Paper no.203

 Name :- Riddhi H. Rathod 

Roll No.: 17

Enrollment No.: 4069206420220025

Paper no: 203

Paper name:- Postcolonial Studies 

Sem: 3 (Batch 2022- 2024)

Email i'd:- riddhirathod1213@gmail.com 

Submitted to: Smt S.B. Gardi Department

• Postcolonialism in Bollywood movies 

Introduction :-

Post-colonialism is a period of time after colonialism, and post-colonial literature is typically characterized by its opposition to colonial postcolonial literature that often focuses on race relations and the effects of racism.

Postcolonial studies is concerned, as the chapter on theories explores, the oppression of the non-European races by European ones, Cultural studies in a globalised age also needs to be conscious of the racial zed nature of globalized/globalizing culture. That is the theme of race and unequal relations has to be worked into any analysis of global cultures. 

Certainly, let's delve into the key term of "Postcolonialism" in detail:

1. Definition:

   - Postcolonialism refers to the academic and theoretical framework that examines the social, cultural, economic, and political effects of colonialism and imperialism after the colonized societies gained independence.

2. Historical Context:

   - Emerged as a distinct field of study in the mid-20th century, coinciding with the wave of decolonization after World War II.

3. Deconstruction of Colonial Narratives:

   - Postcolonialism aims to deconstruct and challenge the dominant narratives constructed during the colonial era, often told from the perspective of the colonizers.

4. Identity and Hybridity:

   - Explores how colonial encounters shape and reshape identities. The concept of hybridity is central, emphasizing the blending of cultures and identities in the postcolonial context.

5. Power Dynamics:

   - Analyzes power structures, both during colonial rule and in the postcolonial era, examining how power continues to operate through economic, political, and cultural means.

6. Othering:

   - The process of "Othering" involves defining one's own identity by contrasting it with the perceived inferiority of the colonised "Other." Postcolonial theorists explore how this process contributes to stereotypes and marginalisation.

7. Subaltern Studies:

   - Focuses on the voices and experiences of marginalised and oppressed groups, often referred to as the "subaltern," who were excluded from mainstream historical narratives during colonialism.

8. Nationalism and Anti-Colonial Resistance:

   - Examines the role of nationalism and anti-colonial movements in the struggle for independence, as well as the complexities and challenges that emerged in the postcolonial period.

9. Language and Literature:

   - Postcolonial scholars analyze how language and literature are used to resist, reclaim, and renegotiate cultural identities. This includes examining colonial literature and the emergence of postcolonial literature.

10. Globalization and Neocolonialism:

    - Explores how globalization perpetuates neocolonial power dynamics, with former colonies often remaining economically dependent on former colonizers or powerful global institutions.

11. Cultural Imperialism:

    - Investigates how cultural imperialism persists in the form of media, popular culture, and Western ideologies, influencing the perceptions and values of postcolonial societies.

12. Intersectionality:

    - Considers the intersection of various forms of oppression, such as race, class, gender, and ethnicity, recognizing that individuals experience multiple layers of marginalization.

13. Postcolonial Literature and Cinema:

    - Examines literary and cinematic works produced in the postcolonial context, analyzing how they engage with and challenge colonial legacies.

14. Decolonization:

    - Beyond political independence, postcolonialism explores the ongoing process of mental, cultural, and economic decolonization, acknowledging that true liberation goes beyond formal sovereignty.

Postcolonialism provides a critical framework for understanding the enduring impact of colonialism on societies and individuals, examining issues of power, identity, resistance, and cultural transformation in the aftermath of colonial rule.

Now, let's discuss postcolonialism in bollywood movies.

New York movie :-

Director : - Kabir khan

Produced by :- Aditya Chopra, Sri Rao

Written by :- Sandeep Srivastava

Release dates :- 26 june, 2009

In a New York-based movie exploring post-colonial themes, the narrative could intricately dissect the ramifications of historical colonization on the city's social fabric. The film may delve into the experiences of communities that have been historically marginalized or displaced, shedding light on their struggles for identity and agency. It could portray the persistence of colonial legacies in socio-economic disparities, cultural hierarchies, and power structures within the urban landscape. Themes such as gentrification might be explored, illustrating how certain neighborhoods undergo transformations that echo the historical patterns of colonization. Characters could grapple with the complexities of heritage and assimilation, highlighting the tension between preserving cultural identities and adapting to the cosmopolitan nature of New York. Through nuanced storytelling, the movie could offer a poignant commentary on the lasting impacts of colonialism, fostering a deeper understanding of the city's diverse inhabitants and their interconnected histories. 

Lagaan :-

Director: Ashutosh Gowariker

Produced by: Amir Khan and Mansoor Khan

Written by: K. P. Saxena

Release dates: 15 June 2001.

Lagaan means “tax” – the tax paid by Indian subjects to their British overlords; and the film Lagaan, set during the Victorian era, is about a tax revolt by overburdened villagers. The tax revolt crisis leads to a cricket match challenge between the villagers, who have never played the game before- led by Amir Khan, in the role that propelled him to stardom- and the British. It’s a feel- good movie on a grand scale about national pride made by the same director as Jodha Akbar, Ashutosh Gowariker, but earlier in his career. It’s great to watch post-colonial people talking about pride in their culture and history, even if it means playing up stereotypes and formulaic plot lines.

 Amir Khan is awesome. An analysis of the use of cricket metaphor in Ashutosh’s film indicates how cricket, the once proud cultural form of colonial Britain, is subverted in such a way that it becomes a tool for decolonization. According to Appadural, “decolonization is a dialogue with the colonial past, and not a simple dismantling of the colonial habits and modes of life”. This treatment of cricket, which is more of an appropriation of a reality that is fundamentally colonial in character than of a rejection of the reality, provides important insights into the tension between colonialism and post colonialism his appropriation problematizes the conception of a dichotomous relationship between colonialism and post colonialism and introduce a sense of historical continuity to the broader picture of which the phases of colonialism and post colonialism are part. It introduces a perspective that recognizes certain possibilities for post colonialism in colonialism and an element of colonialism in post colonialism.

Lagaan is a massive film and it has a lot of relevance to my literary studies, so I have an inclination to talk of it like a work of literature within the realm of British colonialism- Indian nationalism and postcolonial discourse. Lagaan’s engagement in themes of nationalism, colonialism and reverse colonialism came out more than was healthy. Aamir himself says, is always entertainment at its heart. 

Lagaan is an intellectual interest in colonial British India and subsequently postcolonialism. Lagaan is, perhaps above all other things, a story of Indian nationalism in rejection of British colonial control. In order to save their village, which is being taxed to the point of starvation, a group of men band together to fight against the odds and play a game they don’t understand against their English overlords. It isn’t necessarily nationalism in the strictest sense because it is limited mostly to one village with some other characters, like the Sikh Deva, joining from elsewhere- but I consider it a representative microcosm at the very least as Indians come together across class boundaries in the united defence of their land.

If you want to understand cricket- and even more, if you want to understand some of the attachment of Indians to cricket- Lagaan is a good place to start. Talking about cricket is also a good place to start with Lagaan. Coming into the film with knowledge of cricket isn’t necessary but if you don’t like cricket, you may want to beware. There is much more to the film than cricket- in fact, cricket is just the vehicle of the film’s greater colonial themes.

Lagaan also points to the dichotomy of cricket with reference to colonialism. It is both a rejection of and a lingering attachment to the British Raj. It offers both the chance to beat the coloniser at his own game and the chance to join the coloniser’s game, playing by his rules. This is what I consider one of the most fascinating lingering effects of colonialism on India: the fervent, fanatical, almost religious attachment that Indians have to a game given to them by colonialism.

  Lagaan perhaps seeks to point out a reason for this fanatical attachment that seems to defy logic. It began as a way to best the colonial. The men become so familiar and obsessed with the game in their intense desire to beat the British. The film also contains several Indian characters who at first play along with the British colonials for various reasons, most of whom are not faulted for their association with the British.

 All, however, ultimately find that their allegiance is to their countrymen, and the expression of their shifted loyalties all comes out within the heat of the cricket match. Three such characters fill this “wavering Indian'' role: Lakha, who spies on the Indian team for the British because of his personal hatred for Bhuvan; Ram Singh, who acts as an aide and translator until he is struck at the match by Russell; and the provincial Raja, who throughout occupies a precarious position that straddles the two worlds. If themes of colonialism pervade and consume even the sports match in Lagaan, the film’s love story is also able to evade the trappings of reverse colonial discourse. 

The religious story is added perhaps as an attempt to distance the Bhuvan Elizabeth relationship from its actual basis in racialized reverse- colonial politics. It is an attempt to make sense of a relationship that is about colonialism without using colonialism; in other words, it’s trying to disguise the fact that it is about race and colonialism by using religion as an alternate framework.

Lagaan creates a real character facing pressure from overhead to collect more taxes and increase a grip on the peasants- a pressure he in turn takes out on those beneath him. Russell also has a real family in Elizabeth, a sister who runs off to teach his enemies how to beat him in the cricket match that his career rides on. Irony for Russell and his single minded colonialism comes at the film’s end, when he is shipped off to central Africa. There, of course, Russell will continue to participate in colonialism, but among peoples even darker-skinned and more violent than the Indians.

Namastey London:-

"Namastes London" is a Bollywood film released in 2007, directed by Vipul Amruta Shah. While the movie primarily falls within the romantic comedy genre, it does touch upon themes that can be analyzed through a postcolonial lens, particularly in the context of diaspora and cultural identity.

The film follows the story of Jasmeet "Jazz" Malhotra, an Indian woman born and raised in London, who is forced into an arranged marriage with an Indian man, Arjun Singh. The narrative explores the clash of cultural values and the challenges faced by individuals caught between the traditions of their homeland and the realities of life in a Western society.

In a postcolonial context, "Namastey London" reflects the experiences of the Indian diaspora and the negotiation of identity in a foreign land. Jazz's struggle with her Indian identity in London and her eventual reconciliation with her roots highlight the complexities of cultural assimilation and the tension between tradition and modernity.

The film also touches upon stereotypes and prejudices faced by individuals of South Asian descent in the West. Arjun Singh, the male protagonist, faces cultural misunderstandings and racial biases, providing a glimpse into the postcolonial experience of Indians living abroad. Additionally, the movie portrays the notion of reverse migration, where characters return to India from the West, shedding light on the changing dynamics of global mobility and the reconnection with one's homeland in a postcolonial world.

While "Namastey London" may not explicitly engage with postcolonial theory in an academic sense, its narrative elements and thematic exploration align with some key concerns of postcolonialism, such as cultural identity, diaspora experiences, and the impact of colonial history on contemporary lives. The film offers a popular culture representation of the complexities faced by individuals navigating the intersection of Eastern and Western cultures in a postcolonial context.

English Vinglish Movie :

  

"English Vinglish" provides a nuanced exploration of postcolonial themes, particularly through the character of Shashi. The film subtly critiques the enduring colonial legacy of English as a symbol of prestige and power in India. Shashi's struggle with the language mirrors the societal pressure to conform to Westernized norms, highlighting the complex interplay between tradition and modernity. Her journey represents a narrative of cultural hybridity, embodying the clash between her traditional Indian identity and the expectations imposed by a language inherited from the colonial era. 

Beyond linguistic proficiency, Shashi's pursuit of English becomes a quest for empowerment and self-worth in a society where certain languages and cultures have historically been marginalized. The film challenges stereotypes associated with women, portraying Shashi's transformation as a breaking of traditional gender roles. Additionally, "English Vinglish" touches on the impact of globalization, suggesting that English proficiency can open doors to global opportunities. In essence, the movie weaves a tapestry of postcolonial discourse, using Shashi's personal journey to illuminate broader societal issues shaped by the colonial past in a changing, globalized world.

1) Hindi films being financed by non-resident Indians.

2) Hindi films and their popularity in other countries where both non-resident Indians and others watch them.

3) The stage shows performed by Hindi film stars abroad, extending Bollywood culture in other ways.

Conclusion:-

The Lagaan film is set in the Victorian period of India’s colonial British Raj. Blood Diamond films are rare these days. We see films that are set in Africa, which show the poverty, dictatorship, conscription, war and pain of a nation. Thus, we can say that Lagaan and Blood Diamond these two movies are related to postcolonialism and cultural studies.

References:-

Farred, Grant. "The double temporality of Lagaan: Cultural struggle and postcolonialism." Journal of Sport and Social Issues 28.2 (2004): 93-114.

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