Pages

Showing posts with label Culture. Show all posts
Showing posts with label Culture. Show all posts

Tuesday, 24 September 2019

Liberalism, anyone?




Some are saying that liberalism is dead or ought to be; others say it is under siege and ought to be saved; still others say that it is nothing but an elitist conceit or intellectual soft headedness or even colonial mulattohood; yet others say it is the vitalizing layer of all thought. The narrative is on the boil globally since Brexit, Trump, etc and in India it has got fresh vim after the recent general elections. Here are two bits adding to the narrative, which is not going to be squared soon.                                        

The first bit is about what actually is liberalism. What is it? What are its doctrines, its tenets, its beliefs; what is its Book? Nobody knows. Odd, no?
Historically the European word and idea originated in Latin during the ancient Roman empire to designate some senators who did not represent particular geographical or commercial interests. These senators were called liberal – free – who did not have obvious “agendas”. Such liberals were valued and considered necessary in the agenda-packed Roman senates, much more so after republicanism gave way to Caesarism.
The word and the idea have evolved through the subsequent French, Spanish, and English templates of political thought. And we find in the 21st century that liberalism retains a similar connotation. It means an approach, an attitude, to matters which is “free” of the rigidities normal to these matters; an approach to liberate, not bind people to imperatives.
Seen this way the liberal approach is as old as mankind. In India the Rig Veda, which is a samhita – a compendium, is full of delightful and free floating hymns quite different from the business of the main body and bulk of the Indra-Agni hymns. Upanishads were liberalism par excellence of course; so was the entire shramana tradition. In China Confucian orthodoxy was diluted by Taoist strands, Islam was always shadowed by Sufism, Judaism by the Cabbala, and so on.
But liberalism is not, it should be noted, a standalone thing. It is not a doctrine but an accompaniment to some doctrine; certainly not a revolt or even an adversary. The liberal senators of ancient Rome were integral to the senate not reactionaries. The Upanishadic rishis did not repudiate the Vedas. The Sufis do not challenge Islam. Liberalisms leaven the doctrines, humanize them; make them more palatable.
Democracy, monarchy, communism, fascism, etc are mainline business things in political thought and practice, with substantial doctrines and precepts – these can be upheld or trashed as you please. And as may be expected we also have liberal democracy, liberal monarchy, liberal communism and so on. But curiously upholding or trashing these is not quite the same thing; does not carry intellectual punch. Why?
The answer may be found in the question: why do doctrines yield liberalisms? Mainly because the full range of diversities of life cannot be contained by any doctrine. Then there are also reasons of differences in geography, historical epochs, nativities, and sheer contingencies and cussedness of human condition. Truth is doctrines tend to become dogmas. And liberalisms try to soften the hardening edges; bring in nuance, layering, chanciness, even disguise. No surprise that liberalism seems to have a life of its own! And when liberalism is being calumnied and trashed it shields the underlying doctrine but it is really the doctrine that is under attack. This often gets overlooked.
During the 20th century the West has seen the spectacular rise and fall of both the Left and the Right. Their subsisting liberalisms, now without centre of gravity, have a disembodied look today. They are mere specters haunting Europe – dealing with issues like abortion, immigration, gender, race, LGBT, gun laws, rights in general; no doubt important things but hardly mainline stuff. The post Reagan-Thatcher era is neoconservative and  in Newspeak it is called neoliberal,  but by now it has become clear that it is just global capitalism and there is nothing liberal about it; actually it is brutal capitalism in the same sense as was 19th century colonialism.
In India and indeed in most of Asia and Africa the story is very different, where the initial, post independence dalliances with the Left are now over, and the current close encounters with the Right are on. In these parts bashing liberalism really is no more than bashing the departed Left.
Nothing gives bone structure and sinews and substance to a doctrine than its embrace by a state. The European 20th century moulds of the Right are being reshaped and naturalized in the 21st from Turkey to Philippines, in native forms and styles that are rich and strange. In India the turn to Right started with post-Janata Party Indira Gandhi of 1980 but officially from 1991 by Congress led regimes, with their habitual hypocrisy and half heartedness. The later BJP led regimes have been more forthright and energetic. But Indian Right is very much a work in process which is evolving creatively; it is not wholly contained within the early 20th century bunch of doctrines of its founding gurus. Same goes for Asia as a whole, mutatis mutandis.
Sensing an emerging doctrine, the central features of which will not be drastically different from the 20th century European Right, a liberalism of the Right is burgeoning in India. If our Left liberals` habitat was the Universities and the Indian Coffee Houses – but never Khan Market – the Right liberals have found refuge in the newly spawned fledgling Foundations and WhatsApp/Twitter. About half the Right liberals are erstwhile Left liberals who have simply moved over.
The second bit is about who owns liberalism. Where does liberalism reside in the society? Which segment of the social layers works as the native habitat of liberalism as a cognitive slant?
The elites? They seem to own all isms – in fact the entire mental space of social narratives. Regular incomes are wonderful jumping boards for ideas, this way or that way. But when ideologies shift with times the seemingly embedded elites often get stranded. In India today the left liberals are floundering while the greenhorn Right liberals do not yet make the grade for the first eleven. Twentyfive years from now things might well be different. The old liberal narrative now is of doom and gloom. Along with liberalism the old elites are facing a bashing.
 But all over the world elitism of the day is always an expedient, a matter of shifting politics, because elites are moored with the ruling regimes and always function as the machinery of governance in public and private sectors; elites have no nativity of vision. The 20th century has shown mankind that elites can easily become very illiberal indeed. Elites won`t do. Their liberalism is tactical, not natural. We have to look elsewhere.
 As noted, liberalism arises from the demands of infinite changeableness and contingencies of life itself. The “ignorant” working masses – the shudra castes, women, antyajas – will bow to Ram & Sita, also to Shiva, Hanuman, will also tie a hopeful thread around a boon tree, also go to a gurdwara or a dargah of a pir alongwith their neighbours, and also fold hands to an ochre daubed stone on the path to his/her field of work, wear a charmed bead or locket round the neck, and do all such things. S/he will go to all gods and powers: who knows what will work and who cares if something works? S/he will go for any science or superstition: who knows the difference, and when one changes into the other? The scenario is similar all over the world. S/he has been doing this for centuries, giving primacy to practical life over ideas and doctrines: this is the wellspring and aquifer for liberalism, at once both vulgar and protean. Syncreticism, a word much used but opaquely, is a clumsy and condescending name for this.
The working masses all over the world have always owned their liberalism, picking their way through thickets of dogmas. This native liberalism is ontological, an openness in seeing and accepting reality itself, very much like quantum physics. They would not have survived without it. The elites have merely to join up if they wish. Liberalism is safe and well, far from extinct.







Monday, 18 February 2013

Race 2 reflections, Popcorn

( Or, Liberation of India`s film Industry )


Because one can’t completely stop seeing films in a cinema house, despite the unendingly hopeless scene these days, the other day I went and saw a fillum. It was Race 2, I think. I saw it in a multiplex screen at Rs.300 a ticket, sitting on a comfortably wide pushback seat, eating a large packet of popcorn @ Rs.75 (without butter).   
I went with the normal rock bottom expectations you and I go with to such occasions of entertainment (for life must have some measure of entertainment too) i.e., parking should be hassle-free, paving generally even for a stumble-free stroll, facility for long pending or impulsive shopping to be regretted on returning home, and such film-neutral aspirations endemic in the current post modern times.
         Within the first fifteen minutes I caught myself yawning. Now this is a personal little thing, and I don’t know whether many others are like this. I mean, we have all heard and read about people yawning with boredom, but with me this happens to be recent onset. Maybe age is finally catching up with me and pulling me back to the cultural norm, but the thing is I never used to yawn even during films like Ashaad Ka Ek Din, Mayadarpan etc. Bored, yes, but yawning no. I am just finishing my point. The other day I caught myself because I had noticed the same thing a couple of weeks back too – when the film was probably Don 2, or 7 -- and again back a further couple of weeks in some other film.
Now this is not about the badness of Race 2. Nor is it about badness of the current-era films. I am writing this because watching this bad and spectacular film, detached, I had an occasion for yet another look at the general Bollywood/Indian film situation – and came up with something relatively new. Yes! Let me explain.
Most of the narrative business of the film (Race 2) is shot in locales in Turkey, Cyprus and, as the screen caption coyly and imitatively put it, “somewhere in Europe”. The narrative business, involving a series of con jobs, sexy dances and expensive car chases/smashes, is irrelevant. What took, and generally takes, my breath away is the large screen of aerial shots over spectacular landscapes, superb camera work with crisp dolby sound. This is what I still go to cinema halls for and this is what TV can never do, although its ever-increasing sizes and pixel density shows that it yearns to be like cinema hall. This is what cinema`s magic is all about, I think-- giving you the scale and scope of god’s-eye-view.
Well, mesmerized by old magic and aghast as usual at the tawdry script all this was wasted upon I was wistful about what could-have-been done, if had been done well. Then I rembered the morning’s newspaper which had reported that Race 2 had made over Rs.10 crore on its first day of release. I was watching it on second day, Saturday. These days grossing to reach the Rs.100 Crore Club in the first week is the norm for smash hits. Hm. And the best of hits don’t run much beyond two weeks. Then I remembered that some of the similar spectacular vacuities I had recently seen – I`ve already said why I go at all – like Ek Tha Tiger, Dabang 2, Talaash, Race etc. were all 100 Crore Club stuff.
More Hm. More popcorn. The film was long. My thoughts turned to the “business model” of today`s films.
A new post-capitalist era of the American template (what else?), is here indeed.
In the older, capitalist era when hits were of 25 weeks` Silver Jubilees and 50 weeks` Golden Jubilees of films like Anaari, Mughal-e-azam, Guide, Sholay etc, the main financial investment in a film was its distributors’ and not producers’. Producers’ begged, borrowed, stole money to make the film – paying for the stars, other cast, shooting, editing, music and printing for the master print of 15-20 Reels. The day, usually night, the last reel (physical, made of celluloid, wound on 12”spools) came off the Lab, the lab owner put all the 15 to 20 cans under his bed and slept the night in his special room of the lab itself. So that when the producer came next morning with the money he could hand over the precious, secret masterprint to him, after which the producer kept the cans under his bed at home and was set for business. To get an idea of the scale of money so far: O.P Ralhan’s Talaash (1969) was advertised as having cost Rs.1 crore, while  Talaash (2012) would have cost around Rs.25-30 crore.
Then came the real money. The producer sold rights to his film (one set of reels copied from the masterprint) ‘territorially’ to the distributors. India had about 10 geographical( but not along state boundaries) film territories and the distributors’ bid, negotiated, and made deals for each territory based on their estimates of earning potential of the film (in exhibitor’s cinema halls) in each territory. Music, video and overseas rights were separate. The producer got his money, brushed his financial hands  off the film, and started dreaming of his next film. The distributors held the baby then on. 
Now for each cinema hall of each exhibitor in each territory, the distributor had to make a copy of each reel of a, say, 20 reel film. Depending on the average year of the era we are talking of, copying of one reel cost about Rs.2 lakh (celluloid plus lab charges) – so Rs.40 lakh for the full film for one cinema hall. A small territory, (say Punjab/Haryana), typically had about 100 cinema halls. So for these halls the distributor had to invest Rs.40 crore. An average territory with about 500 cinema halls involved Rs.200 crore investment by the distributor. A big distributor did business of about Rs.1000 crore.
The risk of the film industry was carried by the distributors. They naturally resorted to shady money -- Kutchhi moneylenders, underworld, etc. To the exhibitor, the distributor paid either rent per show or a small percentage of the gross. Since this naturally encouraged exhibitors to fudge ticket sales at the box office, big distributors usually owned cinema exhibitors fully or partly. The film industry’s topline came from the pockets of cinema goers, the famous “chavanni” audience. Popularity of each film was what ultimately pulled the money from their small pockets, via their hearts. This was, broadly, the economic side of things. Till about 1990, in India.  

            All this time profound changes were happening in Hollywood, USA. After the brief efflorescence of independent film making in 1970s spearheaded by the likes of Spielberg, Frankenheimer ,Coppola,  Brando etc, the Studios( MGM, Twentieth Century Fox, etc ) reasserted themselves by morphing into totalitarian global media companies via acquisitions and mergers. By the time of Reagan and paradigm was complete and set to define the future in a deep way, not only in film industry but in all economy -- but that is not our story today. By then the problem of piracy of films which had been nagging the industry became a monster precisely because of the newly acquired global scale of things. The industry tinkered with several methods of encryption to prevent it but nothing quite stuck.
                  So a Reaganite solution was found. Instead of piecemeal territorial exhibition of films and leakiness of anti-piracy methods, the studios decided to use mass release of films simultaneously in cinema halls nationwide. Structural and corporate changes were accordingly made, using the Studio’s clout, and by 1980s a film was released nationwide for, say, 500 halls or even 1000 halls on the same day. (USA is smaller than india.) All the money was made in one week. After that, pirates may do whatever they please -- not much unmet demand was left after a week anyway.
               Hm. More popcorn.
                The Reaganite template hit India in 1991, in the name and style of Manmohanism. The story is too complex and boring to be gone into here -- it is there in the archives anyway – but the end-result in Bollywood was that the older paradigm of Dilip Kumar/Amitabh Bachchan – rustic/underdog hero --Indian idiom music -- chavanni audience -- single screen cinema halls has shifted to today’s Shah Rukh Khan – rich hero -- global pop idiom music -- middle class audience -- multiplex cinema halls, and all that is implied by this paradigm shift. The business model has changed too, naturally. Now a film is released on the American model, simultaneously in hundreds of multiplexes on all India basis. Nearly all films make profit. Many become members of 100 Crore Club. It is easier now. 
               Distribution, financing, content, attitude – all have changed profoundly. But even that is not my story today. Popcorn is about to be over, although Race-2 is still going on. I am coming to my point.   
                It is this. For old film mureeds like me, the new paradigm is lamentable and we fulsomely lament on it. Rightly so too. At the same time, I see that the new paradigm has opened up, financially speaking, a fantastic new and unforeseen opportunity for real films to be made. The time for Ghataks, Adoors and Benegals has arrived only now. Let me explain a bit.
          Today simultaneous all India release means that nearly any film whose narrative has been decently strung up will get an even chance to make money. Forget the 100 Crore Club. Any decent Rs.5 crore film can easily make Rs.15 crore. And that too in a week! What more can any Benegal dream of? For Indian films, the time to take off into maturity – and so enabling whatever its native genius can yield -- has arrived at last.
              Remember, the previous era was mainly awful. In the feudal stranglehold of a handful of producers, financiers, distributors -- mostly financed by shady money -- an individual Goldie Anand, Hrishikesh Mukherjee, Benegal, Asha bhonsle, etc could survive and flourish (at the cost of a hundred others who perished) only inspite of the business model, not due to it. Today the creative and competitive space the new capitalist paradigm now offers can release the creative and innovative cinema spirits by design. The ancien regime is gone for good.
              And it is already happening! The new breed of academy-trained and canny filmmakers like Bhansali, Anurag Basu, Kashyap, Dibakar Banerji, Gowarikar, etc are sprouting up by using this space and taking root. New kind of films are being made -- good, bad, wonky, experimental, nautankiish, and unclassifiable. These rely on new kind of scripts, actors, financing, and audience.
              The older lot are not fading away either. Riding on Khans, Johars, A.R Rehman’s etc., they too are finding their newer avatar. But the new Benegals, Adooors, Ghataks have yet to shed their fringe vision and garb the new main chance. Where are they?
               The next barrier in the business model though is the cartel of multiplex owners -- PVR, Cinemax, Satyam, etc. Kamal Haasan tried to circumvent it in Vishwaroopam by releasing all India on TV networks but the multiplex cartel blocked it. The struggle will play itself out, till TV and Multiplexes are merged like it has happened in America. Then the final frontier will be the Internet. No wonder the cartels are trying to destroy that freedom by grabbing it too.
                    Popcorn is over. So is Race 2. I am in Mumbai. The screen shows the tricolor and people stand for the national anthem. This was done at the beginning of the show too. I have nothing against nationalism but this ostentation left me worrying and depressed. Or, maybe it is just the mindless Race 2 that is depressing.