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Wednesday, April 24, 2024

Indian films evolution as a hidden strategy in narrative building

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  • Lal Singh Chaddha opens up the wounds again which were far from healed aided by numerous releases which kept it open and preceded by Shamshera from Mumbai’s film industry which shamelessly mocks at the wounds.
  • Interestingly, the seeds of inflicting wounds have been sown way back.
  • Era of late 1960s and Indira Gandhi

In the aftermath of mysterious death of Lal Bahadur Shashtri, Morarji Desai enjoyed massive public support, but the Congress syndicate did not want him as PM. That started a vigorously collaboration of the ruling party with Islamists and Communists to remain in power.

Mrs. Indira Gandhi intimidated by her own senior Congress politicians embarked on a pro-left path just to stay in power with some newly found ‘socialism’ that prompted her to take controversial decisions.

The state seized control of private businesses and nationalized the banking sector. It was pure rhetoric to brainwash the commoner and make them believe that these steps were pro-poor.

Mrs. Gandhi wanted to control the whole party and ultimately her dissent, got her expelled from the Congress.

Mrs. Gandhi floated a new party and named the split meant that Gandhi had 221 seats, 41 short of a majority forming India’s first minority government.

Mrs. Gandhi wanted to retain power at any cost and asked the communists for help. Meanwhile, the leftists were happy since Mrs. Gandhi had taken a left turn, and they joined hands with her. The communists (mainly from Kerala and West Bengal), and the pro-left Dravida Munnetra Kazhagam (DMK) from Tamil Nadu, entered the alliance.

Snap elections in 1971 fortified Congress Communist unity when Gandhi’s Indian National Congress (R) won. The communists wanted their share of the pie and cornered the department of education.

Thus, began an era of an openly Islamized education version and a revamp of textbooks that mutilated the history of India and poisoned Mumbai’s film industry.

Plain Islamists who claimed to be leftists joined them and got plum positions. Nothing else explains the introduction of Nurul Hasan as central education minister in 1971. Interestingly, four of India’s first five education ministers were Muslims after independence. These political appointments resulted in dramatic changes where our history and especially our movies grew pro-Islamic.

The Central Government moves made Indian movies carry a hidden agenda in a narrative building strategy very carefully.

Films are extension of any country’s reach of its soft powerzone of influence particularly on the young. Young minds are very susceptible very impressionable easy to disrupt and damage the minds in many ways and a future platform for inserting any narrative.

Movies can be inspirational and motivational, but one can use them for perception management as well.

During emergency Vidya Charan Shukla, was appointed India’s Information and Broadcasting (I&B) minister. Shukla became Indira’s propagandist and was in-charge of stifling freedom of speech.

Back in those days, Akashvani and Doordarshan enjoyed a monopoly on airwaves. Movies until then were released in their unspoiled form and were reflective of society as a whole. Nationalist movies like Mother India, Mera Gaon Mera Desh, Upkaar, and Manthan were in vogue. Shukla’s appointment ensured that all that was about to change.

Shukla and his cronies made sure that they watched every movie thoroughly before they were released. Bollywood movies that never contradicted the leftist agenda began to appear. The idea was to rule people’s mind and their thinking. The intent was hidden and was masquerading an agenda as change and development. It was also the period when the underworld was made to get entrenched into Bollywood.

Manoj Kumar’s Upkaar and after

Changes in scripts and paradigms started after Manoj Kumar’s Upkaar, which saw some efforts at pollutant seeding into the story.

By the early 1970s Salim Khan and Javed Akhtar discovered Bachchan who had a string of flops in the backdrop of apathy of Govt. towards common man, exploitation at the hands of administration and politician, rising prices, unemployment and a worsening law and order situation, and thus began an era of a commoner raising voice against the establishment through violence and crime in Indian movies and that continues till date.

Movies started becoming agenda-driven and continue till this day.

Movies which had to be entertainment-laden and were thought to be relaxing for the masses became a tool for agenda pushing. There were glimpses that showed how they were made to hurt a section of society. Spiritual gurus and gods began to be portrayed negatively. The depiction of characters showed a lot of bias against Indian Hindus. Islamist underworld Dons were glamourized and praised as heroes. It became apparent that the funding of movies was happening from enemy countries and their sympathizers inside India in the form of underworld as well as the Gulf. There were many blatant depictions, the intents of which took time to decode.

  • A film is made on a women pilot, far removed from truth and shows her being molested by air force officials,
  • The sacrifice of a wife, so much enshrined in culture and practiced since millennia, is mocked during karva Chauth,
  • Lord Krishna is called tapodi, a womanizer, Ramnavami has been billed as nau din durga phir murga,
  • Holi is described as wasting a lot of water,
  • Celebrating Deewali festivities comes with all illogical contradictions on crackers and way of celebration,
  • An architectural marvel like Martanada Temple demolished by the ugly looking Islamic invaders is called and depicted as Shaitan ki Gufa in Haider,
  • All Hindu rituals and festivals depicted as useless, and pujaris been shown in comic acts. Movies have ensured that showing Pandits and Hindi in poor light is acceptable.
  • The height is reached when the titles of movies like Ramlila Goriyo Ki Raslila, Sexy Durga and Love Ratri is named to demean Indian religions.
  • To top it all, Not even a single ill of Muslim society such as talaaq, nikaah halaala, child marriage, polygamy, treatment of women as commodities, jehad, terrorism as a policy, intolerance towards people of other religion and what not has been been depicted…
  • Not even one ill of Christian society has been shown, and the games that the priests play.

These protrayals can’t be coincidental.

All this camouflaging comes with a definite agenda.

  • If debating patriotism is being funded, it is to weaken the country
  • If most men are presented in molestation scenes, then that affects the psyche of a nation. It was shown that women that had no right to express how they felt
  • If some groups are being shown as being terrorized rather than be a terrorist, it is with an aim to remove the perception and opinion guard that the citizens are likely to make
  • If the language that carried so much purity is being mixed and degraded and mixed with Urdu, it is a ploy to make the Indians feel degraded and slave like
  • If westernization is being glamourized it is to show contempt of indigenous culture that evolved out of millenia of cultural history…
  • Camouflaging some information putting in wrong light, and lacing them with contradictions doesn’t gel well with the ethos and sensibilities and sensitiveness, So there must be some design..some intent. The intent is to make India vulnerable to perception war, and create a narrative to gain out of it.
  • Such information mishaps and narratives have the potential to harm a person’s psyche who finds all these protrayls innocuous, and to remove the protection that they have otherwise taken to protect their heritage and culture

Breaking India

No society is free from issues, or problems. There is no culture which has not seen some anachronism and movement towards some disorder, but to single out Hindus and their identity has been at a completely different level.

Tradition is a sacred part of any flourishing culture. The first thing the enemy targets to break apart a civilization is by pulling apart such traditions.

These films are made very carefully with a chosen narrative with an intent to gain commercial and more importantly long term damage to cultural fabric and its politics for a geopolitical gain.

There is a plan behind this brainwashing. The hidden agenda behind these movies is to strip the psychological and intelligently derived conclusion security and armor of Indians that was essential to protect themselves. Poisonous and toxic mixing of culture, language distortion, mindset change, and narrative are all part of the plan.

The viewer is encouraged to believe that anything and everything is acceptable in our society. The fact remains that a real danger exists from our enemies and is also active.

Indian films have long glamorized anything that is anti-Indian and anti-Hindu culture. Selective mockery of Hindu Gods is extensive, totally disregarding majority sensitivities.

It is so widespread now that harming the country’s image has become fashionable and fad—such propaganda under the garb of creative freedom and freedom of expression.

Purpose behind such Negative Portrayals.

Films extend any country’s reach, either locally or internationally. India now has the power and the leverage to penetrate any international market. We can create our zone of influence using our soft power.

Indian movies are renowned worldwide and are an excellent medium of soft power. Our enemies feel that they must prevent India from exercising our influence. They know very well that once India reaches the stage of global impact, then there is no turning back.

What is happening is nothing but an invisible war on India.

Young minds are unsuspecting and sensitive. If they can be caught young, they can be corrupted and their minds damaged in multiple ways.

Renaming (Mumbai for Bollywood) and coining new terminologies antithetical to the existing meaning, and identity mixing has a strategy-The first generation loses identity, the next generation loses pride, and the third generation becomes anti origin. This is what is happening in India.

Mumbai film makers trying to mock the Indian lifestyle and ready to offer an alternative glamorized version is ostensibly with an aim to develop a new commerce where they have a role and a new mix culture, where the identity is completely lost and their minds imprisoned. The actions genuinely plan to create new faultlines and weaken our society by enlarging those faultlines.

When a civilization’s local wisdom is questioned continuously, its brand stealthily stolen, and its traditions mocked, then it is to stop the spread of their cultural influence. Funds have been pumped to debate patriotism (which must be outside the purview of debate) with an ulterior motive to weaken our country.

Terrorists and outsiders are praised for instilling a false sense of security. To damage the psyche of the Hindus, they are being mocked in their own country. The idea is to make them feel inferior.

Languages like Hindi and Sanskrit that carried purity are now mixed with foreign ones are degraded beyond recognition. It is a ploy to make Indians feel polluted and remind them of slavery. Westernization is glorified to show contempt for the indigenous culture, which evolved from thousands of years of cultural history.

Some information is hidden or shown in the wrong light. Movies are laced with contradictions that fail to gel with our principles, sensibilities, and sensitivities. This narrative has the potential to harm the viewer’s psyche. They might seem innocuous, but they removed the heritage and cultural pride.

What is the Narrative that Indian Movies Portray?

Words and deeds are inserted that are harmful and poisonous. The extremism that harms our country and our society is popularized. Icons are being picked up to convey what is incorrect. They affect the viewers, especially the young ones.

Indian society has been made to believe that there are deep wedges along so-called caste lines. These fault lines within Hindu community are utilized, and the narrative is that Indians are deeply divided and weak. Caste and creed is actually present among Muslims and Christians too, but never appear in Indian movies.

Since outsiders have invaded India for many centuries, the narrative is that we are made to be ruled and are not capable of self-governance. The fact that our foreign rulers came for our wealth is conveniently hidden.

As per our movies, words like balaatkaar and talaaq which are not part of Hindu tradition and culture and is depicted as part and parcel of Indian society and instigated too as if its normal. Women are portrayed as commodities and wearing skimpy clothes, notwithstanding the context, which is now considered normal. That it does not gel with our festivities and rituals is deliberately undermined. Leaving one’s parents in old homes or orphanages is deemed to be innovative. Speaking unadulterated Hindi makes the speaker unfashionable and backward, while Urdu as well as English speakers are trendy. The chic ones use Hinglish, a crossover between hindi and English. Insulting one’s language is deemed to be stylish.

Strategic narrative

There are two strategic narratives that are in play-

  1. One, by the so called minority people who constitute population, who still have intense hatred against India, still consider Pakistan and other enemy countries as their own country and thus, denigrate whatever that is Indian to be bad…it is to be mocked, humiliated and looked down upon, anything to weaken the society and to drive a wedge and insert a Faultline.. The group doesn’t want the reality to be shown and must do everything to harm the society.
  2. The other is Western world which doesn’t want Indians and new India to be realizing its potential, doesn’t want to dent its own western market, doesn’t want to give credit to India for ideas, concepts and other goods stolen from India. Besides, it also wants to instill a personality and thinking among Indian youth that will destroy the aspirations of the youth to be world beaters. It also aims to create a market by destroying the family bonds, by creating nuclear families, removing MSMEs from Indian socio economic milieu, encash traditional habits with various slogans in strategic narrative building.

Needless to say, it has created a new breed of WOKES.

The western ideas definitely have a precedent in Macaluay’s statement.

And this is what the anti-Indian establishments learned from British and applied it from 1947 to 2014.

Conclusion

Films are like literature….they have to represent the society, but when films set the tone of any society, follow a hidden agenda, create a false narrative it must be with a geopolitical interest. Indian masses who believe in films and consider it as synonymous to truth do not know that these films are made by people who have cultural interests, political interests and choose to insert narratives very carefully by using examples, words and expressions very strategically.

In India’s case isn’t it that there are interests deep interests…!

Is it that a ground is being prepared to Islamise India through a new colonial form which can be either coercive, intellectual or creative? or, Is it to weaken India, give Indians a false global image by western colonialists? or both of them simultaneously.

The whole idea is with a design to allow Indians drop their intuitive security cover that allows them a clarity of perception, and live with a false sense of security with people who have intense hatred against them and that despite living with poisonous and venomous snake, who are just waiting to strike at an opportune time, and they should never be prepared to guard themselves.

India is changing fast. The country is asserting itself positively and rapidly in the field of technology. Nationalist movies like Baahubali created huge ripples across the movie spectrum and are a massive box office success. Kashmir Files is another example of our nationalistic thinking that has upset enemies both within our country and outside. This change needs to be sustained, our own narrative written and implemented, a new geopolitical strategy envisioned with the films as our soft power tool.

Indian films evolution as a hidden strategy in narrative building -

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