tagline has exclusively talked about the characteristics men possess. The Imperial Blue advertisements stereotypes gender roles and show how men will always seek female attention and how women in a workplace are subjected to male gaze. It also stereotypes the appearance and personality of males and females.

Conclusion

Women Objectification and Stereotypical Decorative and Family Role

Advertising through the medium of television can have more of an impact as it is an audio visual medium and unlike print advertising, television ads can be more demonstrative and can indicate more meaning than a single image. Television advertisements usually employ a storyline to their ads and much can also be expressed through innuendoes. In addition to this, television is also a popular medium, with unsurpassed reach and penetration. The controversial ad for Amul Macho, showing a young bride conjuring images of conjugal bliss as she washed her husband’s clothes was full of sexual innuendoes and was distasteful. (Sexual Objectification of Women in Indian TV Ads of Men’s Deodorants from 2000 to 2018, Rochelle Ann Lepcha, http://ijissh.org/wpcontent/uploads/2018/08/12.pdf)

The advertisements of a product category which has been known to show women in a derogatory manner are the advertisements of men’s products. In India too, the trend of showing women as sexual objects and conquests has been observed. The condom ads in India too seem to showcase condoms not as a means of protection or family planning but focuses more on close up shots of the various body parts and suggestive expressions of a female celebrity. The concept in such ads has been the portrayal of women as sexual objects, as sexual rewards to the user of the product.

Confidence and manliness in men

Sex role research suggests that the conception of masculinity has changed over time in response to historical and social currents (Brod, 1987; Franklin, 1984; Kimmel, 1987). Within advertising there also seems to have been variation in the visual construction of masculinity, suggesting shifts in social beliefs about men. Advertisements like Imperial Blue allude to certain characteristics to men; it targets only male audience as it is perceived in the society that only men drink whiskey. The tag line “Men will be men” adheres to the social image of masculinity and manliness. Amul Macho, men’s underwear refers to the masculinity of a man with alluded coitus and the expressions of the young bride when she washes her husband’s underwear.

Sexualizing of Products

There is no doubt that "sex sells" is one of the most familiar phrases in marketing. With major brands benefitting from using sex appeal in their marketing campaigns for decades now, risque imagery that was once considered to be taboo or pornographic decades ago can now be found splashed across magazine pages, TV screens, websites, billboards and other marketing channels There is a lot of debate about sexuality and ethics in advertising but using sexualized marketing has been very successful for countless brands, and will continue to be for a long time to come. For example, Amul Macho, men’s underwear sexualizes the product with portrayal of a women and sexual innuendoes but does not throw light on the fabric or its comfort. The tag line goes as “Crafted for Fantasy”. Brands like Axe certainly have been using sexualized marketing to its advantage. The entire brand has been created with the purpose of "giving guys an edge in the mating game", which is pretty much the concept that drives commercials depicting women being hopelessly attracted to men using Axe deodorant. The year after the initial "The Axe Effect" campaign was launched, sales of the product went up 14 percent. (Alesia Hsiao, Between the Sheets: Getting to Know Sexualized Marketing Better, https://www.business.com/articles/between-the-sheets-getting-to-know-sexualized-marketing-better/)

References:

Baran, Stanley J. & Davis, DK.(2005). Mass Communication Theory: Foundation, Ferment and Future Cengage Learning: United States.

Behra, SK. (1989) Gender Role biases on Indian Television. Media Asia, 16(3):119-24.

Bishop, FP. (1944). The Economics of Advertising. R. Hale Ltd.: London.

Business.com, retrieved from [https://www.business.com/articles/between-the-sheets-getting-to-know-sexualized-marketing-better/] on 5th September, 2019

Das, M. (2011). Gender Role Portrayals in Indian Television Ads. Sex Roles: 64:208–222

Goffman, E. (1979). Gender advertisements. Harvard University Press: Massachusetts.

Jhally, S., Vega, A., Killoy, A., & Earp, J. (2009). The Codes of Gender

Kervin, D. (2016) Advertising Masculinity: The Representation of Males in Esquire Advertisements, retrieved from [http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.1026.6591&rep=rep1&type=pdf] on 5th September, 2019

Krytyka.org, retrieved from [http://krytyka.org/gender-stereotypes-in-mass-media-case-study-analysis-of-the-gender-stereotyping-phenomenon-in-tv-commercials/] on 5th September, 2019

Lepcha, RA. (2018) Sexual Objectification of Women in Indian TV Ads of Men’s Deodorants from 2000 to 2018. International Journal of Innovative Studies in Sociology and Humanities. Mendes, K. (2015). SlutWalk: Feminism, Activisim and Media. Palgrave Macmillan: United Kingdom

Sharma, P. & Gupta, P. (2015). Semiotic analysis of Indian television. Advertisements and its impact on consumers: an exploratory study. Journal of Communication Studies, 1(15): 71-90

Stanton, WJ. (1964). Fundamentals of Marketing. McGraw-Hill: New York

Sutjhally.com, retrieved from [http://www.sutjhally.com/articles/whatswrongwithalit/] on 5th September, 2019

Wikipedia, retrieved from [https://en.wikipedia.org/wiki/Gender_advertisement] on 5th September, 2019

Neha Srijesh Menon
Freelancer content writer
Mumbai
Oct - 2020

Abstract

This research titled “An analysis of the status of woman journalist in print media in Bengaluru, Karnataka” is a study based on the working woman journalist who has faced constant hardships throughout their career and still facing it in different scenarios and situations. The research attempts to study on how woman has become a pioneer in the management, hospitality, and various other fields. This research work describes how woman has emerged as a journalist in the print media in India and basically concentrates on Bengaluru. This research work will give a review of the journalists, their experiences of what they feel is going around in this profession and also tells the future journalists how to go about in the field of journalism.

Keywords

Journalism, Women Journalist, Feminism, equal pay, maternity leave, stress, print media industry

1. Introduction

1.1 Indian Woman in Cultural Context

Historically, India has been a male dominated society. But in the past two decades we have seen that woman has started to acquire the managerial role which has mainly happened due to social change. We have also seen that in the past women were expected to get married, take care of the family and household chores. But now, in contrast to what we have seen, with the boom in the corporate industries, more and more women are pursuing a career in their respective fields.

Earlier, we have seen that “girl child” did not get any formal education because of the term “parayadhan” (other’s property). Slowly and gradually, the literacy level among girls is increasing and they have started to attend universities as well. In contrast to increasing literacy level and girls graduating with highest honors from the best business and engineering schools, most of the top positions are still held by men in the corporate world. (Nancy R. Lockwood, 2009)

1.2 Movement for Change

It is observed that with changing time, the basic core social values have started to change. Globalisation has bought the influx of multinational corporations and many companies started to invest in India because it had huge man power. And in this growth, women too started to rise. More and more women were being hired by the Human Resource managers irrespective of the gender bias. Placements were conducted on equal basis and we saw that women were entering into the fields like advertising, banking, civil services, engineering, financial services, manufacturing, police and armed forces and emerging fields such as IT and communications positions which were previously at large dominated by men.

Dr. Sudhir Varma, a specialist in the field of gender and development in India, with a 36-year career in the Indian Administrative Service (the national civil service in India), “in spite of cultural and social taboos, more and more educated women are able to reach very high levels in the government, and the number of women in the corporate sector is gradually growing. There is no doubt that they have to constantly prove their efficiency to go up each step of the ladder. Corporate Indian women, earlier docketed into the routine repetitive work sectors like information technology, now head several national and Indian offices of international banks. They are also heading business and manufacturing houses.” (Nancy R. Lockwood, 2009)

1.3 Defining Feminism

Woman did not write in the beginning as it now, the obvious reason as Virginia Woolf puts it, “A woman must have money and room of her own if she is to write fiction.’’(Woolf, 1929) Money symbolizes power and freedom and a room of her own is to have contemplative thinking. Very often women had enjoyed these things in the past so to develop their imaginative capabilities and personal freedom.

Here, we can see the story of Ashraf Behan who was the first to enter the world of art and she earned her livelihood through this profession. At that time, she was forced to work since she lost her husband. Due to household duties, women in general are aloof from the wide imaginative world. They work from dawn to dusk and still their work goes unpaid. And very few like Ashraf Behan stand out in the crowd. (Dr. L. M. SWARNALATHA, 2016) And it is through art that many possible things can be done and make people think. Thus, started the activism. Many women writers across the globe started to use art as a part of their activism to bring about a social change and upliftment of women as whole.

1.4 Feminism in the Indian Context

Women in general have always struggled to get access to the fundamental needs such as right to education, equal pay at work, women’s right to abortion, right to gender equality and the practice of birth control. But this very core idea has been strictly maintained by the ruling power in the hierarchical system and feminists are fighting to strive against it. The very distinctive feature of the feminism in India is that it had been started by the men. And only later women joined the fray.

The list of who, champion the cause of women is long –Raja Ram Manohar Roy, Ishwarchandra Vidya Sagar, Keshav Chandra Sen, Matahari, Phule, Agarkar, Ranade, Karve to mention a few.

Uma Narayan quotes that though Indian feminists are struggling but the feminism in India is not merely a mindless mimicking of western agenda. Here, the women have to literate, empower herself that subject to patriarchal domination and comfort. Feminism is a struggle for equality of women, an effort to make women become like men.

1.5 Women as Journalists

There is a supposed societal trend that women cannot hold any managerial positions due to their traditional upbringing and intellectually being unfit for taking any decisions. But women today can very much choose journalism as their career option. There is a boom in the media industry and they are very much willing to take young, enthusiastic and career-oriented women who are willing to prove themselves.

A journalist named Charles Hands reported that there is a revolution the media field and women make better journalists as their male counterpart. They can do newspaper work, reporting, sub-editing, news editing and even do editing. There is also an advantage with the women. They do not drink. They are compassionate and lot more in touch with the real life. (PROF. UMA JOSHI)

Also in the Indian context we have seen lot of women making their mark in the media field like BarkhaDutt who reported a live Kargil conflict between India and Pakistan in 1999, MahrukhInayet who did a live sensitive coverage on the 26/11 Mumbai Terror attack, Tanvir Gill who does reporting on financial and business and the lists goes on. Women are winning laurels, awards and getting prestigious assignments purely on the basis of their hard work and dedication.

1.6 Rationale

This research is being done so that the standard of work culture for women goes up and they don’t face any problem in the work front and they receive equal opportunities as men. This research will also see to it that the women get equal pay, face less stress when they juggle with their personal and the professional life and also have a considerable decision-making environment for women in an organisation. This particular research is conducted to explore the gender bias in the print media industry. From the last decade, the number of women journalists is on rise and this research becomes important to study the status of women in the industry.

1.7 Objective of the study

  1. To analyse the status of women journalists in the workplace on the basis of equal pay at work.
  2. To evaluate the status of women journalists in respect to the various benefits such as maternity leave, compensation, hours of work, etc.
  3. To find out the status of women journalists in various decision-making role.
  4. To probe the level of stress faced by women journalists in their workplace.

2. Review of Literature

2.1 Raw deal for women Journalists

This paper covers the entire facets of the media organisation and how the women are treated in their work place. National Commission for Women has put forth some facts of how women go through hardships to find a respectable place in their organisation.

One of India's best-known women journalists, Mrinal Pande says, "When I joined the Times of India in the early 1980s, women did not figure in any organisational concerns. The chairs were too high, there were no rest rooms and the general attitude was - why is she here and not in Femina?" Although almost two decades later, women are entering in the field of media and making their mark in hard news reporting, many women in the profession continues to get the raw deal.

Earlier, it was seen that no women journalists had a permanent job. There were very few fortunate journalists who worked on 2 to 3 years on contract basis. But when it comes the time of recession, the women journalists were axed first. It was the mantra.

There was a women journalist named ChayamuniBhuyan who used to work in an established Assamese daily. She recounts her experiences as bit disturbing as she says that since she returned from her US tour (she was the one of the selected journalists for the 9/11 anniversary) she was said she didn’t have her job. She was fired! And upon enquiring more she came to know that she was marked “absent” and also, she was enrolled and worked for 3 years without an appointment letter! This was the sad state then. Many journalists get trapped in this corporate hustle.

Also, women are hardly promoted. There is a notion behind it. There is no “bar room” bonding that happens. Here the male counterparts get the bonus of bar rooming with their higher authorities. Then there is an issue of maternity leaves. English daily reported that before having a baby the women journalists are considered responsible but after pregnancy, she is not reliable since she has to juggle between her maternal and career role. Mrinal Pande says that “women’s productive years are also their reproductive years.”

But barring all odds, women still have proven to be better managers and they can manage their personal and professional life efficiently. But there is always a disparity between men and women and women managers claims that even though people talk about gender equality there is still a male ego that refuses to take women as their superior! (KAUL, 2004)

3. Methodology

The method that is adapted for this research is the in-depth interview method as it is the best suited to collect data from the journalists and editors for this study. This in-depth interview method is a technique of gathering data by asking questions to people who are thought to have the desired information. A formal list of questions called a questionnaire is prepared.

3.1 Interview Method

Interviews have been conducted on professionals of the print media industry. The reason behind this particular method is that it provides detailed information or opinions about the questions in picture. The interviews are conducted on media personalities basically on journalists and editors from the various English newspapers present in Bangalore.

Altogether 30 interviews have been conducted based on seventeen questions to the journalists and seven questions to the editors. The main intention of selecting journalists and editors for the interview is that it provided diverse opinion about the concept of the status of woman journalist in print media in Bengaluru.

The professionals who have been interviewed are ParvathaVardhini, principal research analyst, The Hindu, Ms, Archana Nathan, Reporter/sub editor, The Hindu, Deepa Ganesh, Senior assistant editor, The Hindu, Sangeetha Chengappa, Senior assistant editor, The Hindu, Shilpa Sebastian Romeles, chief sub editor/ principal correspondent, The Hindu, T.M. Veeraraghav, resident editor, The Hindu, Mrs. Mini ChibberAnthikad, deputy editor, The Hindu, B.K., special correspondent, The Hindu, Ishwar Daitota, freelance editor/journalist, Mr. Sujit Chandra Kumar, Features editor, Deccan Chronicle, Mr. G. Ulaganathan, editor, India Express and Deccan Herald, Ramu Patil, Chief reporter, The New Indian Express, Diya Kohli, senior reporter/copy editor, City Express, Ashwini M Sripad, principal correspondent, The New Indian Express, Indumathy Sukanya, sun editor/reporter, The New Indian Express, Meera Bhardwaj, Chief Copy editor/reporter, The New Indian Express, Nivedita Niranjankumar, City reporter, The New Indian express, Anushree Chakraborty, copy editor, The New Indian Express, Elizabeth Thomas, Reporter, Deccan Chronicle, Shiba Meria Kurian, Senior reporter, Deccan Chronicle, Jisha Krishnan, chief sub editor, The Deccan Herald, Shruthi Srinath, sub editor/ reporter, Sunday Herald, Arundhati Pattabhiraman, suneditor/reporter, Sunday Herald, Tini Sara Anien, sub editor/reporter, Deccan Herald, Anushka Sivakumar, sub editor/reporter, Deccan Herald, Deepa Natarajan, senior sub editor/ reporter, Deccan Herald, AnithaPailoor, chief sub editor, Deccan Herald, Prajna G.R, trainee reporter, Deccan Herald, Nina C George, senior reporter, Deccan Herald, and Asha Krishnaswamy, Bureau reporter, Deccan Herald.

3.2 Interview Analysis

On the basis of the interviews, the interview analysis is done by comparing different opinions on the same questions. The interview analysis gives a clear understanding of a commonly accepted opinion about a question and helps in attaining specific conclusions.

3.3 Conclusions of the Interview

Conclusion of the interviews is based on the conclusions of the analysis of each question.

1.4 Sampling Technique

For this particular topic, the researcher will be selecting the purposive sampling technique (non-probability sampling) which the researcher thinks is the most appropriate ones for the given study. The method that this research topic requires is the in-depth interview which is a qualitative method and it is the most effective method in receiving the views and opinions of the journalists and editors. The data that is collected from this method will be called primary data as the information regarding opinions and attitudes are directly received from them. The data collected from books, documents, printed materials, etc. are known as secondary data.

3.5 Sample Size

Respondents form a sample size of 30, is used for this research purpose including twenty-five female journalists and five male editors for the better clarifications on this topic.

3.6 Sample Selection

Since the research topic is related to print media, the respondents will be mostly professional female journalists working on field and two male editors for their opinion on the same.

4. Analysis of the Interview

4.1 Interview Analysis

The analysis done below is based on the interviews which have been conducted in two and the half months. The interviews are conducted on media professionals, basically journalists and editors from the various English newspapers present in Bangalore.

• Objective 1: To analyse the status of women journalists in the workplace on the basis of equal pay at work.

1. Do the journalists get equal wages in terms of designation or performance based? Is there any gender Bias in terms of payment?

Lot of journalists agree upon the fact that they do get equal wages. Many also agree upon the fact that the payment that they get is purely on the contract basis. The wage board or the working journalist act system is not there in many organisations. Journalists like B.K from Hindu says that, though from outside it might seem that the wage is equal, but in actual it is not. There is a huge difference between the men and women in terms of payment which is not openly revealed. Whereas Sangeetha Chengappa from Hindu openly says that there is a preference on the community basis when it comes to payment and salary hike and she also says that there is a difference in payment, but on an individual level everyone is satisfied with their payment. Editors like G. Ulaganathan, Ishwar Daitota, RamuPatil,Sujit Chandra Kumar all have the same opinion that there is no gender bias in the organisation as well as in terms of payment. But Anushka Shivakumar from Deccan Herald has a different opinion. She says that there is a gender bias in terms of wages. Rest all the journalists says that they haven’t come across such issue before. And many journalists agree with the fact that they get the wages in terms of the designation and some say that they get it in performance and some says both. But each one of them has an increment in their salary each year, but these are completely based on their performance. Parvathavardhini from Hindu and Meera Bhardwaj from the New Indian Express says that, for a designation there is a standard amount which is fixed, which they get, but some get the salary based on their experience as well.

• Objective 2: To evaluate the status of women journalists in respect to the various benefits such as compensation, hours of work, etc

2. How many hours do you work in a day? Do you get compensated for overtime work? Normally the journalists are allowed to work for 144 hours in four weeks beyond which they are compensated for overtime work. Is this in practice? Does the professional life affect the personal life for female journalist?

Most of the journalists, except very few work maximum 8 hours. Though there is no time limit for a journalist and as they are supposed to work continuously, they have to follow the story and keep track of it. So, it is very difficult to complete their work sitting at office alone. Some senior journalists like, Meera Bhardwaj from the New Indian Express says that, she works 15-16 hours most of the day. She also works from office as she writes two articles on weekly basis which appears in the newspaper, and also Sangeetha Chengappa, from The Hindu, even she starts her day at 7.30 am in the morning and she works, more than 8 hours a day, which means that she crosses the limit of 144 hours per week. The reporters from the Deccan Herald are quite time bound and they, most of them do not work more than 8 hours a day as they have a weekly deadline to meet. But they at the same time, agrees up on the fact that the journalists from the news desk work more than 10 hours a day as they have to meet up with deadlines each day. But apart from working overtime, they do not get compensated for the extra time they put in their work place. The editors, like T. M. Veeraraghav says that, the 144 hours a week was set up during that time, when the journalists’ salaries were very less. Now most of the organisations have come out of the wage board system and now most of them hire journalists on the contract basis, where they pay the journalists 3 times higher salary than the traditional wage board. Ramu Patil from the New Indian express says that they always encourage journalists to complete their work faster and leave office early. He says that the hours of work depend on the assignment which they take. Whereas, G. Ulaganathan says that if the journalist works overtime, then he or she may get a day’s off from the organisation.

• Objective 3: To analyse whether the female journalists get maternity leave up to 3 months on full wages.

3. Do the female journalists get maternity leave up to 3 months on full wages?

All the 30 journalists have agreed that they do get the three months maternity leave on full wages. Some journalists like Shipla from The Hindu says that she also took the extra pending leaves which she had, which in total came up to 6 months. So, she got in total 6 months of leave on full wages and the organisation also gives full support regarding the same and the organisation is also quite lenient with this system.

• Objective 4: To find out the status of women journalists in various decision-making role.

4. How far are the women journalist involved in the decision-making role in an organisation? How many editors are female?

Asha krishnaswamy, from Deccan herald says that majority of the sections are headed by women but when it comes to taking a final call on news pages, men hold the key positions. Like Asha, many other senior journalists like Meera Bhardwaj, B.K, Tini and many more says that though women are pretty much deciding what happens in the page, but when it comes to the final thing, men are at the top deciding everything. They also says that there are very few women in the top, with such a senior most position and it happens because of many women do not chose to go or they drop out of the profession because of many other commitments. But there are notable women journalists like A T Jayanthi of Deccan Chronicle who was the editor of the newspaper for twenty years says G. Ulaganathan. But, Mini Chibber from The Hindu says that, women make almost all the decisions since their editor is a female. But it depends organisation to organisation. Whereas Sujit Chandra Kumar defends saying that there is enough representation of women in all departments.

• Objective 5: To probe the level of stress faced by women journalists in their workplace.

5. What do you think is the level of stress/work pressure faced by female journalist in an organisation? What is the strength of female journalist for covering hard news like crime beat?

Many journalists like Asha Krishnaswamy, Archana Nathan, Deepa ganesh, Sangeetha Chengappa,AshwiniSripad, Meera Bhardwaj, Shiba KurianAnithaPailoor agrees that they face no stress in job. Whereas B.K says that it’s the individual stress that a journalist takes when in work. But, Ishwar Daitota, says that there is nothing like male or female when it comes to stress. The job level is same, the assignment is different. It is the journalist’s knack of how they deal with it. Many journalists have the same opinion as him. But Ulaganathan says that, it depends on the individual and the husband or the parents as the case may be. No doubt it is tough work and no time limits. Ulaganathan also says that women are very god at covering very sensitive issues as they handle it with expertise. Also, Ramu Patil says that, women used to cover crime beat earlier. They had a crime beat reporter who was a female. Most of the editors says that the reporters are free to choose the beat they want. But Meera defends by saying that many women journalists are forced to do a certain task which they feel will be well covered by men and they do it till their tenure. They are cornered to one side for the rest of their life.

Major Findings

There are many key factors to note in this research topic which are as follows:

  • The payment of wages is done on the terms of designation and a fixed salary is decided for each post. And the journalists get paid for the extra stories that they come up with.
  • The women in the organisation do get the maternity leave on full wages and apart from they can retrieve their pending leaves and use them in this period.
  • The working journalists do not get compensated for the overtime work that they do instead some organisation gives them a day’s off to compensate the overtime work.
  • The women journalist works maximum 10 hours a day on an average.
  • The women’s hand in the decision-making role is very limited since there are very few women in the top most position, and men make the final decisions when it comes on making pages. The top-level management is mostly dominated by men.
  • The stress level for the women journalist is less in the features department since they have to meet up with the weekly deadline. But the stress level for the news reporter is comparatively very high irrespective of a male or female.
  • The female journalists when they go out for getting news, they are mostly on their own. The organisation hardly gives the security. Seldom, the journalists are accompanied by photographers. While in the office they most organisations have women grievance cell where they can give complaints. But not often looked after.
  • There is a lot of discrimination in terms of payment which is not openly revealed.
  • The journalists get their travel allowance and get their phone bill reimbursed upon proper submission of documents.
  • The journalists get their EPF (employer’s provident fund) and medical bills get reimbursed.
  • The journalists reveal that their experience working in the organisation has been good since the organisation gives them lots of freedom to what the journalists want.
  • Almost all the journalists are on the contract basis, so the security of job is a serious issue.
  • Conclusion
  • In India, from the very start, women had been suppressed and they had been denied rights for many things such as education, work, and so on. They were confined to the four walls of the house. In fact, there are many such cases, for instance, Savitribai Phule, went through hardships, looked down by the society, pelted with stones, just to give education to the young girls. Later, she became one of the pioneers and inspiration in the field of education. There were lot of reforms and movements for the women’s rights, and that’s where the feminism came into existence in the early 19th century. Feminism is nothing but establishes, and achieves equal political, economic, cultural, personal, and social rights for women. This includes seeking to establish equal opportunities for women in education and employment.
  • Since, India is a patriarchal society, and women are still suppressed by men and their ideologies, women want that even they have an equal pay as of men at work and so on. The feminist thoughts and revolution in the west is influencing women to a great extent and this might help the women to get their equal rights in the work front as well.
  • Here, the women journalists are determined, career oriented, action packed, committed, and ready to serve the news at par as of men. Not only that, women journalists can very well balance their professional lives and personal lives and look into everything they desire. But there is a lack of women in the senior most level and the decision-making role is very much limited to women and top-level management is very much dominated by men.
  • Women journalists can do a better job on field and for the society if they are given freedom of thought, expression, independency, security and respect.

References

1st, W. (2010). THE CASE FOR CHANGE. UK: people 1st.

BHAGAT, P. STATUS OF WOMEN JOURNALISTS IN THE PRINT MEDIA.

Dr. L. M. SWARNALATHA. (2016). Patriarchal Designs in Shashi Deshpande’s ‘The Dark Holds No. IOSR Journal of Humanities And Social Science (IOSR-JHSS) , PP 26-27. http://shodhganga.inflibnet.ac.in/bitstream/10603/6880/6/06_chapter%201.pdf. intenet. FEMINISM IN INDIAN CONTEXT.

Katharine Sarikakis, R. R.-S. feminist theory and research.

KAUL, M. (2004). RAW DEAL FOR WOMEN JOURNALIST.

Menon, N. (2012). Seeing like a feminist. Penguin/zubaan.

Nancy R. Lockwood, M. S. (2009). perspectives on women in management in India. Mumbai: SHRM.

PROF. UMA JOSHI, D. A. Images of Women in Print Media.

Rajeshwari Sharma, S. I. (2009). Perspectives on women in management in India. USA: SHRM.

Woolf, V. (1929). A Room of One’s Own. England: Hogarth Press, England.

Role of Films in Enhancing Transgender Normalcy with reference to evolution of trans-characters in cinema.

Abstract

The term ‘transgender’ is used for people whose gender identity is different from the sex assigned to us at the time of birth. The transgender community, since time immemorial has faced severe discrimination, inequality and had a stigma attached to them due to lack of information and awareness. . They have been subjected to mockery, violence, discrimination, harassment and mistreatment. The study explores how film plays an important role in helping the transgender community from being socially exclusive to socially inclusive. The first part of the paper will explore heteronormativity and the second part includes evolution of transgender characters in the films over the years by content analysing four different films and concluding how the mindset of people has changed, if any, towards the transgender community.

Keywords: Transgender, Normalcy, Heteronormativity, Transgender in Cinema, Silence of the Lamb, The Danish Girl, Sangharsh, Samantaral, Discrimination.

Introduction

In an iconic scene from the film Tootsie (1982), Dustin Hoffman as Michael Dorsey walks down a crowded New York City street dressed for the first time as his transgender alter ego Dorothy Michaels. The audience has not seen Michael as Dorothy until this very moment; the last shot before the cut to this scene is of Michael sitting in his agent’s office. How does the audience know how to react to this scene? How do we know to laugh rather than to cry, get angry, be afraid, feel sympathetic, or any of a number of other emotions? [JR Miller (2012) Crossdressing Cinema: An analysis of Transgender Representation in films].

Transgender" is an umbrella term that describes people whose gender identity or expression does not match the sex they were assigned at birth. For example, a transgender person may identify as a woman despite having been born with male genitalia. There's no one way to be transgender, and no one way for transgender people to look or feel about themselves," the organization says on its website.

A person's internal sense of being male, female or something else is their gender identity. For cisgender, or non-transgender people, their gender identity matches their sex at birth. For transgender people, the two do not match. [https://www.livescience.com/54949-transgender-definition.html]

According to American Psychological Association the term ‘transgender is an umbrella term commonly used for people whose gender identity is different from the sex assigned to us at the time of birth.’ During the British period when criminal Tribes Act 1871 was passed, the Trans people from that point of time was categorized as criminals. They have been subjected to mockery, violence, discrimination, harassment and mistreatment. Since such a stigma is attached to this community, the concept of ‘coming out’ has been forced upon them. With the advent of media, a ray of hope has been found in the end of the tunnel.

Films have always played a major role in influencing our thought processes and shaping our society. The transgender community has been coping with the lack of diversity and serious roles on the silver screen since the dawn of show business. Since time immemorial transgender people are often portrayed as an element of comical relief, psychopaths or serial killers. This was due to lack of understanding of transgender people and their community. However, with movies like ‘Boys Don’t Cry’ (1999) and ‘Transamerica’ (2005), a shift from demonising transgender people to greater attempts to understand them and represent them positively was noticed. This shift from the negative to positive light was brought about in three prominent stages-

  • Initially, (1950- mid 1990’s) transgender were portrayed in films as sensational freaks and psycho killers, for example- Glen or Glenda (1953), The Homicidal (1961), Sleepaway camp (1983) Silence of the Lambs (1991)
  • Next, it was the era when they were portrayed in the positive light and from demonising transgender people it shifted to a greater attempt to understand them and represent them positively for example -Films like Ma Vie en Rose (1997) and Transamerica (2005)
  • And finally, the next wave of representation took place and we began to see stories of people who are being supported to live as the gender with which they identify themselves like Boys Don’t cry (1999), The Danish Girl (2015).

By examining transgender representations in film, this research expands our understanding of how marginalized groups are represented across a range of texts and the way a body of text can communicate particular ideas about a marginalized group.

Literature Review

With the reference to existing literature, the study explores:

  • Heteronormativity

Heteronormativity is a concept used by sociologists and other social scientists to describe the way that sex and gender are used to hierarchically organize people in our society. More specifically, heteronormativity is the belief that heterosexuality, or a romantic and sexual attraction the opposite sex, is the only normal sexual orientation. Other sexual identifies are considered unnatural and are sometimes even legally prohibited.

Heteronormativity enforces not only strict norms about sexuality but also reinforces strict gender roles within society. For example, the model that women should stay home with children while men work is upheld by a belief that men and women have specific jobs to do in our society.

This is also related to what is known as the gender binary, whereby individuals are categorized into either male or female. Although the terms sex and gender are related, it is important to note the distinction between the two. Sex refers to the biological and hormonal differences between men and women, whereas gender refers to the social relationships and standards that define how men and women should act. [https://study.com/academy/lesson/heteronormativity-definition-concept.html]

Transgender and other

In "Gender Trouble" Judith Butler undermines the distinction between sex as a natural given category and gender as an acquired cultural- social category. Butler argues that sex also is a socially constructed category which stems out of social and cultural practices and in the context of a discourse that has a history and its own social and political dynamics.

In "Gender Trouble" Judith Butler develops her famous performative theory of gender (and the analysis of drag queens in this respect) which tries to account the manner in which a subject identity is formed while establishing Butler's claim that gender identity is not a manifestation of intrinsic essence but rather the product of actions and behaviours, that is, performance. In other words, Judith Butler argues that everyday actions, speech utterances, gestures and representations, dress codes and behaviours as well as certain prohibitions and taboos all work to produce what is perceived as an essential masculine of feminine identity. Butler aims at deconstructing this notion of integrated, stable identity as the extension of an inner essence, and the illusion of the sexual body, which are in Butler's view repressive and dangerous, but also underminable.

Judith Butler relies in "Gender Trouble" on Michel Foucault's theory presented in "Discipline and Punish", which challenges the relations of body and soul. Foucault argued that oppression imposed on prisoners is not internalized but is rather imprinted or marked on their bodies. Methods of discipline and punishment act on the body and form the image of the recalcitrant inner soul. This image regulates and justifies the actions of power upon the body. Foucault's argument, adopted by Judith Butler, is that the soul is the prison of the body, and not the other way around as was widely held in western culture. In this Foucault means to argue that discourse formations that deal with the human soul and define it essentially operate through the body and on the body, shaping it and marking it with the traces of the alleged "soul" which hides somewhere deep inside. In "Gender Trouble" Judith Butler genders Foucault's notions and holds that gender is in fact the predominant cultural agent which operates on the body, thus constituting the concepts of masculinity/femininity and the identities of heterosexuality/homosexuality. Judith Butler's agenda in "Gender Trouble" is to deconstruct the essential nature of gender identity and to expose it as the fabrication that it is.[Judith Butler(1990) Gender Troubles]

Concept of ‘Coming Out’

The term ‘coming out’ refers to the process by which one accepts one’s own sexuality, gender identity or status. This can be a continual, life-long process for homosexual, bisexual, transgender.

Savin-Williams and Ream (2007) highlighted various benefits and reasons for coming out including the desire to share one’s life with others, ending concealment, gaining freedom and maintaining honesty and genuineness. [Savin-Williams and Ream (2007)]

Cinema’s Role in influencing the perception of the audience

It is impossible to deny the role of cinema in society. Ever since its conception, moving pictures have proven to be far more than just a simple tool for entertainment. Throughout history, individuals have manipulated this technology, not only to tell stories but also as a unique channel to broadcast opinions — opinions that have gone on to change the perspective of entire generations and achieve real change. The most common method of doing this comes in the form of documentaries, movies that usually focus on a specific, real life topic with the hopes of initiating change or bringing awareness to an issue otherwise not there. Cinema extends its influential reach to more than just cultural phenomena. [Joshua Reid (2014), Cinema and movies play formative role in society]

Research Methodology

In this qualitative research study, I am analysing the content of four films to understand how films enhance transgender normalcy. The variables I am analysing are:

  • Narrative Conventions
  • Visual Codes
  • Audience Perception

• The objective of this study is to understand how the evolution of transgender characters has occurred on celluloid over the years from being mere comic relief or demonizing them to showing them in the positive light as the protagonist by content analysing four mainstream cinemas.

• The objective of this study is to examine how films play a significant role in permeating transgender normalcy into mainstream cinema as opposed to heteronormative roles through audience perception.

The study will be based upon two case studies -->

Case1) Representation of trans characters in two Hollywood films. The films I have taken into account are The Silence of the Lambs (1991) and The Danish Girl (2015)

Case2) Representation of trans characters in two Regional films. The films I have taken into account are Sangharsh(1999) and Samantaral(2017).

Findings

Case1-Films Taken- The Silence of the Lamb and The Danish Girl

In Case 1 the first movie I have critically analysed is the iconic 1991 movie, The Silence of The Lambs, where the trans character, Buffalo Bill has been portrayed as sensational freak.

Hollywood is often found guilty for promoting transphobia and cissexism. The negative attitudes and discrimination directed toward people whose gender identity, or perceived expression, is different from the sex they were assigned at birth. In Jonathan

Demme’s Silence of the Lambs, JameGumb, also known as Buffalo Bill has been demonized as a psychotic transgender person in contrast to normative expressions of gender who are idealized as innocent. The result is a transphobic dichotomy with cisgender and transgender positioned as moral opposites. Transgender women are often represented as psychotic killers as a way of reflecting to mainstream society’s fear of gender nonconforming people. This portrayal in film reinforces the idea that being transgender is unnatural and perverted, and in a sin to the mankind. This results in embedding transphobia in the minds of a wide range of audience. Silence of the Lambs also portrays transgender women as imposters. After analyzing the Buffalo Bill case files, Hannibal Lecter claims, “Billy hates his own identity, you see, and he thinks that makes him a transsexual, but his pathology is a thousand times more savage and more terrifying.” This quote enforces the idea that other people can determine a person’s gender identity. There is also a taboo revolving around the genitals of transgender people, because of the idea that one’s sexual organs determine gender. One of the most memorable scenes in Silence of the Lambs is the one where Gumb dresses up in a flowing cloth, tucks her genitalia between her legs, and poses in front of a mirror, all while wearing the hair and scalp of one of her victims. This scene is often considered as the film’s most disturbing moment. In the mind of the audience Buffalo Bill is supposed to be scary not only because she murders and skins her victims, but because she is having the body of a man underneath women’s clothing. Such demonization of trans character have risen to transphobia as a result of which trans people thought that they should hide their non-normative gender expressions at the expense of their emotional well-being.

Silence of the Lambs idealizes normative gender expression. Conformity to gender roles is seen as innocent, an antithesis to gender variance. Martin is illustrated as the innocent victim, conforming to the gendered damsel in distress trope, in contrast to Gumb, who is the gender-bending killer. [ Savannah Staubs(2014)]

In contrary to The Silence of the Lambs, the next movie I have analysed is The Danish Girl which tells the story of the well-renowned Danish painter, Lili Elbe, who was among the first individuals in the West to undergo gender confirmation surgery. The films rightfully showcased the inner struggle in a transgender person between the genders they are born into versus the one where they feel they truly belong. This is one of the few movies where the trans character is portrayed in the positive and raw light instead of diminishing the character into psycho killers or mere comic relief. This is a welcome change in the showbusiness. Such films leave a positive mark in the mind of the audience about the trans community when they witness the struggles a trans person has to go through on an everyday basis. This enables the society to be more inclusive about the trans-community and not ridicule them as something sinister and unnatural.

Case 2

Films Taken- Sangharsh and Samantaral

In Case 2 the first movie I have taken into account in famous Bollywood movie ‘Sangharsh’ where the trans woman, Lajja Shankar Pankey played by Ashutosh Rana, was portrayed as a Devil worshipper who abducted children, sacrificed and cannibalised them. The trans woman is demonised as a horrifying serial killer. Such depiction of trans characters led to fear and disgust in the mind of the audience. People started associating real life trans people with those they have seen in the movie. Just like Hollywood, even in Indian regional films transgender women are often represented as psychotic killers as a way of reflecting to mainstream society’s fear of gender nonconforming people and heteronormativity is shown in the positive light where the films protagonist, Reet Oberoi, played by PreityZinta was shown as the righteous, innocent CBI Officer. Such portrayal has led to transphobia and inclusivity of trans people have become a taboo.

In contrary to the first people, the second film, Samantaral, explores the topic of transgenderism in a very different way. This movie revolves around the life of a mid-age man, Sujan, who identifies himself as transgender. Because of the taboo and shame revolve around this issue, his family kept him in house arrest always trying to hide his identity from the outside world. The audience empathises with the character of Sujan, his struggles, his loneliness, his suffocations on a very personal level. In the climax, the protagonist commits suicide and donates his eyes to his abusive younger brother, which is like a slap on the face of the society. The films trade all the nuances of a trans character life in a very raw and beautiful manner and delivers the message that a transgender is not someone who is born against the rule of nature, but a mere human being of flesh and blood. The fear and sin which revolves around a trans person is completely baseless and is just a construct of the society.

Conclusion

Film has a uniquely powerful ubiquity within human culture. Glamour on silver screen has more impact on the masses than real life issues. Initially the transgender representations work generally to position the transgender identities of the characters as separate from heteronormative society which lead to a distancing of the characters from the member of the audience. The characters were also visually constructed to show a difference between their transgender identities and heteronormative society. Earlier the portrayal of trans character was done because of the following objective-

  • The trans character were written in such a way to create a distance between them and the heteronormative audience. The distancing of the transgender characters from the audience is done by using specific narrative conventions and visual codes to deny the audience an emotional investment or identification with the characters. The characters were often presented as objects of ridicule by privileging their heteronormative counterparts and as objects of fear by constructing them as threats to violently attack heteronormative society. However, in the recent times we see a change in the portrayal of transgender as element of empathy and sympathy rather than fear and hatred is included in the narrative. This change in narrative helped showing the transgender in a very different light to the audience which in turn has given escalation to trans normalcy in our society.
  • Filmic representations of transgender individuals are constructed with a primarily heteronormative audience in mind. This is the main reason the heteronormative identities of the characters are privileged throughout the films. Film, in general, seeks to reflect the interests and concerns of the audience so if the audience is viewed as primarily heteronormative, transgender representations are constructed to appeal to this dominant audience. [ [JR Miller (2012) Crossdressing Cinema: An analysis of Transgender Representation in films]. However, as the mindset of the people started changing, they are becoming more acceptable to the trans-community which is return is influencing the choice of narrative of the films revolving around the trans character. The trans community is no longer shown in the negative light only as psycho killer and sensational freaks but their real-life stories are also being told in the form of auto-biographies.
  • Times are changing and so are the narratives of cinema. Cinema has been the biggest source of entertainment for people in the entire length and breadth of the country. All sections of society-rich or poor, young or old, literate or illiterate-are crazy about watching movies. Cinema cultivates certain ideologies in the mind of the viewers. When the trans characters were portrayed as devils in disguise, our society was skeptical about the inclusivity of trans people because of the influence that films were having on them. However, as the portrayal of the community was changed from devil to human of flesh and blood, the entire taboo about the community began to fade away. Now we have included transgender in every sphere of life, for example- India’s first transgender judge, Joyita Mandal, transgender police officer,PrithikaYashini, college principal, Madhabi Bandyopadhyay to name a few. Even though times are changing we still have to go a long way before trans normalcy becomes a way of life.

References:

American Psychological Association, retrieved from [http://www.apa.org/helpcenter/sexual-orientation.aspx] on 5th September, 2019

Butler,J.(1990): Gender Trouble. Routledge: United States.

Livescience, retrived from [https://www.livescience.com/54949-transgender-definition.html] on5th September, 2019

Miller, JR.(2012): Crossdressing Cinema: An Analysis of Transgender Representations in Films.

Savin-Williams, RC. & Ream, GL. (2007). Prevalence and stability of sexual orientation components during adolescence and young adulthood.Archives of Sexual Behaviour, 36(3), 385-94.

Study.com, retrieved from [https://study.com/academy/lesson/heteronormativity-definition-concept.html] on 5th September, 2019

TheSocyCinema/blog, retrieved from [https://www.thesociologicalcinema.com/blog/the-not-so-hidden-transphobia-in-silence-of-the-lambs] on 5th September, 2019

The Reflector, retrieved from [http://www.reflector-online.com/opinion/article_f2561142-5587-11e4-9627-001a4bcf6878.html] on 5th September, 2019

Charitha Prabasarani Marcus
University of Sri Jayewardenepura
Sri Lanka
Dec - 2020

Introduction

This chapter starts with the background of the study and researcher provide an introduction about the emerging trends of Social media networking and how modern peers are maintaining relationships with the use of Social Media Communication. Then the researcher explains the research problem, research objectives, research questions, significance of study, and methodology of the study.

Background of the Study

The era we are living in has reached the higher level of technology, where people are more ‘aware’ and ‘connected’ than before. ‘Mobility’ plays an essential role in contemporary world where people are not firmed in one place but keep moving with their work. The modern technology has made this easier and more convenient. The arrival of new media and online media made our daily communication quicker and easier with plentiful mobile communication devices. This also gave rise to Social Media Networking which has become an integral part of people’s daily life.

Social Media Networking is a form of communication, which use many channels available on the Internet to communicate a message to a targeted audience in an online environment. Social Media Networking involves exchanging, capturing, storing and presenting information in written, audio or video formats. Largest Social Networking sites includes Face Book, Twitter, Face Book Messenger, You Tube, We Chat, Instagram, LinkedIn, Tumblr, Pinterest, Skype, Viber etc.… and any feature that allows interaction of individuals that has ability to engage in conversations with each other. Social Media Networking allow people to share content quickly, efficiently and in real-time and it has transformed the way we communicate in day to day life.

Today, Social Media have become an important way of communicating and maintaining relationships. It has become an essential tool for social networking. When observing the contemporary society, it is normal to see people are more engaged with Social Media Networking during the day and night. The reason for this is easy accessibility of Social media in the mobile devices which people use in their daily life.

Interestingly, Social Media has created a ‘networked society’ especially among the young peer groups. They are always connected and engaged through various Social Media Networking sites. During their daily work most of the people do not hesitate to use Social media for numerous reasons. So, in one-point Social Media Networking has made relationships closer since it is real time communication. However, Social Media Networking can impact the peer communication positively as well as negatively.

Even though Social Media Networking has numerous benefits there is a concern whether it really make closeness or a distance in verbal communication. Because often we observe in the society people are isolated with their mobile devices and Social Media evading face to face verbal communication. One important aspect is due to obsession of Social Media people can be a victim of Social 1Ostracism. People can be unaccompanied even after being with peers.

This study will be aiming to find out what are the positive and negative impacts of Social Media Networking on peer communication. The objective is to find out does really social media networking make peer relationships stronger or does it make any distance in face to face communication? The study is significant because it will try to find out the habits and behavior young peers on Social Media platforms and how they use it for building and maintaining relationships. It will also observe the different patterns of peer communication used by individuals on Social Media. Most importantly the study will focus on the impact of Social Media Networking on Early Adulthood Peer Communication in the country. This study is valuable for both academic and practitioners of Sri Lanka to understand the impact of Social Media Networking on Early Adulthood Peer Communication and the research will fill the research gap in the topic in Sri Lankan context to a certain extent.

Literature review

Social Networking and Young Peers

Over past decade, the importance of technology has become very significant in the lives of young people. Undoubtedly, Social Media Networking plays a vital role in modern peer relationships. Generally, young peers have integrated Social Media into their lives and from building a friendship to maintaining it, Social Media tools have become an essential force. Therefore, Social Media Networking have today is an imperative platform for young people to maintain and reinforce their peer relationships.

Interestingly, modern online communication tools are developing rapidly by advancing newer features always. Smartphones are very important devices providing networking facilities to peers since majority of young people are connected online through their smart phones. Today, young peers are lot more connected than before. Majority of them are heavy users of Social Media Networking sites. Fascinatingly, Social Media Networking sites keeps youth in their peer circle.

Students are the future of nation. They are the ones who have been born into a generation that can be called the “internet generation”. Their every need is fulfilled by the internet. Be it that of making relationships to shopping to finding information on the internet. Zarryl Lobo, (2008)

A study done by Mahat, S Mundhe on Impact of Social Networking Sites on the Youth, Sinhgad Institute of Management and Computer Application, India (2014) discovered that social media had enabled the youth to gain awareness about the society and current issues and it has provided a platform of discussion on societal issues such as education, human right violation, effects of global warming, crime against women, corruption political controversies etc. The researches have suggested that youth should be protected against the unhealthy contents circulating on Social Media and its effects in modern society.

Social Media Networking allows young peers to maintain and stay in touch with their existing friends. Sometimes they might have long distance relationships and unable to meet often but still maintain friendship through Social Media Networking. Sometimes online communication also helps to find long lost friends especially through social media. This is a very positive aspect. In other hand, Social Media plays a critical role in connecting with new friends, allowing young peers to learn about new friends and also get to know them better. While maintaining existing friendships over Social Media tools young peers also interact with strangers online in order to build new friendships. This can be positive as well as negative. It is important to find how actually these Social Media Networking activities affects young people’s lives and how they develop, maintain peer relationships with their existing friends as well as with strangers.

Nearly two-thirds (64%) of teens who have made a new friend online say they have met new friends on a social media platform. Two-thirds (62%) of teens say they’ve shared their social media username with a brand-new friend as a way to stay in touch. Beyond making new friends, social media is major way that teens interact with their existing friends. More than nine-in-ten teens (94%) say they spend time with friends on social media. (Lenhart, 2018).

The study, the influence of the social media on the Nigerian youths revealed that Nigerian youth spent more time on social media network than other sites. The report said that female youths' pregnancies occurred due to exposure to social media pornography. According scholars in order to safeguard the modern youth, unhealthy social media contents like crime, sex and other harmful tendencies should be monitored. Adaugo et. al (2015)

According to a 2001 survey by the Pew Internet and American Life Project, 48 percent of online teens believe that the Internet has improved their relationships with friends; the more frequently they use the Internet, the more strongly they voice this belief. Interestingly, 61 percent feel that time online does not take away from time spent with friends. (Subrahmanyam & Greenfield, 2008).

“Social Networking is just a tool after all but is mightier than the sword.” This is not just a statement but is the reality of the power of influence of social networking on the perception of mass audience. Social Networking has positive influence else well as can have adverse effect on an individual’s psychology depending upon the perception of that individual. Social Networking can be used in every possible way depending upon the needs, wants and desire for the outcome. Bharadwaj (2014)

Research problem

Social Media Networking is the latest and most impactful invention of modern media technology. Not only the communicative aspect of the contemporary society, Social Media Networking has also changed the way people build and maintain relationships. Today Social Media Networking is a must to keep in touch with one’s friend and family circle. At the same time the Early Adulthood is the stage of a human where he/she enters to the mass society, takes responsibilities and develops themselves physically and mentally. In this age the relationships they build are really important to shape their lives. Not like earlier in modern society Social Media Networking is one of key paths to build and maintain relationships. Social Media Networking gives many positive reasons to deal with them, also bounces many negative causes of using them. The main concern is because of the availability and easy access of Social Media Networking young people tend to have less face to face verbal communication. The addiction to Social Media Networking also cause many psychological issues in young people. Addiction to Social Media Networking can isolate a person without any social integration. Therefore, the main objective of this study is to find out positive and negative impacts of Social Media Networking on Early Adulthood Peer Communication. The concern committed with this, does really social networking make peer communication stronger or does it make any distance or downfalls in peer communication. There are also apprehensions that how Social Media Networking affect other aspects such as consumer socialization, social movements, and peer victimization in Early Adulthood which are ultimately contribute for a better peer communication. Because of above mentioned issues it is valuable to research about impact of Social Media Networking on Early Adulthood Peer Communication. This study will be aiming to find out what are the positive and negative impacts of Social Media Networking on Early Adulthood Peer Communication.

Research objectives

Key Objective

  1. To observe the actual impact of Social Media Networking on Early Adulthood peer Communication in Colombo.

Specific Objectives

  1. To study the Social Media Networking behavior of early adulthood peers in Colombo.
  2. To study the influence of social media networking on early adulthood peers to build/maintain relationships.
  3. To study the impact of Social Media Networking on Peer Victimization.
  4. To study the relatedness of Social Media Networking on Consumer Socialization among peers.
  5. To study the connection between Social Media Peer Communication and formation of Social Movements.

Research Questions

  1. First Question How Young Peers in Colombo behave in Social Media Platforms?
  2. Second Question Does Social Media Networking influence young peers to build/maintain Relationships?
  3. Third Question Do young people affect by Social Media Peer Victimization?
  4. Fourth Question Does Social Media Networking contribute to Consumer Socialization among young peers?
  5. Fifth Question Does Social Media Peer Communication contribute to the formation of Social Movements?

Significance of the study

It is obvious that wrong use of social media networking can affect people’s lives psychologically as well as socially. The risk is higher in the stage of early adult hood since in this period of time young people are more exposed to social networking to deal with their peers. Also, peer relationships have a major impact on person’s overall development. While enjoying the benefits of modern social media, the issues related with social media peer networking can be unwelcomed troubles. Therefore, proper consideration of this practice will lead social media users/professionals of media/academicians to find effective way to use social media networking to make strong and healthy peer communication.

This study is valuable for both academic and practitioners of Sri Lanka to understand the impact of social media networking on early adulthood peer communication and the research will fill the research gap in the topic in Sri Lankan context to a certain extent.

Methodology

Researcher conduct this research using bellow mentioned research strategies

Research approach – Quantitative method is use for this study to measure the impact of Social Media Networking on Early Adulthood Peer Communication.

Data Collection - Data will collect through the questionnaires. In questionnaire, first section design by asking demographic questions and the next sections are designed to measure impact of social media on respondent’s peer communication. The secondary data for this study mainly from previous research and other secondary sources as books, journals, newspapers, related conferences & seminars and internet.

Sample techniques – Research sample base on selected respondents between ages 18-35 who live Colombo Sri Lanka. Convention sampling method was used. Total sample include 120 respondents.

Data analysis method - Descriptive statistics

Limitations of the study

The accuracy of data cannot be guaranteed fully, since some respondents will not give their true opinion or not in the correct state of mind when answering the questionnaire. Undergoing the research certain limitations have to be faced as well.

Data Analysis

Researcher only used quantitative methods to measure the topic. But it is better to use both qualitative and quantitative methods.

Sample size

The sample size is only 120 people which is not enough to identify the clear impact of the Social Media Networking on Early Adulthood Peer Communication in the country.

Geographic location

Sample has taken from the certain areas of Colombo city, Sri Lanka which is also not enough to identify the actual impact.

Time frame

The study is limited to the time frame of three months where the research should be limited according to it.

Subjective area

Since there are hundreds of Social Media Networking sites available the researcher only focused on few most popular social networking sites.

Conclusion

Research questions was analyzed by using some questions and according to the descriptive statistics the researcher has come up with following conclusions.

1 How Young Peers in Colombo city behave in Social Media Platform?

Undoubtedly each and every respondent are using Social Media. Colombo as the commercial capital of Sri Lanka there is no surprise that the latest technologies and trends are spreading rapidly among citizens. Therefore, most of young peers of Colombo seems to be more active and aware about Social Media. Here, we can come to a conclusion that social media is widely used by many young people in Colombo. But, a decade ago social media popularity was retrograde. Yet, it is not fair to compare these results with whole country since the spread of Technology and New Media\Social Media is not equal in every corner of the Sri Lanka. Because of less Information Technology knowledge, lack of infrastructure, and less access to Internet in rural areas can change these results in a dramatic way. But however, due to the popularity of smart phones there is an uprising popularity of social media in urban, semi-urban and rural areas of Sri Lanka. However, study indicates that in present Social Media has become an integral part of young peers of Colombo.

Smart phones are the most used device by young peers to connect to Social Media. Less price and availability of smart phones made it more obtainable on young peer’s hands. It is handy and can use anywhere anytime. Therefore, other than Computer or Laptops young peers of Colombo use Smart Phones for Social Media Networking. This indicates that there is an absolute connection between use of Smart Phones and Social Media Networking.

The Foremost purpose of using Social Media by young peers are, to stay in touch with friends or Lovers and also Entertainment Purposes. Especially Social Media is the best way used by young peers to communicate and maintain distance relationships. Therefore, undoubtedly Social Media is a strong fact of building, maintaining young peer relationships. Also, it is an ideal medium for lessening life stress and providing entertainment to them.

Interestingly the data is concluding that one of the top reasons to use Social Media by young peers are for business and marketing purposes. This is an emerging trend. The findings show the importance of enhancing Social Media Marketing in the country. Though Internet marketing is still young in Sri Lanka it is a significant fact that young people are progressing Social Media Marketing and Business opportunities in the country. They have their own opportunities to start or join in a new business through Social Media. Still, this has a way to go throughout the country.

Social Media has become a friend or a partner to many young people to fill up their spare time. They often use Social Media to get refresh during busy schedules. That means they are mostly aware of what is happening in their friend’s life. This is a good circumstance to maintain peer relationships since they are updated about their friends.

Social media has become one of the fastest and popular medium among young peers to know news and happenings around the world. They mostly like to use social media to stay in up to date on current news and affairs. It is significant since there are more viable media such as newspaper, radio or television to get updates on currents happenings. Also, there are many doubts on online news circulations such as fake and manipulated news. Still, young adults prefer to use social media for current news and affairs because of instant updates.

Young adults of Colombo also use Social Media mostly to make new friends. But female respondents didn’t have much interest on this like male respondents due to safety issues on Social Media. Sharing photos and videos is one of the favorite and definite activity by many social media users. Getting feedbacks form friends in the form of likes and comments has made young peers to share photos and videos often in Social Media. Many young people use social media to give a voice to their hidden opinions. Therefore, social media has become a good platform to share opinions especially for those who has no place for their voice.

Many individuals, mainly female prefer to share their own life updates with social media friends. Some young people think it is essential to update each and every update of life in Social Media. Therefore, behind most of real-life activities of young peers, updating it on Social Media has become a pioneer intention.

Social media has both banes and boons. Using social media for pornographic materials is not a secret anymore. Many young people, especially men seek pornographic contents through social media.

Faking people through social media fake identity has become threat to a healthy use of social media. Still many young people tend to have fake social media profiles other than their original profiles for several reasons. Therefore, there is an obvious possibility of faking people through social media every now and then.

Also, recently social media has become a powerful medium to gather people for various social movements, charity and discussions. However, Educational purposes comes last of using Social Media by young peers. Therefore, researcher concludes that Young peers of Colombo have not identified the educational value of Social Media much. Moreover, it stands as an obstacle to studies by distracting young peers.

However, having a Social Media account has become an integral part of modern life. Young peers feel that use of Social Media is a necessity to keep in touch with their social circle.

Significantly for most of young peers there is no specific time to use social media. They use it often, time to time, during the day, whenever they get a chance to scroll the mobile phone screen. Especially, youngest people are much habituated to spend time on social media during the day. They are heavy users of Social Media. But when the age group get mature, they seem to get less time to spend on Social Media due to their busy schedules and responsibilities. Still, Young peers of every age group use Social Media widely.

When considering other media habits of young peers Television is the most preferred mass media among them where they spend more time after Social Media. But young peers do not like much to listen to radio like they spent time on Social Media or Television. The popularity of online music apps, download ability of songs, mobile music and vlogs have impacted the popularity of radio. Most of the young adults have less interest in reading printed newspapers. Availability of DVD, online streaming and downloading movies and also downfall of local cinema has made a distance with young peers and cinema theatre. But they often use internet to watch movies as they are big fans of Hollywood, Bollywood and Kollywood and Korean Cinema. But unfortunately, modern young adults have ignored valuable art forms such as folk arts and traditional theatre utterly.

Facebook, Facebook Messenger and You Tube are the mostly used and preferred Social Media Networking sites among Young People. Still, social networking sites like Tumblr, Reddit and My space are not popular in Colombo, Sri Lanka. They mostly spend much time on chatting and calling on social media apps such as whats up, imo, viber, messenger and Skype. There are people who even use more than 4 hours on face book and you tube. This can be an addiction.

2 Does Social Media Networking Influence Young People to build and maintain relationships?

According to the study the modern young peers feel peer relationships are highly important for their life. That indicates in young adults’ lives peer relationships have very significant importance. As they feel Peer Relationships are extremely important to their lives, they are often a part of active peer groups. There is not anyone who doesn’t participated in a Peer Group. Female mostly prefer to have one specific peer group while male are members of several Peer Groups. Overall Peer Relationships are a certain aspect of young peer’s lives and they are definitely a member of one or more Peer Groups. It means that Peer Relationships are an important force of modern Socialization.

Face Book is the most convenient method to maintain Peer Relationships. But, in many other countries young peers have turned towards other various social media platforms to maintain peer relationships since face book has become quite old method or very common platform. But in Sri Lanka still young peers are highly attached towards face book and other social media stands secondary. There are some social media which are popular in other countries but still not well spread around Sri Lanka. Such as Twitter, Pinterest, Flickr, Google+,Reddit, Tumblr, My Space…

However according to the study top 5 Most Convenient Social Media Used by young adults in Colombo to maintain their Peer Relationships are;

Face Book

Whatsapp

Facebook Messenger

Viber

Snap Chat

Most clearly young adults of Colombo are more affected towards social media which provide chatting and conversations other than any other social media which provide other facilities. For example, you tube is for vlogging and Twitter is for micro blogging not to chat or interact with friends. That indicated the sole purpose of using social media by young adults in Colombo Sri Lanka is to maintain, build relationships and interact with their peers.

The above conclusion is ensured by the activities mostly involved by young peers in Social Media. They use it mostly for Voice Calling a friend, Video calling to a friend, liking or commenting, chatting with them. They hardly use social media for activities such as Blogging or Micro Blogging. Therefore, it can say that social media activities of young adults are aimed towards having healthy and strong relationships with their Peers. Yet, they have not identified well the other use of social media.

Fortunately, these young peer relationships are not limited to cyber space. Most young adults are meeting their friends outside often. Therefore, still Colombo Sri Lanka has not reached a level that people only maintain virtual relationships. This is a good sign since meeting your friends and interacting in person is highly important for healthy socialization. Male peers are meeting their friends more frequently than female respondents. Cultural barriers to girls on hanging out, house responsibilities and work were having limited female hanging out with friends. Though the society is rapidly changing still some traditional barriers for girls are still valid. This has made female peers to have more social media relationships than meeting in person. However, this was not highly conservative situation but a quite notable state.

According to the study Social Media is extremely important for maintain young peer relationships and they often plan Peer Gatherings through Social Media. But, use of social media has become a barrier to verbal communication when peers are gathered. Significantly, when peers are gathering most of them are busy with their Mobile Social Media which ultimately become an interrupt to face to face verbal communication.

Therefore, as social media are bringing peers together it also distracts the face to face communication. This is a negative impact of Social Media Networking on Peer Communication.

Coffee shops and Restaurants culture, hangouts are popular among young Peers. This is an indirect benefit for the business industry. Many of them have favorite and usual spots of hanging out. Also, other than current issues or news young peers are often discuss about latest Social Media Trends. That means Social Media has an ability to form Social Discussions. But these trends only survive for few weeks. Young peers often gather to sit and talk or to go on trips. Again, cultural barriers have limited female peers to involve in these activities. But however, significantly today young peers do not involve in psychical activities such as sports much which is very essential to build team work and harmony among peers.

However, to build and maintain peer relationship Social Media plays an important role. Sometimes it become an enthusiast to maintain peer relationships and sometimes it also becomes an obstacle to peer relationships by distracting verbal face to face communication.

3 Do young people affect by Social Media Peer Victimization?

Adding unknown people to social media accounts has increased than before. This shows the urge to build new relationships and get to know people. This is a healthy aspect for modern socialization since social media is an ideal place to find new people and build relationships. But this task is risk attached. Adding unknown people has often led to the social media peer victimization. However, whoever use the social media have experienced some kind of bad experience. Mostly, using someone’s comments/messages/photos for negative purposes, flaming/harassment/threats/Hate speeches/Over aggressive Language, social media trolling, use of photos or videos unknowingly for negative purposes, Stereo typing are negative experience devoted with social media. Women are mostly facing Misogyny and body shaming in social media. Gay bullying, personal information disclosure, social media account hacking, social media stalking is also among bad experiences attached with social media.

Generally, most female face negative peer activities on social media than men. Even a considerable amount of male also has victimized by negative peer activities on social media. Therefore, being mistreated on social media is an obvious practice experienced by anyone who is using social media. This can be something serious or something not at all very serious.

Other than unknown people, young peers often face social media peer victimization by ex-lovers. That means social media is using as a weapon of revenge. Surprisingly an extensive number of young also experience social media peer victimization done by their peers. Most of the time peers have done these for entertainment purposes but sometimes upon jealousy and other hatred reasons.

Facing social media peer victimization have affected young peers to suffer from negative mental situations such as stress which delayed their daily works, got scared and frustrated, been angry and irritated, depression, anxiety and other psychological difficulties. Even some of them have got suicidal thoughts. This is an alarming situation on negative impact of social media. Mostly, female face these harassments. Facebook is the pioneer place that peers face social media peer victimization.

As a conclusion Social media has become a platform where people often peer victimization and this has become a threat to their daily works and an extra mental health which can lead to a suicidal thought even. This ultimately can halt the healthy peer communication.

4 Does Social Media Networking contribute to Consumer Socialization among young peers?

In modern society everyone aware of Social Media Marketing and E - commerce. Especially young adults are mostly exposed to this since they are heavy users of internet, new media and social media. Interestingly online shopping has not reached a level compared to other Asian countries. It has a longer way to go. It has not earned a larger believability or usability among young adults in Colombo due to frauds.

However, before buying something online or offline (go and buy) young people often obtain product information through various way. This product research is done mostly with the interaction with internet or peers. Interestingly no one is satisfied with given information. They seek more information through friends, users, social media pages, review and other internet-based activities. Family or adults do not play a major role on influencing social media buying. But Social Media Peer communication actively play a role in buying products and services since they often participate social media promotional activities with their peers. As a Conclusion Social Media Peer communication has a great influence on Consumer Socialization among the young adults.

5 Do Social Media Peer Communication contribute to formation of Social Movements?

There is no assurance of Young Peers that Social Media Movement can make any impact in reality. This is an important finding that in many countries social media movements made huge impact by gathering people. But in Sri Lanka social media users still have not reach that level of maturity on Social Media Movements. They have not understood well or have not used social media correctly to form an important social movement. Though social issues are discussed in social media platform widely there is no further step taken to form it as a social movement. Moreover, these discussions have become a trend for one or two weeks which fade gradually.

Other than posting something supportive to a social issue as a hobby or an entertainment young peers do not psychically involve in social movements in an offline environment. They are more “trend followers” than acting wisely to participate on a social movement which can bring a real social change. However, during the flood disaster 2017 the “Pray for Sri Lanka” social media campaigns have acted a major role of facilitating needy people. Along with other mass media, Social Media has done a great job-sharing quick updates on help needed places. Most of young social media users have actively participated in this national disaster campaign by sharing government announcements, collecting donation, weather alerts, road assistance and other related information. One of the special things noticed during this situation was there were a distinct service launched by especially young peer social media groups to “rescue animals”.

Also, in cases like collecting fund for PET SCAN MACHINE for cancer hospital, 2015 Presidential election social media has played an evolutional role by bringing a real social change. But some important current issues such as “Vilpattu” national forest deforestation, Killing elephants for “IVORY”, Breast Cancer awareness, or Adopt a Dog have not get much social media support as they required to form a real social movement. These are the real issues that should be addressed and discussed publicly to raise public voice against it or supporting it. But, unfortunately these campaigns have not get the massive support they required in Social Media by young peers to form an impactful Social Movements.

But, negative campaigns such as “Sinhale” and “Community violence in 2018 March” have received some unnecessary Social Media support by young peers. The results were that the government decided to block social media in Sri Lanka for a one week during “Kandy Riots 2018 March”.

In a conclusion, young adults of Sri Lanka still have not identified the real power of social media to form an impactful social movement which can bring evolutional solutions for most of contemporary social, economic, religious, cultural, or political issues. Moreover, they use social media as a leisure activity. They have formed mild social movements especially for negative reasons such as community violence but not for real social problems. Overall conclusion is, there is no significant relationship between forming impactful social movements through social media peer activities in a massive way.

6 The actual impact of social media networking on early adulthood peer communication in Colombo.

The actual impact of social media communication on early adult hood peer communication is significant in the forms of building, maintaining relationships. It is the prime way of building new relationships and maintaining existing relationships. It also has some positive impact on consumer socialization. In opposite social media networking also leads to negative impacts such as breaking peer relationships, peer victimizations. There is no significant impact of social media peer networking on forming social movements. Social media networking has a significant impact on peer communication from the way they build relationships to how they socialize. Therefore, in conclusion social media networking has a distinguished impact on peer communication in both positive and negative way.

Recommendations

  1. This the study is based on Colombo Sri Lanka, the commercial capital of Sri Lanka. The findings cannot apply for the whole country since there is significant social media communication imbalance between urban, semi-urban and rural areas of the country. Lack of infrastructures, lack of technological knowledge has made rural areas little backward. The behavior, knowledge, attitudes, and beliefs can be different in rural young adults than urban young adults. However, researcher do not expect very significant difference from rural areas since nowadays due to the popularity of smart phones social media is not something new to people. Still, a complete study is required to test the impact of social media networking on early adulthood peer communication in rural areas.
  2. There is a rising tendency of using social media for business which has not reach the peak level but it has reached a considerable level. This is a good opportunity for young people to start a new business with the help of their social media peer communication. The study recommends young adults to think about new and innovative entrepreneur opportunities through social media.
  3. Using social media for educational purposes is a much-needed change in Srilankan social setting. Still urban based young users of the country have not identified the use of social media as a better educational tool.
  4. Social Media setting requires a separate set of rules, guidelines and ethics to avoid malpractices such as circulation of adult content, pornography materials, fake news and other unsuitable materials. Today, many children are entering to the social media world and this can be a very harmful for their development since social media is almost free, and barrier less.
  5. A certain actions should be taken legally for making and using fake social media profiles for some harmful intentions, and using social media as an arm of revenge.
  6. A definite and transparent guidelines should be taken for fund raising, charity, and donation collection in social media to make it more trustworthy and useful tool for such activities.
  7. Young social media users of Srilanka have not identified the other uses of social media than using it for entertainment. They should realize the importance of using
  8. social media for other numerous moral works such as, education, social mobilization, act against injustice, help to needy, integration of people on disaster situations, spread peace and harmony, political communication, wild life and nature preservation, child and women safety, women empowerment, etc…
  9. Avoid using social media or smart phone during face to face conversations, meeting your peers often, involve in outdoor sports activities, keep in touch with peers via social media are highly recommended to have healthy peer relationships which is essential for personal development.
  10. Building wide social media discussions on current issues and acting both on line and offline to bring a solution or a change is highly recommended for young adults of the country.
  11. Young adults should be careful of adding unknown people to their personal social media accounts and keeping connection with them. It is greatly recommended to identify a person in real apart from their social media identity.
  12. Online shopping, social media marketing should earn more believability among people to build an effective social media marketing process in the country. This should develop more. Marketers and business people should understand the ability of social media on consumer socialization and they should focus on using social media peer relationships more beneficial for their marketing process. First of all, they should earn trust among consumers.
  13. The country need effective and impactful social changes which can bring through a mass social movement. There are issues that should be addressed by young people of the country. Other than online activities young adults should give their great participation and involvement to solve social problems actively by forcing authorities. They should identify the effective use of social media to do so.
  14. Peer victimization has become an extra mental pressure to young adults as they are highly exposed to social media. It is recommended for social media users to overlook their social media activities so they will not knowingly or unknowingly involve in social media peer victimization.

References

• Books

AthugalaAriyarathna. (2009). Communication Concepts, Theories and Models. 4th ed. Colombo 10: Fast Publishing (pvt) ltd.

Barnett, G. (2011). Encyclopedia of social networks. Los Angeles: Sage Publications, p.vii.

Batra, R., Myers, J. and Aaker, D. (2006). Advertising Management. 2nd ed. Delhi: Pearson Education Inc., p.362.

Clampitt, P. (2018). Social media strategy. Thousand Oaks, California: SAGE Publications, Inc., pp.4-5.

Çoban, B. (2015). Social Media and Social Movements: The Transformation of Communication Patterns. London: Lexington Books, p.37.

Communicating Online: Adolescent Relationships and the Media Kaveri Subrahmanyam and Patricia Greenfield, 2008

J. Kumar, K. (2016). Mass Communication in India. 4th ed. Mumbai: Jaico Publishing House, pp.1-2.

J.Kumar, K. (2016). Mass communication in India. 4th ed. Delhi: Jaico Publishing House, p.510.

Kotler, P., Kartajaya, H. and Setiawan, I.,(2010). Marketing 3.0. New Jersey: John

Lalithadheera, K.A. (2008). Research Methodology 2. 1st ed. Homagama: Author Publication.

Lenzer Gertrud, Pinheiro Paulo Sergio. Violence Against Children: Making Human Rights Real.

Mahendra Sunanda. (1985).Evolution of Journalism. Poojitha Industrial Publications.

Mcquail Denis. (2010). McQuail’s Mass Communication Theory. 6th ed. New Delhi: Sage Publications.

Moreno, M. and Radovic, A. (2018). Technology and adolescent mental health. Springer, p.75.

Prof. RathnapalaNandasena. (2012). Principles of Sociology. 11th ed. Pannipitiya: Stamford Lake (pvt) ltd.

Reddy, C.R. (2008).Research Methodology in Social Sciences. New Delhi: Kalyani Publishers.

Weerasinghe Tudar, Ranajan Shri D.K. (2006). Journalism, Journalism study and Criticism. 2nd ed. Horana; Shipalee Publications.

WijeyawardenaKusumsiri. (1998) Changing Patterens Of Advertising.Maradana:Godage Publications

Yu, J. J., Tepper, K. H. & Russell, S. T. (2009). Peer Relationships and Friendships. Building Partnerships for Youth. National 4H Council and the University of Arizona.

University of Kelaniya, Department of Mass communication. (2003).Media Research.1st ed. Colombo 10: Rathna Publication.

Previous Researches & Journals (offline/online)

Adaugo, Chiemela Queen., Ovute A.O and Obochi Charles I (2015) The influence of the social media on the Nigerian youths: Aba residents experience, Journal of Research in Humanities and Social Science, 3 (2):12-20.

Alzahrani, Sultan and Christian Bach (2014) Impact of Social Media on Personality Development, International Journal of Innovation and Scientific Research, 3(2):11-16.

Balousha, H. (2013) Palestian Youth on Social Media. Gaza Publications. Barajas-Portas, K. (2015). The Impact of Consumer Interactions in Social Networking Sites on Brand Perception. Universidad Anahuac Mexico Norte,Mexico.

Bassem, E and Maamari. E.B, (2013) The Impact of Social Media on the Political Interests of the Youth in Lebanon, Lebanon: Hala El Zein Published.

Bharadwaj (2014), “Poke me: Social Networking Sites; A weapon, a threat and A Target” New Media and Youth. Interactive Media and Society, pg 86

Canhoto et al. (2013) “Customer service 140 characters at a time: the users’ perspective”, Journal of marketing management, Vol. 29 No. 5-6, pp. 522-544.

Chen, Peter John and Ariadne Vromen (2012) Social Media, Youth Participation and Australian Elections, Project Report, Department of Government and International Relations, University of Sydney, Australia.

Choi, Ronnie B. (2010) Social Media and Youth Narcissism: Methods of Utilizing Current Technology in an Instructional Setting, Project Report, Faculty of the School of Education, University of San Francisco.

Chung, C. and Austria, K., (2010). 'Social Media Gratification and Attitude towards Social Media Marketing Messages: A study of the effect of Social Media Marketing Messages on Online Shopping Values.l., 581-586.

Devadoss, Victor A and Clement Joe Anand M. (2013) Impact of Social Media on Youth Activism and Nation Building in Pervasive Social Computing Using Neutrosophic Cognitive Maps (NCMS), International Journal of Computing Algorithm, 2(1): 257-262.

Elaheebocus, R.M.S (2013) Impact of online social networking on Youth: Case study of Mauritius, Engineering Department University of Mauritius.

Fields, M. (2013) Social Media’s Impact on Youth, USA: Middle East Study

Keipi, T., Kaakinen, M. and Oksanen, A. (2017). Social Tie Strength and Online Victimization: An Analysis of Young People Aged 15–30 Years in Four Nations.

Livigston,Rajendran (2014), New Media and Youth. Interactive Media and Society, 160 - 164 pg

Mahat, S and Mundhe (2014) Impact of Social Networking Sites on the Youth, Sinhgad Institute of Management and Computer Application, India : 225-230. 159

R. Landoll, R., M. La Greca, A. and S. Lai, B. (2013). Aversive Peer Experiences on Social Networking Sites: Development of the Social Networking-Peer Experiences Questionnaire (SN-PEQ). PHD.

Rhanem, Karima (2012) Social media and youth participation, Paper Presented in the seminar on ‘Empowerment of youth organizations and youthled civil society initiatives in the South-Mediterranean framework, Malta, March 22-24.

Shabir, Ghulam., Yousef Mahmood Yousef Hameed., Ghulam Safdar and Syed Muhammad Farouq Shah Gilani (2014) The Impact of Social Media on Youth: A Case Study of Bahawalpur City, Asian Journal of Social Sciences and Humanities, 3(4):132-151.

Shailashree, B. (2014), New Media and Youth. Interactive Media and Society edited by Khatti Neeraj pp.22-25.

Subrahmanyam, K., Reich, S.M., Waechter, N and Espinoza, G. (2008) Online and offline social networks: Use of social networking sites by emerging adults, Journal of Applied Developmental Psychology, 29(1) : 420–433.

Tripati,k Shukla, (2014),New Media and Youth. Interactive Media and Society, pg110-111

Zarryl Lobo, A. (2008). Student Perception About Internet Credibility. Masters. University of Bangalore.

Zarryl Lobo, A. (2018). Student Perception about Internet Credibility. P.87.

L. Jarvenpaa, S. and KristiinaTuunainen, V. (2012). Company Tactics for Customer Socialization with Social Media Technologies: Finnair's Rethink Quality and Quality Hunters Initiatives. 2012 45th Hawaii International Conference on System Sciences.

Wang, X., Yu, C. and Wei, Y. (2012). Social Media Peer Communication and Impacts on Purchase Intentions: A Consumer Socialization Framework. Journal of Interactive Marketing, Volume 26(Issue 4).

Chandra, B. and Raghavendra, R. (2016). New Media Application for customer relationship management: A compartive study in India and Iran. Social Science Abstracts, XL, p.402.

Philipp, K. (2013), “New insights from practice-exploring online talent management strategies and the use of social media as a management research tool”, International Journal of Market Research, Vol. 55 No. 6, pp. 829-838

Harrah, R. (2012), “Social media opens doors for young entrepreneurs”, Profiles in Diversity Journal, Vol. 14 No. 6, pp. 18-20.

Zhang, J.Q. et al. (2010), “When does electronic word of mouth matter? A study of consumer product reviews”, Journal of Business Research, Vol. 63 No. 12, pp. 13361341.

Huang, M. et al. (2011),”Making your online voice loud: The critical role of wom information”, European journal of Marketing, Vol. 45 No. 7/8, pp. 1277-1297.

Prabhu Lobo S.A. (2004). Consumption of the Internet: A uses and Gratification Perspectives. University of Bangalore.

Indian Academy of Social Sciences. (2016). Social Science Abstracts.Volume XL.

Other Online Resources

Bloomberg Quint. (2018). Villagers In India Use Internet To Communicate More Than For Social Networking. [online] Available at: https://www.bloombergquint.com/technology/2018/02/21/villagers-in-india-use-internet-to-communicate-more-than-social-networking [Accessed 9 May 2018].

Christopher, N. and Shankar, S. (2018). Local social networking players tapping people in small towns. [online] The Economic Times. Available at: https://economictimes.indiatimes.com/tech/software/local-social-networking-players-tapping-people-in-small-towns/articleshow/63553035.cms [Accessed 9 May 2018].

Della Porta, D. and Diani, M. (2015). The Oxford Handbook of Social Movements. [online] Google Books. Available at: https://books.google.co.in/books?id=BZK1CgAAQBAJ&printsec=frontcover&dq=social+movements&hl=en&sa=X&ved=0ahUKEwjhxLaTw9zbAhXMrY8KHatFAAYQ6AEILTAB#v=onepage&q=social%20movements&f=false [Accessed 18 Jun. 2018]. 551

Intro – consumer socialization Online marketing communications and childhood's intention...Available.. https://www.researchgate.net/publication/296693535_Online_marketing_communications_and_childhood's_intention_to_consume_unhealthy_food [accessed Apr 05 2018].

Lenhart, A. (2018). Chapter 4: Social Media and Friendships. [online] Pew Research Center: Internet, Science & Tech. Available at: http://www.pewinternet.org/2015/08/06/chapter-4-social-media-and-friendships/ [Accessed 21 Apr. 2018].

Thaichon, Park & Quach, Sara. (2016). Online marketing communications and childhood's intention to consume unhealthy food. Australasian Marketing Journal (AMJ).

Universiteit Twente. (2018). Media, Culture and Society | Medium Theory. [online] Available at: https://www.utwente.nl/en/bms/communication-theories/sorted-by-cluster/Media%2C%20Culture%20and%20Society/Medium_theory-1/ [Accessed 22 May 2018].

Dictionaries & Encyclopedias

Encyclopedia Britannica. (2018). Social movement. [online] Available at: https://www.britannica.com/topic/social-movement [Accessed 14 Jun. 2018].

Encyclopedia of Early Childhood Development

http://www.child-encyclopedia.com/peer-relations

https://dictionary.cambridge.org/

https://www.collinsdictionary.com/

Oxford Advanced Learner’s Dictionary

Ms. S. Haneen Raihana
M.Sc Electronic Media,
Anna University, Chennai

Dr. N. Tamilselvi
Dean – Media Studies
QuaideMilleth International Academy of Media Studies
Chennai

Dr. C. Velayutham
Assistant Professor,
Department of Media Sciences,
Anna University
Chennai
Nov - 2020

Abstract

The topic of crime is widely discussed and debated in the country with increasing number of criminal records happening around the globe. Due to the untold, cruel impact on the victim’s acid attack is considered as a serious offence in India, which is the fourth largest dangerous place for women in the case of acid attacks. Reforms for this crime were made only recently in the legislation. Due to the easy availability of acid the market and also being inexpensive, perpetrators find it an easy weapon to commit their crimes instantly with ease. According to the statistics shared by civil society, more than 85% of the acid attack victims are women. The reasons behind their attack are completely baseless like rejection for marriage or love, rejection for sexual advance, domestic violence, land dispute, property inheritance and much more. The sole aim of the perpetrator is to disfigure the woman completely and satisfy his hunger for revenge. The effects of the attacks are gruesome and the difficulties faced by the women victims are so heart-wrenching that it cannot be described in words. This study aims to explore how the crimes of acid attacks are conveyed to the people through newspapers.

Key words

Acid Attack, Crime, Gender Violence, ASFI

1.1 Introduction

Acid attack is considered a serious offence only in the recent years and judiciary reforms have made in the year 2013, making it recognizable as a punishable offence. During the initial years, there are situations where hundreds of incidents occur every year which go unreported. The perpetrators roamed freely devoid of strict rules in our country and the victims suffered all forms of difficulties for survival. According to the statistics shared by the civil society (ASFI – Acid Survivors Foundation India) for acid attack victims, around 200-500 cases are reported every year and more than 85% are women victims of which 78% are attacked for rejecting love or marriage proposal.

1.2 Aim

The aim of this study is to analyze the portrayal of acid attack incidents on women and related news in popular newspapers in Chennai

1.3 Objectives

  • To analyze the significance given to the news related to acid attack in the newspapers.
  • To study the construction of the victim’s survival stories in the newspapers.
  • To investigate the legal and ethical orientation of the coverage in terms of gender violence

1.4 Need for the study

According to the recent data provided by National Crime Bureau, there are nearly 500 cases reported every year on an average basis. This issue is still not eradicated completely from our society mainly due to lack of awareness and lack of strict legislation to demolish this cruel form of crime. The incidents started getting exposed to media only after 2000 and almost every media portrays information related to acid attacks nowadays. This study is necessary to understand the significance given to acid attack related incidents and also to analyse the coverage carried out by media. This study also aims at understanding the construction of news stories and also the priority given to acid attack related legislation and other forms of ethical reforms in our national media.

1.5 Limitations of the study

This research study aims only at understanding the importance given by the print media with regard to acid attack incidents on women and the way of portrayal of news stories but not on a mission to create awareness among common public. The sole aim of the study is to analyse the content of print media and investigate information regarding legal legislative procedures and won’t imply any positive or negative stand on this issue.

1.6 Media Portrayal of Women Crimes

Ever since the first light of human evolution, crime has been a perplexing problem. There is hardly any society today which is not beleaguered with the problem of crime. Rising levels of insecurity, aggression, danger of public disorder, rioting, household robbery, bomb blasts in the metro cities, mafia dominance, mindless acts of hooligans and an overall growth of anti-social behaviour are but a few of the lasting images that typify a society that apparently is moving further and further into lawlessness. With regard to acid attacks, cases were reported only after 2000. Hence, media contribution in the exposure of acid attacks is less but it’s growing as our national media at present tries to focus on every issue (Jonjua 2014) .The need of the hour is that the print and television media should be put under scrutiny for the way in which they report the news items (Jonjua 2014).

1.7 Legislation in India

There was no specified law for ‘acid attack’ offence as it was not considered as a criminal offence in our Indian judiciary system. The amendment was brought only after continuous struggles by many civil societies. A new ray of hope was given to the struggle movement based on the recommendation of Verma Committee Report to include acid attack in the Criminal Law (Amendment) Act of 2013. The existing Section 326A and 326B of the Indian Penal Code was amalgamated around February 3, 2013. (Menon and Vashishtha 2013) It states that – ‘Whoever causes permanent or partial damage or deformity to, or burns or maims or disfigures or disables, any part or parts of the body of a person or causes grievous hurt by throwing acid on or by administering acid to that person, or by using any other means with the intention of causing or with the knowledge that he is likely to cause such injury or hurt, shall be punished with imprisonment of either description for a term which shall not be less than ten years but which may extend to imprisonment for life, and with fine: Provided that such fine shall be just and reasonable to meet the medical expenses of the treatment of the victim: Provided further that any fine imposed under this section shall be paid to the victim.’ (Verma 2012)

It states-. Furthermore, Section 326B also penalises the attempt to throw acid. It states whoever throws or attempts to throw acid on any person or attempts to administer acid to any person, or attempts to use any other means, with the intention of causing permanent or partial damage or deformity or burns or maiming or disfigurement or disability or grievous hurt to that person, shall be punished with imprisonment of either description for a term which shall not be less than five years but which may extend to seven years, and shall also be liable to fine. Another milestone step taken with this regard is the integration of Section 357C to the Code of Criminal Procedure which also came into effect on February 3, 2013. The Section states that all hospitals, public or private, whether run by the Central Government, the State Government, local bodies or any other person, shall immediately, provide the first-aid or medical treatment, free of cost, to the victims of any offence covered under section 326A, 376, 376A, 376B, 376C, 376D or section 376E of the Indian Penal Code, and shall immediately inform the police of such incident." (Sagar 2012). The United Nations had already passed a Declaration on this burning issue on the Elimination of Violence against Women in 1993. India has ratified this Convention and obliges to implement the same. Article 4(f) of this declaration recommends member states to develop preventive measures for violence against women by legal measures (Jiburum 2008)

1.8 Methodology

The study adopts ‘Descriptive Research Method’. This form of method design answers the question ‘What’ and ‘How’. Descriptive research can be either quantitative or qualitative news related to acid attacks published in Chennai edition newspapers (Jan 1, 2014 – Feb 1, 2017) has been taken for content analysis. The content of the newspapers were examined and analysed using various parameters, which contribute to overall readability of the materials. Three English newspapers - The Hindu, The Times of India, Deccan Chronicle and three vernacular newspapers - Dinathanthi, The Hindu (Tamil), and Dinamalar were selected for examination. These newspapers were selected based on the Indian readership survey.

1.9 Parameters

The overall content analysis was taken into consideration based on a set of parameters for carrying out the research effectively. The parameters are necessary in order to find out the priority of the news, the construction of survival stories, legal orientation of the real incidents and the ethical violation carried out in the Chennai edition of the respective newspapers.

1.9.1 Parameters for Analysis (Qualitative):

  • Anonymity of the victim: It is important to preserve the identity of the victim and must not reveal to the outside world and most of the victims and their surroundings prefer not to reveal their identity.
  • Reason of the acid attack: The main motive or the purpose behind the attack will be portrayed in the newspaper. The ‘real reason’ is what triggered the perpetrators to commit such cruel crime.
  • Description of the incident: The actual narration of the incident, the way of telling how the incident happened. Expressing the incident in the form of impactful text and choosing the right words for providing relevant information.
  • Perspective or the view point of the described incident: Describing the acid attack incident in the view of :
    • Victim
    • Narration of the happening by the victim’s parents/well-wishers
    • From the view point of the law makers.
  • Framing of the story: This study inducts ‘Four Frames’ and finds out how the acid attacks are framed in English and Tamil newspapers. The essence of the article (the actual incident) can be framed in various ways :
    • Revenge frame - If the newspaper article/report frames the incident as Revenge, then it employs ‘Revenge frame’.
    • Rejection Consequence frame - If the newspaper article/report frames the incident as Rejection Consequence, then it employs ‘Rejection Consequence frame’.
    • Crime against women frame - when the newspaper article/report frames the incident as Crime against women, then it employs ‘Crime against women frame’.
    • Blame frame – when the newspaper article/report frames the incident as Blame, then it employs ‘Blame frame’. It is an important parameter in this content analysis.
  • Sources quoted in the story: The article or story carries information sourced from renowned experts, professionals or any piece of information provided by any credible source.
  • How laws/acts pertaining to acid attacks explained: The laws or acts or any piece of official judiciary data related to acid attacks must be given prominence in the
  • Sensationalism carried out in the newspapers: Any form of information is exaggerated or brought out in much hype by the media in order to attract audience instantly. Likewise, acid attack incidents are also portrayed with much sensation by some newspapers.

1.10 Theoretical Orientation

Following the literature studied, the ‘Social Responsibility Theory’ is best suited for this study as it sums up the responsible nature as well as relevant ethics one needs to pursue for the welfare of the society; in this case, the journalists are responsible in conveying the message to the public. This model was designed formally by Siebert, Peterson and Schramm in 1956. Social Responsibility theory of mass communication is relatively a new concept which started in the mid-20th century and is used mostly by developing and least developed countries. It is highly mandatory for any form of media to be conscious of what is portrayed to the audience. With regard to acid attacks, there are certain journalistic ethics to be followed for effective reporting and also handling the professionalism in making people aware of the legal orientation pertaining to acid attack incidents – laws/acts/any form of legal information. Hence, this theory lists down the ethical culture and the responsible nature to be followed for effective coverage of acid attack related incidents.

1.11 Analysis of Parameters:

1.11.1 Revealing the identity of the victim (Anonymity)

It is important to preserve the identity of the victim. If the newspapers reveal the identity and recognition of the victims, then it is a sign of ethical violation done by the news medium as well as the journalists.

NEWSPAPER

NAME

LOCATION

ACQUAINTANCE

PHOTOGRAPH

The Hindu

Woman police constable

Vellore

Realtor

No

The Times of India

Vinothini

Chennai

Victim’s Father, Jayapaul

Graphical representation

Deccan Chronicle

Rajyalakshmi

Hyderabad

Victims’ attacker, Neelu

Graphical representation

Dinathanthi

மீனா (Meena)

மதுரை (Madurai)

தந்தை –உதயசூரியன் (Father –Udhayasuriyan)

Dinamalar

ஸ்ரீவித்யா (Sri Vidya)

சென்னை (Chennai)

அண்ணன்- விஜய் (Brother – Vijay)

The Hindu (Tamil)

லாவண்யா (Lavanya)

திருப்பத்தூர் (Thirupathur)

லாரிஓட்டுனர்சுரேஷ் (Lorry Driver Suresh)

From the analysis of the content of every article, the following were concluded:

• Maximum of the identity is revealed by Times of India – among English newspapers.

• Maximum of the identity is revealed by Hindu (Tamil) - among Tamil newspapers.

• With a view of general comparison, Tamil newspapers reveal the victim’s actual identification at a larger extent even along with the victim’s pictures than the English newspapers.

1.11.2 Actual Reason behind The Acid Attacks

The ‘real reason’ is what triggered the perpetrators to commit such a cruel crime. The optimum percentage of the main reason behind these gruesome attacks can be analyzed through this.

Table 1.1 shows the examples of Articles that portrays the actual reason

NEWSPAPER

REASON PORTRAYED

The Hindu

She turned down his marriage proposal. (Rejection)

The Times of India

This should serve as a warning to other women who plan to cheat innocent men.(Rejection)

Deccan Chronicle

He attempted to rape her as she refused to yield to his pleasure; the enraged auto driver threw acid on her.  (Rejection)

Dinathanthi

உன்னைஎன்னசெய்கிறோம்பார் (See what we will do to you!) (Revenge)

Dinamalar

காதலுடன்ஓடிபோகமறுத்ததால், ஆசிட்வீச்சு  (Acid Attack for not eloping with boyfriend) (Rejection)

The Hindu (Tamil)

தீபாகாதலைஏற்கவில்லை (Deepa didn’t accept the love) (Rejection)

From the analysis of the content of every article, the following was concluded:

• The top reasons for acid attacks portrayed by both the newspapers are – Rejection consequence and Revenge

1.11.3 DESCRIBING THE ACID ATTACK NEWS

Expressing the incident in the form of impactful text and choosing the right words for providing relevant information. Analyzing the news story for simple description of the crime to exaggeration and creating hype.

Table 1.2 shows the examples of Articles that describes the acid attack incident

NEWSPAPER

DESCRIPTION

The Hindu

Vidya is the second victim in the city to succumb to acid attack injuries.

The Times of India

She fought for her life with the extraordinary courage she displayed when Suresh threw acid at her.

Deccan Chronicle

Acid attack on her by an auto driver, who allegedly attempted to molest her.

Dinathanthi

‘அழகாய்இருக்கிறோம்என்றஆணவத்தில்தானேஎங்களைஎடுத்தெறி்ந்துபேசுகிறாய்’ (“You talk so rude to us just because you are proud of your beauty”)

Dinamalar

‘ஆத்திரமடைந்தவிஜயபாஸ்கர்ஆசிட்டைவீசியுள்ளார்.’ (“Enraged Vijayabaskar attacked with acid”)

The Hindu (Tamil)

‘ஆசிட்பட்டதால்வலியால்துடித்தலாவண்யா.’ (Lavanya wriggled in pain due to acid attack)

From the analysis of the content of every article, the following was concluded:

• With a view of general comparison, vernacular newspapers described the incident with much exaggeration compared with the English newspapers.

1.11.4 Perspective or The Viewpoint Depicted in the News Story

Describing the acid attack incident in the viewpoint of:

  • Victim
  • Narration of the happening by the victim’s parents /well-wishers
  • From the view point of the law makers.

Table 1.3 shows the examples of Articles that depicts the perspective/viewpoint

NEWSPAPER

PERSPECTIVE/VIEWPOINT

The Hindu

‘There is no intensive care unit. She was lying on a cot that was stained in her own pus, her uncle Rajan alleged.’ (Victim’s well-wisher)

The Times of India

‘She has been referred to the Christian Medical College Hospital in Vellore," said a police official in Tirupattur.’  (Law maker)

Deccan Chronicle

‘I have been called for another phase of treatment at SankaraNethralaya. I know that the search to find an accommodation is going to be difficult.’(Victim)

Dinathanthi

‘வாழ்க்கைமுடிந்ததுஎனநினைத்தேன், ஆனால்மீண்டும்மலர்ந்துள்ளது- சோனாலிஉருகினார்.’ (“ I thought my life was over, but it has blossomed again”)  (Victim)

Dinamalar

‘உயிருக்குபோராடும்நிலைக்குதள்ளப்பட்டாள், எனஅண்ணன்விஜய்வருத்தத்துடன்தெரிவித்தார்’ (Victim’s brother Vijay sadly disclosed that she was pushed to the extremity for survival of her life)  (Victim’s well-wisher)

The Hindu (Tamil)

‘அந்தவழக்குகொலைவழக்காகமாற்றப்பட்டுள்ளது, எனபோலீசார்தெரிவித்தனர்’. (‘Police said that the case was changed to a murder case’)(Law maker)

From the analysis of the content of every article, it is found that: This parameter gives an insight on how the articles carry the essence of the message – from whose perspective and opinion.

1.11.5 Framing of the News Story

The essence of the article (the actual incident) can be framed in various ways

  • Revenge frame
  • Rejection consequence frame
  • Crime against women frame
  • Blame frame

It is an important parameter in this type of content analysis. Each newspaper frames the story majorly depending on their motive to convey the message to the public in their specified tone.

Table 1.4 shows the examples of Articles that employs different frames

ENGLISH NEWSPAPERS

TAMIL NEWSPAPERS

The Hindu:

  • Headline - 21-year-old acid attack victim succumbs to wounds in Chennai
  • Lead - Vidya is the second victim in the city to succumb to acid attack injuries. The family donated her corneas to SankaraNethralaya
  • Whole article: Yes (Crime against women Frame)

Dinamalar:

  • Headline-‘காதலுடன்ஓடிபோகமறுத்ததால், ஆசிட்வீச்சுக்குஆளானார்’. (Attacked with acid for not agreeing to elope with boyfriend)
  • Lead – காதலுடன்ஓடிபோகமறுத்ததால், ஆசிட்வீச்சுக்குஆளானபெண், மருத்துவமனையில்கவலைக்கிடமாகஉள்ளார்.  (Victim attacked with acid for not agreeing to elope with boyfriend; hospitalised in critical condition) Whole article: Yes (Rejection frame)

Times of India:

  • Headline - Tirupattur woman constable suffers injuries after acid attack
  • Lead – A 29year old

Police constable attached to the Armed Reserve Police suffered injuries on her face and hand after unidentified persons attacked her with acid.

  • Whole article: Yes (Crime against women Frame)

Dinathanthi:

  • Headline–பெண்முகத்தில்ஆசிட்வீச்சு: தொழிலாளிகைது (Woman attacked with acid; Labour arrested)
  • Lead –பெண்முகத்தில்ஆசிட்வீசிதாக்கியதொழிலாளிகைதுசெய்யப்பட்டார். (Labour who attacked woman with acid arrested).
  • Whole article: Yes (Rejection frame)

Deccan Chronicle:

  • Headline - Acid attack victim woman constable suffers vision impairment.
  • Lead - A woman constable has suffered vision impairment in her right eye.
  • Whole article: Yes (Crime against women Frame)

Hindu (Tamil):

  • Headline – ‘ஒருதலைகாதலால்விபரீதம்.’ (Peril of one sided love)
  • Lead –வினோதினிமீதுஆசிட்வீசிகொலைசெய்தசுரேஷ்குமாருக்குஆயுள்தண்டனை. (Life sentence to Sureshkumar who killed Vinothini with acid attack)
  • Whole article: Yes (Rejection frame)

From the analysis of the content of every article, it is found that:

The framing of the news story varies accordingly for each newspaper as there is different form of description of the actual incident. The frame of ‘crime against women’ is at a higher level among English newspapers. But, Tamil newspapers frame the story more on ‘rejection’. The frame of ‘Blame on women’ is at a very low percentage among all the newspapers.

1.11.6 Sensationalism Carried Out In The Newspapers

Any form of information is exaggerated or brought out in much hype by the media in order to attract audience instantly. Likewise, acid attack incidents are also portrayed with much sensation by some newspapers. The description, word usage or even picture portrayal and such elements create much sensation among the readers to have a look at the article.

Table 1.5 shows the examples of Articles that carries sensational content

NEWSPAPER

SENSATIONALISM

The Hindu

Eg: One day his mother accosted me and slapped me. She began accusing me for her son being in this condition.

The Times of India

Eg: The story of Vinodhini shall be at least a lesson and deterrence for those who may have a semblance of feeling to commit such gruesome acts against Women.

Deccan Chronicle

Eg: The unrelenting branding and stigma that she faces from the society hurts her much more than the scars.

Dinathanthi

Eg: ‘அழகாய்இருக்கிறோம்என்றஆணவத்தில்தானேஎங்களைஎடுத்தெறி்ந்துபேசுகிறாய்’. (“You talk so rude to us just because you are proud of your beauty”)

Dinamalar

Eg: ‘காதல்மொழிபேசிதொல்லைதந்தான்’.  (He gave trouble by luring)

The Hindu (Tamil)

Eg: தன்னுடன்ஆசைவார்த்தைபேசமறுத்ததால், கோபம்அடைந்தான்.  (“He was enraged since I did not indulge in sweet talks with him”)

From the analysis of the content of every article, it is found that:

Times of India newspaper carries more hyped content, among English newspapers. Tamil newspaper Dinathanthi carries much higher effective sensational content, compared with the Tamil newspapers. Usually, newspapers follow this tactic to attract the readers instantly towards the news story and acid attack news also falls under that section to make people read the news. The Hindu (both English and Tamil) newspaper carries lesser sensational content compared with other newspapers. On an average, Maximum form of sensationalism is depicted by Tamil newspapers comparatively with the English newspapers.

1.12 Results and Discussion

  • Significance given to acid attack related news: With a detailed analysis on the coverage of acid attack related news and information, taking into account of three English newspapers – The Hindu, The Times of India, Deccan Chronicle and Tamil newspapers – Dinathanthi, Dinamalar, The Hindu (Tamil), it is determined that both the set of newspapers give almost equal importance to acid attack related news. English newspapers account to 45% whereas Tamil newspapers account to 55%, a slight higher percentage than the Tamil newspapers. With regard to the placement of the article in the newspaper, the space allotment and even the size of the respective article – the prominence is clearly analysed concluding the above results.
  • Ethical violation: With the analysis of the collected data, it is found that Tamil newspapers violate journalistic ethics to a greater extent by 60% whereas English newspapers account to 40%. The identity of the victim along with the picture is portrayed largely by the Tamil newspapers which are against the news ethics and in several cases, it might cause trouble to the victims and journalists must be responsible enough in handling this critical issue.
  • Sensationalism surrounding the story: With every media creating much sensation and hype for any news, news media also depicts sensation through story narration style and impactful words. Tamil newspapers are at a higher percentage (75%) in creating hype for a news story especially through their effective headline and ‘words’ which makes the reader look onto the news insantly. English newspapers follow a decent style in depicting hype and they don’t bother much about that accounting to 25%. Much hype is not needed for serious issues like acid attack cases.
  • Importance of judicial acts/laws: Most of the English newspapers depict news stories backed by official judicial information or any factual laws/acts passed on pertaining to acid attacks and it’s around 65% whereas Tamil newspapers account about 35% which is pretty much lower compared with the English newspapers. Every acid attack news story should be supported by governmental laws/acts for better understanding and awareness on this cruel issue.
  • Construction of victim’s survival stories: Among the various articles analysed for this research study, it is determined that news story related to victim’s survival is not given much importance and hence English newspapers cover about 35% whereas Tamil newspapers cover around 10%, which is relatively low percentage. Much prominence must be given to survival stories of victims in order to create awareness among women on how to fight back on the issue and with the analysis of those articles; it is found that English newspapers depict the narration with true impactful words, in a way inspiring other woman.
  • Regarded as a ‘serious crime’: Acid attack was considered a serious crime only in the recent years and abiding to that, newspapers carry news in the framing of the issue as ‘Crime against women’. English newspapers depict acid attack majorly as a critical crime against women with accounting to 60% while Tamil newspapers cover about 40% percentage on stating it as crime on women. With the horrifying statistics of acid attacks on women (85%), it is mandatory for every newspaper to cover majorly on this issue.

1.13 Conclusion

With the rise of cases related to acid attacks, it is mandatory to be aware of the Indian statistics. As a matter of surprise, there is no statistical record for acid violence cases in India till early 2013 because ‘acid attack’ was not considered a serious offence until then. Only after the amendment in Indian Penal Code around February 2013, cases were filed and recorded legally. Newspapers should also report such heinous crimes by protecting the identity of the victims as well as voicing out their sufferings.

References

  1. Dr. Mehak Jonjua, (2008). Coverage of crime in national dailies: A critical analysis. Abhinav National Monthly Referred Journal of Research in Arts and Education, Vol.3, Issue.8, pp.3-9.
  2. Dr. Ambika. R. Nair, (2014). Acid Attack - Violence against women; Need of the hour; Journal of Innovative Research and Solution, Vol.1, Issue.No.1, pp.511.
  3. BiplobKanti Mondal & Siddiqur Rubel, (2013). Causes and Consequences of Acid Violence - A case of Bangladesh. Bangladesh Research Publications Journal, Vol.9,Issue.2, pp.97-102.
  4. Jane Welsh, (2009). A Comparitive Exploration of acid attack violence. Department of Anthropology, Vol.1, No.32, pp.26-35.
  5. Parvathi Menon & Sanjay Vashishtha, (2013). Vitriolage and India - The Modern Weapon of Revenge. International Journal of Humanities and Social Science Invention, Vol.2, Issue.10, pp.1-9.
  6. Ms. Nargis Yeasmeen, (2015). Acid Attack in the backdrop of India and Criminal Amendment Act, 2013. International Journal of Humanities and Social Science Invention, Vol.4, Issue.1, pp.6-13.
  7. Mamta Patel, (2014). A Desire to Disfigure: Acid attack in India. International Journal of Criminology and Sociological Theory, Vol.7, No.2, pp.1-11.
  8. Dr.Rituparna Bhattacharyya, (2013). Criminal Law (Amendment) Act , 2013: Will it ensure women's safety in public spaces?. International Journal in Humanities and Social Sciences, Vol.1, No.1, pp.3-16.
  9. Dr.Nehaluddin Ahmad LLM, (2012). Weak Laws against acid attacks on Women: an Indian Perspective. Medico-Legal Journal, Vol.80, No.3, pp.110-120.
  10. Purna Sen, (2010). Development Practice and Violence against Women. Gender and Development Journal, Vol.6, No.3, pp.7-16.
  11. Farhan Navid Yousaf & Bandana Purkayastha, (2015). Beyond Saving faces: Survivors of acid attacks in Pakistan. Science Direct Journal, Vol.54, pp.11-19.
  12. Rituparna Bhattacharyya, (2015). Understanding the spatialities of sexual assault against Indian women in India. A Journal of Feminist Geography, Vol.22, No.9,pp.1340-1356.

Atreyee Bandyopadhyay
Oct - 2020


Abstract

The term ‘transgender’ is used for people whose gender identity is different from the sex assigned to us at the time of birth. The transgender community, since time immemorial has faced severe discrimination, inequality and had a stigma attached to them due to lack of information and awareness. . They have been subjected to mockery, violence, discrimination, harassment and mistreatment. The study explores how film plays an important role in helping the transgender community from being socially exclusive to socially inclusive. The first part of the paper will explore heteronormativity and the second part includes evolution of transgender characters in the films over the years by content analysing four different films and concluding how the mindset of people has changed, if any, towards the transgender community.

Keywords: Transgender, Normalcy, Heteronormativity, Transgender in Cinema, Silence of the Lamb, The Danish Girl, Sangharsh, Samantaral, Discrimination.

Introduction

In an iconic scene from the film Tootsie (1982), Dustin Hoffman as Michael Dorsey walks down a crowded New York City street dressed for the first time as his transgender alter ego Dorothy Michaels. The audience has not seen Michael as Dorothy until this very moment; the last shot before the cut to this scene is of Michael sitting in his agent’s office. How does the audience know how to react to this scene? How do we know to laugh rather than to cry, get angry, be afraid, feel sympathetic, or any of a number of other emotions? [JR Miller (2012) Crossdressing Cinema: An analysis of Transgender Representation in films].

Transgender" is an umbrella term that describes people whose gender identity or expression does not match the sex they were assigned at birth. For example, a transgender person may identify as a woman despite having been born with male genitalia. There's no one way to be transgender, and no one way for transgender people to look or feel about themselves," the organization says on its website.

A person's internal sense of being male, female or something else is their gender identity. For cisgender, or non-transgender people, their gender identity matches their sex at birth. For transgender people, the two do not match. [https://www.livescience.com/54949-transgender-definition.html]

According to American Psychological Association the term ‘transgender is an umbrella term commonly used for people whose gender identity is different from the sex assigned to us at the time of birth.’ During the British period when criminal Tribes Act 1871 was passed, the Trans people from that point of time was categorized as criminals. They have been subjected to mockery, violence, discrimination, harassment and mistreatment. Since such a stigma is attached to this community, the concept of ‘coming out’ has been forced upon them. With the advent of media, a ray of hope has been found in the end of the tunnel.

Films have always played a major role in influencing our thought processes and shaping our society. The transgender community has been coping with the lack of diversity and serious roles on the silver screen since the dawn of show business. Since time immemorial transgender people are often portrayed as an element of comical relief, psychopaths or serial killers. This was due to lack of understanding of transgender people and their community. However, with movies like ‘Boys Don’t Cry’ (1999) and ‘Transamerica’ (2005), a shift from demonising transgender people to greater attempts to understand them and represent them positively was noticed. This shift from the negative to positive light was brought about in three prominent stages-

  • Initially, (1950- mid 1990’s) transgender were portrayed in films as sensational freaks and psycho killers, for example- Glen or Glenda (1953), The Homicidal (1961), Sleepaway camp (1983) Silence of the Lambs (1991)
  • Next, it was the era when they were portrayed in the positive light and from demonising transgender people it shifted to a greater attempt to understand them and represent them positively for example -Films like Ma Vie en Rose (1997) and Transamerica (2005)
  • And finally, the next wave of representation took place and we began to see stories of people who are being supported to live as the gender with which they identify themselves like Boys Don’t cry (1999), The Danish Girl (2015).

By examining transgender representations in film, this research expands our understanding of how marginalized groups are represented across a range of texts and the way a body of text can communicate particular ideas about a marginalized group.

Literature Review

With the reference to existing literature, the study explores:

 Heteronormativity

Heteronormativity is a concept used by sociologists and other social scientists to describe the way that sex and gender are used to hierarchically organize people in our society. More specifically, heteronormativity is the belief that heterosexuality, or a romantic and sexual attraction the opposite sex, is the only normal sexual orientation. Other sexual identifies are considered unnatural and are sometimes even legally prohibited.

Heteronormativity enforces not only strict norms about sexuality but also reinforces strict gender roles within society. For example, the model that women should stay home with children while men work is upheld by a belief that men and women have specific jobs to do in our society.

This is also related to what is known as the gender binary, whereby individuals are categorized into either male or female. Although the terms sex and gender are related, it is important to note the distinction between the two. Sex refers to the biological and hormonal differences between men and women, whereas gender refers to the social relationships and standards that define how men and women should act. [https://study.com/academy/lesson/heteronormativity-definition-concept.html]

Transgender and other

In "Gender Trouble" Judith Butler undermines the distinction between sex as a natural given category and gender as an acquired cultural- social category. Butler argues that sex also is a socially constructed category which stems out of social and cultural practices and in the context of a discourse that has a history and its own social and political dynamics.

In "Gender Trouble" Judith Butler develops her famous performative theory of gender (and the analysis of drag queens in this respect) which tries to account the manner in which a subject identity is formed while establishing Butler's claim that gender identity is not a manifestation of intrinsic essence but rather the product of actions and behaviours, that is, performance. In other words, Judith Butler argues that everyday actions, speech utterances, gestures and representations, dress codes and behaviours as well as certain prohibitions and taboos all work to produce what is perceived as an essential masculine of feminine identity. Butler aims at deconstructing this notion of integrated, stable identity as the extension of an inner essence, and the illusion of the sexual body, which are in Butler's view repressive and dangerous, but also underminable.

Judith Butler relies in "Gender Trouble" on Michel Foucault's theory presented in "Discipline and Punish", which challenges the relations of body and soul. Foucault argued that oppression imposed on prisoners is not internalized but is rather imprinted or marked on their bodies. Methods of discipline and punishment act on the body and form the image of the recalcitrant inner soul. This image regulates and justifies the actions of power upon the body. Foucault's argument, adopted by Judith Butler, is that the soul is the prison of the body, and not the other way around as was widely held in western culture. In this Foucault means to argue that discourse formations that deal with the human soul and define it essentially operate through the body and on the body, shaping it and marking it with the traces of the alleged "soul" which hides somewhere deep inside. In "Gender Trouble" Judith Butler genders Foucault's notions and holds that gender is in fact the predominant cultural agent which operates on the body, thus constituting the concepts of masculinity/femininity and the identities of heterosexuality/homosexuality. Judith Butler's agenda in "Gender Trouble" is to deconstruct the essential nature of gender identity and to expose it as the fabrication that it is.[Judith Butler(1990) Gender Troubles]

Concept of ‘Coming Out’

The term ‘coming out’ refers to the process by which one accepts one’s own sexuality, gender identity or status. This can be a continual, life-long process for homosexual, bisexual, transgender.

Savin-Williams and Ream (2007) highlighted various benefits and reasons for coming out including the desire to share one’s life with others, ending concealment, gaining freedom and maintaining honesty and genuineness. [Savin-Williams and Ream (2007)]

Cinema’s Role in influencing the perception of the audience

It is impossible to deny the role of cinema in society. Ever since its conception, moving pictures have proven to be far more than just a simple tool for entertainment. Throughout history, individuals have manipulated this technology, not only to tell stories but also as a unique channel to broadcast opinions — opinions that have gone on to change the perspective of entire generations and achieve real change. The most common method of doing this comes in the form of documentaries, movies that usually focus on a specific, real life topic with the hopes of initiating change or bringing awareness to an issue otherwise not there. Cinema extends its influential reach to more than just cultural phenomena. [Joshua Reid (2014), Cinema and movies play formative role in society]

Research Methodology

In this qualitative research study, I am analysing the content of four films to understand how films enhance transgender normalcy. The variables I am analysing are-

  • Narrative Conventions
  • Visual Codes
  • Audience Perception
    • The objective of this study is to understand how the evolution of transgender characters has occurred on celluloid over the years from being mere comic relief or demonizing them to showing them in the positive light as the protagonist by content analysing four mainstream cinemas.
    • The objective of this study is to examine how films play a significant role in permeating transgender normalcy into mainstream cinema as opposed to heteronormative roles through audience perception.

The study will be based upon two case studies-

Case1) Representation of trans characters in two Hollywood films. The films I have taken into account are The Silence of the Lambs (1991) and The Danish Girl (2015)

Case2) Representation of trans characters in two Regional films. The films I have taken into account are Sangharsh(1999) and Samantaral(2017).

Findings

Case1-Films Taken- The Silence of the Lamb and The Danish Girl

In Case 1 the first movie I have critically analysed is the iconic 1991 movie, The Silence of The Lambs, where the trans character, Buffalo Bill has been portrayed as sensational freak.

Hollywood is often found guilty for promoting transphobia and cissexism. The negative attitudes and discrimination directed toward people whose gender identity, or perceived expression, is different from the sex they were assigned at birth. In Jonathan

Demme’s Silence of the Lambs, JameGumb, also known as Buffalo Bill has been demonized as a psychotic transgender person in contrast to normative expressions of gender who are idealized as innocent. The result is a transphobic dichotomy with cisgender and transgender positioned as moral opposites. Transgender women are often represented as psychotic killers as a way of reflecting to mainstream society’s fear of gender nonconforming people. This portrayal in film reinforces the idea that being transgender is unnatural and perverted, and in a sin to the mankind. This results in embedding transphobia in the minds of a wide range of audience. Silence of the Lambs also portrays transgender women as imposters. After analyzing the Buffalo Bill case files, Hannibal Lecter claims, “Billy hates his own identity, you see, and he thinks that makes him a transsexual, but his pathology is a thousand times more savage and more terrifying.” This quote enforces the idea that other people can determine a person’s gender identity. There is also a taboo revolving around the genitals of transgender people, because of the idea that one’s sexual organs determine gender. One of the most memorable scenes in Silence of the Lambs is the one where Gumb dresses up in a flowing cloth, tucks her genitalia between her legs, and poses in front of a mirror, all while wearing the hair and scalp of one of her victims. This scene is often considered as the film’s most disturbing moment. In the mind of the audience Buffalo Bill is supposed to be scary not only because she murders and skins her victims, but because she is having the body of a man underneath women’s clothing. Such demonization of trans character have risen to transphobia as a result of which trans people thought that they should hide their non-normative gender expressions at the expense of their emotional well-being.

Silence of the Lambs idealizes normative gender expression. Conformity to gender roles is seen as innocent, an antithesis to gender variance. Martin is illustrated as the innocent victim, conforming to the gendered damsel in distress trope, in contrast to Gumb, who is the gender-bending killer. [ Savannah Staubs(2014)]

In contrary to The Silence of the Lambs, the next movie I have analysed is The Danish Girl which tells the story of the well-renowned Danish painter, Lili Elbe, who was among the first individuals in the West to undergo gender confirmation surgery. The films rightfully showcased the inner struggle in a transgender person between the genders they are born into versus the one where they feel they truly belong. This is one of the few movies where the trans character is portrayed in the positive and raw light instead of diminishing the character into psycho killers or mere comic relief. This is a welcome change in the showbusiness. Such films leave a positive mark in the mind of the audience about the trans community when they witness the struggles a trans person has to go through on an everyday basis. This enables the society to be more inclusive about the trans-community and not ridicule them as something sinister and unnatural.

Case 2

Films Taken- Sangharsh and Samantaral

In Case 2 the first movie I have taken into account in famous Bollywood movie ‘Sangharsh’ where the trans woman, Lajja Shankar Pankey played by Ashutosh Rana, was portrayed as a Devil worshipper who abducted children, sacrificed and cannibalised them. The trans woman is demonised as a horrifying serial killer. Such depiction of trans characters led to fear and disgust in the mind of the audience. People started associating real life trans people with those they have seen in the movie. Just like Hollywood, even in Indian regional films transgender women are often represented as psychotic killers as a way of reflecting to mainstream society’s fear of gender nonconforming people and heteronormativity is shown in the positive light where the films protagonist, Reet Oberoi, played by PreityZinta was shown as the righteous, innocent CBI Officer. Such portrayal has led to transphobia and inclusivity of trans people have become a taboo.

In contrary to the first people, the second film, Samantaral, explores the topic of transgenderism in a very different way. This movie revolves around the life of a mid-age man, Sujan, who identifies himself as transgender. Because of the taboo and shame revolve around this issue, his family kept him in house arrest always trying to hide his identity from the outside world. The audience empathises with the character of Sujan, his struggles, his loneliness, his suffocations on a very personal level. In the climax, the protagonist commits suicide and donates his eyes to his abusive younger brother, which is like a slap on the face of the society. The films trade all the nuances of a trans character life in a very raw and beautiful manner and delivers the message that a transgender is not someone who is born against the rule of nature, but a mere human being of flesh and blood. The fear and sin which revolves around a trans person is completely baseless and is just a construct of the society.

Conclusion

Film has a uniquely powerful ubiquity within human culture. Glamour on silver screen has more impact on the masses than real life issues. Initially the transgender representations work generally to position the transgender identities of the characters as separate from heteronormative society which lead to a distancing of the characters from the member of the audience. The characters were also visually constructed to show a difference between their transgender identities and heteronormative society. Earlier the portrayal of trans character was done because of the following objective-->

  • The trans character were written in such a way to create a distance between them and the heteronormative audience. The distancing of the transgender characters from the audience is done by using specific narrative conventions and visual codes to deny the audience an emotional investment or identification with the characters. The characters were often presented as objects of ridicule by privileging their heteronormative counterparts and as objects of fear by constructing them as threats to violently attack heteronormative society. However, in the recent times we see a change in the portrayal of transgender as element of empathy and sympathy rather than fear and hatred is included in the narrative. This change in narrative helped showing the transgender in a very different light to the audience which in turn has given escalation to trans normalcy in our society.
  • Filmic representations of transgender individuals are constructed with a primarily heteronormative audience in mind. This is the main reason the heteronormative identities of the characters are privileged throughout the films. Film, in general, seeks to reflect the interests and concerns of the audience so if the audience is viewed as primarily heteronormative, transgender representations are constructed to appeal to this dominant audience. [ [JR Miller (2012) Crossdressing Cinema: An analysis of Transgender Representation in films]. However, as the mindset of the people started changing, they are becoming more acceptable to the trans-community which is return is influencing the choice of narrative of the films revolving around the trans character. The trans community is no longer shown in the negative light only as psycho killer and sensational freaks but their real-life stories are also being told in the form of auto-biographies.

Times are changing and so are the narratives of cinema. Cinema has been the biggest source of entertainment for people in the entire length and breadth of the country. All sections of society-rich or poor, young or old, literate or illiterate-are crazy about watching movies. Cinema cultivates certain ideologies in the mind of the viewers. When the trans characters were portrayed as devils in disguise, our society was skeptical about the inclusivity of trans people because of the influence that films were having on them. However, as the portrayal of the community was changed from devil to human of flesh and blood, the entire taboo about the community began to fade away. Now we have included transgender in every sphere of life, for example- India’s first transgender judge, Joyita Mandal, transgender police officer,PrithikaYashini, college principal, Madhabi Bandyopadhyay to name a few. Even though times are changing we still have to go a long way before trans normalcy becomes a way of life.

References:

American Psychological Association, retrieved from [http://www.apa.org/helpcenter/sexual-orientation.aspx] on 5th September, 2019

Butler,J.(1990): Gender Trouble. Routledge: United States.

Livescience, retrived from [https://www.livescience.com/54949-transgender-definition.html] on5th September, 2019

Miller, JR.(2012): Crossdressing Cinema: An Analysis of Transgender Representations in Films.

Savin-Williams, RC. & Ream, GL. (2007). Prevalence and stability of sexual orientation components during adolescence and young adulthood.Archives of Sexual Behaviour, 36(3), 385-94.

Study.com, retrieved from [https://study.com/academy/lesson/heteronormativity-definition-concept.html] on 5th September, 2019

TheSocyCinema/blog, retrieved from [https://www.thesociologicalcinema.com/blog/the-not-so-hidden-transphobia-in-silence-of-the-lambs] on 5th September, 2019

The Reflector, retrieved from [http://www.reflector-online.com/opinion/article_f2561142-5587-11e4-9627-001a4bcf6878.html] on 5th September, 2019



SECOND EDITION Jan-Mar 2021 (Volume 2, Issue 1)


Mohammed Asif
College of Journalism and Mass Communication
Dayananda Sagar University
Jan - 2021

“The influence in India of films is greater than newspapers and books combined.”

Introduction

Cinema is extremely significant in the contemporary society with its influence over all spheres of life. In the realm of culture, cinema for most people is the main channel of cultural representation and the primary source of images of social reality and materials for forming and maintaining social identity. Everyday social life is strongly patterned by the routines portrayed in cinema. Cinema remains the cultural dominant of India, its “sole model of national unity” (Chakravathy, 1993). Films are therefore designed to accommodate deep fantasies of extraordinarily varied and diverse group of people.

This enormous connection with the mass’s social and cultural life with cinema provides the perfect breeding ground for ideological propaganda. From a Marxist perspective, ideology is associated with political domination, power, and a focus on the issue of “the ways certain groups fight to have their specific interests accepted as the general interests of a society” (Croteau and Hoynes 2003, p. 165). But in contemporary societies however, the concentration has moved away from economic- class relations to the terrain of culture thus making the Antonio Gramsci’s ‘hegemony’ more than relevant.

Gramsci argued the use of culture and ideology to wield power which is far more effective than force as in this case people actively and voluntarily give consent. Cinema therefore has become the irrecusable approach of generating and propagating propaganda.

Modern daymainstream media and popular culture seems to attempt to increase an individual’s inclination to be identified with a group – namely identifications that divide the population into conflicting groups. This phenomenon has potentially dire consequences for both the stability and freedom of a society as it allow those in power to institute the age-old tactic of divide and conquer.

By dividing a populationinto groups naturally prone to clash, rational discourse and debate between these separate groups are extremely unlikely. “Each group…considers its own standards ultimate and indisputable, and tends to dismiss all contrary or different standards as indefensible” (Crystallizing Public Opinion, Edward Bernays).

Unable to settle differences in opinions via rational discourse, groups whose belief structures clash tend to revert to more destructive means in their attempt to defeat those they perceive as a threat. A society dominated by such groups is thus easily divided resulting in not only weakened population, but its eyes are diverted away from the actions of those operating behind the scenes who constitute, in the words of Bernays, the “invisible government who controls the destinies of millions” (Propaganda, Edward Bernays).

Propaganda in Cinema

Film as a media tool can make things mean, and serve for certain dominant class to transmit a specific way of thinking, worldview, or values. Adolf Hitler is one of the earliest leaders to recognize and exploit film propaganda to its highest efficiency. Nazis became the masters of film propaganda, helping them glamourize, rationalize and ultimately gain support for their genocidal and criminal regimes. Censorship played an important role in ensuring the absence of countervailing cinema. Reich Ministry for People's Enlightenment and Propaganda was formed and Hitler’s propaganda ministerJoseph Goebbels was made its head. Goebbels had carte blanche over every film made and everything that goes into each of those films. Reich Ministry began churning out films that promoted the consolidation of the German people in the service of the Nazi state. One of the first productions in 1933, Hitler Youth Quex, depicted a young man's transformation from a communist sympathizer to a servant of the Hitler Youth movement and the "new" Germany. Triumph of the Will, the 1935 documentary by Leni Riefenstahl, was created in the same vein.

Repetitive images of happy, young Aryan men, German soldiers marching in perfect alignment, fluttering swastika flags, and Adolf Hitler, alighting from the sky as a godlike figure created a milieu that glorified Hitler’s misdeeds and genocides.

Early Patriotism in Bollywood

The film industry in India, like the press, began gaining momentum during the independence struggle due to its part in the colonial resistance. The industry grew with the struggle through 1947 with numerous films both fuelling and satisfying people’s collective sense of patriotism, valor and self-sacrifice for the nation. With the colonial censorship on anticolonial films made void after 1947, films like Shaheed(1948) and Samadhi (1949) became highest grosser of the year in subsequent years.

Manoj Kumar’s films successfully managed to unify the country in an intense feeling of patriotism. Upkar (1967), for example, brought forward the reality of a farmer as well as a soldier’s life in a vivid and aesthetic manner. Similarly, films such as PurabaurPaschim, Roti KapdaaurMakaan and Krantispeak for the prevalent trends and shared ideas of that time.Songs play a huge role in Indian cinema in amplifying the message that the film delivers. Mere deshkidhartisonauglay (Upkar), Haipreetjahankireetsada (PurabaurPaschim), Dulhanchalipehanchali teen rang kicholi (PurabaurPaschim) and Aewatan, aewatanhamkoterikasam and Mera rang de basantichola (Shaheed) to name a few are some songs that still resonate with people.

Dekhteresansarkihaalat is a song that essentially cries at the status quo of the nation. Communalism, corruption, crime, unemployment and the sorts were genuine problems that worried the people then.

Films of this era were clearly free of party and politics. One can notice the values that take the center-stage in these films;fight against poverty, appreciation for the farmer and the soldier alike, prosperity and growth in every sphere of life. Hopeful visions and ambitious dreams of growing up with the nationreflected on the films.

Scope of Research

“Media texts are usually produced in specific historical context, responding to and helping frame the cultural currents of the day” (Croteau and Hoynes 2003, p. 173), so, concentrating on a specific historical media text is more helpful to understand the real meanings and reality represented within a media text under certain historical environment.

This research paper attempts to examine the claims made by several articles published in some of the most renowned news sites and magazines such as The Wire, The Caravan and Al Jazeera, about mainstream Indian cinema, namely Bollywood, being a mode through which political propaganda is injected into the Indian mass. Evidently enough, a spate of films was released ahead of the 2019 general elections that, according to The Caravan featured “blatant support of the ruling BharatiyaJanata Party.” The article How Bollywood acted under Modi government went on to explain that “these films either valorized the achievements of the BJP and its ideological allies; critiqued its perennial nemesis, the Congress or constructed narratives of the past that push a Hindu-nationalist agenda.”

A series of films released during a particular time period is utilized to illustrate ideas and topics in politics under certain historical context and thus check if the claims made by these media publications hold true. These ideas and topics are often the narratives that a certain group, or in this case, a political party weaves to ¬¬¬¬¬¬convey and breath life into its ideology.

Methodology

Each of the case studies considered for this paper were movies that were, by many political analysts, considered to be a prelude to the 2019 General Elections. Therefore different approaches of reading these cultural texts haven been employed circumstantially and is discussed in the context of the public opinion and political discourse at the time. Content analysis, semiotic analysis and discourse analysis are the methods used to read the films in context; but it should be noted that each film often demands a mix of these three approaches.

To understand why violence and collective aggression is discussed in the context of the said party’s agenda and propaganda, it is required of one to understand the ideology of the party and the political discourse outside the film too.

Case Studies

  1. Uri: The Surgical Strike
  2. The film is a dramatised account of the retaliation to the 2016 Uri attack. It follows Major Vihaan Singh Shergill of the Indian Army, who plays a leading role in the events.

    The disclaimer at the start of the movie closes with “…a tribute to armed forces, and a new India". The term ‘new India’ came to be used commonly after it came to be seen as the objective of premiership of NarendraModi. While the usage of this term in the movie effortlessly and doubtlessly reminds the viewers of the prime minister’s narrative of building a new India, it is important to understand what this ‘new India’ stands for; in both the narratives. Livewire in its article feels that the movie introduces a naya Hindustan that would set to teach its ‘nemesis’ Pakistan a lesson by means of violence and bloodshed.

    The effectiveness of film propaganda has been discussed earlier. The Indian film audience enjoys “quick, abrasive, coherent action filmmaking.” Uri: The Surgical Strike has all three elements to it and thus became the perfect breeding ground to represent the State’s narrative. A tone of violence is built and simultaneously glorified by incredible use of cinematic elements like music, camera movements, VFX and most of all powerfully delivered dialogues such as “Unko Kashmir chahiyeaurhumeunkasar!” (They want Kashmir and we want their heads!). At a time when hate crimes and lynching against minority groups were attributed to the NDA government for having legitimized “militant groups” like Bajrang Dal, the film effectively evokes strong emotions to rationalize what would otherwise be considered violence-inciting statements such as “Yehnaya Hindustan hai. Yehgharmeinghusegabhi, aurmaaregabhi (This is the new India. It’ll enter your home, and it’ll kill you too)."

    It is worth noting that another one of the accusations against the NDA was inadequate defense budget while the Indian soldiers alleged that they “endured poor working conditions and inadequate care.”

    SunetraChoudhury, political editor at NDTV, points out in a piece that a factor for such widespread popularity of the film’s violent narrative could be our response as a nation, lapping up all the violence it offers. “When Vicky Kaushal shouts ‘Sardhar se alagkardenge’ (we'll behead them), when he mercilessly kills the enemy by snapping their necks or just chopping off their limbs, or pours hot tea down their faces, is he expressing how bloodthirsty we've all become? It's all slickly done,” she writes.

    The debates and public discussions that followed the Balakot strikes that was a response to the Pulwama attack, led to the country being divided and labeled (in a manner that represents an unhealthy democracy) as the bhakts and the anti-nationals. The bhakti (devotion) to who or what exactly is however debatable; devotion to the nation or the government that is in the Centre. On the other hand, labeling one as an anti-national seems to be an easier task- everyone that opposes the actions of the Centre. This was clear to the public when the students of Jawaharlal Nehru University (JNU) were vilified simply because they challenged the narrative of the State.

  3. Kesari
  4. Kesari, meaning saffron - thecolour associated with the ruling party and the right wing in India –features AkshayKumar who plays HavildarIshar Singh, the commander of a Sikh regiment within the British imperial army which fought to death against rebelling Pashtun tribesmen from Afghanistan.

    Based on the historical battle of Saragarhi in 1897, the film portrays the Sikh soldiers as brave patriots and the Muslim Pashtun as fanatic jihadis, all as the context of colonial oppression is almost completely erased. This plot coincidentally or not aligned perfectly with BJP’s age old electoral strategy: demonization of Muslims.

    By denoting the ‘country’ India with the colour saffron, the movie erases the line between the identity of the ‘party’ and the identity of the ‘country’ thus almost making India and BJP synonymous. This goes back to the party’s ideology of ‘Hindu hegemony’ or ‘saffronization’ as some put it.

    The intentional (or not) use of colour palette in the war scenes is worth noting. While the entire frame is splashed with uniform, dull, dusty ash colour almost camouflaging the various elements of the scene, the protagonist’s saffron turban and his sword has a highly saturated hue thus making only these two elements stand out in the chaos. Another visually significant scene that seems to have another layer of meaning is when the protagonist drives his saffron coloured sword into the enemy’s gut and pulls out, the camera lingers on for a moment on the sword as the Afghan soldier’s blood drips from a sword that is coloured saffron.

    Havildar Singh explains what the colour saffron stands for in one of the critical scenes of the film. “It stands for bravery. It stands for sacrifice.” There seems to be an element of nostalgia to it when these lines however appeared in the trailer just a few seconds after some Indian soldiers declared that they are here to fight the ‘pathans’; not build their mosques.

    The right-wing, over the years, has successfully made the Babri Masjid issue, an emotive one for the Hindus. “Most Hindus believe it is their religious duty to back the campaign and many believe that Muslims, as ‘the progeny of Babur’, have to be kept in their place - as subjugated people of India, living under the domination of Hindus. It is this feeling of dominance that the BJP seeks to stoke,” wrote Apoorvanand for Al-Jazeera.

    But all is not anti-pathan in the film as Havildar is a noble and respectful man. “He wants to help construct a mosque for the Afghans (his subordinates refuse but finally relent). He wants the regiment’s cook, coincidentally a Pathan, to serve water to everyone during the battle (even the enemies). But even these ‘well-intentioned’ parts are so poorly conceived, laced with mawkish scenes and songs, that it’s difficult to register their purported import,” says the Wire.

    While such visual elements and dialogues (though not as subtle as Uri: The Surgical Strike) play well for propaganda, there is far greater dangers of using cinema as tool. An attempt at distorting history has already been made on the academic literature end with the reorganization of NCERT. The same is now done in popular culture. It is a concern because these distortions are often made to support the narrative of the State and serve political ends.

  5. The Accidental Prime Minister
  6. The trailer of The Accidental Prime Minister was shared on BJP’s twitter handle: “Riveting tale of how a family held the country to ransom for 10 long years. Was Dr. Singh just a regent who was holding on to the PM’s chair till the time heir was ready?”

    The film does not have any underlying meanings or implications but acts simply as a simplistic and banal representation of characters. It works to reinforce certain images that were projected on the characters of the film; projected by whom is a question that is open for discussion. The accidental prime minister is sidelined in the film, often represented as naïve, clueless and lacking control. He is shown as a craven stereotype that relies on his advisor to run the nation.

    The film simply serves the purpose of amplifying the facile image of the Congress leaders that the public holds. Manmohan Singh being the meek and quiet prime minister who was pushed around by Sonia Gandhi and her aides and was always guided by his advisor SanjayaBaru is the making of ‘The Accidental Prime Minister.’ All the film does is to simply confirm the public’s bias and support BJP’s accusations of the Congress playing dynastic politics and Dr. Singh being an incompetent and silent politician.

    Apart from the fact that the film is a blatant propaganda, it was an obvious but a crafty attempt at turning people in the favor of BJP by insinuating Congress’s dynastic politics when the former was faced with difficult questions about its systematic campaign of othering Indian Muslims, frequent lynching, communal riots, farmers' protests, growing impoverishment due to failed fiscal policies, etc.

  7. Thackeray
  8. Based on the life of the late politician Bal Thackeray, founder and chief of Shiv Sena, the biographical drama film released on his 93rd birthday.

    The bilingual features dialogues of nativist politics, which were the foundational phase of the Shiv Sena in 1960s, and fuels divisive politics by appealing to the “us vs them” and “one’s own people” sentiment.

    This film relies heavily on powerful delivery of dialogues to put across the intended ideas. What sets this film apart from other propaganda films like ‘The Accidental Prime Minister’ is the exercising of artistic freedoms by excellent employment of aesthetically pleasing cinematography. Carefully designed mise-en-scene, focus on not just characters but the mood of the environment served both the purpose of the film being an aesthetic appeal and to capture the idea of Bal Thackeray’s Maharashtr.

    What is also different about this film is that there was seemingly no attempt to downplay or make subtle references to its agenda. It is simply unapologetic in its approach. Thackeray’s hate politics is endorsed and the nefarious actions of a political party’s leaders like burning buses, making death threats to political adversaries is glamourized and rationalized.

    “Bajaopungi, hatao lungi”; “Yehsaale South waale”; “Yehmamooli log”; are all nothing but spreading hate but was responded witha roar of approval. In another one of the scenes, when Thackeray is asked about the Babri Masjid demolition, he says: “Action haitoh reaction tohhoga hi” (there will be a reaction to an action).

    Bal Thackeray has been projected as the saviour of the common man with militant ideas of justice. The film adds on to the list of films that glorify violence and promote political and communal polarization. The narrative of the State is woven so strongly that it is hard to make the distinction between polarization on political and communal lines.

Discussion and Conclusion

The cinematic narratives in “patriotic” films of recent times, however seems to be attempting to inject nationalism and divisive propagandist politics into the bloodstream of Bollywood cinema, thus drawing a line between ‘us’ and ‘them.’

Bollywood in recent years seems to have redefined the idea of an ideal Indian to be a hyper-nationalist, who would resort to violence and bloodshed to make a point. Social problems no longer seem to get enough attention even in “patriotic films” and not many films seem to question the status quo. This trend seems to be working hand in hand with the various campaigns and ideologies promoted by the right-wing Centre.

References

Apoorvanand. (2018, December 15). Why India's BJP wants to rekindle the Babri mosque dispute. Retrieved from https://www.aljazeera.com/indepth/opinion/india-bjp-rekindle-babri-mosque-dispute-181213093321503.html.

Ayyub, R. (2019, May 12). Bollywood and the politics of hate.Retrieved from https://www.aljazeera.com/indepth/opinion/bollywood-politics-hate-190512120818857.html.

BharatiyaJanata Party. (2019, November 13). Retrieved from https://en.wikipedia.org/wiki/Bharatiya_Janata_Party#Ideology_and_political_positions.

Darling, D. (2017, February 19). India's Real Military Problem (And It's Not Pakistan or China). Retrieved from https://nationalinterest.org/blog/the-buzz/indias-real-military-problem-its-not-pakistan-or-china-19490.

Dutta, P. (n.d.). How Nationalism Evolved in Indian Cinema. Retrieved from https://pib.gov.in/newsite/printrelease.aspx?relid=170197.

Edward Bernays and Group Psychology: Manipulating the Masses. (2018, March 29). Retrieved from https://academyofideas.com/2017/07/edward-bernays-group-psychology-manipulating-the-masses/.

Englehardt, N. (2017, March 13). Film and Society: How Films Impact Society and Popular Culture. Retrieved from https://platt.edu/blog/film-society-films-impact-society-popular-culture/.

Film as Propaganda. (2019, October 20). Retrieved from https://www.encyclopedia.com/international/encyclopedias-almanacs-transcripts-and-maps/film-propaganda.

Griswold, E. (2019, March 6). The Violent Toll of Hindu Nationalism in India.Retrieved from https://www.newyorker.com/news/on-religion/the-violent-toll-of-hindu-nationalism-in-india.

Grover, S. (2019, January 3). The Rise of Saffron in Indian Cinema.Retrieved from https://www.newsclick.in/rise-saffron-indian-cinema.

Jha, T. (2018, December 6). 'Uri' Trailer: Brace Yourselves, More Toxic Hyper-Nationalism is Coming. Retrieved from https://livewire.thewire.in/out-and-about/movies/uri-trailer-brace-yourselves-more-toxic-hyper-nationalism-is-coming/.

Media And Ideology Understanding Politics Through Films Media Essay. (n.d.).Retrieved from https://www.ukessays.com/essays/media/media-and-ideology-understanding-politics-through-films-media-essay.php.

Phukan, S. (2019, May 19). Congress vs BJP: A bitter battle of two narratives. Retrieved from https://www.thehindu.com/elections/lok-sabha-2019/congress-vs-bjp-a-bitter-battle-of-two-narratives/article27179196.ece.

Sharma, K. (2019, March 28). How Bollywood acted under the Modi government. Retrieved from https://caravanmagazine.in/perspective/how-bollywood-acted-under-modi-government.

Sociology Group. (2019, October 14). Impact of Movies on People - an account of public and culture.Retrieved from https://www.sociologygroup.com/movies-impact-public-culture/.

Varma, G. (2019, May 23). BJP shifts political narrative as people's priorities change. Retrieved from https://www.livemint.com/elections/lok-sabha-elections/bjp-shifts-political-narrative-as-people-s-priorities-change-1558636381084.html.

Shri Hari T
Research Scholar School of Media Studies
Email: 734882i965@gmail.com
Mobile no.7348821965
Garden City University


Dr. Sakila Nongmeikapam
Assistant Professor- School of Media Studies
Garden City University
e-mail: sakila.n@gardencity.university
Mobile no.9986206204


Feb - 2021

Abstract:

Communism has always been one of the hot topics of discussion for filmmakers from the state of Kerala. Both art house films as well as commercial films have followed this trend time and again. One of the primary reasons for this obsession with the ideology of communism could be pin pointed to the fact that this particular ideology enjoys a high level of support, right from the grass root levels of the state. Being a state with a large population leaning towards the left side of the socio-cultural and political spectrum, films with communism as the central theme have always enjoyed a good reception at the box office. Not just the movies with communism as the central theme, but even those which have references of the ideology somewhere or the other is received with applauses and appreciation.

Banking upon this factor, Malayalam filmmakers have for a major part tried to include references to communism at one point or other in their films. Either the main protagonist will be a communist revolutionary, or there will be some firebrand leftist dialogues at various points of the films. Keeping aside such subliminal portrayal of the leftist ideology, there have been movies which completely revolve around the idea of communism and revolution as well. Few well known examples are films like ‘Sandesham’, ‘Lal Salaam’, ‘Rakthasakshikal Zindabad’, ‘CIA’ and ‘Sakhavu’. among a large horde of others. Something that has to be taken note of is that most of these films communicate the ideology of communism primarily through the usage of dialogues and slogans. Thus, when it comes to understanding the portrayal of communism in Malayalam films, a discourse analysis of select films becomes inevitable. This study focuses on analysing the portrayal of communist ideology in the Malayalam film ‘Lal Salaam’, through powerful and thought provoking dialogues.

Key words: Discourse Analysis, Malayalam Films, Communism, Lal Salaam

Introduction

Communism is a theory advocating revolutionary change in political and socio-economic aspects of the society, based on common control of the means of production. While communism or Marxism-Leninism, advocates positive things such as justice, liberty, equality, human rights etc., it aims at achieving this through violent overthrow of the existing social order. Despite generally being neglected and discarded in the historiography of India’s glorious freedom movement, it has to be accepted that the Communists played a crucial role in the country’s freedom struggle.

During the period of 1920-29, many conspiracy cases were used against the Communists, including Meerut Conspiracy case (1929) The Communist Party of India (CPI) was banned for most of the time under the British rule.

Some of the famous communist freedom fighters were Chandra Shekhar Azad, Bhagath Singh, Subhash Chandra Bose, Bagha Jathin, Captain Lakshmi Sehgal, Surya Sen, Harkishan Singh Surjit, A K Gopalan, Jyoti Basu etc. to name a few, from an ever extending list.

In India, the sacrifices and contributions of communists towards the freedom struggle as well as the development of the post-independent India led to the establishment of three communist states, namely Kerala, Bengal and Tripura. Apart from gaining parliamentary power in these three states, communists have managed to gain considerable amount of public support and strength in most of the other states; Telangana, Punjab, Andhra Pradesh, Bihar etc. being the most notable examples.

Now, let’s see why Communism is so popular in Kerala. In one sentence, the people of Kerala have a left liberal outlook towards life. They are progressive in attitude, as well as highly politically active. The high literacy level as well as political awareness among the people, coupled towards zeal for social activism and civilian consciousness has turned Kerala into a fertile land for the growth of Communism.

Communists are basically considered as generous good people by heart, who live and die for the poor. They are the Robin hoods in red!

Malayalam cinema is the Indian film industry based in the southern state of Kerala. It is also known as Mollywood, and is the fourth largest film industry in India. The films produced here are known for their cinematography and story-driven realistic plots.

Communism has always been part and parcel of majority of the Malayalam films. The Communists have always had a special place in the hearts of Malayalis. The ‘Communist comrades’ have been part of Malayalam cinema on a regular basis. Let’s take a look at some of the Communist films in Malayalam which revolves around the ideas and ideology of communism: Ormakalundayirikkanam (1995), Anubhavangal Paalichakal ( 1971), Lal Salam (1990), Rakthasakhshikal Zindabad (1998), Vasanthathinte Kanal Vazhikalil (2014) and Left Right Left (2013) .

The movie ‘Lal Salaam’ has a special place in the list of Malayalam films with communist themes, primarily due to the amount of positive reception it got from the audience. Even till date, it’s considered as one of the best communist movies ever produced in Malayalam.

Directed by Venu Nagavalli, Mohanlal portrays the character Nettooran Stephen in this political drama. The plot revolves around the early days of the Communist Party in Kerala. Three Comrades, Stephen Nettooran (Mohanlal), D.K. Antony (Murali) and Sethulakshmi (Geetha) try to build the communist party and end the reign of feudal landlords, when Communism was illegal to practice. Sethu and Antony love each other. So does Nettooran and Annamma (Annakkutty), the daughter of Medayil Ittichan, a landlord

.

During a farmers' uprising, a landlord is killed and the blame goes on the trio. They go into hiding. Grieved by the police atrocities on the common people, Nettooran and D.K. surrender. Sethulakshmi also gets arrested.

After many years, Sethu, D.K. and Nettooran are released. Now the party wins the state elections, and DK and Sethu become ministers. Meanwhile, Nettooran, is unable to purchase medication for Annamma (now his wife) due to lack of money. Father Felix helps him. Now Nettooran has a realization, and he starts a business to feed his family. Soon he becomes rich. But he loses his party membership, since he is not allowed to work for the party, while running a business. Now the party that he once helped building with his own sweat and blood rejects him, since the party members start considering Netooran as a rich capitalist. This hurts him to the core, and he starts questioning the deterioration in the party. Meanwhile D.K. and Sethu lakshmi who are still ministers have a conflict in their family life. The illicit relationship that D.K. had with a woman called Stella is exposed to Sethulakshmi and this leads to conflicts between Sethu and D.K.

In the end, D.K. dies in a road accident, following which Netooran decides to raise D.K’s and Stella’s son as a true blue communist, who can set an example for future comrades and set the party in the right path.

Statement of Problem

Today communism as a socio-cultural movement and as a political ideology plays a very important role in the shaping of our society and it’s progress. True that the communist parties could never form a government at the center. But in spite of this bitter fact, which can be largely blamed on the lack of education and information flow in our country, communism still remains the hope of a good majority in our country. You can love it or hate it, but cannot ignore it, especially in states like Kerala.

The strong presence of communism in Malayalam cinema gives testimony to this fact. And cinema being a popular medium of mass influence makes it very important for us to look into and conduct a study on the portrayal of communism on the Malayalam cinema audience. Hence the problem that this research deals with is ‘Discourse analysis of the Malayalam movie Lal Salaam with respect to communist political ideology’.

Objective

To analyze how communist political ideology is presented in the film Lal Salaam.

Research Methodology

The research is based on secondary data includes research papers and online articles The research is based on discourse analysis of the film dialogues of Lal Salaam. Directed by Venu Nagavalli, Mohanlal portrays the character Nettooran Stephen in this political drama. The plot revolves around the early days of the Communist Party in Kerala. Three Comrades, Stephen Nettooran (Mohanlal), D.K. Antony (Murali) and Sethulakshmi (Geetha) try to build the communist party and end the reign of feudal landlords, when Communism was illegal to practice. Sethu and Antony love each other. So does Nettooran and Annamma (Annakkutty), the daughter of Medayil Ittichan, a landlord.

Discourse Analysis of the film ‘Lal Salaam’

To begin with, the film embodies everything that can be called as the dreams and zeal of the common people of Kerala. It takes the audience on a revolutionary journey of hope, by using a language which any layman can easily understand. The complicated ideology of communism is simplified and presented through dialogues, by metaphorically linking and comparing it with the commonly understandable subjects of love, religion and day to day issues of people. The movie begins with an introductory monologue, in which communism is presented as a “red dream”, a term that very well connected with the people of Kerala who are in search of a hope or solution for their problems. Communism is presented as this “hope”.

This is followed by the title song “Lal Salaam”. Throughout the song, the term Lal Salaam is repeated again and again to etch it in the minds of the people (The term Lal Salaam is the official greeting used by communists throughout India). Thus there is an attempt to make the people accustomed with this term. The song continues with strong lyrics that talks about the problems of the people such as hunger and oppression. It then goes forward to glorify the heroic acts of communists which were aimed at solving those problems. Thus there is an attempt to portray communism as a heroic movement that is the need of the hour.

In a following scene, Stephen explains communism to his religious wife, by comparing the ideology with religion. He points to the portraits of communist leaders and says that “These are our gods, who light the holy incense in our minds. And these slogans written next to the portraits are the dreams of every communist. Do you want a dream? Take one that you like!” In this dialogue, he compares the dreams of a communist with fragrant holy incenses. He compares communism with the dreams of the toiling masses.

In another scene, the character called Unnithan questions the idea of printing copies of communist manifesto and wasting time and money, since he feels that it’s too complicated for the common people to understand. To this, the party’s senior most leader replies that “printed words have their own importance, and will stay in the hearts of the people, since they will consider it as a token of trust the party has towards them”. Here, a very common question that many people have is answered in simple terms. This is subtly introduced as an innocent question from a layman character in the film.

Now the movie takes the audience directly to the concept of communism, but in simpler terms. In a scene, Stephen explains what communism is to his lover Anna. He says “Communism is all about bridging the gap between the one who has everything and the one who has nothing”. He goes further to explain it in terms of their relationship. He says “To bridge the gap between the rich Ittichan (Anna’s father) and the poor Stephen, by marrying Anna”. The dialogue points towards the aspect of sharing, which is the central point of communism. Again, this dialogue is also put forth as an answer to a question by an innocent person, namely Anna.

In yet another scene, feudalism is compared to a wall that needs to be broken down. In this scene, during a party meeting, Stephen says that “The rich yet vacant walls of the feudal landlords are made of the sweat of the oppressed people. All it takes is a unified push to break it down”. This shows the general attitude communism has towards feudalism.

There is one more scene where communism is explained in terms of religious metaphors. Here the belief of a communist is explained. The dialogue by the party chief during D.K’s and Sethulakshmi’s marriage goes like this “For a communist, his place of worship is his mind, and his god is his conscience”. This explains the atheistic and human centric side of communism.

A strong dialogue by Unnithan, when sethulakshmi and her comrades get arrested puts forth the entire picture of police brutality on communists. This dialogue justifies the violent retaliation of communists to many issues.

In another scene, D.K and Stephen surrender to the police, so that their comrades can escape. For this Stephen says that they should surrender to save the trust the people have placed in the party. This explains the mind-set of a true communist who is ready to sacrifice himself for others.

Now the second half of the movie opens, after the party comes into power in Kerala. In one of the most notable sequences in the movie, the protagonist Nettoor Stephen is seen desperately trying to buy medicines for his pregnant wife. In spite of being a well-recognized leader of the communist party, he is still poor and struggling for money to buy the medicines. Finally a Church priest comes forward and helps him. At the end of the sequence, his close friend tells him “Shouting out slogans for the party will not feed your family”. Through this dialogue, the director tries to bring out the message that every communist needs to find a balance between his revolutionary and family life. This point is very relevant in the actual social situation of Kerala, where youngsters ignore their personal commitments for the sake of politics. Even though this might look like a criticism to communism, in reality the dialogue shows the right way of balanced revolution to the people.

Later on, in a confrontation scene between Sethulakshmi (Stephen’s ex-friend, and now home minister of the state) and Stephen, he says that she is blinded by power, and is unable to recognise truth. This points a finger at the current leaders of communist party who have been blinded by power and money. Through the dialogue, an attempt is made to differentiate between a true selfless communist, and an opportunistic politician.

Yet in another scene, the misconception which communists generally have towards rich people is questioned. When Stephen tries to get back his communist party membership, majority of his party comrades oppose it, since he’s rich and they consider him as a capitalist. This deeply hurts him, and before leaving the place, he terms their attitude towards rich people as “nonsense”. This whole scene and the dialogues that form the scene ultimately points to the fact that a person’s financial status is not a barrier for him to become a communist.

There is yet another dialogue towards the end, which is aimed at inciting the nostalgia of old time communism in the minds of the people. In a confrontation scene between Stephen and a pseudo-communist, Stephen says “Because the slogans that people like me shouted in the past is still intact in the minds of the people, opportunists like you are able to pretend as communists”. The movie ends with Stephen promising at DK’s grave that he will bring up DK’s son as a true communist. It can be seen as a promise to an entire generation.

Conclusion

Discourse analysis of the Malayalam movie ‘Lal Salaam’ with respect to communist political ideology yielded some noteworthy results in terms of the portrayal of communism with the usage of dialogues. Through the research, it has been identified that the ideology of communism is dominant throughout the movie, and has been presented through the usage of easy to understand dialogues. Most of the dialogues are presented as metaphors with something that common people can connect to. They are also potent enough to invoke nostalgia in the minds of the people, all the while explaining the people about the basic concepts of communism. The dialogues in the movie are highly philosophical, yet simple in presentation. Most of the dialogues in the first half are presented metaphorically, in terms of simple concepts like religion and love. In the first half, the dialogues are mostly presented as answers to innocent questions of layman characters. This is done in order to connect with the commonest of the people. Most of the dialogues attempt to explain the basic concepts of communism, inspire and attract the people towards communism, as well as invoke nostalgia in terms of communism. The dialogues in the second half take up the additional job of debunking many misconceptions people have about communism and communists. They also try to differentiate between true communists and opportunist communists.

References

  • https://www.academia.edu/40449719/Communism_Enthusiasm_and_the_Transformative_Power_of_Money_Tracing_Enchantment_in_Lal_Salaam
  • https://www.revolvy.com/page/Lal-Salam-%281990-film%29
  • https://www.imdb.com/title/tt0275465/reviews
  • https://www.academia.edu/9982323/REPRESENTATION_OF_CLASS_STRUGGLE_AND_CLASS_CONFLICT_IN_FILMS_A_MARXIST_ANALYSIS
  • http://jespnet.com/journals/Vol_1_No_1_June_2014/6.pdf

Teena Susan Jacob
MSc. in Electronic Media


Jan - 2021

ABSTRACT

Public Service Advertising is an instrument used by the government and non-profit organizations planned as part of their responsibility. This paper aims at themes of public service advertising/announcement (PSA), the effectiveness and influence of the message delivery of PSAs advertisements from different aspects. First, the paper discusses the theme of PSAs over the past five years. Second, the paper focuses on the effectiveness and influence of various ads at different forms and aspects. How important the organizations and government sees the role of PSAs in society is also being discussed across the paper. The research is based on secondary sources includes research papers and web based articles. The purpose of choosing the secondary sources is to understand the PSAs created by government agencies and private organizations and the issues that prioritized by them to inform and sensitized the masses. The effectiveness of these types of messages, however, depends on both the desired behavior and the target population. For example, for some behaviors, attitudinal considerations (i.e., beliefs about the consequences of performing the behavior) may be the primary determinants, while for other behaviors, attitudinal considerations may be relatively unimportant and either perceived norms or self-efficacy may be the critical variable.

Key Words: Public Service Advertising/Announcement, Theme, Effectiveness

INTRODUCTION

As advertisements are not commercial in nature, they are basically designs to create awareness and educate the people for issues which are very important to society at large. So first important step of public service advertisements is to create an effective and appealing message which has been decided to convey to the target audiences (Perse, E. M.et.al, 1996).

Public Service advertising is an instrument used by the government and non-profit organizations planned as part of their responsibility. Public awareness campaigns are an integral part of social marketing (Doh J P & Guay T. R 2006). The high exposure of PSA to the public, and capture high attention deserved to have greatest impact (Wisconsin, n.d.). To disseminate the targeted audience, one must aid public interest, increase awareness and educate the people (Wilcox & Cameron, 2009).

Developed during the 70s of the last century, PSAs focus on one major idea to penetrate into the minds of the young adults mostly, as clear as understandable. Public Service Announcements are non-commercial advertisements intended to achieve attitudinal and behavioral changes in the general public. They are of substantial benefit to public welfare. However, the creators must make sure that the outcome of each PSA is lack of reliability, quantitative and effectiveness are the key impediments. PSAs have the power to inculcate a healthy behavior and good citizenship. A PSA is a short informational clip that is meant to raise the audience’s awareness about an important issue. It includes interviews, dramatizations, animations and other type of videos and audio contents (Penn State Teaching and Learning Technology, The Pennsylvania State University, 2019). Unlike traditional commercials, public service announcements (PSAs) are primarily designed to inform and educate rather than sell a product or service. (Paul Sugget, 2019).

The first PSA came up in UK during 1938 through Public Relationship Films Ltd. World War II was a powerful platform for PSAs to urge campaigns that touted optimism and encourage the public to be part of the war in some way possible. Later taken over by USA, PSAs became a familiar genre to the publics’ when Advertising Council Inc. founded its first ad during 1942. The aim of a public service advertisement is to formulate the suitable strategies for effective campaigning for social issues (Bator, R., & Cialdini, R. 2000). As part of public service advertisement, difference in approach and messages in PSA are designed in a way so that it can leave long lasting impression in their minds and it also should be able to force the people to think about these issues whether they are relating to the social, health or promoting the harmony among the people (Moriarty, S.et.al., 2014). The target of public service advertisement as a whole community and objectives are to address the issues which are basically important to the public (Atkins, 2001). Therefore, advertiser, either government or corporate, should maintain the consistency and trustworthiness of these public service advertisements. Since the early 1990, based on a recommendations made by the Broadcasting Review Board, publicity messages handled by the ISD are termed Announcement in the Public Interest (APIs). Prior to that, API used to stand for Announcement of the Public Interest. This minor change in name was made in order to emphasize that ‘such announcement are to provide information which the public needs to know’ (Information Service Department 1998).

LITERATURE REVIEW

Facing with lot of issues related to environment, health, social etc., Public Service Advertisement has become one of a powerful tool in the hands of government to address the challenges effectively. This research is an enlist of social issues considered, mainly at the Indian context in past decade and to summarize the effectiveness at the Indian society.

Advertising is one of the most important forms of social communication in modern world development. PSAs are an advertising form with similar objective to commercial advertising. Both public service advertising and commercial advertising are persuasive, trying to convince the audience to conform to set agenda or underlying message. Human rights were introduced to the society initially to restore the confidence of the people in their future by the government. Numerous researches on public service announcement and its effects have been conducted across different regions, mostly based on their regional factors.

According to Aishwarya Chatterjee (2016), the first non-governmental initiative was taken in early 1900s where the ad was run free by newspapers to dramatize the concern of child labor.

Bhatia, (2009) stated that out of the campaigns initiated in rural India in 1990s, few campaigns are for children, women, girls‘ child welfare, AIDS awareness, and clean water programs loads of campaigns covered. Bhatia, (2009) have also mentioned that in 1980s slogans were directed for family planning ―Ham do Hamare do‖ and newly ―Ham do Hamare ek. Alyque Padamsee was the first Indian to make a Social Awareness Advertisement through his public service film on Handicapped Children, ―The story of Hope‖ (Aishwarya Chatterjee, 2016). Tata tea launched one of the most iconic ad campaigns, Jaago Re‘. This was the first ad on election awareness and the duty of Indians to implement their right to vote.

METHODOLOGY

The research is based on reviews of secondary sources includes research papers and web based articles. The purpose of choosing the secondary sources is to understand the PSAs created by government agencies and private organizations and the issues that prioritized by them to inform and sensitized the masses.

2.1 Themes

Public service advertising focuses on social issues like national integration, pollution, family planning, care and concern for aged and disabled, awareness campaigns against smoking, drugs, alcohol, etc. The primary purpose of this type of public service advertising is to educate the masses through hard hitting educational messages.

A follow-on study, reported in the Journal of Broadcasting, 3 1 examined time and topic distribution of televised public service announcements. The goal of Hanneman et al. in the second study was to analyze how "social problem" public service advertising (concerning alcoholism, general disease, etc. was treated in regard to other public service and commercial advertisements.

2.2 Effectiveness

Dillard and Peck (2000) reviewed the emotional aspects in PSA and proposed a design for an effective emotion-based public campaigns that must involve agreeable to persuasion. Studies show that young adults identify the use of fear appeals in PSAs but find them personally inappropriate (Cohn, 1998; Hastings and Mac Fadyen, 2002). They do not believe that the consequences featured in the public service advertisements would happen to them (Kemp f and Harmon, 2006). Maria Halkias, (2007) advocated that in Radio, usually the PSA messages comes and goes till the listener tune to it. (Pant ,2007) concluded that these PSA‘s do not reach the audience properly and hence may not be that effective. Mehta (2011) mentioned, Doordarshan is doing good than other channels to make the people aware for social issues. Bora (2010) says PSA is considered to be one of the most effective means to create social awareness and bring about a change. Josy Paul (2005), PSA are good at communication, not for funding. William Leiss et.al (2005) has stated that the PSA is effective whenever is taken help from film stars. Erdgan (2000), said that celebrity campaigns gains success more swiftly and effectively. Wells, (2009) has studied the driver‘s behavior after the PSA to drive safely while drunk found that 70 percent drivers were influenced by the campaign.

The structural elements i.e., characters and plots in narratives make events in a story more personally relevant (e.g., Slater and Rouner, 2002). Further, such structural elements foster a connection between the viewer and the story, thereby promoting vicarious experience, which essentially allows the viewer to learn the protagonist’s attitudes, beliefs, and goals (Escalas, 2004). As a result, vicarious learning is likely to increase the viewer’s efficacy, i.e., his or her belief in the ability to perform the desired action (e.g., El Khoury and Shafer, 2016; Escalas, 2004). The importance of vicarious learning is echoed in social cognitive theory (Bandura, 1986). Empathy induced by a story enables people to deeply understand the emotions (e.g., joy, fear, or frustration) and motivations of a character (Busselle and Bilandzic, 2013). This empathy-based connection is likely to lead people to behave pro-socially because actions countering pro-sociality would be inconsistent with their empathetic stance (Gano-Overway et al., 2009). previous studies (albeit only a few) have studied the impact of empathetic efficacy, which refers to one’s ability to experience another person’s feelings and points-of-view and to empathetically respond to that person’s distress or hardship (Bandura et al., 2003). Findings have shown that empathetic self-efficacy has a greater impact on pro-social behavior than self-efficacy alone (e.g., Caprara and Steca, 2005). Also, researchers have found that when people possess both empathy and confidence in their ability to accept and understand others’ emotions, beliefs, and behaviors, they are more likely to perform the desired pro-social behaviors (Gano-Overway et al., 2009). This finding suggests that both empathy and efficacy are crucial mechanisms for motivating pro-social behavior; thus, efficacy without empathy is likely to be less effective than empathy-induced efficacy.

The study of persuasion and its many approaches has been vital to the development of public service advertising. Petty and Cacioppo (1981) define persuasion as, "any instance in which an active attempt is made to change a person's mind". To make this attempt, it is necessary to know everything possible about the person and the workings of the mind.

"PSAs must be shown frequently to be effective but there is evidence to suggest that a point I of saturation can be reached after which continued I exposure may create negative effects (Ray et al., 1971)" I (Freimuth, 1985, p. 79). The best recommendation for avoiding this wear out effect is repetition with I variation. Timing of message presentation is also an important consideration of frequency. Pulsing is believed to be the best method of exposure.

RESULTS AND DISCUSSION

The result of this study provide insight into how public service advertising are focused in today’s century as per the themes, the effectiveness in creates in today’s generation as well as the organizations and the government urging the need for PSAs to eradicate the undesired behaviors among the citizens. Public service advertisements, in contrast, are run by the media at times or in spaces they choose. The PSAs were thirty- and sixty-second spots, either scripted or tape recorded on cassettes.

The results revealed that the negative emotions and empathy indeed channeled the effects of the manipulation on helping. Furthermore, emotions also mediated the effects of the manipulation on empathy; however, the manipulations had a direct effect on empathy as well. Although there is some evidence that mass media campaigns can be successful, most studies evaluating mass media campaigns have found little or no effect. To a large extent, this failure has been attributed to the fact that most health promotion campaigns have been underfunded, limiting the reach and frequency of the messages. In addition, they have relied on the goodwill of broadcasters to place PSAs in time periods watched by the target audience.

The need to mobilize the public to take action for the good of the community is as old as governance itself. In other times and places, different techniques were used—rams’ horns, town criers, church bells, and even word of mouth. In modern times, the mass media provide an important vehicle for calling on citizens to act in their best interests and those of society. Many such messages are delivered as public service advertisements (PSAs) (Advertising & Society Review, Advertising Educational Foundation). Knowing the barriers and triggers that encourage or discourage people to conduct particular action is essential for reaching audience in a campaign which aims at changing people’s behaviors. One big highlight to the development of messages conveyed through PSAs are that most organizations and government involve every possible stakeholders and resources to develop a research plan which identified target audience and then gained perspectives from them. For instance expertise from DDB Worldwide Communications Group Inc. (DDB), Dollar General and Hall and Partners and redefined their target age group after researching and talking with people (Advertising Research Foundation). DDB and Ad Council conduct PSAs are rooted in insights gleaned from qualitative and quantitative researches. Today’s most PSAs are designed to resonate with its audience by acknowledging the pressure that must be strong and overwhelming. Most of the DDB PSAs are monologues where people speaking directly to the camera and sharing their support and experience. Knowing the reasons why young people drop out of high school as well as their difficulties in current life, the researchers were able to develop creative concepts and messages based on insights and results from the research. Later, the research conducted several focus groups to test the messages and received encouraging response, which ensured that the campaign to generate influence as expected.

Different factors, such as the source credibility, source attractiveness, match-up and endorser’s social image all influence the message delivery, brand evaluation and consumers’ purchasing behaviors (Stafford et al., 2002; Schlecht, 2003; Wang, 2010), although some studies also find that real purchase intention and behavior may not be highly influenced as expected (Ohanian, 1991).

PSA is more effectively delivered in changing behavioral intention when using an evaluative message, which is designed specifically for particular audience group, than a belief message, which is a description reflecting general beliefs, showing that message needs to target particular audience (Evans, 1978; Atkin and Freimuth, 2001; Lin and Sun, 2011). PSAs which include credible sources, illustrate specific situations, and provide practical solutions to problems are more likely to be effective (Derzon & Lipsey, 2002; Fishbein et al., 2002; Palmgreen et al., 1991; Salmon & Atkin, 2003). Study also showed subjective norm influences behavioral intention more than attitude (Evans, 1978), which indicates that affecting audience using social pressures may be more effective than only expressing individual values in PSAs.

Public service advertisements in the United States often attempt to link the desired behavior to something of value to the viewer and thus encourage individuals to adopt the behavior (Lennon et al., 2010). The perceived directive role of the government in the public service campaigns is very different from that usually found in western societies. Most of the interviewees said they tend to find government-produced PSAs credible, as they consider government PSAs are trustworthy as a sponsor of such messages. Many, however, express doubt about PSAs that are too propaganda-oriented, too politically self-serving or too high sounding.

According to cognitive dissonance theory, psychological discomfort may result 23 when people are confronted with a discrepancy between what they know and new information (Cooper, 2007; Festinger, 1957). Such psychological discomfort is likely to induce actions to accommodate the new information in order to minimize the discrepancy between the desired and current states. It is therefore understandable why those perfect green living depictions were featured in the two PSAs. Nevertheless, problems arise when this discrepancy is perceived as far too large to minimize. Instead of accommodating the new information, people have to discredit it in order to maintain their psychological comfort. The green living scenes and activities may fail to motivate people to summon up a longing for such a lifestyle and instead turn them away because of the apparently unresolvable cognitive dissonance induced by the visual depictions. And then, PSAs aimed at youth should seek ways to engage their young audience. The young audience could be invited to construct their own versions of PSAs with their choice of music. Public campaign organizers are advised to carefully select presenters that the target audience is likely to identify with so as to increase the perceived relevance of the messages.

CONCLUSION

Advertising gives a direct stimulus to consumers which in turn prompts the producer to produce more and better quality. Most of times, PSAs adopt emotional and fear seeding strategies to convey the message in order to downcast the socially undesired behavior. The first Public Service advertisement was witnessed in India in 1976 targeted to address the most important issue of tackling the overpopulation problem efficiently through family planning campaign. After the launch of PSA in India, it was seen as the most powerful and effective strategy to deal the social issues prevailing in the country. By this time, Public Service Advertising had imprinted a unique niche for itself and the government, sensitive now to its huge potential, paid special attention to Public Service Advertising. Other significant movements like National Literacy Mission and National Integration were cast in the garb of Public Service Advertisements, making them more effective and memorable.

Today’s most PSAs are designed to resonate with its audience by acknowledging the pressure that must be strong and overwhelming. Most of the DDB PSAs are monologues where people speaking directly to the camera and sharing their support and experience. The effectiveness of these types of messages, however, depends on both the desired behavior and the target population. For example, for some behaviors, attitudinal considerations (i.e., beliefs about the consequences of performing the behavior) may be the primary determinants, while for other behaviors, attitudinal considerations may be relatively unimportant and either perceived norms or self-efficacy may be the critical variable. Similarly, although a given behavior may be attitudinally driven in one population, it may be normatively controlled in another.

Taking on issues for long haul and addressing them at a scale, PSAs create a movement or mark a specific day rather than just focusing on something at the moment. Results also indicated that a regulatory focus ad (prevention focus) using an interactive delivery method has a positive effect on behavioral intentions. Implementation intentions analysis also indicated positive results for behavior from PSA outcomes.

REFERENCES

  • https://tobaccocontrol.bmj.com/content/21/1/12.short
  • https://www.nature.com/articles/nclimate1354?message-global=remove&page=3
  • http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.956.6602&rep=rep1&type=pdf
  • https://economictimes.indiatimes.com/advertising-marketing/6-indian-ads-that-broke-gender-stereotypes-over-the-years/breakingstereotypes/slideshow/57539044.cms ARTICLE ECONOMIC TIMES
  • https://espace.library.uq.edu.au/data/UQ_509748/s43022214_phd_finalthesis.pdf?Expires=1582125496&Key-Pair-Id=APKAJKNBJ4MJBJNC6NLQ&Signature=Ri-Kg9FMtPYiXNVcUW8svtaQFGlGeHMz5AWu~c-4wEbEnB8~SJRjWCWwE6Ps-Zn2Q9b-l-VbUIaKU2anMuqLudxZr-fOuDkVunp3i~ZM9HHJnHGEw2iW~N8z~7~sQqhagHoNirbRzAtVQNzoju5nRbgZ45pBrXs5sjB6qfTrbVVWP5Z-j3tB9EECVnESkllIuS7TF-~HZmNnX~bmoOchoaA1UTT0XN6EUCUKC2UD2Kt-81VBidigvxq57U1nG8ZXCnykgSigybhcmNL6xHMhJ7IAsnw0jZiDgGJQj2S1PO8-KFPQ1BwKzEg~dJaUJLWtp1ExLz0niEnweVyf21rFBQ
  • https://www.academia.edu/Documents/in/Public_Service_Announcements
  • https://arseam.com/sites/default/files/published-papers/p8i3v5ijmfm%20FP-%2053-64%20Krishna%20Pal%20Singh%20Mar-2017.pdf
  • https://www.researchgate.net/publication/276418354_Public_Service_Advertising_-_Some_Issues_And_Campaigns
  • https://academic.oup.com/her/article/25/6/1050/659872
  • https://zenodo.org/record/833713#.XlY6VCN96b8

Subhash N K
Under the guidance of Prof Rakesh Katarey
Dean of College of Journalism and Mass Communication
Dayananda Sagar University,


March - 2021

Cinema plays an important role in shaping society, cultures and ideas. It also acts as a canvas on which a wide variety of identities are represented. Identities related to caste, religion, gender, class and many more. Cinema is also used for propaganda. With such power, cinema plays a crucial role in how individuals perceive their life and lives around them. As important as what is represented on the screen, it is equally important for us to note what is not being represented on the screen as well.

Indian Cinema

Indian cinema is one of the world’s oldest cinemas. It dates back to the year 1913 with its first feature-length cinema, Raja Harishchandra. It is also known to be one of the largest in terms of output. Although Indian cinema is popular for its Bollywood films, there are films released in quite a few other languages. The prominent ones being, Tamil, Telugu, Malayali, Kannada and Bengali.

Tamil Cinema

The first Tamil cinema, Keechaka Vadham, was released in the year 1918. Tamil cinema is the industry which produces films in the Tamil language. Tamil cinema had a great impact on other southern Indian film industries as Madras (Chennai) was the hub for producing films in the south of India.

Dalits

Dalits are members of the lowest social group in the Hindu caste system. They were known and considered as “untouchables”. The Hindu caste structure primarily includes four castes: Brahmins, Kshatriyas, Vaishyas and Shudras. A Dalit is actually believed to be born below the caste system. Members belonging to this caste are often found to be performing tasks which the other caste members consider too menial or degrading to be performed. There are more than 200 million (around 16.6% of the population) Dalits in India, according to the 2011 census report.

Dalit Protagonists in Popular Tamil Cinema

A protagonist is someone who changes over the course of the story. They are often the main character of a film, around whom the film revolves. The representation of Dalit as a protagonist in popular Tamil cinema are only a few. En Uyir Thozhan and Bharathi Kannamma are two films which can be immediately thought of. There were films made about Dalits, but in most cases, the protagonists of these films belonged to an upper caste. However, the trend is no longer the same. Films like Pariyerum Perumal, Vada Chennai and a few others have a Dalit as a protagonist. One of these films is Kaala.

Kaala

Kaala is a 2018 Tamil language film starring Rajinikanth. The film is written and directed by Pa. Ranjith and produced by Dhanush. This is the second Pa. Ranjith-Rajinikanth film, after Kabali.

The film is set in Dharavi, Mumbai where Rajinikanth plays Karikaalan. Karikaalan, also known as Kaala, belongs to the Tamil migrants who settled down in Dharavi. Kaala assists his father to build a better place for the people residing in Dharavi.

Kaala’s father gets killed by Hari Abhayankar, also known as Hari Dada, who later becomes a politician. After he becomes a minister, Hari Dada, tries to evict the people of Dharavi and makes plan to construct buildings through his construction company in the name of ‘Pure Mumbai’ scheme.

Kaala opposes the idea of the construction of buildings, knowing Hari Dada’s intentions. Kaala encourages the people of Dharavi, consistingmainly of Dalits, to oppose the government scheme through protests. By the end of the film, Kaala becomes more of an idea or a movement than just a person.

Methodology

The film is analysed rhetorically, textually and contextually. Rhetorical analysis is wherein the methods used by the film-maker to persuade the audience will be observed. This will primarily include the mise-en-scene analysis of the film. Textual analysis is what the film is communicating directly to the audience, and contextual analysis is the context during which the film was released.

Analysis

The film begins with a narration about land and its importance.

“In the evolution of human civilisation, land has played an important role. Forests were converted into agricultural lands making it an essential part of human consciousness. Soon land became power. From our myths and epics to the present, many wars are being fought for land.

In India, land ownership, deprivation and the social status associated with it are all unwritten laws. A considerable amount of land in the cities is retained by slum dwellers. We call them ‘Urban Poor’. They face severe oppression. Corporate companies and land mafia together conspire to evict the poor. People are brutally removed from their own land and are either thrown out of the city or into matchbox-sized housing projects. They live and die with no land to call their own.”

This narration gives the audience a few key inputs. It tells us that even though people and ideas change, the importance of land has always remained constant. It gives us information about the power of land, how battles have been fought for land, how land ownership and deprivation is a social status in India. It connects land to the urban poor, explains us who the urban poor are, how they are being oppressed mainly by the riches, and how the government is not doing much about it. All this information gives the audience the required context and sets up the film.

The film then takes us to Dharavi, Mumbai. This is one such place where the urban poor are facing oppression. But why Dharavi? There might be multiple reasons behind this. One of them can be Rajinikanth trying to establish himself as a Dravidian by fighting against the Hindi speaking. Rajinikanth comes from a Marathi speaking home, his original name being Shivaji Rao Gaekwad. It was important for Rajinikanth to establish himself as a Dravidian to make sure he was accepted by the people in his political career.

Rajinikanth is also a tool used by the director to make people accept and watch a film about Dalits. Rajinikanth is a tool because of his fandom and the star-system that exists in India. Rajinikanth is a huge star in India, a bigger star in the south. People accept the roles played by Rajinikanth with open arms. This makes the director’s job easier to attract the audience to watch a movie where a Dalit is a protagonist. Rajinikanth is a medium through which the story of Dalits is being told.

The film, without wasting much time jumps into the story. The government has given permission to demolish the Dhobighat in Dharavi and construct buildings, to which the residents are opposing. However, despite the opposition, the demolition begins. At this point, Karikaalan aka Kaala (Rajini) is introduced to us. Kaala, wearing black, is playing cricket and has to hit six runs in two balls. To our surprise, Kaala gets bowled. This shows us that Kaala is like us, one among us and is no different from others. It tells us that even though it is Rajini’s film, it’s Rajinikanth the politician acting in this, not the actor.

Throughout the film, Kaala is seen wearing black. If not black, he is seen wearing blue. Kaala means black. Black is being represented as the colour of the poor and as the colour of Dalits. It is extensively used in the film. From the film’s title to Rajinikanth’s clothes, jeep to the fight scenes and throughout most of the film.The colour black is used as a metaphor for the hard work of the proletariat. In the film, Rajinikanth says,

“Black is the colour of the proletariat.”

The colour blue is associated with B R Ambedkar. Blue is the colour of the “lower” caste. The blues and blacks are everywhere in the film.

On the other hand, the film's antagonist, Haridev Abhayankar aka Hari Dada is always wearing white. Everything related to Hari Dada is white. His car, his house, the curtains in his house, his office, his chair, his dining table. Hari Dada is the direct opposite of Kaala.

The film for most of its part happens in Dharavi. The camera does not unnecessarily leave Dharavi. Dharavi is more like a mini India, even one of the dialogues says so.

“If Dharavi is a tiny India with all castes, religions and languages, Kaala is its king.”

Hari Dada is omnipresent throughout the film. His billboards are all over. The image of the lion on the billboards, schemes such as ‘Pure Mumbai’ and ‘Digital Dharavi’ all remind us of the right-wing political parties. If the lion resembles the Shiv Sena, Pure Mumbai is similar to Swachh Bharat and Digital Dharavi is similar to Digital India. Even phrases such as New Dharavi and anti-national can be heard in the film.

It also talks about embracing identity than aspiring to be someone else. In one of the scenes, an architect will be discussing as to how he plans to build New Dharavi. The plan will include an implementation of a golf course. As a reaction, one of the residents says,

“Why do we need a golf course when all we play is cricket and football?”

The film does not shy away from caste politics. One of the important scenes of the film is the meeting of Hari Dada and Kaala at Kaala’s residence. Hari Dada, with his protection, enters Dharavi to meet Kaala. When offered water at his residence, Hari Dada refuses to drink it. This gesture by him clearly indicates the influence of caste. However, when Kaala visits Hari Dada at his residence, he does not refuse to drink water.

Kaala also speaks quite a bit about the law. The film does not consider the law to be above everything. It asks us to look at the law critically and to protest if the law oppress people. Laws can liberate but also can oppress people. Karikaalan’s two sons, Lenin and Selva, are shown as the two sides of this coin. Lenin is someone who relies on the law for justice whereas Selva breaks them if required. Kaala is somewhere in between. In a scene, Kaala says,

“We know how to respect the law. But if it oppresses us, we know how to break it too. You are going a bit easy on us only because of some laws that favour us. If not, wouldn’t you have thrown us seven seas away?”

It also speaks about how the state uses the police for its purpose. The police, rather than protecting people provoke riots. They are constantly being used by the ministers for their purpose. The police are mere puppets of the politicians. In the climax, the police can be seen beating the residents of Dharavi brutally. In one scene, the police strip a woman’s clothes and laugh at her. The woman, though humiliated, picks up a weapon over her clothes and attacks the police. It shows us that she’s more than just her body. It breaks down the stereotype of a woman’s honour attached to her body.

Kaala is also referred to as single-headed Ravana multiple times in the movie. And Hari Dada as Rama. Even in the climax, when the residents of Dharavi are being beaten up by Hari Dada’s goons, the voice-over of Ramayana is juxtaposed with it. Residents of Dharavi are referred to as Ravana. Karikaalan also means god of death. All the qualities of conventional bad characters are given to Rajinikanth – naughtiness, dark skin and violence, but we are also given the reasons for them. The interpretations of myths and epics are being questioned as well.

We are reminded of Ambedkar throughout the film. Right from his statue to the colour blue to lines such as educate and agitate. Kaala keeps emphasising on education for liberation. He can be seen vouching for education multiple times in the film. Kaala understands the importance of education for liberation. But just education is not important, making use of it by not running away from the problems is also important. It can be seen in the film that one of Kaala’s sons would want to leave Dharavi and settle somewhere outside. In a dialogue, it is also mentioned how once they become engineers and doctors, the educated run away to escape from the dirt. The film says that if things have to be changed, they have to be changed from within. The final song summarises the entire film through its colours and lyrics. The song starts off with a girl throwing a black powder ball on Hari Dada. Hari Dada is soon lost amidst the crowd. Colours like red and blue are extensively used in the song. The song says things like organise, make change, revolt, educate and agitate.

Kaala is a film about Dalits. It is a social commentary of the oppressions faced by the poor and the lower castes. As mentioned above, Rajinikanth is used as a tool to tell a story about Dalits. Rajinikanth could have done this film to register himselfpeople’s person in the minds of the audience. That he is a Dravidian too. It cannot be a coincidence that a Dalit police constable named Shivaji Rao Gaekwad is killed in the film. There has to be a reason for it. It is also around the same time Rajinikanth was contemplating into getting into elections.

Kaalabreaks down most of the stereotype attached to a mainstream popular cinema and emerges as something important. It speaks about fascism, right to land, right to basic facilities, privacy, education. It’s a rare cinema where the story of Dalits is shown through the perspective of Dalits. More importantly the film speaks about unity in diversity and tells us that it’s the only way people can rise against oppression. As Kaala says,

“Our body is our only weapon.”

References

  • Danny, Bowes. (2013, July 10). 10 Things You Should Know About Indian Cinema. Retrieved from
    https://www.indiewire.com/2013/07/10-things-you-should-know-about-indian-cinema-37021/
  • Kallie, Szczepanski. (2019, August 08). Who are the Dalits?. Retrieved from
    https://www.thoughtco.com/who-are-the-dalits-195320#:~:targetText=Dalits%2C%20also%20known%20as%20%22Untouchables,gave%20themselves%20in%20the%201930s.
  • B, Sivakumar. (2013, May 02). Half of India’s Dalit Population Lives in Four States. Retrieved from
    https://timesofindia.indiatimes.com/india/Half-of-Indias-dalit-population-lives-in-4-states/articleshow/19827757.cms?from=mdr
  • Rajesh, Rajamani. (2018, August 30). The Dharavi Story in Tamil Cinema: How ‘Kaala’ Inverts the ‘Nayakan’ Gaze. Retrieved from
    https://www.thenewsminute.com/article/dharavi-story-tamil-cinema-how-kaala-inverts-nayakan-gaze-87512
  • Ashameera, Aiyappan. (2018, June 09). Kaala Decoded: Pa Ranjith and Rajinikanth Give us an Epic with an Asura in the Lead. Retrieved from
    https://indianexpress.com/article/entertainment/opinion-entertainment/kaala-decoded-pa-ranjith-and-rajinikanth-give-us-an-epic-with-an-asura-in-the-lead-5209255/
  • Vishal, Menon. (2018, June 07). ‘Kaala’ Review: An Underwhelming Film Made for Rajinikanth, the Politician. Retrieved from
    https://www.thehindu.com/entertainment/movies/kaala-review-an-underwhelming-film-made-for-rajinikanth-the-politician/article24101877.ece
  • Uday, Bhatia. (2018, June 11). Kaala Movie Review: Outspoken, Urgent and Uneven. Retrieved from
    https://www.livemint.com/Consumer/5xe6MkFY9LPJ5z8bDVtw4I/Kaala-movie-review-Outspoken-urgent-and-uneven.html
  • Baradwaj, Rangan. (2018, June 07). Kaala Movie Review. Retrieved from
    https://www.filmcompanion.in/kaala-movie-review-rajinikanth-pa-ranjith-dhanush-huma-qureshi-baradwaj-rangan/

Samhita B Atrey
Under the guidance of Prof Rakesh Katarey
Dean of Humanities
Dayananda Sagar University

Feb -2021

Introduction

The mass media provide an important vehicle for calling on citizens to act in their best interests and those of society. Public service announcements or advertisements (PSA) deliver such messages. They use techniques developed for the promotion of commercial products for a purpose other than selling products and services (O’Barr, 2006). PSAs are public interest messages which also perform the function of informing the public of social issues, thereby provoking behavioural changes in the public. They can, therefore, be used as important tools to achieve social objectives.

PSAs came into being when the United States of America joined World War II. In 1938, the first PSAs appeared in the UK through Public Relationships Films Ltd to support the British government in increasing morale and the war effort in every way. A council was created in the US by advertisement agencies in 1942 which offered their skills to advance the war effort by designing advertisements to sell War Bonds. Many posters were created to emphasise the urgency for wartime support.

In India, one of the earliest public service advertising campaigns was ‘Hum Do Hamaare Do’ which focused on curtailing the burgeoning population of the country. A little while after television entered Indian homes, a prominent advertisement that was released by the government of India was ‘Mile Sur MeraTumhara’ which stressed the importance of unity and national integration. Then, one of the largest public service campaigns of the world, ‘Pulse Polio Awareness’ began in 1998 in which advertising played a crucial role in creating mass awareness. This was one of the early campaigns which witnessed the casting of celebrities (Amitabh Bachchan, in this case) in public service advertising.

Other notable mentions are the ‘Jaago Re’ campaign by Tata Tea which urged the Indian populace to participate in the electoral process. ‘Athithi Devo Bhava’ with Aamir Khan as its brand ambassador and Incredible India a few years after focused on promoting tourism in India. Apart from this, the government has successfully run several programmes and informative advertisements in its public broadcast channel, Doordarshan, which is targeted at people in the rural areas, especially the farmers.

Mass communication theorists such as Paul Lazarsfeld and Elihu Katz, behavioural psychologists such as Albert Bandura as well as sociologists have studied the extent of influence that mass media has on the audience. Everyone, as a part of the audience, is exposed to and consumes mass media whether he/she likes it or not. It is essential to know how much and what kind of meaning is embedded within the different forms of media. In order to understand what and how producers send media content and how the audience consumes and interprets the same, the science of signs, semiotics, may be employed.

Semiotics which originated from the works of Swiss linguist Ferdinand de Saussure and Charles Sanders Peirce, is, according to semiologist Umberto Eco, “a general theory of all existing languages… all forms of communication — visual, tactile, and so on.” Looking at mass media through the lens of semiotics means that any form of media is considered a text, including films, books, magazines, television, radio, social media, etc. This list also includes advertisements.

Advertisements, being the hallmark of the consumer culture, are rich with signs and symbols to both see and unearth. By doing so, the encoded messages, primarily about culture, gender and socio-economic classes, are decoded and laid out in the open to understand what pieces of information the audience is unconsciously receiving and imbibing. This is also true with public service advertisements; to see whether the encoded messages match the message the producers intend to send.

This study will provide a detailed analysis of PSAs with the aspects of Indian culture, gender and class on the one hand and narrative and filming style on the other, culminating in the explanation of the myths which surround the chosen advertisements.

Methodology

For this study, ten advertisements with social messages have been chosen — five by private institutions and five by the government — aired over the last five years. The study shall use semiotic analysis, specifically Roland Barthes’ theory of the myth, to deconstruct the ten chosen PSAs. These PSAs are in the Hindi language with English words spoken occasionally.

Semiotics may be called as the examination of signs, the way signs are produced, disseminated and consumed. Swiss linguist Ferdinand de Saussure defines semiotics as thus: “A science that studies the life of signs within society is conceivable... I shall call it semiology (it will)...show what constitutes signs, what laws govern them” (Saussure 1974: 16).

He determined the way in which signs are examined in his work, Course in General Linguistics (1974). He wrote about two components that a sign is made up of; the sound component called the signifier and a conceptual concept called the signified. The latter does not refer to a material object, an object in the real world but to the thought or idea of an object — that which comes to mind when someone hears or uses the relevant signifier. Thus, the idea of a tree is called forth in the mind as the signified to the word ‘tree’ which is the signifier.

Signs, therefore, are a point of domination as well as definition, as the production, dissemination and consumption of signs in society act to shape and inform the structure of understanding. With specific reference to the media the manner in which signs are presented to the public, i.e. the camera angle, the lighting, the background are all within the remit of the semiologist (Danesi 1994: 23). The signs relayed through the media are a very important area of study as they can form the basis of public perceptions and understanding. Within a television programme, for example, the viewer is exposed to a number of signs which they are required to decipher and recognise (Lacey 1998: 35).

Roland Barthes (1915-1980) was a leading structuralist thinker and was acknowledged as the leading critic of his generation in 1978. He was highly influenced by Saussure’s semiology — the formal study of signs and signification. His body of work includes Writing Degree Zero (1953), Mythologies (1957), Criticism and Truth (1966), S/Z (1972), etc. According to Barthes, using signs in society was a way of expressing a particular way of normalising the world aligning with the bourgeoisie’s perspective. He termed this normalisation as ‘myth’ which indicated the fabricated nature of the message.

Referring to the myth, he said, “Myth does not deny things, on the contrary, its function is to talk about them; simply, it purified them, it makes them innocent, it gives them a natural and eternal justification, it gives them a clarity which is not that of explanation but that of a statement of fact...it is natural and goes without saying: I am reassured” (Barthes 1973: 143).

Barthes’ myth is a system of communication; it is a message, a signified, also a mode of signification. Barthes says, “Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society…” He gives the example of a tree as an image; apart from being an ordinary tree, some people may attach more meaning to it such as an image of a revoltor of God, etc.


In the context of television, film, newspapers and other forms of media, semiotics explains the way in which images are used to represent and relay information to the audience. This, of course,is reliant on the assumption that the audience possesses the necessary knowledge and appreciation, societal conditioning if you will, to decipher these signs (Burn and Parker 2003: 11).

Semiotics, therefore, allows the interpreter to understand how signs are deployed and understood within the media. It enables the interpretation of the underlying meanings within media content and how the audience accepts, rejects or redefines those meanings. In the following sections, the analysis will factor in elements of filmmaking as well as the nature of the content and analyse the same against set parameters.

Analysis

Advertisements are crafted with their audience in mind. Even public service advertising does not necessarily target the entire ‘public’; advertisements are created specifically to target a particular subset of the audience. So is the case with the PSAs selected for this paper. As mentioned in the methodology, five public service advertisements by the government and five by private institutions released in the last five years have been chosen for the purpose of this analysis. As a result, a prevailing trend has surfaced.

Most of the chosen private advertisements (which include products like soap powder, mosquito repellant, shampoo, a foundation and simply a brand) are aimed at women. Not all women, but women of the upper-middle class — those who are able to afford a washing machine, the shampoo on a regular basis and are exposed to such brands regularly. Women in this socio-economic segment are the target group of many private advertisements. We know this because one simply doesn’t see such advertisements in news channels at 9 pm or in financial television channels such as NDTV Profit or CNBC TV18. We only see investment, insurance, banking, tourism, and high-end lifestyle advertisements in such channels.

An example is the Ariel video. Ariel, the soap powder, is considered to be used mainly by women. But the message of the advertisement is directed at men, telling men to #ShareTheLoad. However, since the target audience is primarily women, the advertisement is aired in between soap operas and other ‘traditional’, ‘female’ shows and not where men are likely to be exposed to it. What, then, is the point of sending the message to men when they are not even aired in the channels they watch? It is likely that the advertisement instils a sense of comfort in women and makes them feel that someone out there understands them; for the feel-good factor of the video. Or perhaps, the shareability of the video on platforms like YouTube.

As for the government advertisements, all of them are directed at the common man who belongs to the lower middle class or lower class. These advertisements are usually gender neutral; the government wants to expose everyone in these classes to the messages it wants to convey.

There is a clear difference seen between the target audience of the government advertisements and that of private advertisements. Consequently, the messages being sent are also those which matter to these classes or those about which these classes are concerned. An example is the Naik Foundation advertisement. It is extremely rare that their target audience — people of the upper-middle class — don’t send their daughters to school. But the purpose of the advertisement is not to tell the viewers to educate the girl child; it wants people from this class to contribute to this cause.

This stereotype is a sign in itself; the connotation of this sign is that it is the industry which determines which advertisement is seen by women and which ones by men, thereby perpetuating the pre-existing stereotypes in our society. However, the reverse is also true; existing stereotypes in society may very well influence the industry to adopt such means, resulting in a vicious cycle of never-ending preservation of these values.

Keeping this in the background and in this cultural and social context, the selected ten PSAs will be analysed in detail in the following sections.

While watching the ten advertisements, many signifiers were identified within them. These signifiers were subsequently classified into three categories — social identity, verbal/nonverbal communication, and the narrative structure. These terms are rather broad in their scope and hence need to be defined with boundaries in the context of this analysis.

Social Identity

The first category refers to social identity; this encompasses four main types of signifiers found in the advertisements which are costume, language, food and setting. These four types serve as indicators of the cultural and social status and background of the individual or the family. This leads the viewer to immediately pin down where exactly the person is from, what the person’s socioeconomic status is and what religion the person identifies with.

As the four types are signifiers, the messages these signifiers convey about the person’s social identity are therefore the signified. Some cases will exemplify this concept.


Figure 2: All Out India (00:08)

Fig. 2 is from the All Out India advertisement. When this scene is displayed, several things are established at once. Firstly, from the mixture of men and women of all ages, it is understood that this is a family having a meal together, probably dinner. This is the denotative meaning. Secondly, the power structure of the family is clearly delineated in this still. At the head of the table, which is often reserved for people of high status and for the head of the family, sits an old man who still seems hale and hearty. He is clearly the one with the most say in the family as everyone seems to have sat down in a relative position to him. This is the connotative meaning of their seating arrangement.

Furthermore, the men sit on one end (where the power and authority are concentrated) and the women are seated after them, implying the patriarchal nature of the family. The woman on the left is wearing a saree in a traditional style (seen in fig. 3) with a bindi on her forehead while the old man is wearing traditional Indian clothes, a kurta and a waistcoat. The old man to the right of the family head, perhaps the latter’s brother (going by how patriarchal the family is and his position on the family head’s immediate left), also wears traditional clothes. But the next generation wears modern clothes – shirts and pants for the men albeit with some traditional accessories, salwar kameez for the women. As for the youngest generation, the girls wear very modern accessories with one wearing a sleeveless top while the boy wears a t-shirt like every urban boy in this generation.



With the kind of attire the three generations don, the advertisement shows a clear transformation of values and attitudes; it also represents the changes time brings about a generation after generation. It is very reflective of the dual identity conflict that youngsters in India face today – of worshipping the western culture but, at the same time, being Indian.

With the bindi of the older women, the nose-ring the mother-in-law wears and the gold chains they wear which is possibly the mangalasutra(fig. 3), a symbol of a wedded woman for Hindus, it can be inferred that it is a Hindu family. From the language they speak – Hindi, but with an accent – it can be said that they are a north Indian family, most likely Punjabi going by what the main character wears. She doesn’t wear a bindibut wears a gold bangle.

In the still (fig. 2), the interior décor of the house can be seen. The sofas seem luxurious, the ceramic wall hangings seem expensive as do the paintings. The chairs have intricate engravings in them and the curtains appear to have been made of expensive material. They also eat from ceramic plates and other expensive cutlery. However, despite the luxury, the designs are traditional and Indian. Even the patterns on the sofa and the curtains, the kind of designs on the wall hangings, and the ornate carving on the chairs of the dining table, all imply that the family cherishes its tradition and culture. From all this, it can also be said that the family belongs to the upper-middle class with enough disposable income in their hands.

Among the other nine advertisements, every one of them provides clear indicators for where they place their characters on the socio-economic ladder. For instance, in the advertisement by Naik Foundation (about girl child education), the setting plays a more important role in determining the family’s socio-economic status. The fact that the girl is not allowed to go to school in itself is an indicator of their social status; because people generally assume that those belonging to the upper classes can afford to send their daughters to school; some even consider that as a status symbol.

In this case, the painting coming off the walls, water leaking into the walls, the cramped rooms, the plain chapati with a common side dish that Sarita (the girl deprived of education) packs for her brother, the low-end gas stove they own, the small mirror in the small living room, the tin and reused plastic storage boxes, the plain sarees the mother wears, the copper vessels in their kitchen and finally, a house where there is no place to store their things anymore (fig. 4) — all are denotative signifiers for the denotative signified which says that they come from a lower-middle-class background.


Figure 4: Naik Foundation (01:41)

When the mother gives money to her son to buy laddoos (which is an indicator of patriarchy because she gives the son, despite him being the younger child, the money and not her older child, the daughter), the son ends up buying a uniform for his sister with the same money. This is a logical fallacy because the money, which is supposed to be enough for just laddoos (because why would the mother give extra money unnecessarily?) is apparently enough to enrol into school and buy a uniform.

The advertisement has another contradiction towards the end; the father enters, seeming very supportive of his daughter’s education. His attire also says something different. He looks very much like someone from the middle class and not at all like from a class which doesn’t want to educate their daughters. This implies that the one who didn’t want Sarita to attend school in the first place was her mother, which conveys the message that a woman’s biggest enemy is another woman.

So, in this advertisement, the setting, the attire and the food convey to the audience their class as well as their religion — the woman wears a bindi and a gold chain which makes her a Hindu. As for language, the Hindi that is spoken in the advertisement only tells us that it is set in a North Indian city or town.

Similarly, in the government advertisement titled, “Improving ‘Ease of Living’ for Common Man”, several signs tell us about the class that the family belongs to. Once again, the door frames of the house, the decorations on top of them, the paint peeling off the walls, the small dining table, and the simple food being eaten are all signs which have the same signified — that the family belongs to the lower middle class. The family also has a copper water container and earthen containers with traditional, simple decorations. Even the lack of a proper cradle for the baby shows their socio-economic status. It is also evident that the family is Hindu because of the bindi the woman wears and her gesture of touching her father-in-law’s feet at the end of the video.

The subsequent images are shown in the latter half of the advertisement which is accompanied by a voiceover also shows images of people belonging to the lower middle class and the lower class. This in itself is a signifier. The short clips refer to those people who are in dire need of some kind of assistance and it is the government which swoops down and graces them with its services, appearing as a salvation for them. The voiceover says that the burdens that the poor and needy carried before no longer exist and that the present government has solved all problems for them. The advertisement refers to a ‘Naya Bharat’ at the end, which is more a political statement than anything else. All this is positioning the present government as different from the previous ones as if the current one were the only one making efforts towards poverty alleviation or improved facilities for the poor.

In the advertisement about scholarship schemes, the setting — the signs within the house as well as where the house is located says that the family belongs to the lower middle class. Here too, the religion is obvious — they are Hindus.

The advertisement about LPG subsidy has a different setting than other government advertisements, mainly because it is appealing to a different kind of audience. This time around, the advertisement is directed at people who can afford to give up their LPG subsidy. This is the signified of the signifier of the wealthy father-daughter duo. The advertisement has made it quite obvious that they are referring to a well-to-do family. The plush sofas and cushions, the girl owning a smartphone, fancy curtains, both the daughter and the father’s attire all show that the family belongs to the upper-middle class or the upper class. In addition, the language they use, Hindi sprinkled with English words, is also a signifier for the class they belong to.

But the case is different with the JAM Trinity programme. This is vastly different from the urban setting of every other advertisement described above. The small shop under the tree, the shelter constructed with a blue sheet, the mud cups, the borewell right next to the shop which is available only in rural areas or the dwellings of the urban poor, all indicate that the setting is rural (fig. 5). Even their clothing is very traditional, with headgear that is seen only in the rural areas of India. The make-shift seats in front of the shop is another signifier which makes us identify the setting as rural — people in the rural areas have the practice of gathering at small shops like this and exchanging news, drinking tea or coffee together. The carts and tractors in the background also reinforce this assumption.



In both the ads of Ariel and Dabur Vatika, their class can clearly be identified through such signifiers. Both families are upper-middle-class, having well-decorated homes, gadgets, modern clothing, setups like kitchens which have modern equipment and other signs of wealth. Both families are in an urban setup. While in the Ariel advertisement we can say that the girl’s family is Hindu, the same cannot be said for the Dabur Vatika advertisement as there are no signifiers which tell us anything about the family’s religion. Also, the family in the Ariel advertisement lives in North India (because they speak Hindi) while there are no dialogues in the Dabur Vatika advertisement which doesn’t say much about the region they live in.

Verbal and Nonverbal Communication

The second category that is explained is verbal and nonverbal communication. Here, verbal communication refers to the dialogues in the script of the advertisement as well as the lyrics of the songs played in them. Nonverbal communication refers to two kinds of signifiers which are gaze and framing. Dialogues and lyrics don’t mean what the words literally mean; there is always an underlying theme, reference or allusion which is made. One of the reasons why language is the most popular sign-systems for semioticians to study is because it easily represents the sign, the signifier, the signified and the relationship between them, i.e. signification.

On the other hand, the gaze of the characters and actors within these ten advertisements speaks about the social dynamics and social relationships between two characters, the character and the audience or the character and another element within the advertisement. Similarly, power dynamics (mentioned in the previous section w.r.t. the All Out India advertisement) are determined by the use of gaze and framing. Who is in control, who is being subordinated, etc. can be understood through the use of these devices. Framing refers to the kind of shots taken in the course of an advertisement which convey to the audience messages such as the mood or emotion of the character, the tension, grief, happiness, etc. in the atmosphere, detachment or indifference of a character, the social distance between two or more characters, etc.

The Dabur Vatika advertisement about cancer survivors has no spoken dialogues in it. The entire video is shown with the mood created by the music and the lyrics. Without any dialogues and with just visuals, the audience has no choice but to pay attention to the lyrics of the song. Summed up, the lyrics address the main character in the video, and are in the second person. However, using this main character, the song addresses all cancer survivors. Literally translated, the lyrics say, ‘you are steel, you are a flower’. The two phrases are metaphors for the strength and softness of a cancer survivor.

The employment of feel-good phrases like these which involve flowery words and metaphors has the purpose of establishing an emotional connection with the audience and making them identify with the character being portrayed. It is only by doing this and affecting the emotions of the audience will the advertisement become successful. The intended effect of the audience associating Dabur Vatika with traits such as compassion, empathy, pro-women, etc. will take place, therefore improving the company’s and the product’s brand image. Although the advertisement does not explicitly urge the audience to buy Dabur Vatika shampoo, it has used this video as an investment with long-term returns.

The song starts off by saying that ‘beauty isn’t merely on the surface (on the face) but in the heart’. However, the actor chosen for this advertisement was beautiful from the beginning, perfectly adhering to all standards of Indian beauty. Her hair is only one of the features of her body; the rest of her body — her facial features, especially, continue to be beautiful.

This, in fact, is a prevailing theme across nine out of ten advertisements in the sample, regardless of whether they are created by the government or by private entities. All the actors chosen are good-looking and look neat and tidy, picture-perfect all the time, with the exception of the JAM Trinity advertisement. This is a sign of the cosmetic nature of the society we live in and how appearances determine people’s perception of you. The advertisers have no doubt chosen these good-looking men and women because they were pleasing to the audience’s eyes. After all, replacing them with someone who is plain or who doesn’t look as good wouldn’t have the same effect as having a beautiful person telling you to buy their product or the idea of their product.

All the frames in this advertisement are either close-ups or medium close-ups, with one or two long shots thrown in. Since the theme is very personal and deals with a topic which is associated with grief, emotions such as uncertainty, recovery, courage, lack of confidence, etc. were captured through the facial expressions and gestures of the main character.

In this advertisement, the main character’s gaze is almost always directed at her own reflection. She looks at herself most of the time, implying that she feels self-conscious and is in a worried or brooding mood. Towards the end, her gaze is directed towards the audience, seeing herself reflected in anyone who shares her experiences within the audience. To them, she conveys the message that as a cancer survivor, one should be ‘brave’ and feel ‘beautiful’. The implication of her confident gaze at the end is that she has overcome any mental obstacles she had with accepting her situation and can now feel comfortable in her own skin.

The advertisement titled ‘Aadhaar Reunites’ is predominantly based on dialogue. The narration of the woman, the main character, who lost her child is accompanied by relevant shots. She narrates her story of having lost her child and then finding her again with the help of the biometric fingerprints of the Aadhaar process. Wearing a middle-class Hindu woman’s attire, the main character says that she had prayed in every temple, gurudwara and dargah in order to find her daughter Ritu. As the opening dialogue in the ad, the connotative meaning of these words is that through the woman, the government says that it does not discriminate between religions; that the Aadhaar card is for people belonging to every religion and every community. By using Ritu, a child with a disability, the government wants to further emphasise that the Aadhaar card can belong to even people like her.

The shots used are long shots, mid-shots and close-ups; but mostly close-ups of the main character to show her varied expressions while she narrates her experience of having lost and found her child. The audience is shown through mid-shot and medium-long shot which establishes the audience within the camera as being a metaphor of the audience outside the camera.

The All Out India advertisement has a more varied use of dialogue, gaze and framing. In the beginning, the tension in the air is palpable which is understood by the lack of dialogue. The only sound in the scene is of the clanking of cutlery. Then, all movement stops when the boy pushes his plate away, making a loud sound, refusing to eat. Everyone’s eyes fall on the boy. This and their subsequent actions show how much importance they place on him and his well-being. Everyone immediately begins to react the moment the mother takes away his plate of food.

It can be inferred from the advertisement that the main character, the boy’s mother, has two daughters before having the son. Judging by the patriarchal nature of the family, the son being valued over the daughters is not at all unnatural. The girls exchange glances several times in the course of the advertisement and they smile when their grandfather supports their mother and admonishes everyone else. This probably implies that the boy is often showered with favouritism in the household, being the only son of the eldest son of the house.

As the boy’s grandmother begins to scold his mother, the entire story of the boy’s rebellion and the unnatural silence at the table is explained. It is also implied that the mother should have condoned the child’s transgression because, in the rest of the family’s eyes, it wasn’t considered a transgression at all. Stealing from his mother, for them, is something inconsequential.

But more importantly, the dialogues reveal that by the time the dinner started, everyone in the household knew about the mother scolding her son for having stolen ₹10; hence the tense silence. Also, a lot can be understood about the relationship between mother- and daughter-in-law. The two older women who shout at her both have a strong dislike for the main character. They have no qualms about yelling at her in front of the whole family. So is the case with her own husband — it can be understood that they don’t have a good relationship at all if the husband airs his grievances towards his wife in front of everyone. He says, “he took my money, not your father’s” which shows the level of condescension shown to his wife.

Then, one of the older women says, “She acts this way because she’s from lower-class family” Here, the class relationship comes into play. It can be inferred from this sentence that firstly, the woman belongs to a lower class of people than this family; secondly, none of them (not the husband, not the mother-in-law and not the other older relatives) wished for the alliance to take place between her and her husband. And it is certainly not a happy marriage, going by the way he treats her in public.

Throughout, the other people on the table only exchange glances and keep quiet. They don’t utter a single word for or against the woman. This conspicuous avoiding of looking at her or any of the elders itself sends out a message — that there is a strict hierarchy in the household and the farther down they are on the pecking order, the less say they have.

In the Ariel advertisement, there are two lines of dialogue running — the first is the father’s nostalgic and repentant monologue; the second is the chatter of his daughter at the beginning. Only one or two dialogues are spoken by her husband and her son (the husband’s dialogue of “wash my green shirt too” speaks volumes about his outlook of life and the myth of a man’s role in the household). The video starts with the daughter entering her house with a plastic cover with greens inside in one hand and an office briefcase in another. The first thing she utters is her son’s name, asking him whether he has done his homework. It can be understood that she is very concerned about her son’s education rather than asking him about how his day went. She also groans about him dirtying his t-shirt again.

This has two meanings — firstly, the advertisement is about Ariel and ‘daag’ is something that’s washed off with Ariel soap powder. Second, that after a long and hectic day which isn’t yet over for her (which we see in the subsequent moments), the last thing she wants to do is to wash her son’s clothes. It represents her frustration which she is taking out on her son. It is nigh impossible for her to be the picture of a loving and caring mother all the time.

The father’s monologue starts with an affectionate address, which shows how close the relationship between him and his daughter is. The fact that he has come to stay in her house for a while is also a testament to this. He goes on to say that she used to play ‘house’ as a child and now she actually takes care of a household as well as things at her workplace, that he is very proud of her but sorry at the same time. This dialogue conveys the internal conflict of the father.

His subsequent dialogues clearly explain the phenomenon that 20th-century feminist philosopher Simone de Beauvoir spoke of in one sentence: “One is not born a woman, one becomes a woman.” He narrates the story of the conditioning that every boy and girl goes through in India, teaching them what differentiates them as male and female — something beyond the ability to give birth. But mere moments before he appears to have these thoughts, his own grandson plays with robots and planes — toys generally categorised as ‘male’ toys (fig. 6). The boy, too, is undergoing the same conditioning that his grandfather hoped to prevent.

The father sees the ‘plight’ of his daughter and realises the mistakes he has been making all his life. However, the many years of wedded bliss during which his wife worked the same way his daughter does now did not make him realise the plight of his own wife, making him unable to recognise his mistakes while he was making them.

Then, he says that he will help his wife in the housework. The operative word ‘help’ implies that the husband and wife are not splitting the work amongst themselves as equals; rather, the father is merely chipping in when he feels like it.

Finally, in the Hindustan Unilever advertisement about keeping India clean, lyrics used towards the end is from the song, ‘Vaishnava Janatho’, a Gujarati bhajan written by the poet Narsinh Mehta, which became a favourite in Mahatma Gandhi’s Sabarmati Ashram. The lyrics speak about a true devotee of God who helps people out of their misery, is humble and respectful, pure without greed, truthful, etc. This advertisement implies that this Vaishnava Jana (a devotee of Vishnu) is Mahatma Gandhi as he exemplifies all these traits. It is also a reminder from the advertiser about how we ought to live, without forgetting the values that Mahatma Gandhi left us with.

Ironically enough, through the use of this song, the advertisement is associating Indians with Vaishnava Jana when not even Shaivas, a Hindu sub-sect, wants to adopt Vishnu as their principal god. The advertisement does this with the intention of linking their ‘experiment’ with Gandhi; however, Gandhi always advocated tolerance for other religions and unity among them as Indians. By using that song, they are unconsciously excluding a section of Indians who don’t relate to such songs.

Here, the notion of Gandhi has transcended the person himself. He is now a sacred concept. He embodies values such as cleanliness, non-violence, peace, truthfulness, etc. By adopting the ‘sign’ of Gandhi, the participants of the experiment have adopted all these values packaged under one signifier.

In addition, the advertisement uses black text against a plain white background. White symbolises peace and purity, traits which are associated with Mahatma Gandhi. By using simple text with a rounded, thin font, they continue to reinforce simplicity which Mahatma Gandhi advocated. In order to make sure that there is no way the audience can fail to recognise the themes they both obviously and subtly tried to convey, all these devices have been used.

Communication, therefore, be it deliberate or accidental, says a lot about things which the communicator may or may not have meant. In the above cases, too, that is true. Actions and especially words have a special significance in semiotics with the language being the most obvious sign system which can help explain the hidden meanings more readily.

The Narrative

In his work Poetics, Aristotle describes narrative as the mode of imitation of the epic, which isconveyed to the audience by a single storyteller or rhapsode. The poet who constructs a narrative can speak either in his or her own voice or assume the voices of different characters (Zuern, 1998). Barthes was influenced by Aristotle in that it was Aristotle who guided his thinking through the ways in which a narrative’s functional units are arranged and combined in narrative discourse (Liveley, 2019).

Barthes says that there are countless forms of narrative in the world. Among the vehicles of narrative are articulated language, whether oral or written, pictures, still or moving, gestures, and an ordered mix of all these substances; narrative is present in myth, legend, fables, tales, short stories, epics, history, tragedy, drame[suspense drama], comedy, pantomime, paintings… stained glass windows, movies, local news, conversation (Barthes &Duisit, 1975).

A narrative may be defined as the semiotic presentation of a series of events semantically related in a temporal and causal way. In the case of these advertisements, the narrative is made up of images, gestures, actions, sound, music, or any combination of these.

Barthes also speaks of ‘open’ and ‘closed’ texts as narratives — he calls them readerly and writerly texts. Readerly texts refer to classic texts presented in a linear, traditional manner. The meaning here is fixed and pre-determined and therefore, the reader is a passive recipient of the narrative. These texts attempt to hide any elements that could open the text up to multiple meanings.

Writerly texts, on the other hand, reveal all those elements that readerly texts attempt to hide. The reader is now actively taking part in the construction of meaning is in control. Writerly texts disregard narrative structure in the traditional sense. The reader is able to uncover a multitude of cultural and ideological indicators from the text.

Every one of the advertisements in the chosen sample has the element of storytelling woven into them. Each of them does not directly sell the idea or the product; rather, they construct a story through which the benefits of the idea or the product is displayed to the audience. The entire narrative, in these cases, functions as a sign in which the signifier is the story and the signified is the social message being conveyed.

From the analysis of the advertisements, certain factors or indicators which aid the building of a narrative have been identified. These include lighting, music, ambience and tone. In the following section, the PSAs in the sample will be analysed according to these four factors.

Narrative in PSAs

The JAM Trinity advertisement is set on the side of the road under bright sunlight, so naturally, the scene is well-lit. In the beginning, the ambience is very rustic and the flavour of the countryside is shown, setting the stage and the premise for the following narrative. Eventually, as the main character begins speaking, the background music begins to play. In this advertisement, the main element is the music which is a sign for the tone it sets for the advertisement — a comedic undertone which is perceived as humorous. Although the dialogues are more informative than funny, the background music instils humour in the video.

In the advertisement about LPG subsidies, the room is very well lit, highlighting the economic status of the family. The background music is a light, repetitive tune as the father and daughter converse. But when the father agrees to give up the LPG subsidy, the tune rises to higher notes, giving it a happy and inspiring feeling to it. This music is a sign which tells the viewer that giving up LPG subsidy when you can afford to is a great, inspiring thing to do. The images of destitute women without a gas connection shown on the television (within the scene) also invokes sympathy in the minds of the viewer and, coupled with such emotional cards being played, makes most viewers feel, at least momentarily, that they ought to give up their LPG subsidy.

The Dabur Vatika advertisement is very well lit. In the beginning, the light shines from behind her which indicates a blank slate, a new beginning, purity, etc., adding a sense of radiance to her. The music is turned on with the old radio player (a sign which appears to be out of context, as if placed in the video with no real purpose). It is an upbeat, light tune which makes the audience anticipate what will happen next in the main character’s life. As her husband and her colleagues reassure her that she looks beautiful, the music reaches a crescendo which is bound to make the audience emotional, feeling for the cancer survivor in the advertisement. Then, at the end where the message in the form of text is displayed, there is no background music. The sudden shift makes the audience pay more attention to the message rather than to the peripheral elements.

The All Out India video, the Ariel video as well as the video by Naik foundation all have high key lighting. They are shot in relatively dark places with bright lighting occasionally to give a dramatic effect. The stories or the narrative in all three advertisements are quite dramatic and/or meaningful. They all have a twist towards the end of the video. In the All Out India video, there is complete silence in the table, indicating the tension and the fear felt by the members of the family. It is only when the grandfather (a.k.a. head of the family) approves of his daughter-in-law’s choice of reprimanding her son that music begins to play. This also indicates that she too had been in a tense state, high strung because of the constant stream of verbal abuse falling on her. Her father-in-law’s words come as a refreshing change, making her delighted by the support extended to her.

The Ariel video has no music at all, probably emphasising the words of the father, giving no room for distraction. From the beginning till the end, only the words in the father’s letter being read out is heard. In the Naik foundation advertisement, the first half has only instrumental music in the background which conveys the emotions of happiness mixed with hope. Towards the end, the tune raises to a high note, the music becomes louder. When the mother embraces her daughter, the audience is made to feel very emotional for the girl who is finally allowed to go to school.

The Hindustan Unilever advertisement is shot in daylight, so there is plenty of light to go around. The music begins playing only when the person dressed up as Mahatma Gandhi appears, crouches down and throws the plate in the dustbin. The music is semi-classical, showing an Indian touch to the advertisement, complying with its message. Finally, ‘Vaishnava Janato’ starts playing in the end with louder music. At this point, the music is no longer in the background but comes to the forefront, so that the audience pays more attention to the lyrics.

The advertisement about “‘Ease of Living’ for the Common Man” is shot indoors and has high key lighting. The music in this advertisement is upbeat, hopeful and cheerful, giving the audience a sense of anticipation for the future. The upbeat music continues as the various schemes of the government are mentioned. All the schemes are said to be for the welfare of the common man with various facilities such as maternity leave, reduced rates of heart operations, etc. and the advertisement conveys the message that with all these schemes, the public has to be hopeful and cheerful.

Similarly, the scholarship advertisement is shot indoors with only one shot from outdoors. The music begins from the outset. It seems like a Bollywood film as if the sound effect was played just before a romantic song sequence played on screen. This is as the boy runs home to tell his parents about his score in the exams. As the parents begin to worry about his future education, a slow, halting tune can be heard. But just as Sharman Joshi fills up the form for them, the music speeds up and becomes more lively and spirit-boosting. These changes in the background music set the tone and indicate the two moods in the advertisement.

In this manner, the various techniques of filmmaking are used to build a narrative throughout the video, a format that appeals to the audience and allows them to connect and empathise with the characters within the advertisement.

Myth

There are a few prevailing themes that cut across the ten advertisements. When deconstructed to the second level of signification, the underlying myths entrenched in these themes within the advertisement may be identified. These themes include gender and sexuality, social norms and figures of authority. The following sections will detail the myths tied to these themes.

Gender & Sexuality

Masculinity/Feminity

From the portrayal of gender roles and one gender’s attitude towards another, the myth of masculinity/feminity may be determined. There are several instances in the ten advertisements which lead to this myth. Firstly, in the scholarships advertisement, the woman is an accessory and a placeholder than anything else. She has no role other than asking her husband whether he is worried about their son’s future. She wears the mangalasutrawhich is a religious symbol albeit a sexist one. She wears a saree. And that just about sums up the portrayal of women in every other advertisement in the set.

Secondly, in the Ariel advertisement, the modern woman in the urban upper-middle class goes to work as well as takes care of the housework. Not just modern feminist texts, even blogs, articles and videos such as these deify the working woman as a multitasking goddess who is capable of sending emails to her colleagues and making coffee for her husband at the same time. This glorification of the position that women in India are in today doesn’t make things easier for her but instead has the opposite effect. It makes being a multitasking woman a symbol of pride for women when it is certainly not their job alone. So, although this advertisement seems to be sending out a message hailing and helping women, it is, in fact, normalising it.

In addition, the woman’s son plays with robots and planes which are considered to be ‘male’ toys even as the grandfather speaks about breaking gender stereotypes.

Thirdly, within the ‘Aadhaar Reunites’ advertisement, the women in the audience sit very modestly, with one hand over another on their lap, while the men sit much more freely, without a care for how other people see them. The main character is, as usual, wearing a saree with a chain around her neck. This is the same case with the mother in the Naik Foundation advertisement, where the mother wears a saree with a chain around her neck. The same applies to the very domestic woman in the “‘Ease of Living for Common Man” advertisement.

In the All Out India advertisement, the older women are dressed in sarees and their younger generation wear salwar kameez. In addition, the main character’s husband says, “He took my money, not your father’s” which reeks of male chauvinism and disrespect towards his wife. Also, only two women are serving the food, indicating that they don’t deserve the same status as older women or any men.

In all the above cases, a woman’s role as a homemaker as well as a working woman is established well. In addition, the advertising industry doesn’t seem to want to move on from portraying women in traditional attire as demure wives and obedient daughters-in-law. The fact that these roles of women are completely normalised and there continue to be defined notions of masculinity and feminity, male egos and female compliance; that what is cultural has become natural is the myth that has been constructed underneath all these signs.

Family

Eight out of ten advertisements feature families out of which seven show them as heterosexual couples. Along with this, whenever the audience spots a man and a woman together, especially with a child, it automatically assumes that the couple is married; there is no room to consider live-in or homosexual couples. Throughout the world, homosexuality and sexual freedom has been obtained only through bitter struggle. For now, there is little sexual freedom in a repressive and traditional society like India. Another point to be noted is that in six out of ten advertisements, the families being portrayed are Hindus. In the other four, there is no mention of religion.

Through this construct, it can be determined that in spite of any legal action, heterosexuality in India is believed to be normal so much so that when exposed to only heterosexual relationships giving no room to homosexual ones, the audience feels that the situation is acceptable and normal; that homosexuality is strange and deviant and must not be brought to the fore. The audience sinks into this mindset and is very comfortable with its notion of right and wrong. It is in normalising this situation that a myth exists.

Patriarchy

With the women in the All Out India advertisement holding their breath out of fear towards the family head, the daughter-in-law and another woman serving food for the rest, the husband’s condescending remarks and the fact that although the old man seems progressive, he lives within his myth of patriarchy, making it natural for him to appear superior and control everyone else in the household, especially the women.

The same is true with the “‘Ease of Living’ for Common Man” advertisement. The woman makes dinner and comes to serve her husband and her father-in-law the food despite her having given birth recently. In the Ariel advertisement, the daughter’s husband doesn’t even notice his wife bustling about, feeling stressed as soon as she comes home from work. He gestures for her to prepare dinner and tells her to wash his green shirt a while later. This indifference and the acceptance that men are naturally (as opposed to culturally) superior to women is another myth being perpetuated.

Social Norms

Social Acceptance

A need for acceptance by society, especially for women is another point to be discussed. Women regularly look for affirmation from their male counterparts or superiors. This is true in the All Out India advertisement where the mother needs her father-in-law’s support to feel that she has done the right thing. This is also true in the Dabur Vatika advertisement where she looks towards her husband to reassure her that she is beautiful. Later, in her workplace, she continues to need reassurances and acceptance from others in order to feel comfortable in her own skin.

The desire to be assimilated into society and be accepted and liked is more cultural than it is primitive. The insecurity and lack of self-confidence that stems from the anxiety of not being welcomed/liked are indicative of the myth — that people need others’ or society’s affirmation to believe in their worth or the worth of their deeds.

Values

Every advertisement tries to sell one value or the other, whether intentionally or unintentionally. It attempts to determine what is right and what is wrong. In doing so and being aired, the advertisement, merely by coming through a media which has a high persuasive ability, makes the audience believe that the notion of right and wrong of the producers of the advertisement belongs to the society as a whole; that in order to integrate with society, they too need to believe in those values. This is the myth being created.

Advertisements, therefore end up successfully selling well-packaged dreams to the consumers or viewers — be they products, services or just ideas or concepts. With public service advertising, the latter case is more likely. None of the advertisements by private companies has pushed their product to the limelight and has allowed their message to be disseminated. Their brand has become secondary to the message, at least temporarily.

Government advertisements are created for the purpose of informing the citizens anyway, so they sell schemes and programmes. But more than that, the government sells the brand of the party in power, selling ideas such as the fact that the government is the poor person’s salvation; that only the government is capable of uplifting him/her. This is the case with all the government advertisements in the chosen set. Similarly, private advertisements sell the idea of a better life which can only be obtained by buying or associating themselves with their product/brand.

Along with this, if celebrities appear within the video, the advertisements will be even more effective. When celebrities endorse a brand, the words that come out of their golden mouths are considered as gospel for their fans and believable by others. The brand will seem to have the celebrity’s stamp of approval which is more than enough reason for many to go ahead and obtain the product/service/scheme. This is an illusion created by the industry, that by using the same soap as what a celebrity endorses, one might become as fair as her or by buying the bat that a celebrity endorses, one can play cricket as well as him.

Harmony

Another illusion created by all these advertisements is overflowing happiness at obtaining whatever the advertiser wants them to obtain. The villager in the JAM Trinity advertisement appears ecstatic to be a part of the JAM Trinity scheme. The others rush to take advantage of the scheme themselves. In the LPG subsidy advertisement, the father-daughter duo appears extremely enthusiastic and happy about giving up their subsidy and helping the poor, something that is unrealistic. Six out of the remaining eight advertisements show excess positive emotions which, they say, is a consequence of doing/saying what the advertiser wants. This idea that everyone can be happy all that time, especially after availing their products/schemes/services is the myth created in this case.

Conclusion

In this study, Roland Barthes’ concepts of denotation, connotation and the myth that “prohibits man from reinventing himself” were applied and various parameters such as social identity, verbal and nonverbal communication and the narrative were analysed from a semiotic perspective. The myth was examined in some detail bringing out concepts such as masculinity/feminity, patriarchy, values and harmony as a basic framework for the analysis of the advertisements.

While analysing the ten advertisements, a pattern emerged. The contents of the advertisement appeared to be skewed or biased (be it towards men, a religion or a class) to such an extent that it appears completely normal to the general audience. The myth-building around these categories became more obvious when the sample was viewed with the help of semiotics. There was a veneer which covered the seemingly happy and enthusiastic characters in the videos which was pierced through in this study. It could be inferred that the messages that public service advertisements intended to send either completely contradicted the encoded messages underneath or the encoded messages differed from the intended messages in that they conveyed these skewed ideas to the public.

An understanding of cultural context proved to facilitate the study to a great extent. For an advertisement, let alone a public service advertisement, to succeed, a keen knowledge of the local culture is necessary. There have been several foreign and international brands which have adapted to the Indian setting and incorporated local elements such as our festivals. This is because the audience better understands information that is culturally relevant to them, which include schemas that they have prior knowledge of.

Therefore, conducting semiotic studies on the media content in the Indian context would be a mutually beneficial activity — to both the audience (who will gain clarity about the information that they consume regularly) as well as the producers (who will gain insight about the kind of messages their content might contain).

References

  • Barthes, R. (1973) Mythologies. London. Paladin.
  • Barthes, R., &Duisit, L. (1975). An Introduction to the Structural Analysis of Narrative. New Literary History, 6(2), 237-272. doi:10.2307/468419
  • Burn, A. and Parker, R. (2003) Analysing Media Texts. London. Paladin.
  • Danesi, M. (1994) Messages and Meanings: an introduction to semiotics. Toronto. Canadian Scholars Press.
  • Lacey, N. (1998) Image and Representation: key concepts in media studies. Houndmills. Macmillan.
  • Liveley, G. (2019). Narratology. New York, NY: Oxford University Press.
  • O'Barr, W.M. (2006). Public Service Advertising. Advertising & Society Review 7(2), doi:10.1353/asr.2006.0027. Saussure, F. de (1974) General Course in Linguistics. New York. Philosophical Library.
  • Zuern, J. D. (1998). Aristotle: Poetics. Retrieved fromhttp://www.english.hawaii.edu/criticalink/aristotle/terms/narrative.html
  • Aadhaar Reunites: बिछड़ोंकोअपनोंसेमिलवाएआधार. (n.d.). Retrieved from https://www.youtube.com/watch?v=tRXoGYZ2f_M
  • All Out #StandByToughMoms. (n.d.). Retrieved from https://www.youtube.com/watch?v=vBAqly7WGWs
  • Ariel—#ShareTheLoad. (n.d.). Retrieved from https://www.youtube.com/watch?v=wJukf4ifuKs Dabur Vatika Salutes Female Cancer Survivors—#BraveAndBeautiful. (n.d.). Retrieved from https://www.youtube.com/watch?v=QomoNyfkqvg
  • DahiCheeni #BetterTomorrow. (n.d.). Retrieved from https://www.youtube.com/watch?v=N5qxGTUbvqA
  • Digital India: National Scholarships Portal Ad (Hindi). (n.d.). Retrieved from https://www.youtube.com/watch?v=Xm_rh0UJVyw #GiveItUp: TVC. (n.d.). Retrieved from https://www.youtube.com/watch?v=UqXLtoSj2DM
  • Hindustan Unilever – Swachh Aadat, Swachh Bharat | The Day Gandhiji Returned. (n.d.). Retrieved from https://www.youtube.com/watch?v=z4TXSRkvO7g
  • Improving ‘Ease of Living’ for Common Man (TVC). (n.d.). Retrieved from https://www.youtube.com/watch?v=PDAKo223Mk4
  • Television Commercial on Jandhan Aadhaar Mobile (JAM) Trinity. (n.d.). Retrieved from https://www.youtube.com/watch?v=FmipUyM0gG4

Ms. Ramya K Prasad
Chairperson and Assistant Professor
Department of Visual Communication
Amrita Vishwa Vidyapeetham, Mysuru
sriramya31102008@gmail.com, 9962243339


Ms. Deepa Makesh
Assistant Professor, Department of Visual Communication
SSS Jain College for Women, Chennai University of Madras
Communication, Advertising, PR and Media Studies
makdeepa@gmail.com, 9884106028


March - 2021

Abstract:

India is a country where women population is 631 million against the total population of 1.3 billion (sex ratio is 943 females per 1000 males). The principle of gender equality is enshrined in the Indian Constitution in its Preamble, Fundamental Rights, Fundamental Duties and Directive Principles. The Constitution not only grants equality to women, but also empowers the State to adopt measures of positive discrimination in favour of women.

On the contrary, the image of women in Indian television has so far been portrayed in a wrong manner and in most of cases these portrayals are unrealistic. Whether it is advertisement of cigarette like “Wills”, in which a half-dressed woman with her male counterpart is seeing enjoying the charm of smoking or a soft drink act like “Frooti”, where a woman is quenching her thrust in a semi-nude dress in a swimming pool are basically the projection of distorted image of woman. It is a fact that in an oriental society like India which is at the same time very patriarchal, the audiences preferably see a woman more as an object of sensation and in other term the media person intent to project them as the object in order to promote any product or service. The whole thing of objectification of women started to attract customers or consumer or clients, this is a harsh truth.

In most of cases in television advertisements only the sexual signification of a female is being exploited in order to attract the viewers. The simple reason of it is that the obscene portrayal of woman helps in advertisement to pursue the target audience in favour of a respective product or service. Advertisements like “Slice” (Soft Drink), many types of Deodorant, Body Spray like “Engage”, “Axe”, “Wild Stone” and men’s garments, we can see a lusty and vulgar woman character which is not at all necessary to portray in this kind of advertisements of male products. In many two-wheelers and four-wheeler advertisements and an advertisement of E-commerce website of second-hand products portrays a kind of greedy and self-centred woman character, which makes a very bad impression to the society.

Our laws, development policies have aimed at protection of women and advancement in different spheres. The media is a powerful socializing agent and vast amounts of knowledge can be gained from studying its influence. Because media is such an expansive entity, research cantering on its influence can cover a wide range of topics. This review paper aims to identify the important constitutional and legal provisions for women in India with special reference to Representation of women in advertisements.

The Indecent Representation of Women (Prohibition) Act was passed in 1986. It is an Act to prohibit indecent representation of women through advertisements or in publications, writings, paintings, and figures or in any other manner and for matters connected therewith or incidental thereto.

The paper would also bring out the legal provisions, and question its applicability to advertisements. The Union Cabinet decision to extend the scope of the Indecent Representation of Women (Prohibition) Act of 1986 (IRWA) to cover the indecent portrayal of women through audio-visual digital media including SMSs, MMSs, etc., shows a light of hope, as it is a law focused towards preventing indecent portrayal of women in general. A historical Case study approach was done to trace the evolution and bring out the landmark judgments in favor of women and their representation in advertisements.

Key Words: Legal Provisions, women in advertisements, Representation in Media

Background

India is one of the mostly populated countries of the world where the population as of 2015 is 1.32 billion accounting for about 17% of the world’s population, the female population is about 639 million while the male population is about 643 million with a sex ratio of 943 females for 1000 males. Today's India offers a lot of opportunities to women, with women having a voice in everyday life, the business world as well as in political life. However, in a vast country like India - spanning 3.29 million sq. km, where cultural backgrounds, religions and traditions vary widely - the extend of discrimination against women also varies from one societal stratum to another and from state to state - some areas in India being historically more inclined to gender bias than others.

Although the Indian constitution grants women equal rights to men, but strong patriarchal traditions persist in many different societal parts, with women's lives shaped by customs that are centuries old. Hence, in these strata, daughters are often regarded as a liability, and conditioned to believe that they are inferior and subordinate to men, whereas sons might be idolized and celebrated for various reasons - capable of earning money, carry on the family line, able to provide for their aging parents, play an important role in death rituals in Hindu religion

India is one of the few countries where males outnumber females; the sex ratio at birth (SRB) – which shows the number of boys born to every 100 girls. Though “prenatal sex discrimination” was legally banned in 1996, the law is nearly impossible to enforce and is not even familiar to all Indian families - discrimination includes Selective abortions, Murdering of female babies, Abandonment of female babies. Discrimination exists in the fields of Nutrition & Health, education Literacy Rate for Women: 54% and Literacy Rate for Men:76%. Although Social sector programmes e.g., “SarvaShikshaAbhiyan” (Education for Everyone) are promoting girls' education to equalize educational opportunities, eliminate gender disparities, these initiatives will take time to unfold their whole effect. Of course, the age-old practices of child marriage and sati are found mostly in history books today. Women are still discriminated for Inheritance- While in the educated, urban middle class women's rights continue to improve; there remains a strong bias against gender equality in those societal parts of India, where patriarchal traditions prevail.

Introduction

Our Indian Constitution was written in an era when the social condition of Indian women was very poor and need an urgent reform. She was mentally and physically tortured in the society. She was struggling to find her social status and a respectable place in the society. At that time Indian women were in a need of some laws in order to improve their social position and to ensure proper safety against mental and physical torture. At that time Dr. B. R. Ambedkar, author of our Indian constitution, took certain constructive and much needed steps in favor of Indian women to make them independent and socially strong and today we can see the revolutionary change in the position and image of Indian Women.

Provisions ensuring rights of Indian women

Post-Independence provisions have been introduced to improve the social condition of women and to give them a platform where they can utilize their potential for their betterment and contribute positively towards the growth of their country. The provisions which enhanced the value of present women can be of two kinds -Constitutional and Parliamentary.

Constitutional provisions to ensure dignity of women

Lots of provisions have been introduced through constitution to ensure dignity and self-respect to the women at large. The social and legal rights have been safeguarded.

  • Article 14: - Article 14 of Constitution of India ensures equality before the law or the equal protection of the laws within the territory of India.
  • Article 15: - Article 15 of Constitution of India ensures that no one should create any sort of discrimination only on the grounds of religion, race, caste, sex or place of birth or any of them within the territory of India.
  • Article 16: - Article 16 of Constitution of India ensures equal employment opportunity to every citizen of India.
  • Article 39: - Article 39 of Constitution of India ensures the benefit of the directive principles of state policy to the women.
  • Article 42: - Article 42 of Constitution of India caste a duty on every employer to ensure just and humane conditions of work and for maternity relief.
  • Article 243: - Article 243 of Constitution of India ensures reservation of seats in gram panchayat for women.

Parliamentary provisions

After Independence there was need to introduce some statutory laws to ensure safety and protection of women. Keeping in view this requirement, just like constitutional provisions, various parliamentary steps have also been taken by the law of India in order to ensure dignified life to the Indian Women. Some legislative acts for women include

Dowry Prohibition Act, 1961 The Protection Of Women From Domestic Violence Act, 2005 The Commission Of Sati (Prevention) Act, 1987 The Immoral Traffic Prevention Act, 1956 Civil Procedure Code, 1973 Indian Penal Code, 1960 Hindu Marriage Act, 1955 Child Marriage Restraint Act, 1929 The Medical Termination Of Pregnancy Act, 1971 National Commission Of Women Act, 1990 The Minimum Wages Act, 1948 Bonded Labor System Abolition Act, 1976 The Special Marriage Act, 1954 Foreign Marriage Act, 1969 Indian Divorce Act, 1969 The Indecent Representation of Women Prohibition Act, 1986 Guardians & Wards Act, 1869 Equal Remuneration Act, 1976

Media Today

The advancement in Communication technologies have heralded in a new era – the mass media has evolved to be all powerful from just being a source of news. Newspapers, television, film, magazine, cable and satellite television, mobiles have grown rapidly throughout the world. The mass media today shapes our very lives, our belief, understanding, attitude, perceptions and social reality. Media plays very important, interesting and integral part in people’s lives.1 Media accelerates the process of development by involving, persuading and transforming people. It is an important instrument of social change in the Indian society. The pervasive effects of the media on the varied spheres of the Indian life – economic, social, cultural, intellectual, religious and even moral values are transforming rapidly.

Communication is vital for women’s development and the mass media plays a significant role in shaping social values, attitudes, perception and behavior.3The media today is seen as a very powerful vehicle for communicating idea and images is known to be tremendous. In the corridors of the social change institutions, it is observed that media promotes consumer tastes and values, often alien to Indian culture and traditions. Today media is not playing the role of the Fourth Estate as a watchdog of democracy but there is too much commercialisation and sensationalism involving violence, sex, portrayal of women which is indecent and objectionable. It tends to reduce the legitimate space for treatment of gender issues concerns which is vital for the development and empowerment of women in the society.

Treatment of Gender Issues by The Media

  • Major exploiter of women
  • Reduced space for concerns
  • Too commercial and sensational
  • Inclusion of violence, sex, portrayal of women which is indecent and objectionable.
  • Commodification and objectification of women traversing the ethics borders

Indecent Portrayal of Women by Media

Manu Smriti mandates that the highest respect and regard must be extended and full protection should be given to women throughout their life.5 Women have been depicted in the most respectable and aesthetic manner on the one hand and, on the other, they have also been victims of indecent, vulgar and obscene depiction.6 It is observed that in recent time media is representing women in an indecent way. Media has emerged as a major exploiter of women. It is seen to flout all norms relating to obscenity, decency and morality. Women and their concerns or problems are no longer visible in mass media, there has been increasing commodification of women in mass media. The portrayal of gender as a product in the media is well documented. With the emergence of women as consumers of products, there has been a subtle change in the nature of advertisements that are put out which appeal to women as consumers, rather than showing women for the purpose of attracting.

Women play a very significant role in advertising today both as consumer and as influencers. The depiction of women in Indian advertising has been a hot topic of debate now. Women advertising redefine women attractiveness as something that is away from natural. There are advertisements where the females are shown in bad light. They are clad in skimpy clothes even when their presence in the advertisements has no relevance with the brand. However, a major share of the space in the media is today occupied by advertisement.7

Fragmenting the female body parts or exhibiting women in indecent posture is rather disgusting. In doing so a woman is used as if she is a commodity. In 1960’s and 1970’s mass media in developing countries were assigned the role of developing and modernising traditional societies.8 The tremendous popularity of television and its ability to reach a vast audience with illiteracy being no barrier led to the idea of using television as a channel for information on development among several government and administrators. Taking advantage of its popularity, mass media in contemporary society is increasing responsible for indecent representation of women. Gender related issues and their problems are not getting importance. Much space is given to cinema related programmes, discussion of famous heroines, promotion of films, beauty contests or discussion on fashion. Women have emerged as a commodity or an instrument to entertainment consumers. The rising levels of obscenity in the Indian films, poses a threat to the foundation of Indian society and its cultural background.

Today the campaign against violence includes domestic violence, rape and sexual harassment, degrading portrayal of women in the media, and the practice of selective abortion of female foetuses.9Many games and gaming websites in India include content which may be categorized as objectionable under the pornographic and obscenity laws of India. For instance, some of the popular websites offer games which have animated caricatures of human beings, including women, depicted in a manner which may be construed as an offence as per the moral standards of India.10 RituTawde, BJP corporator recently hit the headlines by proposing a ban on all mannequins displayed in the shops and showrooms in Mumbai. She said displaying a women’s body for commercial use is wrong. When people watch a film or log the internet, it is their conscious choice. Discrimination and exploitation against women have become a global phenomenon and their consequences are more tragic in the Third World. Poverty, ignorance, deprivation of basic necessities of life and ever-growing pressure of transition from tradition to modernity – all combine to aggravate the inequalities that women in developing countries, including India, suffer to a point at which their existence is reduced to a continuous battle for survival. 11

The Indian Constitution in its Preamble, Fundamental Rights, Fundamental Duties and Directive Principles not only grants equality to women, but also empowers the State to adopt measures of positive discrimination in favour of women. Within the framework of a democratic polity, our laws, development policies, plans and programmes have aimed at women’s advancement in different spheres. India has also ratified various international conventions and human rights instruments committing to secure equal rights of women. Key among them is the ratification of the Convention on Elimination of All Forms of Discrimination Against Women (CEDAW) in 1993. 12

The media should enable projection of women in a decent and dignified way and promote respect and dignity to women avoiding negative portrayal of women. The media professionals need to be sensitised on gender issues and a system of rewards may be developed for those who are able to portray women in positive manner. Likewise, stringent punitive action should be taken against those who defy the norms. New innovative decent presentation of women, based on Indian culture and society through media must be introduced. A strong legislative effort coupled with a wide spread social awareness with morality and ethics is needed to fight this menace so that women are not perceived as a commodity but as individual with right and dignity.

Portrayal of Women in advertisements

Image of women in Indian television has so far been portrayed in a wrong manner and in most of cases these portrayals are unrealistic. Whether it is advertisement of cigarette like “Wills”, in which a half-dressed woman with her male counterpart is seeing enjoying the charm of smoking or a soft drink act like “Frooti”, where a woman is quenching her thrust in a semi-nude dress in a swimming pool are basically the projection of distorted image of woman. It is a fact that in an oriental society like India which is at the same time very patriarchal, the audiences preferably see a woman more as an object of sensation and in other term the media person intent to project them as the object in order to promote any product or service. The whole thing of objectification of women started to attract customers or consumer or clients, this is a harsh truth.

In most of cases in television advertisements only the sexual signification of a female is being exploited in order to attract the viewers. The simple reason of it is that the obscene portrayal of woman helps in advertisement to pursue the target audience in favor of a respective product or service. Advertisements like “Slice” (Soft Drink), many types of Deodorant, Body Spray like “Engage”, “Axe”, “Wild Stone” and men’s garments, we can see a lusty and vulgar woman character which is not at all necessary to portray in this kind of advertisements of male products. In many two-wheelers and four-wheeler advertisements and an advertisement of E-commerce website of second-hand products portrays a kind of greedy and self-centred woman character, which makes a very bad impression to the society.

Women in Ads Vs. Responsibilities of the Media

  • Redefines women for attractiveness
  • Presence for irrelevant brands
  • Clad in skimpy clothes
  • Fragmenting the female body parts or exhibiting women in indecent posture
  • Stereotyping roles
  • Instruments for promoting fashion and products
  • Coercion, ignorance, poverty, deprivation of basic necessities of life & ever-growing pressure of transition from tradition to modernity – all combine to aggravate the inequalities for women in developing countries like India.
  • Should enable projection of women in a decent and dignified way
  • Promote respect and dignity to women
  • Avoid negative portrayal of women
  • Sensitize citizens on gender issues and work for portrayal of women in positive manner

Objectives of the Study

To study the provisions and contents of the constitution and law that provides scope for Indecent Representation of Women (Prohibition) Act 1986, Amendment Act of 2008 and Bill 2012.

Research methodology

Historical Case study Approach

Content Textual Analysis of Secondary data.

Prohibition of Indecent representation of Women and Children Act, 2008 “Indecent representation of women” means (i) depiction of women as a sexual object which is lascivious or appeals to the prurient interests; or (ii) depiction in any manner of the figure of a woman, her form or body or any part thereof In such a way as to have the effect of being indecent or derogatory to or denigrating women; or which is likely to deprave, corrupt or injure the public morality or morals.”

The Indian Penal Code 1960 contains S. 292 which deals with the sale of obscene books, pamphlet, inter alia representation which shall be deemed to be “lascivious or appeals to the prurient interest”, which can include obscene advertisements. Indian Penal Code is included as safety legislation to prevent the indecent representation of women in advertisements, because “Indecent Representation of women can be obscene’, which means that a law curbing obscenity can help.13

The Act punishes the indecent representation of Women, which means “the depiction in any manner of the figure of a woman; her form or body or any part thereof in such way as to have the effect of being indecent, or derogatory to, or denigrating women, or is likely to deprave, corrupt or injure the public morality or morals. It states that no person shall publish or cause to publish or cause to be published or arrange to take part in the publication or exhibition of any advertisement which contains indecent representation of women in any form. 'In the Act, advertisement' includes any notice, circular, label, wrapper or other document and also includes any visible representation made by means of any light, sound, smoke or gas. The Amendment suggested by the National Commission for Women suggests to amend the definition to “advertisement' includes any notice, circular, label, poster, wrapper or other document and also includes any visible representation made by means of any laser light, sound, smoke, gas, fibre, optic electronic or other media” It states that no person shall produce or cause to be produced, sell, let to hire, distribute, circulate or send by post any book, pamphlet, paper, slide, film, writing, drawing, painting, photograph, representation or figure which contains indecent representation of women in any. The Commission has also suggested the addition of the word “Derogatory” along with “indecent”.14 In Section 6 on Penalty, the words 'and with fine which may extend to two thousand rupees' shall be substituted with the words 'and with fine which may extend to ten thousand rupees' and the words 'in the event of a second or subsequent conviction with imprisonment for a term of not less than six months but which may extend to five years and also with a fine not less than ten thousand rupees but which may extend to one lakh rupees' shall be substituted with the words 'in the event of second or subsequent conviction with imprisonment for a term of not less than six months but which may extend to five years and also with a fine not less than fifty thousand rupees but which may extend to five lakh rupees'.15/p>

According to the National Crime Records Bureau claims a decrease of cases of Indecent Representation of women -decreased by 46.5% (from 2,917 in 2005 to 1,562 in 2006). While it is Andhra Pradesh that has recorded 86.2 percent of cases at in the National level under the Act. In April 2006, a Madurai court issued non-bailable warrants against leading actress for "posing in an obscene manner" in photographs published by a Tamil newspaper. The report stated that the two actresses had failed to comply with earlier summonses for the same reason, hence the issuance of the warrants. The petitioner submitted that the paper had published "very sexy blow-ups and medium blow-ups" in its issues December 2005 and January 2006 issues, and which allegedly violated the Indecent Representation of Women (Prohibition) Act 1986, Young Persons (Harmful Publications) Act 1956, and the Indian Penal Code Section 292 (Sale of Obscene Books).14

As per the National Crime Records Bureau (NCRB) data which is available up to 2014, a total of 895, 453, 141, 362 and 47 cases were reported in the country under Indecent Representation of Women (Prohibition) Act, 1986 during last five-year i.e., 2010, 2011,2012, 2013 and 2014.

Obscenity under the law: A review of cases:

Some of the significant cases studies found during review of empirical literature 17 are:

  1. Ranjit D. Udeshi v. State of Maharashtra Citation: AIR 1965 SC 881 Judges: M. Hidayatullah, P.B. Gajendragadkar, K.N. Wancho, J.C. Shah, N. RajagopalaAyyangar Facts:
    The appellant was prosecuted along with the other partners of a bookstall which was found to be in possession (for the purposes of sale) of the unexpurgated edition of the book, Lady Chatterley’s Lover. The partners were charged under Section 292, Indian Penal Code (IPC)1 for certain obscene passages in the book. The Court dismissed the appeal with the following assertions:

  2. (a) “Where obscenity and art are mixed, art must so preponderate as to throw the obscenity into a shadow or the obscenity must be so trivial and insignificant that it can have no effect and may be overlooked.

    (b) “The test to adopt in India is that obscenity without a preponderating social purpose or profit cannot have the constitutional protection of free speech and expression, and obscenity is treatment of sex in a manner appealing to the carnal sides of human nature, or having that tendency.”

  3. Samaresh Bose and Another v Amal Mitra and Another Citation: AIR 1986 SC 967, (1985) 4 SCC 289 Judges: AmarendraNath Sen, R.S. Pathak Facts: Samaresh Bose, the first appellant, is a well-known writer of Bengali novels and stories, and the author of a novel called Prajapati, which was published in SarodiyaDesh, a journal of Bengali literature with wide circulation. Sitangshu Kumar Dasgupta, the second appellant, was the publisher and the printer of the journal at the relevant time. On 2 February1968, Amal Mitra, a young advocate, made an application in the Court of the Chief Presidency Magistrate at Calcutta complaining that the novel, Prajapati, "contains matters which are obscene and both the accused persons have sold, distributed, printed and exhibited the same which has the tendency to corrupt the morals of those in whose hands the said SarodiyaDesh may fall.” Both the accused persons were said to have committed an offence punishable under Section 292 of the Indian Penal Code and under Section 292 read with Section 109 IPC (abetment). Both the accused persons were convicted of charges under Section 292 by the Chief Presidency Magistrate at Calcutta. In order to decide this, the court looked at whether or not the novel Prajapati was obscene. Whether references to kissing, descriptions of the body and the figures of female characters in the book and suggestions of sex acts by themselves have the effect of depraving and debasing, and encouraging lasciviousness among, readers of any age, and must therefore be considered obscene.
  4. K. A. Abbas v. Union Of India and Another Citation: AIR 1971 SC 481 Judges: M. Hidyatullah, J.M. Shelat, G.K. Mitter, C.A. Vaidyalingam, A.N. Ray Facts: The petitioner produced in 1968 a documentary film in 2 reels (with a running time of 16 minutes) called a Tale of Four Cities. In this film brief scanning shot of the red light district of Bombay is shown, with the inmates of the brothels waiting at the doors or windows, was included. The petitioner applied to the Central Board of Film Certification for a 'U' certificate for unrestricted exhibition of the film but the Committee was willing to grant only an ‘A’ certificate. On the petitioner’s representation that the movie portrayed no obscenity, he was informed that he would get a ‘U’ certificate provided he deleted certain portions from the red light scene. he purported to contrast the luxurious life of the rich in the four cities of Calcutta, Bombay, Madras and Delhi, with the squalor and poverty of the poor, particularly those whose hands and labour help to build beautiful cities, factories and other industrial complexes. Issues: Decision: The Court, relying on the Khosla Committee Report, 19682 and precedents from Indian, American and British case law, said that pre-censorship was valid (in the context) and an exception to the right to freedom of speech and expression had been provided under Article 19(2).
  5. Bobby Art International & Others. v. Om Pal Singh Hoon& Others Citation: 1996 AIR (SC) 1846 Judges: S.P. Bharucha; B.N. Kirpal Facts: A writ petition was filed by the first respondent to quash the certificate of exhibition awarded to the film, "Bandit Queen." The film was based on a book which had been in the market since 1991 without objection. Issues: Whether the portrayal of frontal nudity, rape and violence in the movie, ‘Phoolan Devi,’ were obscene, indecent and denigrating to women. Decision: The Court reversed the decision of the Delhi High Court. It held that since the Tribunal (Censor Board) had viewed the film in “true perspective” and granted the film an ‘A’ certificate, and since Tribunal was an expert body capable of judging public reactions to the film, its decision should be followed. The Court dismissed the first respondent’s writ petition. The Court observed that a film that illustrates the consequences of a social evil necessarily must show that social evil.
  6. PratibhaNaitthani v Union of India Citation: AIR 2006 (Bom) 259 Judges: Lodha R.M. and Karnik D.G Facts: PratibhaNaithani, a political science teacher in St Xavier’s College, Mumbai, aggrieved by the telecast of “adult and obscene films shown by the electronic media” and “obscene photographs” in the print media, filed a writ petition before the Bombay High Court. The Court held that a number of television channels were violative of the programme code under the Cable TV Network Act and the Cable TV Network Rules. The Court issued a number of orders while hearing the case. Decision: The Court held that the adult viewer's right to view films with adult content is not taken away by Clause (o) of Rule 6(1). “Such a viewer can always view Adult certified films in cinema halls. He can also view such films on his private TV set by means of DVD, VCD or such other mode for which no restriction exists in law.” The Court held that the restriction upon cable operators and cable service providers that no programme should be transmitted that is not suitable for unrestricted public exhibition did not violate their right to carry on trade and business. The Court further held that only films sanctioned by the CBFC, under the Cinematograph Act and Rules, as suitable for “unrestricted public exhibition” could be telecast or transmitted on Cable TV.
  7. Ajay Goswami v. Union of India & Others Citation: AIR2007SC493 Judges: AR Lakshmanan&Tarun Chatterjee Facts: The petitioner's grievance was that the freedom of speech and expression enjoyed by the newspaper industry is not balanced with the protection of children from harmful and disturbing materials. The Court dismissed the petition, but observed that the Central Government should seriously look into, and make appropriate amendments to, the provisions of Section 14(1) of the Press Council Act, 1978 in accordance with the request made by the Press Council of India to arm it with the authority to recommend official de-recognition of newspapers for government advertisements or for an appropriate period or withdrawal of the accreditation granted to a journalist to facilitate functioning and also to claim concessions in railways, etc.
  8. Director General, Directorate General of Doordarshan& Others v AnandPatwardhan and Another Citation: 1996(8)SCC433 Judges: AR. Lakshmanan & Lokeshwar Singh PantaFacts: The case was filed by independent filmmaker AnandPatwardhan challenging Doordarshan’s refusal to telecast his documentary titled, “Father, Son and Holy War.” The documentary portrayed issues such as patriarchy, violence, fundamentalism, suppression of women, etc. Part I of the film was given a 'U' Certificate and Part II was given an 'A' Certificate by the Censor Board. In response to a writ petition filed by Doordarshan, the Bombay High Court asked the television network to take a decision within six months. There are scenes of violence and social injustices but the film, by no stretch of the imagination, can be said to subscribe to any of that. The depiction is meant to convey that such social evils are evil. There cannot be any apprehension that it is likely to affect public order or incite commission of an offence. The Court observed that the documentary was given two awards at the 42nd National Film Festival in 1995, conducted by the Ministry of Information and Broadcasting, Government of India, after being adjudged best investigative film and best film on social issues. It was, therefore, highly irrational and incorrect to say that such a film promotes violence, that its production quality was unsatisfactory and that it had no specific message to convey. The Court also held that a documentary couldn’t be denied exhibition on Doordarshan simply on account of its "A" or "UA" certification.
  9. R. Basu v. National Capital Territory of Delhi and Another Citation: 2007CriLJ4245 Judges: A.K. Sikri J Facts: Mr. Arun Aggarwal, a practising advocate, filed a complaint before the learned Chief Metropolitan Magistrate (CMM) against Star TV, Star Movies and Channel V, naming persons responsible for the day-to-day affairs of these channels or the various cable operators transmitting these channels. According to the complainant, the obscene and vulgar TV films shown and transmitted through various cable operators amounted to obscenity and, therefore, the accused persons had committed offences under Sections 292/293/2946 IPC and under Section 6 read with Section 7 of the Indecent Representation of Women (Prohibition) Act, 1986. Decision: The High Court held that for the two films without censor certificates the petitioners could not claim immunity from Section 292 IPC. The Court observed that the legislature had enacted the Cable Television Network (Regulation Act) to tackle the “problem” of obscenity, and a Programme Code had also been introduced. “Various statutory safeguards for regulating transmission on cable television networks in India have been provided therein. The petitioners have to abide by these guidelines and laws relating to the electronic media, keeping in mind the sentiments and social value of the Indian society, while relaying its programmes.”

Prohibition of Indecent Representation of Women and Children Act, 2008 “Indecent representation of women” means depiction of women as a sexual object which is lascivious or appeals to the prurient interests; or depiction in any manner of the figure of a woman, her form or body or any part thereof In such a way as to have the effect of being indecent or derogatory to or denigrating women; or which is likely to deprave, corrupt or injure the public morality or morals.” The word, obscenity as the dictionaries tell us, denotes the quality of being obscene which means offensive to modesty or decency; lewd, filthy and repulsive.

The Ambit:

The Indian Penal Code 1960 contains S. 292 which deals with the sale of obscene books, pamphlet, …which can include obscene advertisements. “'In the Act, advertisement' includes any notice, circular, label, wrapper or other document and also includes any visible representation made by means of any light, sound, smoke or gas.’ the Amendment included fibre, optic electronic or other media into the earlier list. Penalty:

The Punishment could range from imprisonment for a term of not less than six months but which may extend to five years and also with a fine not less than ten thousand rupees but which may extend to one lakh rupees'

Total no. of cases reported*:

Year 2010 2011 2012 2013 2014
Cases 895 453 141 362 47

*As per data from the National Crime Records Bureau (NCRB)

The Indecent Representation of Women (Prohibition) Amendment Bill, 2012

  • Seeks to broaden the scope of the law to cover the audio-visual media and content in electronic form, or hoardings, SMS, MMS etc.
  • The self regulating agencies like ASCI, Press Council of India, Central Board for Film certification need to adhere to their guidelines in respect of indecent representation
  • Re-emphasize the role of National Commission of Women to organize awareness programmes.

A few significant cases

  • Movie- Bandit Queen
  • Book – Lady Chatterly’s Lover
  • Documentary- Tale of Four Cities
  • TV Network Channels
  • Advertisements- Axe Effect, Tuff Shoes, Bike, Strata Wall tiles, Crab Tree Switches, Fast-track, Levistrauss

Conclusion:

The Indecent Representation of Women (Prohibition) Act, 1986 was enacted to prohibit indecent representation of women through advertisements or in publications, writings, paintings, figures or in any other manner. The Act, however, in its present form, relates primarily to the print media. Since the enactment of the Act, technological revolution has resulted in development of new forms of communication, such as, internet and satellite based communication, multi-media messaging, cable television etc. It has, thus, become imperative to widen the scope of the law so as to cover such forms of media on the one hand and to strengthen the existing safeguards to prevent indecent representation of women through any media on the other. The Indecent Representation of Women (Prohibition) Amendment Bill, 2012 seeks to broaden the scope of the law to cover the audio-visual media and content in electronic form, prescribing stringent penalties which would act as deterrent to violation of the law. The Bill also proposes to strengthen the enforcement mechanism under the law by specifically authorizing police officers not below the rank of Inspector to enter any premises and carry out search and seizure of any material, if there was reason to believe that an offence under the Act has been or is being committed.16

“The National Plan of Action for Woman”, recommended that Indian mass media should focus on woman education, extension education and innovative use of non-formal learning facilities for rural woman. The 6th 5 Year Plan precisely incorporated a full chapter on Woman and Development that pointed out certain issues like high illiteracy among women, repeated pregnancy, deterioration of women’s health, failure to give social justice to women etc.

Mass media always in any society is related with its socio-economic and political system. So it does reflect the society and hence it should be responsible towards it. Print and Television being leaves maximum impact on viewers than other mass media. So, it is expected that with the flow of modernization media in India should change their approach in-case of portraying the image of woman even in advertisements. The need of the hour is that audience must become conscious of the agendas placed by the media/ clients, must choose to gratify from them accordingly. A thorough understanding of the legal provisions and an observation of the ads would help to understand the trends in portrayal of women in media. A collective effort by the audience would help to enforce the legal provisions with full clarity.

References

  1. Ravindran.R.K (1999);Handbook of mass media;Anmol publications Pvt.Ltd; New Delhi. 1st.ed. p. 68.
  2. PrasadKiran (2005);Women media and society; recasting communication policy; P.2 Women and media, challenging feminist discourse. Delhi.
  3. Mittal Sujata (2005); Children and media; Isha books; Delhi. P.270
  4. Grameme Burton (2010), Media and society, critical perspectives; Tata McGraw Hill Education Pvt. Limited. N.Delhi. p.129 (2nd).
  5. Rama Jois. Justice M. (2004); Universal Law Publishing Co. Pvt.Ltd; New Delhi.;p. 30


THIRD EDITION Apr-Jun 2021 (Volume 2, Issue 2)


Vennela GS
Dayananda Sagar University
College of Journalism and Mass Communication
June 2021

Mulan 1998 vs. Mulan 2020

Abstract

The study first introduces the 1998 animated film, Hua Mulan, that Disney claims to be based on the Chinese ballad the legend of Hua Mulan and the 2020 real action film, Mulan, that is a remake by Disney. In order to study how Mulan legend has travelled from the Chinese culture to the American Disney culture with cultural reformations and deformations, the study will compare the Chinese ballad version by Disney: The Legend of Hua Mulan and the Disney Remake Version: Mulan. The study examines the adaptation of the two movie plots that show significant cultural differences between two nationalities – China and the USA. It discusses the cultural adaptations in the production of the film through various procedures such as additions, omissions, reformations, deformations, specifications, generalizations and explications. The study will also focus on the cultural codes behind Mulan that have varied between the two versions. It explores the bidirectional transfer between Chinese and American cultures in order to study if Disney films reinforce hegemonic ideas.

Keywords: Disney, Mulan, cultural differences, patriarchy, feminism, hegemony, cultural appropriation

1. Introduction

Disney films are very well-known and have immense impact on children all around the world today. Disney films are often perceived as rich in moral values and appear optimistic but there are many hidden messages that they carry.

The legend of Hua Mulan is based on a legend from medieval China. It is a story of a girl named Mulan who disguises herself as a man and goes to war instead of her father. While the 2020 real action movie has the same plot line, this paper analyses the differences between the two films by comparing the interpretation of the same theme of Mulan.

The purpose of this study is to explore the hidden traditional societal norms under the disguise of being progressive while still utilizing the Disney formula of traditional gender and class roles and expectations.

It also focuses on making a comparative analysis of the plot and the theme of Hua Mulan in the performance of the two films, in order to explore the cultural difference caused by it.

This study will also focus on how hegemonic themes are reinforced sublimely to children and to adults through live action movies which are very popular amongst all age categories.

Mulan legend has travelled from the Chinese culture to the American Disney culture with cultural reformations and deformations. This paper will portray how and why there have been reformations and what is the significance of these reformations?

2. Literature Review


2.1 Background of Mulan Film

The Rouran nationality of the northern nomads continued to harass the southern areas during the Northern Wei Dynasty. Then the regime of the Northern Wei Dynasty ordered that each family had to send a man to go to the front, to help fight the battle. Hua Mulan’s father, a veteran, was old, sickly and feeble to go to the battlefield and her sibling was very young to take his place.

So, Mulan decided to join the army as a representative from her family. She not only had to disguise as a man and hide her identity but she also had to kill the staunch enemy which was even more difficult than ordinary people who join the army. Mulan finally completed her mission of serving her country and returned to her family. The then emperor also pardoned her crime of deceiving the monarch and offered her to serve in his court.

However, Hua Mulan refused the emperor’s offer because she had an old father to take care of and asked the emperor to allow her to return to her family and allow her to do her duty as a daughter.

2.2 The character of Mulan: The intelligent strategist vs. The strong warrior

(Zheng Jiming, 2018, p. 106) explores the character and personality of Mulan in the 1998 movie. He says in the animated feature, Mulan is not a warrior. In the beginning of the film, she is shown to be horrible in combat just as the majority of her peer recruits.

He adds that the peer recruits and Mulan are shown to transform from complete disasters to competent soldiers in a training montage they receive during the film. The song that plays during this training montage is “I’ll make a Man out of You” by Donnie Osmond.

Moreover, he adds that, Mulan is shown as one of the frailest and tiniest among them and is nearly sent home in the middle of the song until she makes a retaliation with one of the training exercises.

In one of the defining moments for her character in the film, she retrieves an arrow from the top of a pole using weights. While this required actual strength, Mulan uses her intelligence that allows her to defeat and concur the obstacle. (Zheng Jiming, 2018, p. 108)

(Fu Jing, 2014, p. 129-131) explores the character and personality of Mulan in 2020 live action movie. While examining the live-action Mulan, significant differences in terms of the character surface.

Right in the beginning of the movie, the audience is cautioned that Mulan has too much “chi” for a girl. (Hua Ying 2017, p. 178) describes chi has an energy that every human possess but has to undergo a journey of self-realisation to access the in-born energy.

(Fu Jing, 2014, p. 129-131) Live-action Mulan is a gifted warrior, when her father teaches her martial arts the movie shows that she is clearly gifted with strength and valour. The 2020 movie shows that she “too much chi” will bring dishonour to her family.

She adds that while 1998 Mulan uses her intelligence and strategy and eventually discovers her chi, 2020 Mulan is shown to have magic powers that she showcases during the war with enemy.

(Hua Ying 2017, p. 178) When Mulan encounters the challenge to make it to the top of the mountain (instead of a pole) with buckets of water (instead of weights), she draws on her inner chi to pass the obstacle. It is this chi that makes her a warrior and that makes 2020 Mulan stand apart from her animated 1998 counterpart.


2.3 The main plot

(Zhang, R. 1999. p. 30) explores the main plot of animated film Mulan. He says in the 1998 animated movie, the main plot is that in the beginning of the film, Mulan enjoys weaving and is happy helping her family in her own way.

Then the Khan calls troops and she is forced to disguise as a man due to her sickly father and joins the army where she rediscovers herself and the chi that she possesses. She fights for years and gains merit and returns back. She is then offered imperial minister position which she refuses and returns to her home town.

(Zheng Jiming, 2018, p. 98) explores the main plot of 2020 Mulan. He says in the beginning of the film, Mulan is shown to have great martial art skills and then the Huns invade China. When the emperor calls for troops she disguises as a man and joins the army in her father’s place. He father then prays to the ancestors and a phoenix protects her.

She is trained to become a skilled warrior where she demonstrates her inbuilt chi skills and she wipes out most of the Huns in an avalanche and wins against another witch with the same chi energy. She then saves the emperor’s life by killing the remaining Huns who captured him and in return gets an offer to serve as the emperor’s advisor which she refuses and retires to her hometown, Zheng adds.


2.4 Hegemony

(Chan, J. 2002. P. 24) examines the different values and cultural backgrounds between the United States and China by focusing on the societal norms that surround the relationship between men and women.

He says that China is deeply influenced by Confucianism – the idea that men are superior to women is deeply rooted in traditional ideas in order to adapt to the patriarchal system.

In Mulan 1998, Hua Mulan can weave clothes at home and also kill the staunch enemy and serve the country on a cold and ruthless battlefield. The 1998 movie shows that Mulan is happy and cheerful at the end of the war and is eager to restore the strong desire of women. (Chan, J. 2002. P. 28)

However, he adds, in Mulan 2020, she is shown as a girl who failed in blind date and love at the end of the war. She joined the army just to fulfil her filial piety (duty as a daughter).


1.5 The Chi of it All

(Ning, K. 2010. p. 17) highlights that in the animated movie, Mulan found within herself a strength to against what was expected of her. She created a new personality or persona in order to protect her family by preventing her sickly father from being pushed into military service.

She accepted the challenge of what being a member of Imperial Army required and defeated cold threat to the Emperor of China. She found the powerful source within but she didn’t have magical powers, Ning adds.

(Yang, Q. 2018. P. 53) highlights that in the live action movie, Mulan possessed magical powers because she was born with a special energy called the Power of Chi. As a child she was able to perform death-defying acts of greatness.

She adds that Mulan was portrayed as a super-hero who could handle foes twice her size and strength and defeat the shape-shifter because she wielded the Power of Chi. The movie showed that the Chi became her formidable ally and hence she could win. This draws the clear distinction between 1998 Mulan and 2020 Mulan concludes Yang Q. (Yang, Q. 2018. P. 58)


3. Objective

The purpose of this study is to explore cultural differences, patriarchy, feminism, hegemony and cultural appropriation between the two versions of Mulan. It is to explore the hidden traditional societal norms under the disguise of being progressive while still utilizing the Disney formula of traditional gender and class roles and expectations.

This study will also focus on how hegemonic themes are reinforced sublimely to children and to adults through live action movies which are very popular amongst all age categories.

Mulan legend has travelled from the Chinese culture to the American Disney culture with cultural reformations and deformations. This paper will portray how and why there have been reformations and what is the significance of these reformations?

4. Scope of Study

The scope of study or the extent to which the research area will be explored in the work are to compare the Chinese ballad version by Disney: The Legend of Hua Mulan and the Disney Remake Version: Mulan.

The study will focus on examining the adaptation of the two movie plots that show significant cultural differences between two nationalities – China and the USA.

It discusses the cultural adaptations in the production of the film through various procedures like additions, omissions, reformations, deformations, specifications, generalizations and explications.

5. Research Methodology

The research will make use of comparative analysis to study the cause of variations in the Chinese version of Mulan and in the American version of Mulan. It will focus on the cultural codes behind Mulan that have varied between its two versions.

This study will make use of comparative analysis of two feature length films – Live Action Mulan and Chinese original animated movie of Hua Mulan. The study will consider literation review by using past research, such as Fu Jing’s study on Cultural Differences between China and The United States from the Perspective of Disney’s Mulan and Chan J’s cultural study on Disneyfying and globalizing a Chinese legend Hua Mulan: a study of transculturation.

It will also analyse the content of the both movies and study the cultural reformations and deformations. The study will focus on Hegemony which will include, gender roles, class discrimination, race discrimination and issues related to societal norms.

6. Analysis and Findings

The majority of the production staff in Mulan 2020 are Americans as opposed to Mulan 1998 which is claimed to base on the Chinese ballad the legend of Hua Mulan.

The story in Mulan 2020 starts off with Mulan’s dad Hua Zhou telling Mulan’s story to the ancestors. Mulan is introduced as a girl who enjoys training to fight which is complete opposite of Mulan 1998, which follows the Chinese ballad, where Mulan starts off at a weaving loom as a typical woman of her time who eventually finds her inner strength showing great character development.

However, in the 2020 Mulan, she starts off as a girl with inborn power of Chi which gives very little room for character development. The father in Mulan 2020, says “If you had a daughter whose Chi was this powerful, could you tell her that only his son could wield Chi.

While in Mulan 1998, Chi is shown as the life energy which flows through everyone but you need to work hard to cultivate it, which Mulan did in the animated version.

Mulan 2020, introduces a new character to the film, the witch played by famous Chinese actor Gong Li. But, a witch does not exist in the Chinese context or culture.

This movie shows the western or American ideal of a witch – a woman who can do magic and is ostracized by society because of it.

According to Xiran Jay Zhao, a Chinese writer, there are women in China who can do magic and they’re called Shamans but they are respected in the society and not looked down upon like Mulan 2020 portrayed.

On the other hand, Mulan 1998 used a bird who was a shape shifter which aligned with the Chinese cultural context which says that spirit of animals or inanimate object cultivate their way into taking human form.

Although Chinese society has been influenced by American or western culture in some aspects in the recent years, there are certain values that remain innate and the most prominent feature in the Chinese culture such as the concept of Confucianism and hierarchism in family and society.

In Mulan 1998, when she was caught deceiving she was never trusted again by the general and her peers until she proves herself by fighting for the nation but in the live-action she is immediately forgiven and fully trusted to guard the emperor.

The animated version is more aligned to the Chinese culture because of the traditional values of Confucianism embedded in them. While in the Live action the makers have changed the story-line that does not bring out true character development.

In the Mulan 1998, the movie shows true character development. Mulan grows from being clumsy, less self-confident, incompetent and confused person to being responsible, wise and self-less in the end of the movie. Mulan goes through series of struggles and hardships to find her true self.

On the other hand, in the live action movie, Mulan is just the same as she was in the beginning of the movie. Wielding the power of Chi that gives her power to do anything. This is highlighted in the ending battle scene where she does not use any of the techniques she was taught during the training. She does her martial arts like she did in the beginning of the movie, that shows she is the same.

The character of Mushu that did not exist in the live action kept the story in the cultural context incomplete. Mushu was an embodiment on one’s inner voice. It was a metaphor that reminded people of the morals and values of the Chinese culture.

Throughout the film, it was the guiding force that Mulan followed. It was not a mere pet it was the chi in itself. Removing it in the live action movie clearly showed removing the embodiment of Chinese culture.

7. Conclusion

Through the comparison of Chinese and American version of Mulan, we can see that different cultures will have different interpretations of the same text, and will inadvertently add their own values in the process of interpretation.

Mulan, being a traditional Chinese character, Disney localized its character and part of the plot on the premise of keeping its original plot, so that Mulan finally became a self-seeking Chinese girl who was also recognized by Western values.

While both the 1998 Mulan and 2020 live action Mulan were produced by Disney. The 1998 adhered to the Chinese ballad keeping much of content aligned to the ballad, which depicted the Chinese culture around the globe.

While the live action was skimmed and scanned to fit the western audience. While the writers and directors tried to be progressive and show Mulan as progressive they were hiding behind the veil of regression. The 2020 live-action was more about the American way of life than depicting the Chinese Culture.

In this process of cultural exchange, the weak local culture of China was being consciously flattered and externalized, and did not reflect its own characteristics and cultural characteristics.

While patriarchy existed in the Chinese Culture and the Western Culture. In the hegemonic values that were shown in the form of patriarchy and pseudo feminism adhere to the western values. In China it was about hierarchy within the family and externally but in the United States it was about “Bringing out the man out of you to be a true warrior.”

The cultural characteristics and cultural consciousness embodied in both movies of Mulan provide us with a special perspective to better observe and analyse the cultural differences between China and the United States.

References

Adam Key. (2015). A Girl Worth Fighting For: A Rhetorical Critique of Disney Princess Mulan's Bisexuality. Journal of Bisexuality, 15(2), 54-57.

Altheide, D. L. (1984). Media Hegemony: A failure of perspective. Public Opinion Quarterly, 48(2), 476-490.

Chan, J. (2002.) Disneyfying and globalizing a Chinese legend Hua Mulan: a study of transculturation. In In search of boundaries: communication, nation-state and cultural identities, ed. J. Chan and B. McIntyre, 225–248. Westport, CT: Ablex.

Fu Jing. (2014). Cultural Differences between China and The United States from the Perspective of Disney cartoon "Mulan". Journal of Xi 'an International Studies University. 23(3), 129-131.

Hua Ying. (2017). A Chinese Story in the Western Context: A Critical Discourse Analysis of Disney's Mulan. Overseas English. 21, 178-182.

Michelle Anya Anjirbag. (2018). Mulan and Moana: Embedded Coloniality and the Search for Authenticity in Disney Animated Film. Social Sciences. 7(11), 96-99.

Morawitz, E. B., Mastro, E. D. (2008). Mean Girls? The Influence of Gender Portrayals in Teen Movies on Emerging Adults‘ Gender-Based Attitudes and Beliefs. Journalism and Mass Communication Quarterly. 85(1), 131-146.

Ning, K. Mulan from the perspective of Comparative Culture. Movie Lit. 2010, 17, 26–27

Towbin, M.A., Haddock, S.A., Zimmerman T.S., Lund L.K., Tanner, L.R. (2008). Images of gender, race, age and sexual orientation in Disney feature-length animated films. Journal of Feminist Family Therapy. 15(4), 19-44.

Wang, Z. Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium- Long Intertextual Metamorphosis. Arts 2020, 9, 78.

Xiaoqiang, H. Mulan: Disney’s Princess and Family-country Imagination. Film Art 2020, 65, 65–68.

Yang, Q. Mulan in China and America: From Premodern to Modern. Comp. Lit. East West 2018, 2, 45–59.

Zhang, R. (1999.) Ode to Mulan: seeing the animated film ‘Mulan’. Chinese Sociology & Anthropology 32(2): 30–32.

Zheng Jiming, (2018). From "Hua Mulan" to "Female Warrior" -- Reconstruction of Chinese Culture in American Literature. Journal of Changchun Normal University. 37(01), 106-109.

Zhuying, L. Female warriors: A reproduction of patriarchal narrative of Hua Mulan in The Red Detachment of Women (1972). Media Int. Aust. 2020, 176, 66–77.

Authors D. Guna Graciyal,
Dr. N. Tamilselvi
April 2021

ABSTRACT

Instagram permits users to share snapshots of their self-images comprising extension of their livelihoods with a mass audience in fraction of seconds. This power of Instagram has been utilized by more than billions. When younger generation are more connected towards the uniqueness of Instagram, celebrities who are highly aware of this impact maintain Instagram handles with their fans. The objective of this study is to analyze how celebrities self-present themselves through Instagram and to ascertain parasocial interaction through Instagram handles of celebrities. For the purpose of this study, the researcher has chosen Instagram handles of three Tamil TV celebrities based on the followers count. Content analysis were performed on Instagram profiles to examine both the self-presentation and parasocial interaction.

Key words: Instagram; self-images; social media; parasocial interaction; celebrities; self-presentation.

INTRODUCTION

Advent of mass media technologies in the form of television, movies and TV serials create an illusion of face-to-face relationship with the celebrities on screen. This paranoia has become powerful after the invention of social media. Social media, like Facebook, Instagram, Twitter platforms comprise personal profiles of celebrities. These profile pages comprise personal- and career-related information of the celebrity. Such profile trigger audiences to establish intimate bonds that depict real-life social interactions, which are heightened as they access personal pages of the celebrities.

Parasocial relationships happen with television and movie characters because of continuous exposure to TV shows or movies. It can also be said to be caused due to aftermath of media (Chappuis, 2014). Comparatively, parasocial relationships are easier to form as they lack face-to-face interaction and emotional involvement (Greenwood, 2008).

Originally Parasocial relationships can happen with TV soap opera characters, as time moves on Parasocial relationships can be felt with newscasters, fictional character, film actors, Video Jockeys, Sports personalities, etc. (O’Donovan, 2016). Parasocial relationships have the ability to enhance the self-esteem of viewers as it changes their perspective towards their own self. While most of the viewers experience self-satisfaction through parasocial relationships (Theran et al., 2010) others may try to imitate mannerisms of their favorite personality (Boon & Lomore, 2001).

Parasocial relationship begin with frequent watching of programs of their favorite celebrities onscreen. For example, if a viewer continuously watches his/her favorite celebrity onscreen. Overtime the constant encountering can cause increased levels of intimacy within a viewer, they may start viewing them as a close and intimate friend. Intimacy intensifies as the viewing increases making a stronger bond of one-sided relationship (Skumanich & Kintsfather, 1998; Rubin et.al., 1985). Once they feel a stronger bond, the viewer tries to connect with the celebrities either through e-mail or textual message and in this techno world, social media (Horton and Wohl, 1956).

Social media comprises a wide range of applications, like Facebook, LinkedIn, Pinterest, Flipboard, Instagram, Snapchat, YouTube, Twitter, etc. Of all these platforms, the researchers have chosen a media sharing platform named Instagram as it helps users to be active creators of online content and it also encourages more of audience engagement.

Instagram is an amalgamation of “INSTAnt camera” and “teleGRAM.” It is a location-based social network application primarily for sharing photos and videos combines with short messages. Instagram users can follow feeds from other Instagram handles, they can “like” and “comment” on images, and can share photos. Instagram also holds the power of #hashtags that helps in discovering specific and relevant messages related to the tags across the platform (Amaral, 2015).

Instagram allows users to experience moments in your friends’ lives through pictures. Instagram is very popular among younger generation, with more than 75% engaged with this medium. It appeals to their creative side and you can quickly capture millennials’ attention with stunning visuals. The profiles of Instagram otherwise referred as Instagram handles comprise Instagram stories. Instagram Stories are a great way to connect with younger users. Instagram is a glossy album, wherein we not only glimpse the lives of the rich and famous, but also edit and imitate images of ‘rich and famous’ incarnations to our typically ordinary lives.

OBJECTIVES

To analyze how TV celebrities self-present themselves through Instagram.

To ascertain parasocial interaction through Instagram handles of Tamil TV celebrities.

LITERATURE REVIEW

Reeves and Nass (1996) notes that when the modern media influences older brains the boundary between real and mediated world is completely blurred. Individuals react to cues of influences from the mediated world with a thinking that they are natural and real. Labrecque (2014) opines that the online mediated world facilitates parasocial relationships to a greater degree than traditional media channels.

Parasocial interaction is a one-sided interpersonal relationship established between TV viewers and celebrities (Horton and Wohl, 1956). Parasocial relationships needs three important attributes: communication, liking and intimacy. All parasocial relationships has to start with communication as a result of exposure to the celebrity onscreen, liking happens because of the aspect of self-presentation that the celebrity opts and intimacy happens as an invisible bond. In short, more liking happens because of more attraction to the celebrity causing more importance and intimacy in the parasocial relationship (Rubin and McHugh, 1987).

Perse and Rubin (1989) conducted a research on impact of soap operas among college students, watching soap operas concluded that bonds of parasocial relationships happen naturally within students mostly depending on their exposure levels. Increased exposure makes these relationships closer and intimate. Conway and Rubin (1991) opined that viewers on parasocial relationships feel more comfortable with celebrities as they experience more of emotional attachment. In rare cases, these levels of intimacy within parasocial relationships can also lead to celebrity worship (Maltby et al., 2013). Parasocial relationships differ with gender, Cohen (1997) opined that most men use these relationships for problem-solving whereas women use it for companionship. Wang et al. (2008) opined that most women may seek out parasocial relationships as they lack of interaction with family members whereas men take up these relationships to overcome feelings of loneliness.

Advent of social media has made connecting and sharing possible at greater speed, which strengthens the social media parasocial relationship (Yuksel & Labreque 2016). The feeling of being connected to celebrity profiles through social media platforms provides immense sense of satisfaction to the viewers. Even without verbal interactions, viewers sense a stronger bond of connection (Labrecque, 2014). Social media afford manifold means to interact and to communicate with celebrities (Lueck, 2015). Parasocial relationships gets strengthened when celebrity responds to viewer’s posts (Bond, 2016).

Thorson & Rodgers (2006) and Frederick et al. (2012) opined that users on social media platforms, experience stronger parasocial relationships. Schmid and Klimitt (2011) examined various factors that stimulate parasocial interaction, which include attraction, admiration and impression. Among these factors social attraction was found to be the most determining factor. Most of the visual appearance of the celebrity is associated with attractions, like physical appearance, behaviour styles, mannerism and personality. Viewers experiencing strong parasocial relationship with a celebrity, try to imitate the physical and personality traits of the person (Rasmussen, 2018).

Parasocial communication is mediated by technology and is mostly one-sided with the feeling of social behavior and relationship (Giles, 2002). Visual encountering the favorite celebrity onscreen can bring up a degree of parasocial interaction within an individual. Stronger relationships develop by frequent parasocial interactions with particular celebrity gaining heightened confidence on them (Auter, 1992, Perse and Rubin, 1989). Parasocial relationships always mirror interpersonal social interaction (Ballantine & Martin, 2005; Kassing & Sanderson, 2009).

Stern et al. (2007) opined that TV audiences establish bonds of relationships with TV celebrities as they do with real friends. At certain situations TV viewers tend to take them as role models or as standards for better living. Ballantine and Martin (2005) opines that although parasocial interaction is a kind of proxy relationship yet it has the capability to awaken the feelings of relationships in same intimacy as in real-life friends.

According to Giles (2002), Gleich (1997) and Rubin et al. (1985), some of the drivers of parasocial relationships include: Attraction to media figure, Perceived realism, Perceived authenticity, Time spent viewing the television, Dependency on media, Coherent representation of the media figure and Co-viewing. Among all these drivers, perceived realism and attraction to the media figure assist parasocial relationship formation. Time spent viewing the television also assist in the progress of parasocial relationship.

Stever and Lawson (2013) analyzed the role of Twitter as a mode of interaction between celebrities and fans with 12 entertainment media celebrity accounts. They concluded the presence of three realms of communication, like: social interaction, branding, and parasocial relationship. The analysis also revealed that the viewers or fans experience the invisible presence of celebrity with their interactions through tehse paltforms.

More than parasocial relationship, one other greater concern in social media platforms is creating impression or gaining attraction. To gain impression and attraction, users tend to modify or self-present their profiles. Sukmayadi and Yahya (2019) performed a phenomenological study on Instagram content creators and concludes that Instagram Stories has become one of the vital platforms for managing the impression of cyber citizens. Instagram users take on different techniques to make their Instagram handles attractive both for viewers and followers. Instagram handles motivate users as it is a prominent medium both for expressing feelings and opinions. Instagram is also an audience-oriented platform with a peaceful virtual space for communication (Sukmayadi and Yahya, 2019).

THEORETICAL FRAMEWORK

To study the self-presentation aspect in Instagram handles, the researcher refers to the theory of Impression management postulated by Erving Goffman (1959). Analysis of parasocial relationships was performed with the theoretical base of Parasocial Interaction Theory formulated by Horton and Wohl (1956).

Goffman’s Self-Presentation Theory

This theory deals with the activity of controlling or regulating information to create a desired impression from the perspective of the audience. Impression management is nothing but a manifestation of self-presentation. Self-presentation can be defined as an action performed by specific individuals to create representation and developing identity (Goffman, 1959).

Users tend to create a self-image or self-present themselves in a virtual platform by the way they dress up in display profiles and style of textual communication. Self-presentation can be experienced both from user and audience perspective both as a conscious and subconscious process. Goffman argues that the user tries to shape his perception and create a desired kind of impression among the audience (Tashmin 2016).

Goffman parallels social interaction to a theater experience, wherein the social life is the theater and the interaction process can be represented to the play or the movie that is running on a theater (Tashmin 2016). With behavior of the individual expressed by the user and perceived by the audience. Thus, the core of Goffman’s self-presentation relies on performance and life.

Parasocial Interaction Theory

In 1956, Horton and Wohl postulated the concept of parasocial interaction, which can be defined as the intimate relationship that happens between the audience and media personalities (Lim & Kim, 2011). Parasocial interaction is an imaginary friendship, which is always one-sided, nondialectical with very less mutual development. Parasocial Interaction Theory is a media effects theory with illusionary experience with no communication exchange that takes places within television viewers and media personalities (Hartmann & Goldhoorn, 2011). Accordingly, parasocial encounters provide the viewers with the illusion of always being engaged in a social interaction with the celebrity onscreen (Schiappa et al., 2007).

Parasocial interactions happen as an immediate emotional response caused by viewing favorite celebrities on screen (Schmid and Klimmt, 2011). Such exposures can transform the psychological relationship of parasocial interaction to parasocial relationships (Giles, 2002). More frequent encountering of such celebrities on screen can elevate levels of intimacy (Perse & Rubin, 1989). Parasocial relationships can happen because of many factors. One of the factors include formation of attachment bonds, which happen through body language, eye contact, gestures and postures, or with characterization. These connect happens readily with TV actress than actresses on widescreen (Giles & Maltby, 2004).

Horton and Wohl (1956) acknowledges the prime necessity of parasocial relationship is that media users are curious about the lives of celebrities.

METHODOLOGY

For this study, three Tamil TV celebrity Instagram accounts were coded and analyzed for their content. Alya Manasa (2m), Shivani (1.4m), and Chitra (969k) are three young artists who fall in the top five in number of Instagram followers. These three female TV celebrities are about the same age, with same range of followers count, thus identified as samples for analysis of parasocial interaction.

According to the study by Stever and Lawson (2013), the researchers have chosen content analysis to effectively analyze celebrity Instagram accounts. Content analysis can be defined as “categorising messages based on a classification criterion” (Rosenberry & Vicker, 2009). Instagram posts by Alya Manasa (@alya_manasa), Shivani (@shivani_narayanan), and Chitra (@chithuvj) from January 2020 to March 2020 were coded according to the classification criteria. Textual analysis of the recent responses was also performed to explore the parasocial phenomenon.

FINDINGS

Sample representation was given for each celebrity Alya for @alya_manasa, Shivani for @shivani_narayanan and Chitra for @chithuvj. A total of 205 posts were chosen for the study, out of which 100 posts belong to Chitra, 75 to Alya and 30 to Shivani. Posts from January 2020 to March 2020 were coded by content analysis on the basis of portfolios for self-presentation and on the basis of classification criteria for parasocial relationship.

On the aspect of self-presentation, Chitra loved to self-present herself by posting varied sets of portfolio shots. Most of her posts are studio-made, which cover a wide range of portfolio categories with varied styles and set properties. Almost all her posts try to gain attraction among viewers, her posts also reveal the versatility she has over different makeovers, Though the career makes her look as a family character with calm and shyness, with her self-presentation she tends to prove that she can carry any style with elegancy.

Shivani loves to self-present herself with different attires. Most of shivani’s post are casually taken with varied gestures and postures. Alya’s gallery was filled with more couple pictures than personal portfolios, may be because the study period comes in between her milestone family journey.

Classification criteria for studying parasocial relationship were performed under the following categories: Career-related posts, personal portfolios, fan-related posts, promotional posts, and celebrity interaction (Figure 1). Career-related posts include anything related to serial posters, channel promos, awards and promotional appearances. Personal portfolios include posts related to portfolio shoots, familial events, and public events/gatherings. Fan-related posts indicates interactions with fans and reposting fans creations in forms of visual and video collages. Promotional posts comprise promotions for events and exclusive products. Celebrity interaction includes tagging of other celebrities’ content as a matter of acknowledgement of interaction.

Figure 1: Classification of Posts based on criterion.

Career-related posts:

The celebrities’ careers chosen for the study were most common, but the way each celebrity portrays it in their Instagram handles were different (Figure 2). When looking at each celebrity individually, almost 16 of Chitra’s posts contain career-related information like shooting view and character representation of their projects whereas only 10 posts of Alya was related to career and Shivani has a nil count in this category.

Figure 2: Classification of Career-related Posts based on Likes and Views.

Personal Portfolios:

With regard to portfolio shoots, Chitra leads in this category with a maximum of 67 posts followed by Shivani with 26 posts whereas Alya has 18 posts of which maximum belong to familial pictures than portfolios (Figure 3).

Figure 3: Classification of Personal Portfolio Posts based on Likes and Views.

Fan-related posts:

Chitra has 8 posts in this category of which many are fan recognition on her birthday and some are related to the fan connect moments organized by the channel (Figure 4). Chitra shares equal fan presence in her page as she recognizes her followers by reposting their posts and tagging them. Alya has posted one fan moment in her page. Shivani has got nil in this category.

Figure 4: Classification of Fan-related Posts based on Likes and Views.

Promotional posts:

Alya has maximum of 45 promotional posts regarding to products and services offered over Instagram handles (Figure 5). Chitra and Shivani share an equal count of 5 posts in this category.

Figure 5: Classification of Promotional Posts based on Likes and Views.

Celebrity interaction posts:

In this category only Chitra had 3 posts tagging other celebrities in her posts giving them acknowledgement for sharing a screen or a stage (Figure 6).

Figure 6: Classification of Celebrity Interaction Posts based on Likes and Views.

CONCLUSION

This study aimed to learn how celebrities self-present themselves through their Instagram handles and also understand the bond of parasocial relationships in their posts. Most of Chitra’s posts were ranked high both for self-presentation and parasocial relationships. The outcome of which also can be clearly understood from her fan-related posts. She got maximum fan moments both personally and through programs organized through the channel. Her posts always reveled her passion towards the projects she signs in. To sum up, Chitra is a person with versatility in styles and professions, very elegant both in profession and as a person. With regard to Shivani, she loves to self-present herself but in a more casual manner. The reason behind her not posting most of career and fan-related pictures may be because she has signed in for less projects that doesn’t have television ratings. Alya being married to a celebrity, loved to pose together as couples that is revealed in all her posts. Less of career-related and celebrity interaction posts maybe she has opted a change in profession as she is in her milestone family journey.

As a result of parasocial attraction toward the celebrity, viewers have created many fan pages filled with visual collages, video edits of their favorite shots in the celebrities’ project. Many such online communities exist for Chitra, Alya and Shivani. Even in that Chitra takes the lead by having more fan pages. During the course of study, the researcher also located a snippet video in YouTube of Chitra wishing birthday wishes to one of her diehard fans, that is the connect of parasocial relationship that social media offers in the lives of celebrity. The one who uses the connect wisely, rank higher compared to the ones who does not.

LIMITATIONS

Outcome of data cannot be generalized as the sample and sample size chosen for the study is very small. The study period is limited to a lesser duration, further research can take up a longer duration to understand the clear connect of parasocial relationship in the life of celebrity. Major limitation of this study is that it focused solely on Tamil TV artists, so the findings cannot be generalized to all celebrities. Further research can be entertained across different age groups, different regions and different celebrity professions.

References

Scott Owen Chappuis. 2014. Using online community interactions to explore parasocial relationship and friendship formation and development. Dissertation, University of Akron, Akron, OH.

O’Donovan, Rachel. (2016). To Boldly Go Where No Psychologist Has Gone Before’: Effects of Participation in Fandom Activities on Parasocial Relationships. Journal of Applied Psychology and Social Science, 2 (1), 41-61.

Greenwood, D. N. (2008). Television as escape from self: Psychological predictors of media involvement. Personality and Individual Differences, 44, 414-424.

Theran, S. A., Newberg, E. M., & Gleason, T. R. (2010). Adolescent girls’ parasocial interactions with media figures. Journal of Genetic Psychology, 171(3), 270-277.

Boon, S. D., & Lomore, C. D. (2001). Admirer-celebrity relationships among young adults. Human Communication Research, 27(3), 432-465.

Skumanich, Stephanie A. and David P. Kintsfather (1998), “Individual Media Dependency Relations Within Television Shopping Programming: A Causal Model Reviewed and Revised,” Communication Research, 25 (April), 200-219.

Rubin, Alan M., Elizabeth M. Perse, and Robert A. Powell (1985), “Loneliness, Parasocial Interaction, and Local Television News Viewing,” Human Communication Research, 12 (Winter), 155-180.

Horton, D., & Wohl, R. R. (1956). Mass Communication and para-social interaction. Psychiatry, 19, 215-229.

Inês Amaral (2015). Instagram. In: The SAGE Encyclopedia of Economics and Society (Frederick F. Wherry & Juliet B. Schor, editors). SAGE Publications, Inc., Thousand Oaks, CA.

Reeves, B., & Nass, C. (1996). The media equation: How people treat computers, television, and new media like real people and places. New York: Cambridge University Press.

Labrecque, L. I. (2014). Fostering consumer–brand relationships in social media environments: The role of parasocial interaction. Journal of Interactive Marketing, 28(2), 134-148.

Rubin, R. B., & McHugh, M.P. (1987). Development of parasocial interaction relationships. Journal of Broadcasting & Electronic Media, 31(3), 279-292.

Perse, Elizabeth M. and Rebecca B. Rubin (1989), “Attribution in Social and Parasocial Relationships,” Communication Research, 16 (February), 59-77.

Conway, J. C. & Rubin, A. M. (1991). Psychological predictors of television viewing motivation. Communication Research, 18(4), 443-463.

Maltby, J., Houran, J., & McCutcheon, L. E. (2003). A clinical interpretation of attitudes and behaviors associated with celebrity worship. The Journal of Nervous and Mental Disease, 191(1), 25-29.

Cohen, J. (1997). Parasocial relations and romantic attraction: Gender and dating status differences. Journal of Broadcasting, 41(4), 516-529.

Wang, Q., Fink, E. L., & Cai, D. A. (2008). Loneliness, gender, and parasocial interaction: A uses and gratifications approach. Communication Quarterly, 56(1), 87-109.

Yuksel, M., & Labrecque, L. I. (2016). “Digital buddies”: parasocial interactions in social media. Journal of Research in Interactive Marketing, 10(4), 305.

Lueck, J. A. (2015). Friend-zone with benefits: The parasocial advertising of Kim Kardashian. Journal of Marketing Communications, 21(2), 91-109.

Bond, B. J. (2016). ”Following Your "Friend": Social Media and the Strength of Adolescents' Parasocial Relationships with Media Personae. Cyberpsychology, Behavior and Social Networking, 19(11), 656-660.

Thorson, K. S., & Rodgers, S. (2006). Relationships between blogs as eWOM and interactivity, perceived interactivity, and parasocial interaction. Journal of Interactive Advertising, 6(2), 34-44.

Frederick, E. L., Lim, C. H., Clavio, G., & Walsh, P. (2012). Why we follow: An examination of parasocial interaction and fan motivations for following athlete archetypes on Twitter. International Journal of Sports Communication, 5, 481-502.

Schmid, H., & Klimmt, C. (2011). A magically nice guy: Parasocial relationships with Harry Potter across different cultures. The International Communication Gazette, 73(3), 252-269.

Leslie Rasmussen (2018). Parasocial Interaction in the Digital Age: An Examination of Relationship Building and the Effectiveness of YouTube Celebrities. The Journal of Social Media in Society Vol. 7, No. 1, Pages 280-294

Giles, D. C., & Maltby, J. (2004, March). The role of media figures in adolescent development: Relations between autonomy, attachment, and interest in celebrities. Personality and Individual Differences, 36(4), 813-822.

Giles, D. (2002). Parasocial interaction: A review of the literature and a model for future research. Media Psychology, 4(3), 279–305.

Auter, Philip J. (1992), “TV That Talks Back: An Experimental Validation of a Parasocial Interaction Scale,” Journal of Broadcasting & Electronic Media, 36 (Spring), 173-81.

Perse, E. M., & Rubin, R. B. (1989). Attribution in social and parasocial relationships. Communication Research, 16(1), 59-77.

Ballantine, P., & Martin, B. (2005). Forming parasocial relationships in online communities. Advances in Consumer Research, 32, 197-201.

Kassing, J. W., & Sanderson, J. (2009). You’re the kind of guy that we all want for a drinking budding: Expressions of parasocial interaction on Floydlandis.com. Western Journal of Communication, 70(2), 182-203.

Stern, B. B., Russell, C. A., & Russell, D. W. (2007). Hidden persuasions in soap operas: damaged heroines and negative consumer effects. International Journal of Advertising, 26(1), 9-36.

Gleich, U. (1997). Parasocial interaction with people on the screen. In New horizons in media psychology, 35-55. Wiesbaden: VS Verlag für Sozialwissenschaften.

Stever, G. S., & Lawson, K. (2013). Twitter as a way for celebrities to communicate with fans: Implications for the study of parasocial interaction. North American Journal of Psychology, 15(2), 339-354.

Vidi Sukmayadi and Azizul Halim Yahya (2019). Impression management within Instagram stories: A phenomenological study. The Open Psychology Journal 12: 216-224.

Goffman E. The presentation of self. 1st ed. Edinburgh: University of Edinburgh 1956.

Tashmin N. Art of impression management on social media. World Sci News 2016; 30: 89-102.

Lim, C. M., & Kim, Y. (2011). Older consumers’ TV home shopping: Loneliness, parasocial interaction, and perceived convenience. Psychology & Marketing, 28(8), 763-780.

Hartmann, T., & Goldhoorn, C. (2011). Horton and Wohl Revisited: Exploring Viewers’ Experience of Parasocial Interaction. Journal of Communication, 61(6), 1104–1121.

Schiappa, E., Allen, M., & Gregg, P. B. (2007). Parasocial Relationships and Television: A Meta-Analysis of the Effects. In R. W. Preiss, B. M. Gayle, N. Burrell, M. Allen, & J. Bryant (Eds.), Mass media effects research: Advances through meta-analysis (p. 301–314). Lawrence Erlbaum Associates Publishers.

Shabin PK
Dr Mary Binu
May 2021

“The only reason I would write a sequel is if I were struck by an idea that I felt to be equal to the original. Too many sequels diminish the original.” ~ Dean Koontz

A sequel is a production of literature, film, theatre, television, music, or video game that continues or expands upon the plot of some earlier work. When we talk about the narrative work of fiction, a sequel showcases events set in the same timeline and set as an earlier work, usually following the events of that work.

In many cases, the sequel proceeds with the same elements of the existing story, often with the same characters and settings. A sequel can lead to a series, in which key characters appear repeatedly for eg. ‘The Dhoom franchise’. The Indian film industry is known for the sequels even though most of them are not as successful as the prequel. Most of the sequels either repeated the entire cast in a different storyline while some of them were made with a few popular characters of a successful movie. ‘Padmashree Doctor Saroj Kumar ‘is an example for the same as the movie was made with three main characters ( Saroj Kumar, Pacchalam Bhasi, and Rafeek) of its prequel ‘Udayananu Thaaram’.

‘Bahubali 1: the beginning’ is one of the most successful movies ever made in India. The movie was released in 2015 and the sequel, ‘Bahubali 2: The Conclusion’ was released in 2017 and became the biggest block buster of all time. Even though surpassing the collection records of the prequel there are many flaws and unanswered questions regarding ‘Bahubali 2’.

This study compares and analyses ‘Bahubali 2’ as a perfect sequel in light of aspects like the story, screenplay, character portrayal and quality like graphics and other aspects are studied. ‘Bahubali 2’ has several elements which fail to connect with the prequel. This study will also analyze the reasons behind the elements that failed to do justice to the prequel.

Key Words: Sequel, Prequel, Characters, movie elements

1.0 INTRODUCTION

A sequel is a work that continues the story of or expands upon, some earlier work. This includes movies that completed, one single story in two or even three parts. In the case of sequels, there are several common elements that will connect it to the viewers easily. The background music of ‘Dhoom’ (later used in all the following movies of the Dhoom franchise) is a perfect example.

1.1 SEQUELS AND INTERNATIONAL FILMS

The film industry, which has a history that spans over 100 years, has witnessed a lot of trends. From the early silent era to the age of Altron, films have undergone changes in terms of storytelling, character portrayal, technicalities like VFX, and even the dialogues which were once considered as the backbone of each screenplay. The history of sequels is as old as the practice of film making itself. French filmmaker, Georges Méliès, followed up the successful film ‘A Trip to The Moon’ with the film ‘The Impossible Voyage’, both of which were based on novels by Jules Verne. By the late-1920s, the creation of sequels began in earnest and the first “talkie”, The Jazz Singer (1927), prompted Warner brothers to immediately produce a sequel, The Singing Fool, which was even more successful.

1.2 SEQUELS IN INDIAN CINEMA

Ever since its beginning, film sequels have had an impact on the box office. This trend in International films was imbibed by the Indian film Industries also like the Hindi film Industry. Even though not as popular as in the west, the first Hindi film with a sequel was ‘Hunterwali’ (1935) starring Fearless Nadia. A sequel to this film, ‘Hunterwali ki beti’ was released in 1943 in which fearless Nadia played the protagonist.

The South Indian film industries like Tamil, Kannada, Telugu, and Malayalam started the production of sequels only in the early 60s but were far ahead of Hindi or any other industries (excluding the Bengali film industry) in terms of the successful sequels produced in the 70s and 80s. Even though many of them failed to impress the critics most of the sequels were financially successful which lead to developing sequels into a franchise.

1.3 BAHUBALI: THE BEGINNING

It was in 2015 that the Indian film Industry witnessed one of its greatest hits taking off. The storm created by ‘Bahubali: The beginning’ was beyond imagination. For the first time ever, all the theatres of Hyderabad (capital of Andhrapradesh) only had one film on screen. People watched again and again celebrating the film as their greatest artistic representation. The fictional characters of the movie and the kingdom of Mahishmati were added to the bedtime stories. Directed by S.S.Rajmouli, ‘Bahubali: The beginning’ broke all the collection records and became the biggest block buster of the year. But as the movie title said, it was just the beginning.

1.4 BAHUBALI: THE CONCLUSION

Bahubali: The beginning told the story of Siva (Mahendra Bahubali) who realizes his real identity through various conflicts. But it ended with a question. Why did Kattappa Kill Amarendra Bahubali? The answer for the question was also the biggest blockbuster of Indian Cinema, Bahubali: The conclusion, which released in 2017. The film collected over 1500 crore as gross and remains at the second spot in the list of highest grossing movies in Indian film history. The impact of Bahubali: The beginning was considered as one of the major reasons for the success of Bahubali: The conclusion, as there are many who believe that the beginning was better than conclusion. The quality of making and the excellent performance of Prabhas, Rana Daggubatti, Anushka Shetti, Ramya Krishnan, Satyaraj, Tamanna and Nasar was a common element in both the films. The music for both the films (songs and Background music) was created by M.M. Keeravani which was appreciated by viewers all over the globe.

2.0 THE STORY

The Story of Mahishmati and the crowned prince Amarendra Bahubali is told in two parts. Bahubali: The beginning is about Bahubali’s son Mahendra Bahubali who is saved by Sivagami from her elder son and Amarendra’s cousin, Bhallaldev. Mahendra was found by a group of tribals who raise him as one among themselves. A young Mahendra falls in love with Avantika whose mission is to save her queen Devasena (Amarendra’s mother) from Bhallaldev. Amarendra takes the task from Avantika which takes him to his mother and Kattappa, the army general of Amarendra Bahubali. Kattappa narrates Mahendra About his father and Bhallaldev and the big war against Kalakeyas which proved Amarendra to be worthy of the crown.

In Bahubali: The conclusion Amarendra’s relationship with Devasena is manipulated by Bhallaldev and his father who brainwash Sivagami against Amarendra. This further leads to Amarendra’s death. Kattappa who is forced by Sivagami to kill Amarendra reveals the real plot of Bhallaldev to Sivagami further to which she declared Mahendra as the crowned prince. Knowing the whole story, Mahendra decides to avenge his father’s death and attack Bhallaldev with an army of rebels lead by kattappa. In the final faceoff he kills Bhallaldev and becomes the next king of Mahishmati.

3.0 STATEMENT OF PROBLEM

Bahubali: the conclusion is considered among the best sequels in terms of success. But can we say that it is the best or perfect sequel ever made in the Indian film history?

There are several questions and comparisons between the two films that need explanation. The author of this paper writes to find whether these questions are relevant and to analyse if the film has done justice to its prequel in all aspects.

4.0 OBJECTIVES

1) To study the different elements of Bahubali: The conclusion and to compare it with Bahubali: The beginning. The elements are
  • a) Character continuity
  • b) Appearance Continuity
  • c) Technical perfection
2) To observe the use of CGI used in Bahubali: The conclusion and Bahubali: The beginning.

5.0 RESEARCH DESIGN

5.1 DATA SOURCES AND TYPES

The primary data are the two movies. Both the films will be watched and reviewed carefully. VFX break-up videos of both the movies available in the online platforms will be analyzed to work on the second objective. The reviews and opinions about both the films published by film critics and reviewers will be referred.

5.2 DATA COLLECTION

The DVD’s of the films were purchased. The VFX Break-up videos were downloaded from YouTube. Reviews of both the films online as well as print were collected for reference. The images that are used in this study are screenshots which were taken from the DVD’s while playing.

5.3 LIMITATIONS OF THE STUDY

  • a) A film maker has all the liberty to omit or compromise with any of the elements of his film. Most of the observations will have a reason from the makers perspective.
  • b) The director’s cut of the film is yet to release which may have the elements that is being studied in this paper
  • c) Personal interview of the characters could not be done

4.0 FINDINGS OF THE STUDY

6.1 Character continuation

  • Aslaam Khan
    Few characters who were given importance in Bahubali: The beginning, were not seen in Bahubali: The conclusion. The character played by Actor Sudeep (Aslam) who became friends with Kattappa was expected to have a significant role in Bahubali: The conclusion. But his character was nowhere to be seen In Bahubali: The conclusion.
  • Female Bodyguard
    Another notable omission was the character of a Female Bodyguard, who used to assist Sivagami played by Ramya Krishna. She was seen in almost all the crucial frames of Bahubali: the beginning but was replaced by another artist in Bahubali: The conclusion.
  • Kattappa
    The character of Kattappa portrayed by Satyaraj in Bahubali: the beginning was a serious, strong, and ruthless army general. In Bahubali: The conclusion we see an entirely different Kattappa in the beginning of the movie where he is seen joking and acting as the uncle of Bahubali in disguise. Scenes where he performs as a comedian (like the one in which he sings a lullaby for the wounded Bahubali) does not match with the character, which was hesitant to feed the young Bahubali even after his command (Bahubali: the beginning). Even though entertaining, this change in the character of Kattappa is a big mismatch or continuity lapse from a technical and aesthetical perspective.

6.2 APPEARANCE CONTINUITY

In several scenes of Bahubali: The conclusion we can see a significant difference between the appearance of Bhallaldev ( Rana Dagubatti) and Devasena ( Anushka Shetty). It is very clear that the time gap between the two films has changed the appearance of the actors and the director had to compromise on the appearance continuity aspect. You can clearly see as mentioned in the below images that Bhallaldev is way too lean in Bahubali: The conclusion whereas he looks broad and heavy in Bahubali: the beginning. Anushka’s change is in reverse as we can see many versions of Anushka in Bahubali: The conclusion.

6.3 TECHNICAL PERFECTION

Continuity of scenes is significant for any film. When a story is told in two separate films this becomes more significant. In Bahubali: the beginning the first scene shows Sivagami Devi (Ramya Krishna) coming out of a cave carrying the infant Mahendra Bahubali. The scene which connects to this event as a flashback in Bahubali: the conclusion shows Sivagami trying to escape from Mahishmati where she is seen rowing in a coracle on a river in the outskirts of the Palace. Bhallaldev shot arrows on Sivagami which makes her fall in the river. These two scenes from the two films does not connect.

Towards the end of Bahubali: the conclusion there is a scene when Devasena throws the head of Bhallaldev’s son and Mahendra shoots an arrow which takes the head to Bhallaldev. When Bhallaldev is seen holding his sons head, there is no sign of an arrow piercing it to carry it that long.

6.4 COMPUTER GENERATED IMAGERY AND ITS SIGNIFICANCE

Bahubali: the beginning and Bahubali: the conclusion had a significant number of scenes in which CGI was used very effectively. Even though the war scenes of Bahubali: the beginning had CGI the major scenes like saving the locals from Kalakeyas, the final fight between Bahubali and the Kalakeya General and the fight between Kattappa and Mahendra Bahubali were shot physically in set with less amount of CGI. Where as in Bahubali: the conclusion most of the scenes including Bahubali saving Kuntala Kingdom, Bahubali and his troops entering Mahishmati and the final fight between Bahubali and Bhallaldev had CGI as a main element which reduced the impact of certain scenes. Many of the viewers had the opinion that the war scenes of Bahubali: the beginning were far better than that of Bahubali: the conclusion.

5.0 CONCLUSION

After watching and analyzing both the films, there were several elements in Bahubali: the conclusion which were either mismatching or incomplete. The elements explained in the findings clearly shows that the director had to compromise with certain aspects like the appearance continuity. Certain logical questions like how Mahendra Bahubali learned to fight against a warlord like Bhallaldev within few days after meeting his mother and Kattappa , were not taken as a research problem as it can be either explained or ignored considering the genre of both the films. But technical shortcomings with visual proofs clearly indicates that Bahubali: the conclusion cant be considered as the most perfect sequel ever made in Indian Cinema. Yet we cannot ignore the impact created by these two films which took Indian Cinema business to the next level.

5.1 REFERENCES

  1. https://www.livemint.com/Consumer/kzT946p42UpcWw45Htk3zH/10-things-to-know-about-Baahubali-2-The-Conclusion.html
  2. https://www.filmcompanion.in/reviews/bollywood-review/baahubali-2-the-conclusion-movie-review-rahul-desai/
  3. https://www.firstpost.com/entertainment/baahubali-2-the-conclusion-five-key-characters-likely-to-shake-things-up-in-sequel-3401204.html
  4. https://www.india.com/entertainment/5-reasons-why-baahubali-2-the-conclusion-is-the-most-awaited-film-of-2017-2038360/
  5. https://newsable.asianetnews.com/entertainment/baahubali-2-review-prabhas-rajamouli-rana-star-rating
  6. https://economictimes.indiatimes.com/magazines/panache/baahubali-2-the-conclusion-preview-heres-what-the-finale-of-the-epic-saga-has-in-store/articleshow/58380037.cms?from=mdr

June 2021

Abstract

As a famous saying ‘no man is an island’, means we could not live alone and we need another person to full fill all our needs. Our life is always group in nature, and communication is the basic need of our life. And as a famous saying 'society is a group of people living together', it means we are all living in the group life. A group of people who are communicating each other, processing the same life style and living in a community is called society. All the people have their own practices and civilization. But in every culture, there are certain pros and cons of some social practices. These are determined by the higher class people who are always dominated in the society and the culture of the society becomes poor. These misconceptions can be eradicated only through the proper communication of social reformers.The researcher wants to study the role the interpersonal communication played in the contributions of the social Reformer Mother Teresa.

Key words: Reformation, civilization, empowerment, misconceptions

Introduction

Human beings are communal animals with innate desires to be with and interact with others of our species. We establish and maintain familial, and community bonds. We express our thoughts, our feelings, and our aspirations. We share our observations and interpretations of the world about us. We communicate in many ways – speech, gestures, art, music, performance, text, and photography. Communication with others is fundamental to us, as we are humans. The development of communication capabilities to cooperate, preserve, and pass on knowledge, ideas, and concerns far surpass those of other species and have given us distinct advantages in self-domestication and development (Bowles &Gintis, 2013; Relethford, 2012; Wilson, 1991). Even today, oral communication of culture and knowledge continues to be practiced in tribal settings, private life, and organisations (Ong, 2002; Vansina, 1985). The capabilities of oral communication are limited, however, because temporal and spatial factors constrain interpersonal communication. In olden days there not much mass communication tools to communicate but Reformers worked hard to felicitate the fruit of social reformation only through interpersonal communication. Eradication of social evils from the society is Social reformation.

What is Social Reformationv?

Reformation refers to eradication of some evils such as illiteracy, hunger andpoverty, Child mortality, Poor health etc and other social practices like caste and gender discrimination,Child marriage which are deep rooted in the society for centuries. These practices are of great hindrance to the development of the country. Social reformation is also a change make in particular community with their life style, believes, values, culture and civilization. In every society there are some myths and misconceptions. Some of these are not able to eliminate or eradicate the remaining are minimized. The people who are working to create a modern and furnished society are called Social Reformers. Reformation can be possible by empowerment.

What is Empowerment?

Empowerment is one of the concepts in the process reformation. The process of obtaining basic opportunities for marginalized people, either directly by those people, or through the help of non-marginalized others who share their own access to these opportunities. Empowerment also includes encouraging and developing the skills for, self-sufficiency, with a focus on eliminating the future need for charity or welfare in the individuals of the group.

The aspects of Empowerment are:

  1. Psychological empowerment
  2. Sociological empowerment
  3. Economic empowerment
  4. Philosophical empowerment
  5. Human rights and education
  6. Political empowerment

Empowerment of particular group can be carried out by the direct involvement of people who are working for the eradication of social evils and practices. Meeting the basic needs of human being is also one of the forms ofcommunication.

What is Communication?

Communication means exchange of thoughts, ideas, feelings and opinion to one another or one person to another. We exchange all our thoughts, feelings, and emotions only through verbal or nonverbal means of communication. Verbal means written and oral communication and Nonverbal means communication through signals, symbols and body language. Interpersonal communication is the process by which people exchange information, feelings, and meaning through verbal and non-verbal messages: it is face-to-face communication. Non-verbal communication includes facial expressions, the tone and pitch of the voice, gestures displayed through body language (kinesics) and the physical distance between the communicators (proxemics). Non-verbal communication communicates more than that of verbal communication. In a communication process, 70% to 80% are nonverbal communication and it includes, Body movements (kinesics), for example, hand gestures or nodding or shaking the head, Posture, or how you stand or sit, Eye contact, where the amount of eye contact often determines the level of trust and trustworthiness, Para-language, or aspects of the voice apart from speech, such as pitch, tone, and speed of speaking, Closeness or personal space (proxemics), which determines the level of intimacy, and which varies very much by culture, Facial expressions, including smiling, frowning and blinking, which are very hard to control consciously. Interestingly, the broad facial expressions that show strong emotions, such as fear, anger, kindness and happiness, are the same throughout the world and Physiological changes, for example, you may sweat or blink more when you are nervous, and your heart rate is also likely to increase. These are almost impossible to control consciously and are therefore a very important indicator of mental state.

Key drivers of change process are dialogue,action and reflection,social learning,self and community efficacy. Communication provides the frame for advocacy and activism. It is central in sustaining the social movement itself, as well as in shaping how the movement influences social change. “We are one but we are many.” (Panos London http://panos.org.uk/wp.

Dimensions of social Reformation are;

  1. Eradicate Hunger and Poverty
  2. Achieve Education
  3. Promote Gender Equality and Empower Women
  4. Reduce Child Mortality
  5. Improve Maternal Health
  6. Combat Leprosy, Malaria and other diseases
  7. Ensure Environmental Sustainability

Statement of the Problem

There are a lot of people or social reformers who dedicate their life to eradicate social evils and to make an equalized and modern India. The author wants to popularize their ideologies and thoughts to the present society through mass media by explaining the role of communication in social reformation.

Methodology

It is the descriptive form of study. The author tries to highlight the contributions of Mother Teresa and the interpersonal communication she used for the societal empowerment. In order to achieve the objective of the study the researcher has collected the secondary data. The data were collected from the sources like books, journals newspapers, and also related websites.

Objectives of the study

The main objectives of this paper is

  1. To study the contributions of Mother Teresa
  2. To highlight how Mother Teresa propagate her ideology for the development of society.
  3. To highlight the role of interpersonal communication for the empowerment of people.
  4. To say the effect of nonverbal communication is more effective than verbal communication in Social Reformation.

Limitations

Basically it is a conceptualized study. This paper based only on the secondary data and it is not an experimental paper. The author tries to explain the role of media in social reformation but not proved.

Mother Teresa

Mother Teresa was the founder of the Order of the Missionaries of Charity. Mother Teresa was born on August 26, 1910 in Macedonia. The following day, she was baptized as Agnes GonxhaBojaxhiu. Her parents, Nikola and DranafileBojaxhiu, were of Albanian descent; father was an entrepreneur who worked as a construction contractor and a trader of medicines and other goods. Agnes attended a convent-run primary school and then a state-run secondary school.

In 1928, an 18-year-old Agnes Bojaxhiu decided to become a nun and set off for Ireland to join the Sisters of Loreto in Dublin. It was there that she took the name Sister Mary Teresa after Saint Thérèse of Lisieux. A year later, Sister Mary Teresa travelled on to Darjeeling, India, for the novitiate period. She made her First Profession of Vows in May 193. Afterward she was sent to Calcutta, where she was assigned to teach at Saint Mary's High School for Girls, a school run by the Loreto Sisters and dedicated to teaching girls from the city's poorest Bengali families. Sister Teresa learned to speak both Bengali and Hindi fluently as she taught geography and history and dedicated herself to alleviating the girls' poverty through education. On May 24, 1937, she took her Final Profession of Vows to a life of poverty, chastity and obedience. As was the custom for Loreto nuns, she took on the title of "Mother" upon making her final vows and thus became known as Mother Teresa. Mother Teresa continued to teach at Saint Mary's, and in 1944 she became the school's principal. Through her kindness, generosity and unfailing commitment to her students' education, she sought to lead them to a life of devotion to Christ. "Give me the strength to be ever the light of their lives, so that I may lead them at last to you," she wrote in prayer

On September 10, 1946, Mother Teresa experienced a second calling, the "call within a call",in January 1948 she finally received approval to pursue this new calling. That August, donning the blue-and-white sari that she would wear in public for the rest of her life, she left the Loreto convent and wandered out into the city. After six months of basic medical training, she voyaged for the first time into Calcutta's slums with no more specific a goal than to aid "the unwanted, the unloved, the uncared for." Mother Teresa quickly translated her calling into concrete actions to help the city's poor. She began an open-air school and established a home for the dying destitute in a dilapidated building she convinced the city government to donate to her cause. In October 1950, she won canonical recognition for a new congregation, the Missionaries of Charity, which she founded with only a handful of members—most of them former teachers or pupils from St. Mary's School. Over the course of the 1950s and 1960s, she established a leper colony, an orphanage, a nursing home, a family clinic and a string of mobile health clinics.

In 1971, Mother Teresa travelled to New York City to open her first American-based house of charity, and in the summer of 1982, she secretly went to Beirut, Lebanon, where she crossed between Christian East Beirut and Muslim West Beirut to aid children of both faiths. In 1985, Mother Teresa returned to New York and spoke at the 40th anniversary of the United Nations General Assembly. While there, she also opened Gift of Love, a home to care for those infected with HIV/AIDS.

In February 1965, Pope Paul VI bestowed the Decree of Praise upon the Missionaries of Charity, which prompted Mother Teresa to begin expanding internationally. By the time of her death in 1997, the Missionaries of Charity numbered more than 4,000 — in addition to thousands more lay volunteers — with 610 foundations in 123 countries around the world.

Contributions of Mother Teresa

  • Setting up hospitals for poor leprosy, HIV-AIDS & tuberculosis patients, ensured access to medical facilities for the poor.
  • Shelter homes for the destitute and homeless, such as the Home for the dying in Kolkata
  • Started schools in slums to educate poor children.
  • Came to the rescue of people in war-torn or disaster-struck zones.
  • Founded the Missionaries of Charity in various parts of the world to serve the poor & needy.
  • Shishu Bhavan for abandoned infants.

Despite her ill health in later life, she continued to work for upliftment of the poor. Her actions made the world realise that even the poor have a right to live with dignity.Mother Teresa helped restore the dignity of every human being who was abandoned, disabled or diseased in many ways. When she saw them on the streets needing help, she provided them food, water and shelter. She would collect left over food and feed them; she cared and nurtured the people showing love and compassion. We are commanded to love God and our neighbour equally, without difference.

Conclusion

The researcher concludes that the above said history of Mother Teresa describes the motherly service nature of them. She dedicate herself for nurturing the life of poor. She worked hard to eradicate the social evils from the society directly. It is proved that the nonverbal and interpersonal form of communication is the effective form of communication, sounds louder far years. She is a good teacher in her role. Teaching is one of the best forms of interpersonal communication. She has registered her own ideologies and thoughts strongly by implementing them for societal empowerment. Nonverbal and interpersonal communication is more effective than verbal communication.

References:

  1. Manimaran, K. (2011). Gender, health and women rights in India. International Multidisciplinary Research Journal, 1(10).
  2. Kumar, M. (1982). Social Equality: The Constitutional Experiment in India. S. Chand.
  3. Biswal, P. K. (2012). Mass Media and Rural Development. heart.
  4. Muggeridge, M., Splatt, C., & Rodgers, D. (1971). Something beautiful for God. Collins.
  5. Doig, D. (1976). Mother Teresa: Her people and her work. Collins.
  6. Egan, E. (1985). Such a Vision of the Street: Mother Teresa–The Spirit and the. Work. Garden City, NY: Doubleday.
  7. Le Joly, E. (1977). Servant of love: Mother Teresa and her Missionaries of Charity. HarperCollins
  8. González-Balado, J. L. (1980). Always the Poor: Mother Teresa, Her Life and Message. Liguori Publications.
  9. Websites & Wikipedia of all reformers

Author: Sujay Sudharshan
College of Journalism and Mass communication
Dayananda Sagar University
June 2021

Abstract

This study or analysis probes into understandings and associations of how images and certain symbolic expressions of portrayals of something we witness at an age where we clench information in such a way that it induces a subconscious of ‘this is right’ or ‘this is wrong’ will be extended to preaching it the rest of our lives. Particularly, how evil and bad are represented and alter our minds when we see certain things. For example, when we relate seeing something in Red or something dark; we often come to a thought of peculiarities associated and negatives that refer them to be not good. Drawing connections with the recent flak regarding Zomato’s controversy and how it was received will be explained. This analysis will insight how seeing and knowing about certain characters will shape our judgments on seeing something similar in real life relating to the viral video of Hitesha, the lady with the broken nose accusing the Zomato delivery guy of assault. This will be compared with similar traits of characters we have watched or read about that unconditionally strikes us to relate to it and make assessments of information regarding it. Whether it really influences our decisions or judgments or can it be mere speculation will be explained.

Keywords: Broken nose, Representation of evil, Zomato controversy, Evil association

Introduction

Taking a simple example of color Red, the psychology of this vibrant warm color goes to connecting it with stop (traffic light), blood, aggression, danger etc. From a young age, we have often consumed this through many other portrayals as well. This color also denotes love, passion but do we really think of those at first? Not always. This immediate perception that we have been nourished throughout our life conditions us to associate it on other platforms or situations in life as well. In simple terms – stereotyping; invisible but always present. We may agree or not agree but all of us have within ourselves different identities we cultivate depending on the situation and of course our moods among which some of them likely to be stigmatized. It is not really easy for us to think about whether we are falling prey to stereotyping at the moment because they happen very quickly. This is quite natural as it seems but seeing them in our actions is alarming. It is so much better to buffer in your head and realize rather than disregarding certain things. However, this stereotyping is also affected by our cultural values, our social associations and communications. All of this include in our daily activities that most of us indulge in specially while using phones or watching media – the means of influence. As Marshall McLuhan says “The medium is the message.”

Coming directly to the Zomato controversy, firstly, Zomato is an Indian multinational restaurant aggregator and food delivery company founded in 2008. The company through its app services provides information, menus and user-reviews of restaurants as well as food delivery options in select cities across different countries. On March 10th, Hitesha Chandranee (Model turned make-up artist and beauty influencer on Instagram) posted a video clip on social media platforms alleging an assault on her (that she was hit by the Zoamto delivery executive, Kamaraj.) This video clip went viral gaining millions of views and the accused was arrested immediately. This incident took place in Bengaluru, Karnataka. Just after few days, the tables turned and a whole different perspective sprung up from Kamaraj regarding the incident. His version of the story went viral too of falsely accusing him of something he didn’t do that raised confusions and an FIR was lodged against Hitesha on March 15th.

Big names like Parineeti Chopra and other celebrities came in support of the delivery guy and sought to know the truth. Meanwhile, Zomato despite not waiting for the decision covered Hitesha’s medical expenses and helped her; also firing Kamaraj from his job.

One day there is an entire army of people sharing her video to fight what was unfair and the next day there is another perspective shared which went viral too for his justice. Who is right and who is wrong? How does a person choose or keep in mind while standing for a person or supporting him/her? That requires thinking and making a judgment and on what basis would you deem her story is true or false and vice versa? That behaviour will depend on certain criteria of thinking we have been nourished over years about psychology of different colours, symbols etc. It is not in the nature of anyone to think complexly while thinking about this but sure does cost a person’s life.

Drawing parallels with this will be characters that we have witnessed or read about with similar traits (i.e. the ones with the broken nose similar to Hitesha). The two famous ones being Lord Voldemort in Harry Potter and Shurpanakha in Ramayana. Lord Voldemort aka Tom Marvolo Riddle, is a fictional character and the main antagonist in the J.K. Rowling’s series of Harry Potter novels and movie franchise. He is the leader of death eaters often pronounced as ‘He who must not be named’ appears in all the 7 books and movies except the third one – Harry Potter and the Prisoner of Azkaban. Shurpanakha, sister to Ravana, Kumbhakarna and Vibheeshana; born to Kaikesi and Vishrava also known as Meenakshi appears in Ramayana, the epic by Valmiki. Lord Voldemort as seen in the movies has no nose (A snake like face) whereas Shurpanakha’s nose was cut by Lakshmana in the epic. Both considered reasons for violence, duels and evil. What makes them that and how are they described by the respective writers along with their character traits and how there were fleshed out in terms of behaviour and appearance will be explained in the next section. What makes it relevant to this will be discussed.

Review of characters:

1. Shurpanaka

Please note that there are several versions of this great epic therefore my interpretations might contradict with what you have heard or read of this particular incident in the Ramayana. After reading and referring to several links (I could not understand the original Ramayana which was in Sanskrit) and from the best possible translations of describing the character, Valmiki’s version of Shurpanakha is a little cryptic. It is clear that ugliness in physical form does not really imply the same in character and same goes to beauty as well. The way the author has described this character is by saying she is beautiful in nature but ugly by character. I am sure most of us must have assumed Shurpanakha to be ugly by nature and appearance for the stories and cartoons we have watched. This confusion of ugliness is due to the biased knowledge of those who have translated the story about a woman who belongs to the Rakshasas and deem her to be ugly by nature. Infact, the word Rakshasa itself is misunderstood and considered evil. The words used in the epic have been


Figure 1.

Rama introducing Lakshmana as an offer to Shurpanakha for marriage. Source: mahabore.wordpress.com

mistranslated to describing this character to be the one who can choose any desired form by will i.e Kamarupini, when it originally meant that she was desirable or beautiful. The portrayal of her can be seen in the figure above as well (figure 1) how disoriented and different she looks; evil-like with big nails, ears and ugly in appearance. In the story, as she approaches Rama to marry her; the brothers Rama and Lakshmana poke fun at her at her approach. Shurpanakha envious knowing about Sita as Rama’s wife disregards her appearance and speaks ill of her.

Rama says that he is married to her and will abide by Sita, suggests that his brother would be a good conduct and the one who is without a wife. To that, she approaches Lakshmana and tries to woo him for which he questions why she is so interested to become a wife of a servant like him (Lakshmana considers himself to be the servant of his brother, Rama). Shurpanakha being jealous of seeing Rama and Sita together thwarts her and says that she would consume Sita so that she and Rama can happily merry along each other. This made Rama take offense for which Lakshmana infuriatingly drew a sword and chopped off her nose and ears in front of his brother. Many say this was the main reason why Ravana abducted Sita and the battle of Lanka happened because Ravana could not handle the humiliation his sister faced. All this while we have been put in the thought of how Rama and his brother were the heroes and Ravana and his family are evil; but by this incident I’m very sceptical of the hero’s behaviour to severe someone’s nose whereas the one who was considered evil never even touched the person who was abducted.

2. Lord Voldemort

Harry Potter is a very well known fantasy, children’s literature series by J.K. Rowling. Tom Marvolo Riddle aka Lord Voldemort pronounced as “You-Know-Who”, “He-Who-Must-Not-Be-Named”, The Dark Lord. Despite whatever he is addressed as, Voldemort is a memorable antagonist. He is Harry Potter’s shadow throughout the entire Harry Potter series. There are so many different factors that influence the development and portrayal of a villain in literature; but what makes Lord Voldemort so memorable as a villain is that he meets a number of emotional and psychological aspects of the human experience without becoming diminished or crippled as a true evil-doer.


Figure 2

Lord Voldemort from the movie: Harry Potter and the Deathly Hallows Part 1. Source: The Atlantic

Tom Marvolo Riddle was born in 1926. (This is the chronology of Lord Voldemort’s life) His mother lived only long enough to name him (for his father and maternal grandfather) and died after giving birth to him. Riddle grew up at an Orphanage, unaware of his heritage until he was 11 years old; that was when he received the invitation to Hogwarts from Albus Dumbledore – Hogwarts Headmaster. After finishing his education at Hogwarts being sorted at Slytherin house from 1988 to 1945 it is believed that he travelled to Albania. He was offered job positions in the Ministry for Magic upon returning to Britain, but interestingly he declined them. He took a job instead of that and worked at Borgin and Burkes where he persuaded and influenced people to part with their valuable magical objects. He then disappeared, only to reappear and apply again for the position of Defence against the Dark Arts Professor at Hogwarts. Following another rejection for this role, Riddle in the 1970s made a comeback and emerged at Hogwarts, gathering followers named Death Eaters.

Voldemort at the zenith of his power disappears, as in the beginning we see a glimpse of the boy with the scar when Voldemort tried to kill him and the spell rebounded. He maintained life in the forests of Albania only through his construction of Horcruxes previously and now as we have seen in the movies and books, he first emerges by taking the bodies of snakes, and eventually sharing a form with Professor Quirrell who was the Defence against the Dark Arts teacher during Harry Potter’s first year at Hogwarts. i.e. Harry Potter and the Philosopher’s Stone.

Horcruxes are objects in which a dark wizard and witches hide their fragment of soul in order to be immortal. We come across the first horcrux – Tom Riddle’s Diary in Harrry Potter and the Chamber of Secrets. It is in 1994 when Peter Pettigrew (One of the marauders transfigured as a Rat which Ronald weasely had for a brief time; first appeared in Harry Potter and the Prisoner of Azkaban) finds and serves him eventually leading Voldemort his path back to power begins. In Harry Potter and the Goblet of Fire, using teenage Harry’s blood in a ritual, Voldemort is reborn in his monstrous form that we see and introduced to his disfigured snake like face and a broken nose a result of the potion Peter Pettigrew (aka Wormtail) concocted. Later what happens is known. But how is this kind of evil represented?

The more evil things he does; the more evil his appearance is. The characteristics of what evil is represented as are too many and are different, but an important factor is the demonstration of a demonly disturbing act that cements the position of the antagonist. Interestingly for a children’s series such as Harry Potter, the role of the bad guy and his acts are as horrific as those seen in adult literature. It is not really in the nature of anyone to be evil since the beginning. It is sometimes the nurture. It really concerns whether human nature is geared by innate biological forces or the product of learning and environment; like so many experiments have been done to study behaviour – Bobodoll etc. This debate of whether evil is born or influenced by early childhood or environmental factors continues to be a topic of discussion. A number of common situations that we see are the ones that will present where the antagonist has been placed in completely different situations, and his personality either changed due to circumstances depending on what situation he was in thath led him to(nurture) or retained his existing not good nature (nature). (Mannolini, 2018). Villain mindsets are often linked back to an aspect in their childhood, however, it is at times difficult to identify whether their experiences arose due to circumstance alone or were set on that path or exasperated by pre-set personality characteristics which is what we also see in Lord Voldemort considering his story in childhood who was abandoned by love or Shurpanakha who was poked fun of by her definition of love.

Research Methodology

This content analysis was done referring many links and articles and represents one individual’s opinion and view or takes on the chosen topic.

Observations and drawing parallels:

The first images, colours, symbols that strike in our minds when remembered about the Zomato’s incident are Red (Zomato’s colour, Kamaraj’s video in his Red uniform and Hitesha’s bleeding nose). After the release of Kamaraj’s video that went viral just after few days of Hitesha’s video clip; the reaction that were in favour of the influencer leaned towards the Zomato delivery executive overnight where millions openly lend their support to him (including me) on various social media platforms. The support for the innocent until proven guilty seemed all right until the influencer received a lot of obloquy. At the present times, nobody really knows what happened later with the case.

It is human to take sides in a debate or scenario like this, depending on where your sympathies lie and how you make assessment of it, but issues are almost never as transparent as one would like them to be. Social media may propose to be a ‘democracy aggregator’ but it doesn’t seem likely; it works more as a ‘pre-conceived notion aggregator,’ which sets up combatant contests between unreal binaries of good-bad, guilty-innocent, right-wrong. The two characters, Lord Voldemort and Shurpanakha, have their own perks of a good and bad side to them. They are united only by appearances. The evil representation too has its limitations that are confined to so many other contributing factors to the character’s lives. While Hitesha probably did try of freeloading and lied, there is a poster figure for a woman to tell the truth all the time which is a stupid approach. As Men, there are fraudsters, liars, killers among women too. It forces one to be defensive about female offences. This is just one probable side of the story. What if the delivery guy has really assaulted her? Or was this the only time due to fear Hitesha lied to get away from what she dug for herself? Branding one just to be that, in this case considering the victim as Evil is not done.

Conclusion:

Each individual incident or a story comes with its own script, inter-personal acts and gestures, but our need to be facile, instant critic giving their judgments on any information makes us push everything into one crude template and then take predictable positions which are not healthy. The idea was to not just induce any kind of explanation that since the characters that were reviewed had similar traits of a broken nose were considered evil, so that would influence a stereotype in minds to taking particular sides but also the fact that even if those characters were considered evil, there are certain factors that are looked upon. And not necessarily they are evil in the eyes of others. As discussed it could be the nature or nurture that decides one’s state but narrowing it because of a single incident or the way of looking at life or approaching at things differently cannot be considered evil.

References:

  • David Eldred (2019), Lord Voldemort. Formed from clay. Accessed from:
    https://www.formed-from-clay.com/voldemort
  • Desiraju Hanumantha rao, (2002, May 4). Valmiki Ramayana – aranya kanda in prose sarga 7. Valmikiramayan.net. Accessed from:
    http://www.valmikiramayan.net/aranya/sarga17/aranya_17_prose.htm
  • Helen Armitage, (2020, March 1). Harry Potter: What Happened To Lord Voldemort's Nose? Screen Rant. Accessed from:
    https://screenrant.com/harry-potter-what-happened-lord-voldemorts-nose-explained/
  • IANS, (2021, March 11). Zomato delivery executive arrested by Bengaluru Police for allegedly assaulting content creator. Business Indsider India. Accessed from:
    https://www.businessinsider.in/india/news/zomato-delivery-executive-arrested-by-bengaluru-police-for-allegedly-assaulting-content-creator/articleshow/81445459.cms
  • India TV Entertainment Desk, (2021, March 14). Parineeti Chopra appeals to Zomato to find out the 'truth,' supports delivery man. India TV. Accessed from:
    https://www.indiatvnews.com/entertainment/celebrities/parineeti-chopra-appeals-to-zomato-to-find-out-the-truth-supports-delivery-man-690870
  • Jaipal Sharma, (2021, March 15). Zomato case: FIR lodged against Bengaluru woman who alleged assault by delivery boy. DNA India. Retrieved from:
    https://www.dnaindia.com/india/report-zomato-case-fir-lodged-against-bengaluru-woman-hitesha-chandranee-who-alleged-assault-by-delivery-boy-kamaraj-2881298
  • Jijith Nadumuri Ravi, (2018). Surpanakha: beautiful in form and ugly in character; What Valmiki Ramayana reveals. My India My Glory. Retrieved from:
    https://www.myindiamyglory.com/2018/02/10/surpanakha-beautiful-form-ugly-character-valmiki-ramayana-reveals/
  • Julie Beck, (2015, September 23). J. K. Rowling’s investigation of her villain’s mind echoes the intrigue of a true-crime serial-killer profile. The Atlantic. Retrieved from:
    https://www.theatlantic.com/entertainment/archive/2015/09/the-psychology-of-voldemort/406162/
  • Juliet Kahn, (2019 August 26). Voldemort's Disfigured Face Explained. Looper. Accessed from:
    https://www.looper.com/163629/voldemorts-disfigured-face-explained/
  • Lord Voldemort, (2021, April 20). Wikipedia. Retrieved from:
    https://en.wikipedia.org/wiki/Lord_Voldemort
  • Mahabore, (2013, September 2). Surpanakha’s lust for Rama. Mahabore’s Mumblings. Accessed from:
    https://mahabore.wordpress.com/2013/09/02/surpanakhas-lust-for-rama/
  • Maddy, (2011, April 19). Surpanakha – The story of a woman scorned. Maddy’s Ramblings. Accessed from:
    https://maddy06.blogspot.com/2011/04/surpanakha-story-of-woman-scorned.html
  • Pallavi Thakur, (2016). Untold story of Surpanakha. SPEAKINGTREE.IN. Retrieved from:
    https://www.speakingtree.in/allslides/the-real-story-of-surpanakha
  • Pottermore, (2018, March 19). Things you may not have noticed about Lord Voldemort. Wizarding World. Accessed from:
    https://www.wizardingworld.com/features/things-you-may-not-have-noticed-about-lord-voldemort
  • Supriya D, (2016). Why lakshmana cut Surpanakha’s nose?. FindMessages.com. Accessed from:
    http://www.findmessages.com/why-lakshmana-cut-surpanakhas-nose
  • Stephanie Ashe, (2020, December 22). 18 little-known facts about Voldemort even die-hard 'Harry Potter' fans may not know. Insider. Accessed from:
    https://www.insider.com/interesting-things-you-might-not-know-about-voldemort-harry-potter-trivia
  • Vivek Kumar, (2014, April 2). How Rama signalled Lakshmana to cut Shurpanakha’s nose? SPEAKINGTREE.IN. Retrieved from:
    https://www.speakingtree.in/allslides/how-rama-signaled-lakshmana-to-cut-surupnakhas-nose
  • Zomato, (2021, April 30). Wikipedia. Retrieved from:
    https://en.wikipedia.org/wiki/Zomato

Dr. N. Tamilselvi, Assistant Professor
Department of Viscom and Animation
Dr.MGR Educational and Research Institute
April 2021

INTRODUCTION

Internet and telecommunication tools have conceded communication across boundaries perpetually in today’s world. Social media provide a great platform to connect to the people far away. There are more than four hundred million users of internet in India according to the Internet and Mobile association of India (IAMAI) in the year 2019 and the number is sure to increase rapidly in the future. With internet in hand which provides easy access to information at a great speed, and advanced social media tools through which information is shared to millions, this truly can be called as the digital era. Unfortunately, sometimes these advanced technologies turn to be a curse in disguise, which has lead to many mishaps in the recent times ranging from safety concerns of women and children to even threatening their very existence.

With the largest number of internet users across the globe having access to smart phones, mankind has thrown open the Pandora’s Box. These gadgets and online platforms are used by millions in the country without adequate media literacy. The impact of such inadequate knowledge of technology among users of social media platforms is a serious question of concern, as the number of crimes in the virtual space keeps increasing. While harassment is not a new term in the society, the form it has taken under the umbrella of ‘Online activity’ is a new term which needs serious consideration. Voices against sexual violence against women have been raised for the past four decades and still no effective solution is made. As the problem is addressed without any true understanding of what the society feeds young minds, there seems to be no significant change in curbing sexual crimes.

The advanced technologies which were designed to bring people closer to each other have now been used to spread hate and violence. Hash tags are always accompanied with harsh tags with high tone of ridicule and mock. Nevertheless the government, civil societies and journalists groups are working hard to prevent such hate speech and disinformation with innovative strategies. The request from the government to trace the source of information in messages in WhatsApp and facebook has been rejected by the social media company’s spokesperson Carl Woog stating reasons of privacy. Addressing the press he said that “Requiring traceability would undermine end-to-end encryption and the private nature of WhatsApp, creating the potential for serious misuse. The firm would not weaken its privacy protections as people rely on WhatsApp for sensitive conversations, including with their doctors and banks”.

HATE SPEECH AND SEXUAL VIOLENCE

The magnitude at which fake news and hate speech are spread, often bypasses the efforts taken by the policy makers to curb this unhealthy practice. For instance, the famous Hindu pilgrimage, Lord Ayyapa temple at Sabarimala located at the Pathanamthitta District, Kerala prohibits entry of women from the age group 10 - 50, into the temple. There were pleas represented by many women to the Supreme Court seeking entry to the temple and a verdict has been passed accepting their plea. Soon after that, Kerala faced heavy rainfall and floods which totally devastated the state. When people all over the country were rushing to help, there were also hate messages circulated in social media, which criticised the judgement of the Supreme Court for allowing women into the Ayyapa temple due to which they had to face the wrath of God.

The #boislockerroom tales took the public in complete shock which lasted for few days. There were calls to arrest the boys involved in sharing nude pictures of girls without their consent. What the society fails to understand here is that the problem is not new but only the medium through which it is happening is new. Media experts often wonder why are people shocked when such incidents happen as misogynist and sexist conversations are a regular practice of the society. Now it has also travelled to the virtual space making the threat spread at a greater rate. Even in the virtual space, it is hard to say that such harassments are new as there were similar incidents of the top ranked IB school in Mumbai which suspended a group of eight students on similar allegations. There was also the MMS scandal of Delhi public school which shook the country, after which strict rules were enforced on banning cell phones in schools and colleges.

What the society needs to understand here is that the boys involved in the #boislockerroom or any other whatsapp group are only a mere output of what the society has taught them collectively. By arresting them or punishing them, the society only tries to arrest the symptoms of a plague rather than finding the root cause of it and trying to prevent it.

Children get their knowledge and understanding of anything around them by absorbing what adults perform. The children involved in these sexting and other forms of sexual gratification are only giving back the society what they learnt from it. Every time such crimes occurs as a severe blow on the society, we still fail to recognise that it is the same culture which taught them that ‘boys will be boys’ and ‘men do not cry’. It is this society which has taught them that boys have to naughty, successful, vulgar, aggressive and strong and build in pressure to develop six packs and emphasis on machismo. Hence addressing the problem without proper understanding of the root cause of the problem only makes men think it is ‘so cool’ to be sexist. Toxic masculinity is completely normalised in our society making women accept that this is how men really are.

INCREASE IN CAUSALITIES

Not just natural calamities but the man made havoc that led to few mob lynching cases across the country which has killed nearly 30 lives so far in the past few months is also a matter of serious concern. People were killed because of false messages that were circulated in WhatApp which spread rumours that there are child lifters from north India who have come to south India to kidnap children. Before analysing the truth behind such messages, people are emotionally disturbed and believe that violence is the only means of protection. With a powerful tool in hand which can give access to information and entertainment with just a click of the button, there is a need for people to harness the information they receive from social media.

Recently, a 16 year old boy in Gurugram ended his life by jumping from the eleventh floor of his apartment. He was accused of molesting a girl in Instagram. Such tragic incidents happen because of not addressing the root cause of the problem and trying to half hearted solutions. With access to technology the rate of crime keeps increasing and challenging to fight against. Social media platforms are an easy way to get connected to the society. All age groups find it fascinating and interesting and want to keep exploring more and more. With all the possible ways through which messages can be spread at great speed on such platforms, the problem of fake news, misogynistic activities, hate speech and sexual harassment spread so easily ending up in gory deeds before even we realise that such an angel of the problem is possible. A study conducted by International Men and Gender Equality Survey (IMAGES) and International Centre for Research on Women (ICRW) found that 24.5% of the respondents in India report sexual violence against an intimate partner. This is an alarming call to look into the problem and address it with possible solutions.

While setting up television news channels and broadcasting them throughout the day needs lot of investment in money and manpower, the internet has given the advantage of citizens who have little knowledge on technology to create their own news site and publish news. It is very cost effective and the number of likes and shares can make a website popular fetching them fame and money. While it is good that information can be shared at such low production cost, the question of authenticity of the news is of great concern. In order to increase the popularity of the website many misogynist headlines and sexist remarks are used as click baits. This in turn when accessed by large number of audience gives a wrong image about the society and reinforces old beliefs of patriarchy. While majority of television news channels focus on news of National and Global importance, these online news websites share mere gossips in the streets as news items. These sites have made voyeurism as journalism. These messages reach all the sectors of the society even to those without any media literacy, thus creating more problems of misogynist beliefs.

There is also the question of objectivity of news published in online platforms. It can be a mere reflection of the individual’s thought. It can be biased and favour any ideology that he supports. There is also the problem of plagiarism. News sites simply copy and paste information from other sites and reframes it so that their site can get visibility without investing much on manpower to collect news. Sharing and disseminating news through social media is a new form of communication without any set guidelines. Unless there are stringent laws made in the government to bring down plagiarism, hate speech, misogynist and sexist comments made in social media, these problems will continue to prevail.

INDIVIDUAL RESPONSIBILITY

People find social media platforms more preferable to share their thoughts. They also find it a better platform to vent out their feelings and quench their thirst for deepest desires. This is quite natural because man is a social animal and socialization is a basic need for survival. It is only because of his ability to communicate, he was able to survive for long in the word when compared to other species of the ‘Homo’ family. It is the basic nature of man to communicate and unlike other animals ‘parenting’ and ‘childcare’ is present for a longer time. It takes a tribe to bring up a child. For a child to grow and get adapted to the society, it is not enough if the parents take care of them. The society also takes a major role in bringing up the child. This is why parental care becomes an important factor in upbringing of kids as they are capable of observing whatever they see around them.

It is the fear of missing out (FOMO) which makes man to think that they will be excluded from their community or group of friends if they do not follow what is happening in social media. It is for the same reason that they also share whatever message they receive from social media without analysing whether it is misinformation or disinformation. It is also the trust they have on their clan or group which makes them believe that whatever message that comes from that person is true. But in the digital era, all this have a huge price to pay like mob lynching and sexual violence.

The government is taking possible measures to educate people on media literacy and how to identify fake news. There are also SOS apps introduced for anyone to reach out to the authorities in life threatening situations. However all these are only precautions that can be taken against the harmful effects of online activity. To arrest the problem it has to be addressed and treated at the root. Individuals must be taught to use the tool they have in hand with social responsibility. For this media education is necessary. Like social, science, math and computer science, Media studies should also be incorporated in the curriculum of school students. They must be taught how to look at media messages. They must be taught that whatever they see in cinema, drama and cartoon is not completely true. They must be taught gender equity and acceptance instead of hate crimes and tolerance. As care givers, it is the duty of the society to provide a safe space for children and people around them a safe space, both physically and virtually. With proper media literacy, proper sex education and focus on positive media messages, the online space can be made more interactive and trustworthy.

References

  1. Anne Weber. ‘Manual on Hate Speech’, Council of Europe Publishing, September 2009.
  2. Charles Webel and Johann Galtung. ‘Handbook of Peace and conflict studies.’ Routledge, New York. 2007.
  3. Gabriella B. Klein. ‘Applied Linguistics to Identify and Contrast Racist ‘Hate Speech’: Cases from the English and Italian Language’. Applied Linguistics Research Journal, University of Perugia, Perugia, Italy, December 2018.
  4. Law Commission of India Report on hate Speech, Report number 267. March 2017.
  5. Michael S. Waltman and Ashely A. Mattheis, Understanding Hate Speech, Subject: Intergroup Communication Online Publication Date: Sep 2017 DOI:10.1093/acrefore/9780190228613.013.422, Oxford Research encyclopaedia.
  6. Siby K Joseph and Bharat Mahodaya. ‘Contemporary Perspectives on Peace and Non Violence’. Institute of Gandhian Studies, Maharastra, India. 2012.
  7. Ten Ways to Fight Hate, A community Resource Guide. Southern Poverty Law Centre. A Community resource Guide, 2017.
  8. The normalizing of hate speech and how communication educators should respond, Michael S. Waltman, Published online: 15 Feb 2018.


FOURTH EDITION Jul-Sep 2021 (Volume 2, Issue 3)


Authors:
Abdul Hamed Wahidi
University Institute of Media Studies
Chandigarh University
Email: hamed.wahidi1994@gmail.com
Mobile: +93798222302

Prof.(Dr.) Fakira Mohan Nahak
Professor & HoD
University Institute of Media Studies
Chandigarh University
Email: fakir.uims@cumail.in
Mobile: +919937252464


Abstract

This research has been conducted to find out the role and impact of television advertisements in strengthening peace talks in Afghanistan. Television advertisements besides conveying information about a brand or service, can convey ideas and views and influence more than other types of media. It also mobilize public opinions and encourage people to be a part of big decisions. Population of this study comprised of 100 respondents from 10 large cities of Afghanistan. In this study the data gathered through a questionnaire, and the use of descriptive research design has been employed in this study. To analyze the data, pie charts and diagrams have been used. This study found that television advertisements have a significant role and impact in strengthening peace talks in Afghanistan. This study also found that religious contents, positive economic evolution in people’s lives and victims of war contents that are used mostly by television channels in their advertisements have prominent role and impact in strengthening peace talks in Afghanistan.

Keywords: Advertising, Television Advertisements, Peace Talks in Afghanistan.

Introduction

When we look for goods or things in various bookstores or shops, we do not know how an invisible force draws us to some goods with familiar names, names that have somehow been seen in newspapers, billboards, radio and television. And we have heard and probably do not know much about the quality of this type of goods and we do not even know why we easily refer to these familiar names to buy similar goods. This issue somehow shows the phenomenon of advertising and its role in society more than before. In other words, the invisible arrows are aimed at their audience without the audience being aware of its impact. Of course, advertising is not limited to the field of goods and commodities, but also includes social, economic and political fields[1]. Today, the advertising industry has become one of the most prosperous and profitable industries in the world, which has a significant share of world turnover. The role of advertising in society in general and in directing public opinion is such that after a short period of time since the launch of a new product with advertising hype, not only causes the previous product to flourish rapidly; Rather, the use of the previous product is a sign of backwardness and ridicule of others[2].

Advertising has a major impact on the general developments in the world, in all human proceedings and activities, including cultural, social, scientific, economic, political, personal and collective. Although since the emergence of social man, propaganda has emerged and grown in a simple and primitive way, but the very important and transformative influence of propaganda in the contemporary world, indicates its credibility and great importance[3].

Advertising is in fact the language and means of communication between the business and society, and the cessation of advertising is considered a kind of death of the product, which if done unknowingly, imitation, custom and with an unprofessional and non-expert view, is a well that swallows the product and its owner pulls. On the contrary, a good advertisement first attracts the attention of the audience and then makes them interested in the product[4].

Advertising has a direct link with politics as well. It ascertains not only the purchase of a product, but also the selection of political candidate. In politics ultimately it determines the manner of political evolvement of the country and the politics itself. This function of advertising is considered as a very important point in our society. Advertising for people who work in this field can create very high employment, and on the other hand, it leads to the growth of production and national industry and economic development, and increases production, because it creates healthy competition, and this in itself matters to exports. It also helps to improve quality and create new jobs. Advertising is a huge industry consisting of different sciences including psychology, anthropology and sociology[5].

The role of advertising in business and economics is also very clear. Billions of dollars a year are spent formally and publicly on commercial advertising around the world. Today, one of the indicators to ensure the profitability of production units and businesses is the presentation of successful advertising plans. Amid the hustle and bustle of exchanges and commercial transactions, the idea of selling goods without considering advertising facilities remains more of a myth than a fact[6].

Advertising and Television

In TV ads, visual appeal is as effective as sound; Instead of using a person to read a text in the advertisement, you can use a happy family around the dinner table or at a party or period that increases the attractiveness of the product[7]. Audiences can easily tell the difference between a professional ad and a non-professional ad; for this reason, many companies and producers and advertising agencies prefer to use professional actors and directors in their advertising[8].

If the images and stories in the advertisement do not play a role in the mind of the audience; the audience often remembers shocking, attractive, beautiful and memorable images. For example, the presence of a famous person, both singer and actor in an ad can remain in the mind of the audience for years. Also, due to the high trust of the people in a famous person, making an advertisement with the presence of such people can gain the public's trust[9].

Color, image and movement are a wonderful combination that magically impresses any audience. That is why news, programs, series, advertisements and everything that is published from this magical frame have a great impact on the viewer. We usually see a lot of people repeating the sentences of TV commercials, and this is a sign of the power of this unique media[10].

Advertising companies refer to television as the king of advertising. The reason for this naming is that many people spend several hours a day watching TV and there is a small percentage who care about other media. In this case, your advertising message is easily sent to millions of viewers. [8].

Therefore, majority of manufacturers prefer to broadcast their advertisements through televisions to grab more people and influence them to use the products and services.

Afghanistan Peace Talks

After the overthrow of the Taliban regime in 2001 by the United States and the resistance of the Afghan people, the Taliban defeated and a new government emerged. At that time, because the Taliban had suffered a heavy defeat, they did not have many military and terrorist movements. When the new government was formed in Afghanistan, all parties involved inside the country except the Taliban were asked to join the new government and prevent internal disputes. At a time when the Taliban also wanted peace and a share of power, they were not given a share and were not invited to a crucial conference in Bonn, Germany. Since then, the Taliban, in cooperation with neighboring countries and the region, have slowly stepped up and launched terrorist attacks in the form of suicide attacks and terrorist attacks on security forces[11]

The Bonn Conference was held and the warring parties in Afghanistan agreed to form a new government. The United States, Pakistan, India, Russia and European countries also welcomed the agreement and promised any kind of cooperation for Afghanistan. At the same time, the Taliban were gaining strength day by day and their movements were increasing day by day. Although the United States provided full military support to the Afghan security forces, the casualties were high on both the Taliban and the government[12].

After years of war, the United States finally decided to end the war in Afghanistan using negotiations between the government of Afghanistan and the Taliban. The issue of peace talks was first raised during the Obama administration, but failed. The Taliban refused to hold peace talks inside Afghanistan. The United States has set up an office for the Taliban in the Qatar capital, Doha, with the cooperation of Arab countries, and said in a statement that peace talks between the government of Afghanistan and the Taliban would be held in Qatar. Earlier, Hamid Karzai accepted the agreement, but when the Islamic State flag was hung in the Qatari office, Karzai refused to participate in the talks. [11].

After that, during the Donald Trump administration, there were discussions about peace talks in Afghanistan. But this time it was different from previous years. Chen called on the United States to first reach an agreement between the United States of America (USA) and Taliban and the to pave the ground for inter-Afghan peace talks. After much effort and dialogue between Afghanistan's neighbors, the United States and the Taliban reached an agreement in Feb 2020. The agreement was aimed at facilitating inter-Afghan peace talks and reducing Taliban violence in the country. [13].

When the agreement was signed between the Taliban and the United States. The two sides agreed to reduce violence in Afghanistan and end Taliban attacks on US forces. The agreement also stated that inter-Afghan talks would begin in Doha after the release of 5,000 Taliban prisoners. The first phase of the inter-Afghan peace talks was scheduled to begin on March 10, 2020. But the Afghan government asked the United States to guarantee a number of very dangerous Taliban prisoners. For this reason, the first phase of the talks was postponed[14]

Under pressure from the United States, all 5,000 Taliban prisoners were released. Ches started the US election and the inter-Afghan dialogue slowed down. When Biden was appointed President of the United States, he announced his decision on Afghanistan a few days later and pledged to maintain peace talks. In January, the Taliban and government of Afghanistan officials met in Doha. Several other talks followed, but both sides were failed to reach an agreement. [15].

The United States in a statement accused the Taliban of not agreeing to peace in Afghanistan and affiliation of them with Al-Qaida. After this statement, the Taliban left the negotiating table and went to Pakistan [14].

Taliban not only stood on their commitment, but also they increased their violation level and called for more conditions for resuming the talks with Afghan government. They are insisting on complete withdrawal of US troops from Afghanistan, releasing of their other 7000 prisoners from Afghan government prisons and taking off their senior member names from blacklist of the United States. Therefore the have postponed all talks regarding peace for now.

Statement of Problem

Advertising is becoming a need for every organization and company to keep their achievements alive and share their activities, new products and services with their target and potential audiences. The manufacturers and companies publish or broadcast their advertisements through those media that can cover and influence their target audiences. Some publish their advertisements in newspapers, some broadcast through television or radio. There will not be anyone who really don’t have idea about the impact and role of advertisements on their purchasing decision, behavior or operating a services. Majority of people think of advertisements as an information about a product or a service, but less people will be there to perceive advertisements as a medium of sharing ideas, decisions, and engagement too.

Therefore, the study attempts to scrutinize the role and impact of television advertisements in strengthening peace talks in Afghanistan, and the contents of the advertisements through which they would be able to play a positive role and influence.

Purpose of the Study

This study aims to assess the role and impact of television advertisements in strengthening peace talks in Afghanistan. Meanwhile the contents types used in television advertising in order to impact and influence in strengthening peace talks in Afghanistan.

Importance of the Study

The study's significance is to know the role and impact of television advertisements in strengthening peace talks that the case has been studied in Afghanistan. This study may turn the page of advertising from information about a product to a new page that we can use it for big activities and decisions. It may prove that advertising is not only a medium for screening the products and gaining benefits, but also through advertising we can give vital messages about big and important decision makings.

Review of Literatures

A large number of researchers and scholars have attempted to explain the role and impact of television advertisements generally or in some particular cases.

Budacia, A. (2012), this researcher in a study under the name of television and advertising and indicators of television advertising found that the indicators of television advertising are mostly quantitative. It means that, TV commercials place more emphasis on the quantity of advertising. In this study, this researcher proposes quality indicators to evaluate television audiences. The indicators proposed by this researcher are technical indicators that mainly indicate the quality of messages received and the number of payers. Specific quality indicators that address the quality of television shows, the amount of viewers' information, the use and necessity of its messages and information, and the enrichment of public awareness[8].

Das, Saumendra. (2018), this scientist paid attention to the effectiveness of television advertising and its programs. He concluded that the effectiveness of television advertising and viewer demographics are closely related. He did his research in India and said that the more popular and popular a TV show is, the greater the impact of the advertising that airs on it[2].

Khuong, Mai Ngoc, Hoa, Nguyen Vu Ai, & Nguyen, Truong Duc. (2016), this research was conducted on understanding of the impacts of TV commercials on customers’ loyalty in Ho Chi Minh City of China and in this study the moderating effects of brand awareness was examined. In this research the direct and indirect impacts of independent variables like trust, music, messages, length and repetition of the advertising messages on customer’s loyalty through brand awareness were measured. They found that television advertisements have a significant impact on customer’s loyalty when the advertiser pay more attention on contents of the ads such as the messages, appeals, pictures and they should use music and humor appeal in their ads[9].

N, Narasimhamurthy. (2014), this scholar in his study on the influence and impact of TV advertisements on children’s lives found out that most of the children watch television programs more than other types of media. He said that television influences more on children lives. He also found that television has very strong impact on attitudes and behavior of the children. He said that age of children is very crucial when they are exposed in a TV advertisements and it can strongly change the children’s attitude and behavior regarding the things and influences their product choice and decision when purchasing something[10].

Singh, Jaspal. (2011), he in this research found that Television Advertisements injure the values related to religion and society. It can lead to the ruining of the ethical values of the community. As this study was done in India, the researcher perceived these advertisements as the destroyers of Indian tradition and norms. In this study Jaspal also found that the current television advertisements not only disrespect the culture but also promotes the unwanted values like consumerism, materialism, preference in being independent in every decisions of life and etc... He also said that TV advertisements promotes negativity in the society and abuse it as well[16].

Edwin, Ogbu I, Moses, O, & Terfa, T. F. (2013), as per the findings of this study, the TV Ads apply significant influence on children’s tendency and traits. He found that the children are exposed of the television advertisements most of the time and the TV ads determines their attitudes and behaviors[17].

Many scholars have tried to explain the role and impact of television advertisements on children, attitude and behavior, purchasing decision, customer’s loyalty. However, the scholars have not studied the role an impact of television advertisements in peacebuilding and peace talks, only some scholars have attempted to explain the role and impact of media in reducing conflicts or peacebuilding.

Mohamud, Garad Yusuf, Mohamed, Bashir Hussein. (2015), the purpose of this study was the relationship identification between the media and peace-building in Somalia country. The findings of the study reveals that maximum of the respondents who participated in the study agree the same opinion that maintaining impartiality reduces conflicts between people, provide greater choice to citizens mediate news and its constructive way to peacebuilding, social activities and media executives made same conclusion that balanced reports should free from biased and should have internal consistence, transparency and useful to the audiences[18].

Khan, Md. Azmal Mahmud. (2019), in this research paper he has studied that media and journalism can be a great help in violence and conflict resolution and peacebuilding. However, the power they have is limited, as they will never be able to eradicate armed conflicts[19].

Rawat, Ramesh Kumar. (2014), in this research paper that was about role of media which is promoting peace building, he found that the media can contribute in peacebuilding and maintain peace and stability in a society. This study focuses more on political side of media[20].

Čihánková, Hana. (2014), in her study on “Influence of Media in Vietnam War” she found that the media were under the control of the USA and the truth was being hidden by the Us officials when the decisions were taken about the wars in Vietnam[21].

Imtihani, Najih. (2014), this study was all about the Mass Media Role in resolution of conflicts, and the result of this study shown that mass media can be very impactful in resolution of conflicts in the society by publishing and broadcasting the peaceful contents and messages[22].

Thus, the topic “The Role and Impact of Television Advertisements in Strengthening Peace Talks in Afghanistan” is a new topic and this study may reveal the the role and impact of TV ads on peace talks.

Methodology

Research Design: In this research project the type of research used is descriptive in nature in order to fulfill the study's objectives. In descriptive research, the researcher seeks what and how the subject is and wants to know the nature of the phenomenon, variable, object or subject and how it is. In other words, this study examines the current situation and systematically and systematically describes its current situation and studies its characteristics and features, nature, processes and processes and, if necessary, examines the relationship between variables[23].

Methods of Data Collection: In this study both types of primary and secondary data have been employed. First-hand sources of information (or primary sources), as you can guess from their letters, are the sources through which you obtain information directly. In other words, first-hand sources are the most genuine resources available. Second-hand information is information that has already been obtained by other researchers and published in books, articles, newspapers and other journals. Other researchers use it as a second-hand source for receiving first-hand information[24].

For collecting primary date, a questionnaire was used and to collect secondary data, books, research papers and authentic web wages have been used.

Sampling Technique: The sample technique in this research project is Random Sampling. In these samples, which are known as random and random samples, the principle of equal chance for selecting members of the community to join the sample is observed. The results of these samples can be generalized to the whole community; therefore, it has scientific value and credibility. In other words, this type of sample gives a chance to all members of society to be elected[23].

Sample Size: Sample size is the number of people who were covered in this research. These number of people represent the entire population in a society[24]. The sample size for this research paper was 100 respondents from 10 large cities of Afghanistan.

Data Analysis and Interpretation

The chapter presents the data collected from The Role and Impact of TV Advertisements in strengthening Peace Talks in Afghanistan to find out the conclusion for the study.

The questions from 1 to 5 in the questionnaire is all about the demographic data for this study. They have been presented in the below tables:

Table (1)

Gender
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Male 53 53.0 53.0 53.0
Female 47 47.0 47.0 47.0
Total 100 100.0 100.0 100.0

In this table it is interpreted that in this research 100 respondents have participated of which 53% are male and 47% are female.

Table (2)

Age
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid 18-25 60 60.0 60.0 60.0
26-35 32 32.0 32.0 32.0
36-50 8 8.0 8.0 8.0
Total 100 100.0 100.0 100.0

In this table it can be interpreted that, here 60% respondents belongs to 18-26 age group, 32% respondents belongs to 26-35 age group and 8% respondents belongs to above 49 age group from the given sample of 100 respondents.

Table (3)

Education
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid School/College 8 8.0 8.0 8.0
Bachelor 57 57.0 57.0 57.0
Master 30 30.0 30.0 30.0
Doctorate 5 5.0 5.0 5.0
Other 0 0.0 0.0 0.0
Total 100 100.0 100.0 100.0

In the above shown table it can be interpreted that, here 57% respondents belongs to Bachelor education group, 30% respondents belongs to Master education group, 8% respondents belongs to School/College education group and 5% respondents belongs to Doctorate education group from the given sample of 100 respondents.

Table (4)

Marital Status
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Married 66 66.0 66.0 66.0
Unmarried 34 34.0 34.0 34.0
Total 100 100.0 100.0 100.0

From the above shown table it can be interpreted that, here 66% respondents belongs to Married group and 34% respondents belongs to Unmarried group from the given sample of 100 respondents.

Table (5)

State (Province)
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Kabul 23 23.0 23.0 23.0
Kapisa 17 17.0 17.0 17.0
Delhi 11 11.0 11.0 11.0
Balkh 12 12.0 12.0 12.0
Herat 10 10.0 10.0 10.0
Nangarhar 7 7.0 7.0 7.0
Badakhshan 4 4.0 4.0 4.0
Samangan 5 5.0 5.0 5.0
Parwan 5 5.0 5.0 5.0
Kandahar 6 6.0 6.0 6.0
Total 100 100.0 100.0 100.0

From the above shown table it can be interpreted that, here23% respondents belongs to Kabul group, 17% respondents belongs to Kapisa group, 11% respondents belongs to Delhi group, 12% respondents belongs to Balkh group, 10% respondents belongs to Herat group, 7% respondents belong to Nangarhar group, 4% respondents from Badakhshan group, 5% respondents from Samangan group, 5% respondents from Parwan group and 6% respondents from Kandahar group from the given sample of 100 respondents.

The following five questions (6-11) are the research basic questions:

Table (6)

Watching Television
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Yes 80 80.0 80.0 80.0
No 4 4.0 4.0 4.0
Maybe 16 16.0 16.0 16.0
Total 100 100.0 100.0 100.0

From the above table it can be interpreted that, here 80% respondents belongs to Yes group, 4% respondents belongs to No group and 16% respondents belongs to above Maybe group from the given sample of 100 respondents.

Table (7)

Following TV ads regarding peace
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Yes 45 45.0 45.0 45.0
No 10 10.0 10.0 10.0
Sometimes 45 45.0 45.0 45.0
Total 100 100.0 100.0 100.0

From the above table it can be interpreted that, here 45% respondents belongs to Yes group, 10% respondents belongs to No group and 45% respondents belongs to above Maybe group from the given sample of 100 respondents.

Table (8)

TV ads role in peace talks of Afghanistan
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Strongly Disagree 2 2.0 2.0 2.0
Disagree 10 10.0 10.0 10.0
Neutral 13 13.0 13.0 13.0
Agree 57 57.0 57.0 57.0
Strongly Agree 18 18.0 18.0 18.0
Total 100 100.0 100.0 100.0

From the above shown table it can be interpreted that, here 2% answerers strongly disagree, 10% answerers do disagree, 13% answerers are neutral, 57% answerers do agree, and 18% answerers do strongly agree from within the given sample of 100 answerers.

Table (9)

TV ads with religious content impact on peace talks
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Strongly Disagree 2 2.0 2.0 2.0
Disagree 2 2.0 2.0 2.0
Neutral 15 15.0 15.0 15.0
Agree 59 59.0 59.0 59.0
Strongly Agree 22 22.0 22.0 22.0
Total 100 100.0 100.0 100.0

From the above table it can be interpreted that, here 2% answerers strongly disagree, 2% answerers do disagree, 15% answerers are neutral, 59% answerers do agree, and 22% answerers do strongly agree from within the given sample of 100 answerers.

Table (10)

TV ads with content of positive economic evolution impact on talks of Afghanistan
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Strongly Disagree 2 2.0 2.0 2.0
Disagree 3 3.0 3.0 3.0
Neutral 14 14.0 14.0 14.0
Agree 67 67.0 67.0 67.0
Strongly Agree 14 14.0 14.0 14.0
Total 100 100.0 100.0 100.0

From the above shown table it can be interpreted that, here 2% answerers strongly disagree, 3% answerers do disagree, 14% answerers are neutral, 67% answerers do agree, and 14% answerers do strongly agree from within the given sample of 100 answerers.

Table (11)

TV Ads with Content of Victims of War
Response Frequency Percentage Valid Percentage Cumulative Percentage
Valid Strongly Disagree 3 3.0 3.0 3.0
Disagree 3 3.0 3.0 3.0
Neutral 23 23.0 23.0 23.0
Agree 53 53.0 53.0 53.0
Strongly Agree 18 18.0 18.0 18.0
Total 100 100.0 100.0 100.0

From the above table it can be interpreted that, here 3% answerers strongly disagree, 3% answerers do disagree, 23% answerers are neutral, 53% answerers do agree, and 18% answerers do strongly agree from within the given sample of 100 answerers.

Findings and Suggestions

Based on the above data, here few outcomes come out for the study:

Based on this study, around 100 respondents have aided in the research work in which all the People of Afghanistan are the sample and have helped in the understanding of “The Role and Impact of Television Advertisements in Strengthening Peace Talks in Afghanistan’. So, the below findings will be considered as the opinion or viewpoint of them in context of role and impact of television advertising in strengthening peace talks in Afghanistan, role and impact of religious contents in strengthening peace talks in Afghanistan, role and impact of positive economic evolution content in strengthening peace talks in Afghanistan and role and impact of content of showing victims of wars in strengthening peace talks in Afghanistan.

According to gathered information, mostly people have confirmed and believed that television advertisements have played a significant role in strengthening peace talks in Afghanistan and they said and confirmed that television advertisements have been significantly impactful in strengthening peace talks in Afghanistan.

In terms of using religious content in television advertising to be impactful and play a prominent role in strengthening peace talks in Afghanistan, mostly people confirmed and believed that is impactful enough and have played a prominent role, because Afghanistan is an Islamic country and Islamic regulations and instructions are in priority.

Regarding the content of positive economic evolution in people’s lives, mostly people have confirmed that television advertisements with content of positive economic evolution in people’s lives have a significant role and impact in strengthening peace talks in Afghanistan.

In terms of using contents of showing victims of wars in television advertisements, mostly people have confirmed that showing victims of wars for both sides of the talks have had prominent role and impact in strengthening peace talks in Afghanistan.

Overall, mostly participants of this research confirmed and believed that besides other important factors that caused establishment of peace talks opportunity, television advertisements regarding peace were one of the most important and prominent of those factors in this relation.

According to the information gathered, tables and pie charts we found that alternative hypothesis are proved and null hypothesis are rejected for the study.

Suggestions

Nowadays, advertising industry has improved very much, and each and every organization or company needs to have advertising activities in order to share their works, activities, reminding products, announcing new products and overall being active and operational in the market.

As we have seen, organizations and companies do advertising for different purposes. Most of the time they do advertising to give information about their products and services and in specific times they are advertising their specific ideas, views and works.

As in this study the role and impact of television advertisements in strengthening peace talks in Afghanistan have been discussed, another main function of advertising industry has been come in to the scene and that is its role and impact in a political and big decision.

As in this research the role and impact of television and different contents used in television advertisements to be useful for strengthening peace talks in Afghanistan have been discussed, majority of participants in this study have confirmed that television advertisements with the above mentioned contents have been impactful and played a significant role and have been an important factor for encouraging both sides of peace talks (Afghan Government and Taliban) coming to negotiations and confess that war is not the solution.

So, in this critical time while Afghanistan is facing numerous deadly crisis, it is the responsibility of all to play a positive role and be positively impactful. Television channels should be more careful and accountable for playing a prominent role in peacebuilding in the country. As people have confirmed the significant role and impact of television advertisements in peace talks, so they should be more and more active and operational in this regard.

Conclusion and Recommendations

Today almost all organizations, companies and manufacturers perceive advertising as a key for durability and success in market and society. Manufacturers use those media for their advertising through which their messages are well conveyed and influence their target audiences. Newspapers, Radios, Televisions, Magazines, Billboards, Social Media and etc… are considered as effective media for advertising.

Among the rest advertising through television have been always more effective than other media platforms. Although, it is almost very expensive but its influence is very urgent and considerable.

Televisions broadcast various advertisements that most of them are information about a brand or a new product of companies or a service of an organization. But nowadays, televisions besides broadcasting only information about a product or service, they telecast various specific messages in context of advertisements and invite audiences to be engaged upon and change and mobilize public opinions on.

In this study that I have done is about the role and impact of television advertisements in strengthening peace talks in Afghanistan that I have done it using reliable sources and research works to study the background and I have collected the primary data of this study through questionnaire. In this study 100 respondents from 10 big cities of Afghanistan participated and most of them confirmed and believed that besides other impactful factors in peace talks in Afghanistan, media have been the most important factor and television advertisements with religious, positive economic evolution in people’s lives and showing victims of wars contents have been significantly impactful and have played a prominent role in strengthening peace talks in Afghanistan.

Recommendations

Following are some recommendations for television channels to be more effective and positive role-playing in in peace talks in Afghanistan:

  • Television channels should continue creating and broadcasting television advertisements that can positively influence peace talks in Afghanistan.
  • Television channels should maintain their objectivity and work for positive role-playing in strengthening peace talks in Afghanistan.
  • Television channels should be more vigilant in finding other effective factors and contents to be added in their advertisements to strengthen peace talks.
  • Televisions should prepare efficient programs to be positively impactful in peace talks in Afghanistan.
  • At this time, when the people of Afghanistan need peace more than ever, the television channels should convey their wishes, suggestion and messages to both sides of peace talks.
  • Television channels should inform the oppositions and let them know that people are very sick of internal wars and ultimately want peace.

References

  • [1] S. Frolova, “The Role of Advertising in Promoting a Product,” University of Applied Sciences, 2014.
  • [2] S. Das, “Television Advertising Effectiveness : A Cognitive Recall Mechanism Television Advertising Effectiveness : A Cognitive Recall Mechanism,” Pacific Bus. Rev. Int., vol. 10, no. April, pp. 15–20, 2018.
  • [3] NRAI University, Advertising : Concepts & Principle, 1st ed. Delhi: NRAI School of Mass Communication, 2014.
  • [4] J. Bullmore, “Advertising and it Audience,” in Advertising and it Audience: A Game of two Halves, 1998, pp. 1–28.
  • [5] I. Shanto and M. Prior, “Political Advertising: What Effect on Commercial Advertisers?,” Stanford Univ., pp. 1–25, 1999, [Online]. Available: https://web.stanford.edu/~siyengar/research/papers/advertising.html.
  • [6] N. Grideanu, “2 . The Evolution and Role of Advertising,” Rev. Gen. Manag., vol. 19, no. 1, pp. 95–105, 2014.
  • [7] E. A. A. and D. Adjei, “THE INFLUENCE OF TELEVISION ADVERTISEMENT ON THE YOUTH PURCHASING BEHAVIOUR By : Eunice Akorfa Adiko and Daniel Adjei,” 2017, [Online]. Available: https://independent.academia.edu/DanielAdjei3.
  • [8] A. Budacia, “Advertising Through Television,” Holist. Mark. Manag. J., vol. 2, no. 2, pp. 65–70, 2012.
  • [9] M. N. Khuong, N. Vu, A. Hoa, and T. D. Nguyen, “The Effect of Television Commercials on Customers ’ Loyalty — A Mediation Analysis of Brand Awareness,” Int. J. Trade, Econ. Financ., vol. 7, no. 2, pp. 18–24, 2016, doi: 10.18178/ijtef.2016.7.2.493.
  • [10] N. Narasimhamurthy, “Television Advertisement and its Impact on Attitudes , Behaviors of Children-A study,” Int. J. Interdiscip. Multidiscip. Stud., vol. 1, no. 10, pp. 14–22, 2014.
  • [11] M. (Assistant professor at A. Y. B. U. Seren, “A critical stage in Afghan peace process,” Analysis Asia, 2021. https://www.aa.com.tr/en/analysis/analysis-a-critical-stage-in-afghan-peace-process/2212632.
  • [12] I. of P. United States, “Afghanistan Peace Process,” US Institute of Peace, 2021. https://www.usip.org/programs/afghanistan-peace-process.
  • [13] C. for P. Action, “What to Know About the Afghan Peace Negotiations,” Council on Foreign Relations, 2020. https://www.cfr.org/article/what-know-about-afghan-peace-negotiations.
  • [14] David Zucchino and Thomas Gibbons-Neff, “What to Know About the Afghan Peace Talks,” The New York Times, New York, Jan. 01, 2021.
  • [15] C. (Journalist at the D. Putz, “Latest Phase of Intra-Afghan Peace Talks Off to Slow Start,” The Diplomate, 2021. https://thediplomat.com/2021/01/latest-phase-of-intra-afghan-peace-talks-off-to-slow-start/.
  • [16] J. Singh and N. Sandhu, “Impact of Television Commercials on the Social and Moral Behavior of Indian Viewers – Empirical Evidence,” Spec. Issue Behav. Soc. Sci., vol. 1, no. 2011, pp. 178–187, 2011, [Online]. Available: https://www.google.com.gh/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&cad=rja&uact=8&ved=0ahUKEwiykM6yrcXLAhXJeT4KHe-nDfwQFgg2MAQ&url=http%3A%2F%2Fwww.ijhssnet.com%2Fjournals%2FVol._1_No._7_[Special_Issue_June_2011]%2F23.pdf&usg=AFQjCNH-WZUEqaOswXDdMxmJ_wiMi.
  • [17] O. I. Edwin, O. Moses, and T. F. Terfa, “Impact Of Television Advertisments On Children : A Case Study Of Makurdi Town,” IOSR J. Humanit. Soc. Sci., vol. 10, no. 3, pp. 82–91, 2013.
  • [18] G. Y. Mohamud and B. H. Mohamed, “The Impact of Private Media on Peace building in Mogadishu Somalia,” Acad. Res. Int., vol. 6, no. March, pp. 98–105, 2015.
  • [19] M. A. M. Khan, “Role of Media in Combating Violence and Creation of Peace Role of Media in Combating Violence and Creation of Peace,” Jahangirnagar Univ. J. Int. Relations, vol. 10, no. July, pp. 1–14, 2019.
  • [20] R. K. Rawat, “Role of Media Promoting Peace in Global Political Contexts,” Int. J. Educ. Sci. Res. Rev., vol. 1, no. 4, pp. 6–12, 2014.
  • [21] H. Čihánková, “Influence of Media on Vitnam War,” PALACKY UNIVERSITY IN OLOMOUC, 2014.
  • [22] N. Imtihani, “The Mass-Media Role in Conflict Resolution ( A Case Study of Kompas Daily Coverage on Aceh Conflict 2003- 2005 ),” Procedia Environ. Sci., vol. 20, pp. 451–458, 2014, doi: 10.1016/j.proenv.2014.03.057.
  • [23] C. . Kothari, Research Methodology, 2nd ed. Rajistan (India): New Age International Publisher, 2004.
  • [24] N. University, Research Methodologies for Media. Delhi: NRAI School of Mass Communication, 2014.

Authors:
KRIPAKARJAY J
COLLEGE OF JOURNALISM AND MASS COMMUNICATION
DAYANANDA SAGAR UNIVERSITY


Abstract

The growth and development of technology has made internet and smartphones available for all the people around the globe. India being one of the most developing countries has the same comfort as well as availability, reach to smartphones and internet. As much as everyone love to get out to grab a drink and have food, the rise of online food delivery platforms have now replaced this need to actually get out of the house to get what you want.

The growth of these platforms have become very extensive and rapid, which automatically gets the brand highlighted. This limelight on the brands forces and gets them to maintain a very good brand reputation and awareness. Every brand and platform always tend to manage their brand reputation in every way possible, and in a business like this where the delivery partners wear the brand’s t-shirt and go out, every factor should be looked on to when it comes to managing the brand. The goal of this research is to find what do brands like Zomato and Swiggy do in order to manage the brand reputation during crisis and which brand do the people feel is better in case of Zomato and Swiggy.

This research paper will not just talk about crisis, but give a range of perspectives of different people towards brands and how the brands have managed to maintain that reputation.

Keywords: Zomato, Swiggy, Food delivery, Brand reputation, Crisis, Crisis management, Awareness

Introduction

Zomato and Swiggy are the two most top leading brands and competition to each other when it comes to the F&B(service) sector. Both the brands started off as food delivery brands and now provide various other services, but the one segment that has always been in demand is the online food delivery. These are the two delivery brands that have been most extensively used in the past 4 years.

Zomato and Swiggy does over 1.5 million delivery every day. With such a large number order, man power and deliveries, so comes the problems with it. The common problems are faulty deliveries, late deliveries, missing food items and etc. But one of the most major problem that arises and is publicly well noted is the issues that happen between the delivery partners and the customers. After that point, it is not just about the delivery partner and the customer, it revolves around the whole brand, its reputation and how the brand responds and acts in order to cope up and manage the ongoing issue.

The different factors that go into managing a brand during normal times and during a crisis is the news that come out, the different stories that is made up by different people and the social media front of the issue or the brand. This can be all balanced out only when there is a stable team that is dedicated for this purpose in order for the company to excel.

1.1 Speculations

  • There are approximately 25 cases registered against Zomato and Swiggy.
  • Some of them have already been settled before it is even presented at the court.

    Example: Kamaraj vs Hitesha case, in this case it was said that the Zomato delivery partner had allegedly punched the customer on her nose. Which was later resolved after a few days.

  • Swiggy is valued at $5 billion as of FY21. Zomato is valued at $5.4 billion as of FY21.

Why is this study important?

This study is on different delivery brands and how they do their brand reputation management. It is important for the general audience to not only know the bad or good that is portrayed in media, but also how an organization responds to it and how the people feel which organization worked on which crisis better.

The reason of study can also be to make sure that the people are informed and that they get their own perspective on different brands and how they work to manage their public image.

This not only makes us form an opinion but also helps us to understand which brand is better as a whole and use the services of that brand accordingly.

Not all research paper can get information, data and details about everything, but this paper can at least fill a little void or gap when it comes to brand management of food delivery platforms and the general audience’s perspective about it.

Research: Problems and objectives

This paper will help to solve the following problems which is eventually the objective of the research paper.

  1. People might not know which is a better brand in terms of different factors.
  2. How different brands respond to crisis.
  3. Which brand is more sensible and focused towards the audience.
  4. Which brand is preferred over the other.

Literature Review

Whether its advertisements use reference to swear words or sexual wordplays on adult websites or condescending comparisons for tech capital, all communication created initial buzz, as intended, but escalated into crisis necessitating damage control by the company. The intent is being quirky and out of the box but the result is often out of the frying pan into the fire. (Varsha Khattri, 2019)

There have been different articles on the two delivery brands that speak mostly against all the bad actions or behaviour of the brand and its management. But there are very few articles that actually see in depth about what is really happening and what should be put out for the people to see.

As for unruly behaviour, Swiggy says it takes steps to train delivery boys to handle situations pleasantly. “Their training also includes a behavioural component where they are trained to communicate with the consumer in the best possible manner. For any unforeseen issues, both our customers and delivery partners can place their complaints via the app and speak to a dedicated team 24/7.” (Kopal Cheema, Inc42 Staff, 08 Nov'19)

For more serious matters, Zomato takes a less proactive approach. “We believe it is important to understand the nuances of a case before deciding who is liable for it. In the case of criminal offenses, we trust the law enforcement authorities to take necessary actions and offer our complete support in the investigation,” it said. (Kopal Cheema, Inc42 Staff, 08 Nov'19)

Scope of research

This study will explain till the extent of:

  • Which brand does a better job at crisis and brand reputation management?
  • What the general audience feel about the two online delivery brands?
  • Which brand does the general audience feel is better over the other.

There are no specific parameters put up for the research. But the results and findings are not biased and are completely based on different articles, sources and survey results.

Research Methodology

Zomato and Swiggy are both well known and popular brands when it comes to the online services. The best way to understand, study and write about the brands and how they operate during crisis is by talking directly to the delivery partners and the employees. This is exactly what is done for this paper to understand the management of the brand.

There is equal amount of weightage given to the reviews of the employees of the company, the news articles found online, the stories cum reviews found online as well as the views of the general public and customers who actually use the services of these brands.

Even in the survey questions that is asked to the people, it is only focused on which brand is preferred over the other in terms of services and not any question regarding the crisis management, as the audience would not know how a brand or organization works internally to manage crisis and reputation among the audience. The kind of audience used in the survey is random and not selective people. It has a diverse amount of people from different languages, localities, interests and behaviours. This range of differences in people would actually help to get a correct survey result. There is no chance or opportunity for any bias in the set of people used.

Very selective statements and news articles are taken into consideration as different people have different views on how a brand might process and work. As much as the news article are not fully crisis based content, it still complements the topic that is being researched on.

The delivery partners questioned regarding the brand were random, an order was placed and the delivery partner assigned for the delivery was the person questioned for the opinion and details regarding the brand.

I could reach out to only one employee from the Zomato customer service and two delivery partners, whereas I could not reach anyone from Swiggy’s customer service but could reach out to one delivery partner through a food delivery order. (couple of the partners were hesitant to open up about the brand (reason unknown), but the findings are according to how much reply I could receive from the delivery partners and customer service executive.

Findings

There are two types on sources through with data is collected for the purpose of this study; primary data and secondary data.

Primary data are those which are collected using surveys via Google forms with over 'N' participants all of whom reside in India. And secondary sources are News articles, Former studies and etc.

As much as newspaper articles, stories and reviews online will help a research paper to get to a set of perspectives, the main factor that gives conclusion to a research is the results of a survey that is conducted to actually understand the mind of the people.

The charts below show the data of answers given by a broad range of people when asked about the two food delivery brands and how they felt about it. the survey results shown below are the results from data collection of 61 people in total.







As much as there are mixed reviews for a lot of questions asked the survey data above shows that people on a broad range significantly favour Zomato in case of online food order and delivery.

ZOMATO: In the case Kamaraj vs Hitesha, it was said that the Zomato delivery partner had allegedly punched the customer on her nose because of an argument from the food order. Hitesha first filed a case , which later led Kamaraj also to file a case. In this situation as much as there was problems for the delivery partner and the customer, the major effect was on the brand as Kamaraj represented their brand. Zomato came up with a very smart and tactical move that said that Zomato would take care of the expenses of the case proceedings of both the delivery partner as well as the customer. This led to the audience supporting the action and sensitivity of Zomato towards the situation. Later the case was withdrawn by Hitesha, but ultimately the crisis reputation management was pretty effective in the case.

SWIGGY: In this case, a lot of swiggy delivery partners went on strike against swiggy for not having paid consistent salary to their employees. Later, swiggy actually fired 1100 of its employees followed by another 350 employees. Whether the question if they did crisis management is not answered because there is no campaign or PR story that talks about a justification or a tactical move that uplifts the reputation of swiggy.

One of the best moves by Zomato to manage their brand awareness is when they got into trouble over religion and other talks that had no relation with food. Zomato gave out the following reply:


Social media:

Also when the social media handles were observed of both the brands, they are almost equally active but Zomato has an upper hand there. In case of crisis then Zomato is way quicker than that of swiggy in terms of immediate response and action.

Zomato takes responsibility and faces the issues head on in social media, but that is not the same in case of swiggy. Swiggy just seems to be moderately active and very slow responsive in case of crisis.

Contacting employees of Zomato and Swiggy:

Zomato – Delivery partner: in conversation with two delivery partners of Zomato when they were asked what instructions they are given during problems or what the company or employer does during crisis. One of the employee replied “they always tell us to just go by the customer and be polite to the customers”. When we spoke to an employee of Zomato from the customer support, he said “we are always told to maintain decency and not lose temper, during training we are given a certain guidelines to talk to the customer and we just follow that”.

Swiggy – Could not get in contact with any customer support employee. When we spoke to a delivery partner, he said “we are here to serve the customers and sometimes we have problems during delivery, but it is a part of the job, we just try and not lose our temper during any problem from the customer’s side. We aren’t given any specific behaviour that we have to exhibit during a problem or crisis for the organization”.

We know that every brand and organization has its own different ways of communication to their employees, target audience and customers, but it all finally depends on who does it right. Right, here depends on how much ability a brand has to convince its customers that is is the better one compared to all the other brands available in the market. This will define and tell us which brand does a better work in terms of crisis and reputation management at different situations.

Conclusion

As of all the above findings and research it is very clear that both Zomato as well as Swiggy put in an enormous amount of work into managing their crisis. Whereas Zomato has faced more crisis than that of Swiggy.

The survey results show that the customers prefer Zomato over Swiggy. As much as Zomato faces crisis because of various factors that revolve, they still manage to maintain their place and reputation in the market through various other means. It is because Zomato provides more number of offers, hassle free service and a variety of restaurants to its customers than that of its competition.

The response speed and reaction towards an issue is the most important when it comes to the crisis reputation management of any brand. And in this case according to the research it concludes that Zomato has a better reaction towards crisis and they do a better crisis management when compared to that of Swiggy.

References

  • Barnagarwala, T. (2018). Retrieved from The Indian Express : https://indianexpress.com/article/cities/mumbai/mumbai-fda-files-22-cases-for-adjudication-against-zomato-and-swiggy-5498158/
  • Express, T. I. (2021). Retrieved from The Indian Express : https://www.newindianexpress.com/cities/bengaluru/2021/mar/20/zomato-row-bengaluru-cops-to-drop-probeashitesha-chandranee-refuses-to-filestatement-2279296.html
  • Panigrahi, Ashok & Saha, Abhijit & Shrinet, Aditya & Nauityal, Mehul & Gaur, Vidur. (2020). A case study on Zomato – The online Foodking of India. Journal of Management Research and Analysis. 7. 25-33. 10.18231/j.jmra.2020.007
  • PTI. (2019). Retrieved from The Economic Times: https://m.economictimes.com/small-biz/startups/newsbuzz/zomato-says-food-doesnt-have-religion-wins-appreciation-on-twitter/amp_articleshow/70463420.cms
  • Rakheja, H. (2020). Retrieved from Inc42: News Roundup: Swiggy Delivery Workers Strike, Gig Economy Rebels & More
  • Roy, V. (2021). Retrieved from The Hindu: https://www.thehindu.com/society/pundits-day-out-why-social-media-works-as-a-prejudice-aggregator/article34222586.ece
  • News Roundup: Swiggy Delivery Workers Strike, Gig Economy Rebels & More (inc42.com)

(Any amount of content that has been taken from other sources is either quoted or put down in references, please do find the links and details to the sources above)

Disclaimer

The Constructive Communication does not support any kind of discriminatory practices and views. The views and expressions made by the authors are based on their readings, researches, references and academic deductions. We at the Constructive Communication group appreciate the efforts of the authors for their contributions however we are not part of their works, the views held, expressions made and opinions communicated by them in the articles, notes, research papers and any writings published by us. - Publisher

© 2019 Mitra Infotech. All Rights Reserved