BLACKOUT: A Vigourous-Bold-Experimental Story Without A Tale

A one-day-fine-arts-student and poet Tokon Thaakoor starts his journey in the premises of cinematography with Blackout. Not strictly a biography, though, it is a part of the same. He, here, himself apportioned into two, as does a bacterium; the two main protagonists Rafi and Madol are an artist and a poet respectively. In many way, they are identical with Thakoor- above thirty, unmarried, live on a garret (an attic), smitten with reverie-love-lust... all carnal desires. The way the poet (in the Blackout) is overwhelmed of his childhood, it seems, Thakoor is visualizing his autobiography. Though Blackout doesn’t show us the every details of an autobiography, it is certainly a documentation of a part of contemporary youth lifestyle and practice of dreamy obsession, the worse for intoxicating drug or liquor, unmet desire for sex. Specially, it is the documentation of artistry-love-lust of those fresh-blood youths, within a-some hundred yards between Dhaka Fine Arts Institute and Aziz Super Market, by whom the contemporary Dhaka-based art-culture-literature is being practiced and exercised. Rather the director didn’t follow the usual narrative of conventional documentary or feature-film; he went through the complex experimental course of metaphor-metaphysics in addition to animation. Probably, it is the Blackout presents before us with large-scale experimental relish ever in our country.

The prime criterion of this video fiction is its statelessness; self-perception dominates here as does in experimental short story. A used-to-viewer of simple narrative cinematography doesn’t feel ease here. This is rather an expression of feelings of this transition period youth- as a poetry, or as an artwork, partly revealed, the rest remains unrevealed. Blackout will definitely touch those young afflicted with creativity-love-lust-liquor-agony; also those non-young interested to realize the present-day youth. Others may refuse to accept Blackout, due partly to its unconventional complex type of presentation, and partly to its immoral (!) unaccustomed (!) commentary. Fortunately, it was not captured in celluloid; in that case, the scythe of the censor-board would be sharper. Here, in Blackout, an artist sketches a mature penis and calls it missile; masturbation contexts are there; character here is both homo- and hetero-sexual. Films released from FDC shows raw nudity, unreliably though; even then, those easily pass the censor-board. Nevertheless, undoubtedly, Blackout would be caught by the board.

In brief, the story of this film is: poet Madol and artist Rafi lives in a garret of two compartments. They sleep together, share all their weal and woe. Rafi named his room Tahiti, the name he borrowed from the Tahiti series of paintings of European Artist Gauguin. Rafi has a girlfriend, he imagines her as Tahiti-girl, loves her, and even wants to marry her. But the girl Miti, though doesn’t disregard him, not certainly loves him. Rafi wants to portrait Miti, he wants Miti offers him a sitting as a model for that. Miti doesn’t exactly want to be a model for him, but for commercial advertisement. At the end of the film, she flies away from Rafi’s Tahiti Island to the Island Bali; she becomes model of an advertisement. However, before that, their relation came off. Another protagonist, Poet Madol is a homebird, depressed; in many of his poetry, there is reference of a girl Shalmoli. Visibly, their relationship didn’t develop anyway. Shalmoli is in her imagination: far away from the town, laid down beneath thousands of Marigold flower on a foggy open meadow, he approaches her crossing the meadow, uncovers her face of flowers, and kisses her. The snapshot of her face covered with colorful flowers remains deeply static in his mind; nothing more than this he can remember. Rafi has got another world outside the room- Miti, Dadu (common Dadu, the living legendary Grandfather of all at Fine Arts Institute), many other friends he often meets on road, senior artist Dhruba Esh, and he has aimless walking on footpath. On the contrary, Madol has a world of one room, the top of the roof, standing on that bickering through beckoning with the little girl at the neighbor building, and a vast world of imagination, where he remember an incidence of his childhood- rubbing his nose on the ground as a punishment for smoking, the very moment of blowing the trumpet of the missing Baul, and some women like Shalmoli-Shokuntola. If Rafi’s room is Tahiti, then Madol’s room is Mokam, where he composes poetry in Photoshop instead of MS-Word. When Rafi goes on a dating with Miti, Rafi has got the option of masturbation. The rest of the film shows casual conversation between Rafi and Madol, sitting or lying on the bed; sometimes discuss on important issues however.

In the film, there is no-story in the above-described story. No-story is the story of this film. So what is the film about? The director wanted to visualize his Time. Madol writes a poetry on a photoshop file: Time, you greeny witch/ you live across the earth/ in the twilight zone/ you sketch the picture of the sunken ship/ with the dead sailor’s bones. Here in Blackout, Dhaka Fine Arts Institute and Aziz Super Market is present as it is, as well is present contemporary singer Kofil Ahmed and his songs, artist Dhruba Esh, writer Ahmad Sofa and his Pushpo Brikshya and Bihongopuraan. This is how accurately the director wanted to present his Time before us. Multiple presence of the song Time, you greeny witch... also indicates that. However, he wanted to visualize his time, but only a part of that could he visualize. Except a still picture of the Buddhijibi Smritishoudho (Martyr Monument) at Royer Bazaar, no other context of his present-time own national politics or fanatic fundamentalism was visualized. The commercial usage of the female in this globalization era is presented through the character Miti a bit; something in reference to politics or others could have been represented through the main two protagonists.

Through the two principal protagonists (probably the two halves of director himself), the references of cannabis-liquor-masturbation-homosexuality were visualized. These were so long been avoided carefully in the visual media of our country. The social structure and the viewers’ conservative mental structure might be the leading cause there. Tokon Thakoor, overcoming that conservatism, took a groundbreaking enterprise obviously. Homosexuality demands a further elaboration in this regard. The two main protagonists pass their casual time together, one leaning on another, or one makes another his pillow. Touching each other or passing one’s hand lightly caressingly over another’s is a very natural for them. Rafi makes inquiries whether Madol has taken something after taking liquor. Their attraction for each other is deep, but the expression is quite natural. Rafi has a Miti, Madol is devoid of any female mating. Once, Miti leaves Rafi. The only real friend remains is Madol, with whom Rafi can share each and everything in the world. Depressed Rafi expresses his pain to Madol; to let alone those pains, they together sings and dances. In the meantime, it is revealed that Madol is truly depressed; he expresses that to singer Kofil: he finds nothing good in anything. In a very sensitive moment of self-contempt, Rafi wants to kiss Madol. Madol says, “O my Elton John, this is Bangladesh”. In response to that, Rafi come back telling, “Oh I was about to forget that”. No other but this kissing scenario represents the homosexuality. Rafi didn’t get Miti, nor did Madol Shalmoli. The real friendship, the real love sustains between Madol and Rafi. Taking reference from Freud’s psychoanalysis, it is a sort of homosexuality. There are a number of artistic films on homosexuality and lesbianism in Europe and America. Specially, Gay-films are studied in queer studies. Molly Haskel terms these films as Buddy Movies. Tokon touches this special field in his artwork.

In addition to the subject matter, he also experimented in relation to the artistry form. Let me repeat, it is the Blackout, the full-length video-film, presents before us with large-scale experimental relish ever in our country. The complex narrative is structured taking help from metaphor-metaphysics. Thakoor acknowledges and dedicates this film to Hrithwik Ghotok and Kuroshawa as his Murobbi (Senior) at title-card, though no sign of Hrithwik’s melodrama or Kuroshawa’s Samurai culture is observed. Rather, it seems he is a follower of Bunuel or Fellini. The horse presented here with a great metaphor. Thakoor’s production company is Astabol (a stable for horse) Love Factory. The calling-bell of Madol-Rafi’s garret sounds the neigh. The neigh sound is also used several times in the soundtrack of Ornob. At the end of the title card, a horse is seen coming from a mountain down along the valley. May be, it symbolizes youth, power, force and virility. Thakoor used foggy morning for his metaphysics. To symbolize blowing trumpet, to make the running of Rafi to flower-cover faces of Shalmoli dreamy, he used foggy mornings. Nevertheless, the limitations of the director must also be noted. One among those is: still pictures of Rafi and Miti are being visualized while in soundtrack, lovely poetic but enigmatic dialogues are being heard. After this sequence, Rafi and Miti is seen coming up on a staircase wearing wedding dress. After that, they stand before a gate. Rafi wants to open the lock on the gate, but the lock doesn’t response. Embarrassed Rafi told Miti that he had brought a wrong key. Here this dreamy scene came to an end. The scene is really nice as a concept that Miti is not going to be his life-partner. This scene could have been visualized in a more attractive and artistic way: let us visualize ourselves a white staircase, no wall around, only emptiness all around, at the end of the staircase there is a metaphysical gate, and a lock of that sort... We may rememorize the scenario of Federico Fellini’s Eight And Half. There are a number of long shot in Blackout, but the action of big close-up will be able to attract the vision of alert viewers. The question of excessive big close-up remains unanswered. Does Thakoor, this way, like to create his own cinematographic language? Visualization of adolescent and young Madol, dissolving the time boundary, is praise-worthy presentation of the director.

The acting phenomenon here is very casual, so reliable and praise-worthy. Tanvir Hasan and Rahul Ananda deserves appraisal for working as Rafi and Madol character respectively. But, Tina as Miti is not so spontaneous. Specially, her dialogue throwing was weak enough. Bappi Ashraf, Borsha Bivabori, Belayet Hossain, Zuena Ferdous Mitul and Dadu worked very well. The conversation between Rafi and Dhruba Esh could have undergone more perfection. Dialogue in this frame seemed to be a bit irrelevant. Rafi comes out of Dhruba Esh’s residence, even then their conversation at floor is seen. Is it editorial problem, or unconventional whimsy of narrative, remains undetermined?

One of the major contributions of this film is its music. Shayan Chowdhury Ornob is a young musician, known for fusion of Bangla songs. He used western musical instrument tremendously here, especially notable here is piano. He is also the sound director of the dreamy part of the film. Therefore, he could handle the music and literary part himself with proven creativity. He proved his excellence in singing the songs “why is the moment so long” and “Time, you greeny witch...”. The former he sang with his own characteristic tone and tune; and the later, actually a poetry of renowned poet Ronojit Das, “Time, you greeny witch...” carried us to a desert. Kofil Ahmed’s song “I eat fire, Sleeps in fire...”, “Be here friend...”, “Jesus....” made a different exaggeration in this film. His songs, non-romantic non-rebellious, are well-put in Thakoor’s film.

Most of the videography, editing and sound editing was perfectly performed by young genius Sameer Ahmed. He has done a great job with tremendous perfection. The superimposition technique, ultimately mandatory for dreamy scenarios, used by the editor is excellent to acknowledge. Along with documentation of the script, like documentary, camera moved without prior preparation. Drinking scenario at garret is to be noted here. The editor proved his expertise in visualizing, at the end of the film, the artwork of Picasso-Dali-Van Gough-Matisse-Bonnard-Klee-Chagall-Jackson Pollock-Kandinski-and-others, photography of known-unknown faces, attractive and erotic images of female body-parts within moments. In the background of this collage, along with journey-music soundtrack of Azarbizan-Iranian sufi singer Ashik Hasan Iskandari, there was soundtrack of Nigerian singer Fela Kuti and Femi Kuti, songs of Bimol Baul, Lalon’s songs, and Don Mackmillan’s Van Gugh song… Starry starry night...

Another notable portion of Blackout is its animation and imagery. Sketching, art direction, playing card design and title animation- this Herculean job was done by Abdul Halim Chanchal. Such extensive animation works were never used in Bangla film before. The director visualized the metaphorical scene “a lonely eagle at moonlit night” with the help of animation, in addition to the title-card at starting and at the end. Chinmoy Devorshi paid his utmost care in visualizing this scene, and the scenario of coming down of the tired horse from the mountain along the valley. The animation at the end title card conceptualized from Dali’s “persistence of memory” is a nice creation indeed. Richard Rozario has done a great job in the field of still photography. A complete sequence was synthesized with the help of still photography only.

Well, Blackout, a 97-minute-video-format film, is straight in its statement, is experimental in its form-technique. Director Tokon Thakoor proved his talent-maturity in his very first film. It seems, he had a long course of preparation before going in for Blackout.

Originally written in Bangla; translated by Auboni Aunarjo.

For Bangla article visit: http://www.somewhereinblog.net/blog/fahmidulhaqblog/28861673

Brick Lane: A Tale of Transformation of an Immigrant Woman

One can easily discover the thematic similarities between the film Brick Lane (2007) by British director Sarah Gavron and Paroma (1984) by the Indian director Aparna Sen. After serving her husband and caring for her children for several years, an ordinary housewife suddenly discovers that she has passed a large part of her life meaninglessly, not taking car of her own need. Of course, these feelings appear within herself after contact with a young man and she discovers how she has been deprived of the charms of life, how her mind and body have been dispossessed of heavenly happiness on Earth. Gradually, the late-thirties woman turns into a lover from a conventional housewife and feels like a young woman who has fallen in love for the first time. And most importantly, she becomes self-determined and self-asserting.

It is the first feature film by the documentary and short filmmaker Sarah Gavron. Though the title of the film is Brick Lane, adapted from the best selling novel of Monica Ali of the same title, you will not find the presence of Brick Lane or the Bangla Town, London much in the film. The storyline progresses as an indoor family drama. After the incident of 9/11, the ethnic Muslims faced racial hatred from white natives which is there in the text; even then you cannot say it is a political film. Rather, it is a story of a woman who came to London in the 1980s as the wife of an immigrant Bangladeshi. The story tells us about the crisis and relationship within the family and above all, the transformation of the housewife into a self-determined woman.

The adolescent Nazneen had passed her playful life with her sister Hasina by running through green and rich paddy or yellow mustard fields. But Nazneen's life changed when from the wide paddy field she was sent to a flat in Brick Lane, at the age of 17, as the wife of a fat and ugly looking 'educated' man, Chanu Ahmed. From a village girl she becomes an obedient housewife. He goes outside only for shopping. Chanu and Nazneen have two daughters. The elder daughter Shahana, aged 13, likes the western lifestyle and chooses mini skirts or jeans as her dress, which is not appreciated by her father. But the younger daughter Bibi, unlike her sister, is habituated with the Bangladeshi way of living.

In the early part of the film, Chanu resigns from his office because he was not offered the long-awaited promotion. His ego as an 'educated man' created financial uncertainty in the family which he tried to overcome by borrowing money secretly from a lender. But Nazneen came forward with a job which she can do by sitting at home. In relation to her job, she met Karim, a young man, who supplies garments to housewives for sewing. An emotional and physical relationship develops between Nazneen and Karim. From the affair, Nazneen comes to know what real love is. From a soft-spoken ordinary woman she gradually turns into a happy and bright woman. Meanwhile, Chanu tries to leave London, where he finds himself unfit and looks for jobs in Bangladesh. But their elder daughter Shahana does not want to leave London. She knows London, not Bangladesh, as her home.

Then there comes the event of 9/11 which made the living of Muslim immigrants in London difficult. To protect themselves, the young generation started upholding Islam as their identity. Karim becomes the leader of the community and with his newly-kept beard, he becomes a sincere Muslim. A community meeting has been called to decide how the racial hatred they are facing can be dealt with. Chanu and Nazneen attend the meeting where Karim is a speaker in favour of Islamism.

Though the character of Chanu is driven by patriarchy, his extensive reading makes him a humanist as well; he stands against Islamism. Chanu's speech in the community meeting was convincing, but not enough to divert the Islamists. He leaves the meeting and asks himself whether this is the right time to go back. Surprisingly, we see Nazneen hold Chanu's hand for the first time. We see the couple walking, holding hands, in the lonely street at night. The long shot creates an impression that Nazneen is not acknowledging Karim's stand in the period of ethnic crisis and supports her husband. Nazneen is not only becoming financially solvent but also growing politically aware and mature.

Karim asks Nazneen to divorce Chanu and marry him but Nazneen refuses. Nazneen came to know, after everything, that her husband and children are her reality and Brick Lane is her home. She joins her 'short-haired and smoker' neighbour Razia who also provided her the earlier job with Karim, in a sewing job. Nazneen tells Chanu that she cannot go and Chanu says that he cannot stay. Chanu leaves London. The film ends with the scene showing a happy and settled mother and her daughters playing in the white courtyard of the house complex after snowfall. But the plane in the sky makes Nazneen's happy face a bit gloomy with worries.

Though the film is on the Bangladeshi diaspora in London, little participation of Bangladeshis can be mentioned here. The main character Nazneen was performed by Tannishtha Chaterjee who is a rising Indian-Bengali actress in the art house cinema circuit. Satish Kaushik, a known face of Bollywood acted as the character of Chanu. Christopher Simpson as Karim is also not an ethnic Bangladeshi. Other than casts, there was little participation by Bangladeshis as crew. Even the Bangladesh part of the film was shot in West Bengal, India.

The responsibility of the musical score was on Joselin Pook of Eyes Wide Shut and Gangs of New York fame. She has successfully created her scores, but she used very few Bangladeshi or Indian musical tracks. But Pook's soundtrack was really mystic and created the environment of the internal complexity and crisis of the struggling characters.

Sarah Gavron and her cinematographer Robbie Rayan have extensively used close-ups to create their own film language. Especially, some big close-ups of Nazneen's face have been used to describe her internal crisis, transformation and dilemma. Tannishtha Chaterjee was very successful in expressing that complexity. Nazneen's dark brown look could easily represent a Bangali housewife. Her expressions of an introvert and fearful outsider on the streets of Brick Lane perfectly suit the character. Her hesitant involvement in the intimate scenes with Karim reflects reality. Her transformation was not revolutionary, rather gradual and natural. Her hesitance and softness were carried out to the end of the film; hence, her change does not shock us. She regrets the proposal of marriage by Karim and Chanu's insistence to go back in such a soft but firm tone that both of them could not circumvent the position of their 'own' girl. Satish was also successful in portraying his character and in the true sense, it was his show. Nazneen may be the main character of the film, but the narrative was carried by Chanu, who keeps the events live. Albeit his self-contradictory character and ugly look, his style and wise roles do not make him a villain of the text. Except for his figure, we do not hesitate to applaud Satish (Bangladeshi men are not usually so fat). Christopher Simpson also performed well as Karim.

The cinematography was stunning in capturing the bright and colourful nature of Bangladesh. The London part was gloomy. The opposite weather of the opposite worlds can be felt by the which convey Nazneen's reminiscence of her adolescence. Also, the indoor scenes of movement were shot with a hand held camera, especially when Chanu runs to beat his elder daughter, Shahana. Rayan created tension and drama in those scenes. In the novel, the Bangladesh part was stretched with much detailed description. For adaptation's sake, Sarah had to cut it very short with slices of scenes with smooth cuts which was a right choice by the editor.

Paroma's transformation was aesthetic and psychosexual; internationally acclaimed photographer Rahul inspired her in exploring her dormant art sense. Rahul appreciated her skill of playing the sitar. But in Brick Lane, the transformation of Nazneen was economic and psychosexual; the catalyst Karim was no talent but an ordinary small businessman. Hence Nazneen represents thousands of immigrant housewives or hundreds of thousands women back in Bangladesh and makes the film realistic and believable.

First Published: http://www.thedailystar.net/magazine/2008/08/01/film.htm

Fahmidul Haq Talks on Mainstream Bangla Cinema in The Daily Star Weekend Magazine

Bangla Cinema: An Industry in Decay
By Kajalie Shehreen Islam
30 May, 2008

The theme and storyline of Bangla cinema has taken several shifts since the 1970s. Fahmidul Haq, an assistant professor at the department of Mass Communication and Journalism at Dhaka University, says this shift ranges from social storytelling to high tone violence.
“The major genre of films made in the 1970s,” says Haq, “was social, particularly rural social life such as Lathial and Sujon Sokhi (1975) and Sareng Bou (1979). In the 1980s, the major genres were costume-fantasy, for example, Nagin (1980), Banjaran (1983) and Beder Meye Josna (1989) and action (Jony, 1983; Nasib, 1984). In the 1990s we saw two more genres: teen romance (Chandni, 1991; Keyamat Theke Keyamat, 1993) and violence (Danga, 1992; Ammajan, 1999). The present decade,” says Haq, “is wholly dominated by violent films with pornographic insertion (out of text hard core 'cut pieces' and within text soft pornography).”
The song and dance routine, according to Haq, who has co-authored the recently published book Bangladesher Chalochchitro Shilpo: Sangkote Janosangskriti (The Film Industry in Bangladesh: Popular Culture in Crisis) along with Dr. Gitiara Nasreen, has not changed over the years but the nature of visualisation has. “Once, songs in Bangla films were used as a romantic expression of the protagonists and became very popular among the audience. But in recent times, they have been used as spectacles of sexually explicit materials with appealing dance.” After the drive of the special task force led by RAB in late 2007, however, Haq says that the making of so-called vulgar films (which are actually violent films with vulgar songs) has stopped. With people expressing their satisfaction about the retrieved cine environment, some directors have taken up making social films again which are drawing an audience.
Technology and cinematic techniques in Bangla cinema have also deteriorated. With the decline of the industry since the 1980s, the FDC studios and cinema halls have not been renovated or updated with the latest technologies, rather, their condition has worsened. “Very recently, a digital lab has been incorporated in the FDC and a few theatres in the capital have introduced DTS technology,” says Haq, “but we are yet to see the effects of new technology established in FDC.”
According to Haq, there have been no auteurs in recent years as there were in the1960s and 1970s such as Zahir Raihan, Alamgir Kabir, Salauddin, Subhash Dutt and Amjad Hossain, and so more decline in terms of cinematic technique and representation.
The stream of independent or alternative films, however, has improved over the years and achieved international recognition. “But these films are not viewed by the broader audience of the country,” says Haq. “The target audience of these films are international film festivals and the advanced and literate audiences of Dhaka. Some of the films produced by TV channels are enchained in TV premieres.” The shutting down of prominent theatres indicates the decline of the cine business, says Haq.
Just the phrase “Bangla cinema” evokes images of brutal violence and vulgarity, but how big a problem are they really? According to Fahmidul Haq, neither violence nor vulgarity are problems if films are well-made and refers to many critically acclaimed Hollywood and Bollywood films with violent and sexual content. In Bangladesh, however, the problem is that such films have no grading or ratings.
“During our research, we found that 22.36% of the audience were adolescents with no entertainment options other than going to the movies. This is where the problem lies,” Haq points out. Other than that, he believes that the worries of middle class civil society around only the vulgarity of Bangla cinema is more an expression of religion-driven morality and “sympathy from a better class” towards the lower class “rickshawala” audience. The main problem, he thinks, lies elsewhere, in the total decline of cinema in terms of storyline, cinematic technique and lack of originality.
Most mainstream filmmakers today give the audience as an excuse for their work, claiming to be giving viewers what they want. This is a largely false claim, however, seeing as that the audience, especially those living in peripheral towns who do not even have access to television, have little choice and so go for whatever is offered, becoming a sort of captive audience of such films. While working on their book, Dr. Gitiara Nasreen and Fahmidul Haq conducted an audience survey in which they found that a large part of the audience (37%) wanted to watch social films or films that could be enjoyed with the family. Some of them (24%) wanted films with good stories. Though women comprised a large part of the audience of Bangla cinema in the past, today, they hardly ever go to theatres due to the content of the films themselves as well as the environment of the cinema halls.
The cost of making a film ranges from 50 and 80 lakh takas, depending on the scale and grandeur of the song-and-dance routines. Though the exact profit margins for these films are unknown, according to the FDC website, the organisation paid Tk. 6 lakh 38 thousand in revenues to the government in 2004-2005.
As with everything, the government has a major role to play in the development of the film industry in Bangladesh and this includes infra-structural development. “The government never had a plan to nurture the popular media,” claims Fahmidul Haq. “Its role should not be only to collect taxes or even just prevent vulgarity. It has to have a plan and policy to improve the overall situation of the sector.” A film can overcome language barriers and play a vital role in society through entertainment and teaching, says Haq. “The government must consider cinema an important aspect of popular culture and medium of entertainment.”
Watching films on a big screen should be a completely different experience from watching them at home, believes Haq, who is currently doing his doctorate abroad in Cinema Studies. He suggests a number of ways in which this can be done -- by establishing cineplexes in major towns and introducing the latest cine technologies, by supporting filmmakers through regular grants, producing human resources through the establishment of a film institute, film centres and a film archive.
Before, a good story was enough for the success of a film, but now, with so many entertainment options, the audience want more. "You have to project a colourful movie in a cool theatre with good décor, widescreen and Dolby digital facilities," says Haq. "You have to provide the audience with visual pleasure, recreating the aura of film watching, making the audience think it's different, larger than life. You have to alter TV viewers to movie goers, and that is a big challenge.”
Haq also believes that in this day and age, with the rising popularity and availability of media content on the internet, censorship is a dying concept and should be liberalised. “The government has to respect the freedom of expression of the creator. Censorship means controlling creativity. Since the 1960s, countries have been liberalising censorship. The questions of sex, violence, religion or morality can be easily met by a grading system.” Many countries have boards but to certify or register films, not to censor them, and are even known as film certification boards, says Haq.
“In our country, the Film Censor Board never worked as it should have,” says Haq. “It was used to pass bad ones and act as an obstacle for good films. The corruption of some boards was an open secret. The Censor Board was a total failure in controlling so-called vulgarity, which is considered to be the board's prime duty.”
An improvement in the quality of films accompanied by the latest technology and a good environment in theatres can bring people back to cinema halls. “You have to make filmmaking difficult (in a positive sense) for directors and producers which requires extensive preparation,” says Fahmidul Haq. Instead of making several low-budget films, make fewer but better films with the same budget, export them. “There is a Bangladeshi audience in many parts of the world, you just have to explore the world market and provide quality films for them.”

Book Review> Film Industry of Bangladesh: Popular Culture in Crisis

Published On: 2008-05-03
Star Books Review
The rise and steady decline of our cinema
Nazma Yeasmeen Haq recommends a scholarly work on movies to readers

Although not unprecedented, yet Bangladesher Cholochitro Shilpo assuredly is rather unique in the sense of its being the product of a research work carried out systematically and that in turn attains academic standard as a thesis. The book raises a number of questions, diagnoses the malaise that has been eating into the vitals of our film industry, in particular since the 1980s. Once the diagnosis is made correctly, etiology is determined and thus very confidently the writers come up with a prescription to be administered to cure the ills of the disease prevalent in the films that are there.

The factors that are inextricably related to the making of a film that ideally ought to cater to the taste of a wide spectrum of viewers, thus qualifying it to be of a popular genre, have very ably been dealt with by the authors. One can accomplish this only when one has a full grasp of the subject one is involved with. Only those with an intention of delivering things beneficial to society can be so succinct and painstaking in their endeavour, as we see the authors progress in their work. Trying to mend or fill a cavernous hole in our filmdom that has apparently come to exist demands much tenacity on the part of its doers. As the writers themselves have stated, coming back to trends that are healthy in essence might, although they can be considered as an achievement, nevertheless cause a feeling of a sense of complacency about it that must not be there in the right frame of one's mind. That is because it would only mean moving to zero from a minus from where it is a very long way to reach the positive. This assertion tells us, the readers, about the abyss we are in in terms of having access to one of the vital social outlets of recreation in our lives.

The authors have been much methodical in tracing the history of film making in this part of our region through a synoptic treatment of it in a chronological order, which is very useful to a reader to check for quick reference. As it is, in these days of haste, most people go for reading things that are presented in a concise form and exactly this is fulfilled by this particular presentation. One gets a very clear view of the growth and development of films both in terms of their quality, quantity and genre along with the proceedings of the chapters that are arranged as clapstick 1 to clapstick 7. Designating the chapters with terminologies of film thus keeps reminding one of what the book deals with that often transforms it into a film in print.

The authors have applied primarily a methodology of survey research to collect data for their purpose. Content analyses supplemented by audience analysis have revealed the quality of the content of three films of the present time that are absolutely devoid of any sense of purpose, let alone some residual sense of beauty which is part and parcel of any creative work. To a sensible person such a job is truly a product of empty-headed people who think that they can make viewers consume whatever they feed them. This myth that keeps film makers engulfed in their daydreams has been altogether dispelled by analysing the responses of the audience statistically. Demand for a good film has been indicated even by people from lower income groups. Such viewers are more often than not taken as primary consumers of low quality films. The indication of the authors regarding this make-believe perception of the film makers is most palpable in their strongly worded utterances.

The latter part of the book deals elaborately with the erosion that has consciously been brought about by many associated with the film industry. A regression of a vicious nature thus has taken place, creating an abyss. When the authors wistfully talk about the lost glory of cinemas, one feels a kind of frustration knowing that there was once a time when the cinema hall was not only a centre for entertainment but also a hub for social interaction in a community.

The most vital lesson one learns by going through this book is that the audience by and large demand good films the same way they ask for other amenities of life since wholesome entertainment is part of life, society and our culture. Dedicating this very recently published book to the memory of the unforgettable Hiralal Sen is laudable, although his production is not recognised as the first film of Bangladesh owing to some debatable issues.

Since the focus of the book is on the intensity of decay in popular culture in terms of film making, the prescriptive approach contained in the last chapter is most useful as a set of recommendations. To highlight the contrast between present day films and quality films of yesteryears, the authors could have incorporated content analysis of a couple of films from the latter. Also the photo frame on the front cover page could have had a display of the same to draw a distinction between these two classes of films rather than having all from a bunch of incredulous ones. This would have been more in keeping with the sub-title of the book.

We wholeheartedly agree with the authors that we too love to see films and therefore would like to see how early things can be put back on the right track. Let us raise a slogan echoing the authors that we demand healthy entertainment through films.

Nazma Yeasmeen Haq is a critic and Principal, Radiant International School, Dhaka .

A New Book on Popular Cinema of Bangladesh

A new research based book on popular cinema of Bangladesh by Giti Ara Nasreen and Fahmidul Haq has been published from Shrabon Prokashoni in the Ekushey Bookfair, February 2008. The book is now available at Shrabon's showroom at Shahbag book market.

For an impression, here are some relevant information:

Title: Bangladesher Chalochchitro Shilpo: Sangkote Janosangskriti
(The Film Industry of Bangladesh: Popular Culture in Crisis)
Authors: Giti Ara Nasreen and Fahmidul Haq
Publisher: Shrabon Prokashoni
Cover: Robin Ahsan
Number of Pages: 186
Price: BDT 200

Lists of Contents

Acknowledgement

Clapstick 1
Wide Angel: Film as Popular Culture

Clapstick 2
Flashback: The History of Film of Bangladesh (1996-1999)

Clapstick 3
Zoom-in: Contemporary Trends of Film Industry

Clapstick 4
Slow Motion: Government, Censor Board and Film of Bangladesh

Clapstick 5
Mise-en-scene: Textual Analysis--What Do Public Swallow?

Clapstick 6
Close-up: The Face of the Audience and the Theatres

Clapstick 7
Deep Focus: Solution Formula of the Crisis

End Notes, References of Stills and References

Mass Media in Bangladesh: A Brief Overview

After 1990, in a changed global economic and political situation, the scenario of Bangladeshi media was also changed as consistent with global and regional media scenario. Globalization demands market liberalization along with the liberalization of media as well. In that process, though the government of Bangladesh always heavily controlled the state owned radio and television channels but, in the early 90s, they gave permission to broadcast the satellite channels commercially. As a result, Bangladeshi audience was flooded by immense of foreign television channels, which had only the experience of Bangladesh Television (BTV) before 1990s.

The electronic media of Bangladesh is expansive at the moment. Now there are eight private satellite channels, which broadcast entertainment programs and news, in general. There are two FM radio channels, major programs of which are music and news. In media discourse, community radio is a much-talked issue but the government is yet to give permission of any community radio. According to the National Media Survey (NMS) in 1998, the national reach of the various media was radio 39%, television 42%, newspapers/magazines 15%, and cinema 17%. (Chowdhury, 2003: 107)

Just after the landmark of 1990, there was a ‘boom’ of print media. In 1990, the beginning of globalization and ending of direct and indirect military rule, of more than one decade, occurred simultaneously. On December 6, 1990, the first Caretaker Government, which was formed to arrange a free and fair election in the process of democratization, withdrew a newspaper control regulation from Special Powers Act, 1974. With this step, obtaining registration for a newspaper became easier. In a country of 130 millions of people, though only about 1.3 million of copies of newspapers are sold daily, there were 300 dailies in Bangladesh at the end of the millennium. (BCDJC, 2003: 4) For electronic media, there was one TV and another radio channel owned by the government. But for print media, it is an all-private-ownership show, mostly by corporate companies, which replaced politicians.

According to NMS in 1998, 15% of population read newspaper at least once a week. But newspaper reading is still an urban habit. Around half of city dwellers (44%) read newspapers against 10% in rural areas. (Chowdhury, 2003: 107) According to a study conducted by the Press Institute of Bangladesh in 1994, the findings of which were released in 1998, only 12% of the readerships consider newspapers to be credible and about 55% believe that there is a freedom of expression. The factors here include government intervention, pre-censorship, political pressure, obstacles put forward by different quarters, lack of neutral outlook and dependence of newspapers on government advertisements. (Rahman and Ahmed, 2004)

Although Article 39 (2) of Bangladesh constitution guarantees (a) the right of every citizen to freedom of speech and expression and (b) freedom of the press, there are 20 constraining laws, including Official Secrets Act, designed to repress freedom of expression. The specific areas of restrictions are related to the security of the state, friendly relations with foreign states, public order, decency or morality or in relation to contempt of court, defamation or incitement to an offence. After the strong demand of journalists and civil society, the government has decided to introduce Right to Information Act in 2007.

However, since 1990, Bangladeshi newspapers enjoy moderate level of press freedom as per the government control is concerned. But the electronic media is deprived of enjoying that freedom. Not only the state owned BTV or Bangladesh Betar (the radio channel), private TV channels are also under close supervision of the government. In 2007, the military backed present Caretaker Government, which took power on January 11, 2007 after series of political violence, ruled a state of emergency and the media went again under control and lost the gained freedom.

Press freedom in Bangladesh is also restrained by physical harassment of journalists in Bangladesh. Six journalists were killed and 282 injured, mostly the local reporters, in attacks across the country in three years till December 2003. (Rahman, 2004: 7) According to a study by Reporters Sans Frontiers (RSF), Bangladesh’s position is the 118th in terms of press freedom and it is because ‘political parties constantly endanger the lives of journalists’. (Rahman, 2004: 8) The Committee to Protect Journalists (CPJ) on March 5, 2004 described Bangladesh as the most violent country for newspersons in Asia. (Rahman, 2004: 71) Besides governmental control by laws and strict watch and physical harassment against journalists, corporate control by advertising and other media business related matters, restricts media to perform proper journalism.

Reference

Chowdhury, Afsan (2004). Media in Times of Crisis: National and International Issues. Shrabon. Dhaka.
Rahman, Golam and Ahmed, Helal Uddin (2004). Banglapedia: National Encyclopedia of Bangladesh. Multimedia CD. Asiatic Society of Bangladesh. Dhaka.
BCDJC (Bangladesh Centre For Development, Journalism and Communication) (2003); Madhyam (Bangladesh Media Directory); BCDJC; Dhaka.
Rahman, Mahfuzur (2004). The State of Media in Bangladesh. News Network. Dhaka.

Reporting on HIV/AIDS in Bangladesh: Media Content Analysis

Introduction
While HIV/AIDS is a key health issue in the world, the role of media is very important to create awareness against the fatal disease. In several studies in the area of communication, it was found that mass media can be used for informing and awareness building of any issue, though interpersonal level of communication could be the best way for persuasion and behavioral change of people. On the other hand, the capacity of mass media in influencing behavior is no less important in respect to its cost-effective nature and its cumulative effect on the population. For Bangladesh, standing in the edge of the risk of spreading HIV/AIDS in epidemic form, awareness building program through mass media could play very important role. For that, in spite of program taken by GOs and NGOs, it is important to examine the content and standard of reporting in mass media of Bangladesh in the area of HIV/AIDS. As there was no comprehensive study in the area of above mentioned topic, this study is going to explore some aspects in the area, though it may bear some limitations.

Bangladesh and HIV/AIDS
Bangladesh is said to be a country of low prevalence but high risk for HIV/AIDS. The first HIV/AIDS case was detected in the country in 1989. Bangladesh has a population of around 14 million. According to Bangladesh government, in this country the number of people living with AIDS (PLWHAs) are only 500, by December 2004, a total of 465 people were confirmed as HIV positive 87 of whom developed AIDS and among them 44 have died. But WHO said there are 20,000 HIV infected persons in Bangladesh and according to UNICEF the figure is 15,000.
Some important high-risk factors for spread of HIV in Bangladesh are: poverty and population density, highly affected neighboring countries with HIV/AIDS, inadequate awareness among high risk group and general population, high external and internal migration, unsafe blood transfusion and injection practices, significant number of people have pre or extra marital sex etc.
Bangladesh government has taken National AIDS/STD Program (NASP) to reduce the spread of HIV and impact of AIDS for the high-risk group as well as the general population of Bangladesh by undertaking targeted interventions among the high-risk groups and making general population aware about HIV/AIDS.

Print Media in Bangladesh
Bangladesh has a very extensive and relatively free print media, comprising of 990 publications among which, there are 328 dailies. The newspaper readership among the total population is 26%. (BCDJC, 2004) Just after the landmark of 1990, when Bangladesh entered into a democratic process after an urban-based revolution against an autocratic government, there was a ‘boom’ of print media. Even now, two or three newspapers are adding themselves in the row every year. Though Bangladesh is a country of 140 millions of people, only about 1.3 million of copies of newspapers are sold daily. (BCDJC, 2004)
There is no in-depth study so far of the media coverage on HIV/AIDS issue, but it is very much evident that Bangladeshi media covers the issue frequently as the Bangladesh government and NGOs are working on the issue for years. But the standard and depth of the news stories are yet to examine.

Methodology and Objective
In this research, all HIV/AIDS related news items (282 items) published between July-October 2005 in 17 local newspapers (9 of which in local language and 8 in English) of Bangladesh, have been analyzed where quantitative data are provided on aspects such as story subject matter, length, placement in newspaper, source of the item and inclusion of PLWHA viewpoints. The time period for examining HIV/AIDS reporting in Bangladeshi newspapers was selected in random basis with the expectation that all items of almost all leading newspapers published in any quarter of a year would be representative enough to get an impression about the content and qualitative standard of the reporting.
The objective of the media content surveys, conducted between July-October 2005, was to gain a deeper understanding of the frequency and quality of local reporting on HIV/AIDS and in particular to investigate the use of language and inaccuracies in the reporting.
A random selection of the collected stories is also qualitatively assessed. Stories are evaluated on both journalistic quality and on their HIV/AIDS content.

Quantitative Analysis of Data
• English newspapers publish more news than Bangla newspapers, but their sources of news on HIV/AIDS are heavily external. For example, The New Nation has published as many as 47 items but only 5 of them were from internal sources. But though Bangla newspapers publish a few number of news on HIV/AIDS, they try to publish those from internal sources.
• Out of 6 1st page news, a Bangla newspaper named Bhorer Kagojpublishes 4 of them, though 3 of them were of single column. The poor number of 1st page news depicts the newspaper houses don’t consider HIV/AIDS a key health issue of the time.
• Among English newspapers, The New Nation published maximum number of news (43) and The New Age published minimum number of news (9) on HIV/AIDS. The news Today (26), The Bangladesh Today (26), The Independent (33) and The Bangladesh Observer (34) also published significant number of news item on HIV/AIDS. Among Bangla newspapers, The Bhorer Kagoj published maximum number of news (19) and The Ajker Kagoj published minimum number of news (3) on HIV/AIDS.
• Apart from news, there have been published a total number of 22 comments and features. But Out of 22 there were only 3 editorials, which reflects sort of policy level negligence on HIV/AIDS issue.
• Though the leading English and Bangla daily The Daily Star (11) and The Prothom Alo (4) published very few number of news item, but the news of these two newspapers were comparatively elaborative, in-depth and by-lined.

Qualitative analysis
For qualitative analysis, 17 news (2 foreign stories included) have been selected from 17 newspapers. Although a significant number of stories (13.5%) were too brief (of 1 column and 1 paragraph) and those stories were badly written (i.e. the content just describe ‘seminar/workshop/round table meeting held’, doesn’t describe what was found/said/discussed in that meeting), for qualitative analysis comparatively important and bigger news have been selected in random basis.
The sample were scored for:
• Story construction (newsworthiness, structure, lead well written, answers who what where why when); provides background.
• Story content (accuracy, reporters views absent; information correctly attributed); provides a full and fair picture; information is clear; quotes used effectively); tone is appropriate;
• HIV/AIDS related content (avoids stigmatizing language; coverage of PLWHA empowering rather than victimizing; information is accurate; local voices appropriately used.
• Presentation (headline well written; layout good; appropriate length)
The researcher scored a random selection if 17 better stories as follows :
• Average score on overall quality: 71.5%
• Story construction: 75.3%
• Story content: 75.3%
• HIV/AIDS related content: 61.2%
• Presentation: 72.9%

General Trends in HIV/AIDS Reporting in Bangladesh
While HIV/AIDS appears as a topic fairly regularly in print media of Bangladesh, the coverage lacks breadth and depth and some key aspects of the issue rarely appear or are absent. A significant amount of inaccurate and stigmatizing terminology appears in the reporting and viewpoints of PLWHA are barely covered. General story-writing standards are weak (for example story construction, accuracy, and writing the lead) though some stories were found in standard. It was also noticed that little independent research by journalists is evident; journalists tend to rely heavily on news releases from government, NGOs and foreign news agencies for their stories, rather than taking the initiative to investigate the issue independently.

Conclusions
Given the great social, economic and human suffering costs the HIV/AIDS, the results suggests that the Bangladeshi press is still significantly under and inadequately reporting the issues.

The press in Bangladesh needs to develop and focus on:
• Improving awareness and usage of non-stigmatizing terminology (glossary provision and distribution).
• Improving awareness around the relationship with PLWHA with a view to increasing their voice and reducing stigma.
• Improving journalists general knowledge and interest around HIV/AIDS issues and pointing towards potential story angles, tailored to particular country situation.
• Avoiding publishing news taken from external sources and providing staff articles for meaningful coverage.
• Strengthening general journalism skills (writing, story construction and development, etc)
• Encouraging the writing of features, editorial, the practice of independent research.

Reference
BCDJC (Bangladesh Centre for Development, Journalism and Communication) (2004); Madhyam (Bangladesh Media Directory); Dhaka: BCDJC.

Note: This is an excerpt from a research article of the same title conducted by Fahmidul Haq.

Top 20 Film Directors of Bangladesh

1. Zahir Raihan (Stop Genocide, 1971)
2. Alamgir Kabir (Dhire Bahe Meghna, 1973)
3. Salahuddin (Surjasnan, 1962)
4. Suvash Dutt (Dumurer Phool, 1978)
5. Sheikh Niamat Ali (Surja Dighal Bari, 1979, with Masihuddin Shaker)
6. Khan Ataur Rahman (Abar Tora Manoosh Ho, 1973)
7. Humayun Ahmed (Shrabon Megher Din, 1999)
8. Chashi Nazrul Islam (Ora Egaro Jon, 1972)
9. Amjad Hossain (Golapi Ekhon Trene, 1978)
10. Kabir Anwar (Suprovat, 1976)
11. Tareque Masud (Matir Moina, 2002)
12. Catherine Masud (Ontorjatra, 2006, with Tareque Masud)
13. Morshedul Islam (Chaka, 1993)
14. Abu Sayeed (Shankhonad, 2004)
15. Tanvir Mokammel (Chitra Nadir Pare, 1999)
16. Touqir Ahmed (Joyjatra, 2005)
17. Nurul Alam Atiq (Choturtha Matra, 2002)
18. Shahin Dil-Reaz (Jibon Jole Bele, 2001)
29. Yasmin Kabir (Swadhinota, 2002)
20. Mostofa Sarwar Farooqi (Bachelor, 2003)

[Directors made more than one film have been considered for the list. The list doesn’t follow any order of choice]

Film of Bangladesh

Bangladesh has a medium sized film industry that produces around 90 feature films annually and those films are screened in more than 800 theatres all over the country. Bangladesh had started producing ‘industry films’ from 1956 when it was the eastern part of Pakistan. But the earliest filmmaker of Bangladesh is Hiralal Sen who is a man from Manikganj, Bangladesh (the then East Bengal) and made Loumiere Brothers-like one-reelers in Kolkata at the end of 19th century and who can be considered even the fist filmmaker of Indian Sub-continent. From the very beginning, the film industry of Bangladesh had been producing films that blend art and commercial elements and flavors. Later, the art elements disappeared gradually and commercial elements grabbed the industry films totally.

Simultaneously in the mid 1980s a new stream of independent films of Bangladesh has been introduced to the mediascape of the country which is popularly known as alternative films, primarily which were short in length. Albeit limited in numbers and distribution, these independent films are accepted by the urban middle class viewers. Individual producers, TV channels and external sources are investing in the films of some reputed independent filmmakers. On the other hand, being branded as the films of ‘poor taste’, the industry films are not getting back their investments and struggling for their existence. Many cinema halls have been shut down and some others planning to as the business seems to be a loosing concern. While yet not financially profitable independent streams are still continuing to produce ‘good’ films. Zahir Raihan and Alamgir Kabir can be named as the most prominet filmmakers of 1960s and 1970s respectively. Salahuddin, Subhash Dutt, Amjad Hossain, Chashi Nazrul Islam are some other filmamers of early part of film history of Bangladesh though some of them are still continuing filmmaking. On the other hand Tareque Masud, Catherine Masud, Morshedul Islam, Tanvir Mokammel and Abu Sayeed are leading independent filmmakers of Bangladesh. Some eminent filmmakers from India also made films in Bangladesh. Ritwik Ghatak, Rajen Tarafdar, Goutom Ghosh, Basu Chaterjee are some names among them.

Some prominent films of Bangladesh are: Surjasnan (1962) by Salahuddin, Nadi O Nari (1965) by Sadeq Khan, Stop Genocide (1971) by Zahir Raihan, Ora Egaro Jon (1972) by Chashi Nazrul Islam, Dhire Bahe Meghna (1973) by Alamgir Kabir, Titas Ekti Nadir Naam (1973) by Ritwik Ghatak, Basundhara (1977) by Subhash Dutt, Golapi Akhon Traine (1978) by Amjad Hossain, Surjo Dighal Bari (1979) by Masihuddin Shaker and Sheikh Niamat Ali, Chaka (1993) by Morshedul Islam, Chitra Nadir Pare (1999) by Tanvir Mokammel, Matir Moina (2002) by Tareque Masud, Shankhonaad (2004) by Abu Sayeed.

Independent Film of Bangladesh

There is debate about the starting point of independent filmmaking of Bangladesh. One noted film commenter and filmmaker Manjare Hassin Murad likes to count Stop Genocide (1971), the documentary made by Zahir Raihan, the greatest filmmaker in 1960s as the first independent film in Bangladesh. The film was funded by newly formed Expatriate Government of Bangladesh staying in India while the country was battling with West Pakistan Army. Some other critics like Zakir Hossain Raju identified Suryo Dighal Bari (The Ominous House, 1979) as the first independent cinema which was the first film funded by Bangladesh Government after independence in 1971 and it was made within the production and distribution network by Film Development Corporation (FDC), the only major studio in Bangladesh. The film brought first international success in post liberation era though it experienced different constraints in releasing and screening in theatres at home.

But most of the film buffs consider Agami (Time Ahead, 1984) as the starting point of independent filmmaking. Because for critical and commercial success of Agami, independent filmmaking arrives as a movement. The movement was popularly known as ‘short film movement’ and later as ‘alternative film movement’. The movement got the shape after both critical and commercial success of Agami by Morshedul Islam and Hulyia (Wanted, 1984) by Tanvir Mokammel. Agami got the silver peacock in the best director category in Delhi International Film Festival. Hulyia also got admirations of critics and audience. These films were funded by directors themselves with support of friends and family members and were shown outside cinema theatres: among the friends, local groups, especially among the students of college and universities and cultural activists. The directors were involved in the entire process of the filmmaking: writing scripts, funding, making and screening. These two films were shown together in different corners of the country and these are real examples of independent films: low and independent funds, alternative distribution channels, shot in 16 mm, without any studio involvement and commercial motives and in content, very much related with national culture and politics. With this set standard and format, a lot of young makers came forward later and a movement started.

However, while the contemporary mainstream films have failed to achieve any accolades at home or abroad; directors of the independent genre such as, Tareque and Catherine Masud, Tanvir Mokammel, Morshedul Islam and Abu Sayeed have gained national and international recognition. Matir Moina by Tareque Masud is the most famous independent film and also the most prominent film so far from Bangladesh. Some other good independent films of Bangladesh are: Chaka (1993) and Khelaghar (2006) by Morshedul Islam, Chitra Nadir Pare (1999) and Lalsalu (2001) by Tanvir Mokammel, Shankhonaad (2004) and Nirontor (2007) by Abu Sayeed, Muktir Gaan (1995), Ontorjatra (2006) by Tareque and Catherine Masud, Swapnodanai (2007) by Golam Robbani Biplob.