Context-

Hindi mainstream cinema, renowned for its captivating heroic tales, has often been a powerful medium shaping societal perceptions. However, a critical analysis reveals a significant imbalance in the portrayal of characters and experiences, with the narratives predominantly focusing on the lives and concerns of social elites. Here we look into the nuanced aspects of this cinematic hegemony, emphasizing the underrepresentation of Dalit-Bahujan-Adivasi (DBA) characters and their socio-cultural experiences.

Mainstream Cinema and Social Elites:

Hindi cinema has carved its niche globally with masala-coated tales, replete with songs, dance, and dramatic action scenes. While blockbusters with big stars enjoy box-office success, films with social realism and creative content struggle to find a substantial audience. This popular trend often hinders a thorough examination of cinema's intellectual and artistic prowess. More importantly, it perpetuates the dominance of social elites in the film industry, resulting in the neglect of DBA characters both on and off the screen. Caste-related issues are sporadically portrayed, often underrepresented or subsumed under passive categories like 'poor' or 'common man.' This exclusion is reflective of a historic disengagement between the film industry and traditional entertainers from lower castes.

Dalit Representation: Stereotypes and Precarious Conditions:

Dalit representation in Hindi cinema has often perpetuated stereotypes, depicting their precarious class conditions, violated bodies, and undignified social positions. Rarely have Dalit characters emerged as ordinary individuals around whom a popular narrative could revolve. Instead, they are consistently portrayed as prisoners of their caste identity, while the upper-caste hero assumes the role of a symbol for people's aspirations.

Exclusion in Post-Independence Cinema:

Post-Independence cinema, despite the socio-political discussions on social justice and emancipation led by figures like Babasaheb Ambedkar, exhibited a lack of awareness of Dalit issues. The few films that did address untouchability, such as Bimal Roy's Sujata (1957), often presented a Gandhian solution rather than an Ambedkarite perspective.

The 1980s saw the emergence of parallel cinema, which addressed socio-economic issues, corruption, and caste-based exploitation. While films like Nishant (1975) and Damul (1985) portrayed the Dalit plight with authenticity, they fell short in capturing the emerging voices of Dalit struggles and social change concurrent with the Dalit movement.

Exclusion in Blockbusters:

Examining the major hit films of the past year, including "Jawan," "Pathaan," "Animal," "Gadar: Ek Prem Katha," and "Oh My God," it becomes evident that upper-caste characters overwhelmingly dominate as lead protagonists. This trend, when extended to a survey of the top 100 Hindi superhit films, underscores the consistent exclusion of DBA characters, rendering mainstream Hindi cinema a hegemonic domain reflecting the interests and concerns of the social elites.

The Limited Representation of DBA Characters:

Prominent actors like Amitabh Bachchan, Shah Rukh Khan, and Akshay Kumar, despite their illustrious filmographies, have rarely played roles that authentically represent the concerns and identities of DBA groups. Films like Bandit Queen (1994), Eklavya (2007), and Aarakshan (2011) began providing space for the political and social claims of the new Dalit generation. For instance, Bachchan's portrayal of a Dalit character in "Eklavya" stands as a rare exception.  This overt valorization of upper-caste protagonists perpetuates the notion that DBA individuals are incapable of embodying 'heroic' roles on screen.

Serving Elite Interests:

The film industry, as a capitalist enterprise, tends to create products for general consumption, focusing on profit and popularity. Unfortunately, the dominance of social elites in filmmaking, performances, distribution, and exhibition business has transformed the Hindi film industry into a fiefdom, marginalizing others as passive consumers. This exclusive nature reinforces a crony capitalist model that caters to the interests of the privileged few.

DBA Audience as Spectators:

The DBA audience, often relegated to the role of mere spectators, has minimal influence over cinematic narratives and the business of filmmaking. The on-screen heroes, portrayed as struggling protagonists and protectors of cultural and moral identity, perpetuate a skewed representation that reinforces existing social hierarchies. This further alienates DBA individuals from the cinematic space, leaving their life experiences and aspirations unexplored.

Challenges in Portraying Social Ills:

Ironically, mainstream Hindi cinema has been disinterested in portraying critical social issues like caste discrimination, untouchability, or violence against Dalit women. While DBA groups make significant strides in various political and social arenas, their representation remains conspicuously absent in the film industry, highlighting the industry's detachment from democratic values and substantive inclusion.

The Need for Democratization:

To democratize cinema, conventional filmmakers must engage with the issues and concerns of DBA groups, providing them with equitable space on the screen. Additionally, the process of filmmaking should involve more technicians and artists from the DBA background, ensuring diverse perspectives and narratives that resonate with social realities.

The Role of Dalit-Bahujan Cinema:

The emergence of filmmakers like Pa Ranjith, Nagraj Manjule, Mari Selvaraj, Neeraj Ghaiwan, and others has paved the way for a nascent 'Dalit genre' of cinema, particularly in Tamil and Marathi film industries. These filmmakers introduce powerful DBA characters, showcase new storytelling techniques, and present creative narratives that resonate with audiences. The evolution continues with films like Madras (2014), Sairat (2016), Karnan (2021), and Jhund (2022), directed and produced by Dalits. These films showcase vibrant Dalit protagonists challenging stereotypes and offering critical reflexivity, disrupting traditional cinema and giving a voice to marginalized communities. However, the transformative potential of the Dalit-Bahujan cinema genre to democratize the film industry remains a distant prospect.

Democratizing Cinema:

Efforts to democratize cinema involve not only representing the social interests and political values of DBA groups on screen but also ensuring that the profits and privileges of the film industry are distributed equitably. By fostering a more inclusive and diverse film landscape, the industry can contribute to a nuanced understanding of societal realities and foster a sense of shared cultural identity.

Conclusion:

The imbalance in heroic narratives within mainstream Hindi cinema is a reflection of the industry's deep-rooted biases and exclusive practices. The underrepresentation of DBA characters not only perpetuates societal stereotypes but also hinders the democratization of cinema. Addressing this issue requires a concerted effort from filmmakers, industry stakeholders, and audiences to challenge existing norms and embrace a more inclusive and diverse cinematic landscape.

Source- The Hindu