Abstracts
Theme: Peace and People’s Rights
Panel: History Through the Lens—Cinematic Depiction of People’s Rights
Session II: The Discourse
 Gender Portrayal in Nepali Films
Bandana Rana*
The very first Nepali film, which was made around 1964, was titled Aama or Mother. There have been numerous films after that which have centered on the theme of women and their place in society. In the majority of these films, which were produced in the 1960s and 70s, women were portrayed in two extremes…one of a sacrificing, submissive, docile goddess and the other of an evil, scheming, frivolous personality. Such portrayals continue today also in feature films as well as tele films. However, the contribution of Nepali films in women’s empowerment though minimal cannot be completely ruled out.
A significant number of films produced have entirely revolved around the place of woman in a society and the social and cultural norms that discriminate against women. But these have not completely helped to accord justice to the fair portrayal of women, as they have not been done from a rights based perspective aimed at empowerment. In many instances they have reinforced the traditional and stereotypical role of women. Therefore, there is an urgent need to explore the immense potential of visual media particularly films in promoting gender empowerment in Nepal.
* Bandana Rana is a filmmaker, women’s rights activist and President of Sancharika Samuha (Women's Media Forum).
Pakistani Cinema: Where it went Wrong and Why?
Moneeza Hashmi*
The paper will be divided into three parts: 1. 1947 and earlier; 2. People's rights and the Pakistani cinema; and, 3. A quick overview of the Pakistani cinema today and its recent decline.
- In the first section, 1947 and earlier, I will discuss what did the Pakistani cinema "inherit" at the time of partition vis-à-vis human resources, equipment and other assets? What were the challenges then and how did the filmmakers at the time try to combat them and at what price?
- People's rights and the Pakistani cinema: This will be a brief overview of how different Pakistani film makers, directors, writers, producers and performers despite financial restraints and constraints made brave and at times brilliant attempts at "reality" cinema. Some of the prominent names include Faiz Ahmad Faiz, Javed Jabbar, A. J. Kardar, Ashfaq Ahmad, Ahmad Basheer, Nasr ul Islam, Nazeer Baig (Nadeem) among others. What were the reasons for their failure or unsuccessful ventures?
- The third section will give a quick overview of the Pakistani cinema today and its recent decline. Can we still see a ray of hope rising out of these ashes or is all lost?
Finally, in conclusion I would like to discuss where are the "people's rights" today vis-à-vis the Pakistani cinema? Do we as viewers have the right to sit back and condemn this great art of expression without accepting some shade of responsibility of being at least a party to this downfall? Can we ignore our own apathy and disinterest as being factors of this decline?
Our TV dramas and productions are suffering the same fate. Are we at all concerned? We call it an invasion from "across the border". We deem "them" as "demons of vulgarity" invading our cultural heritage. We want to hide our younger generation from this commercialism, glamour, nudity and yet we are willing to let the same young ones be exposed to "mullahism" and listen to the preaching of an Islamic ideology that promotes violence, terrorism and hate? The media promotes both and yet we willingly would accept one rather than the other in the name of religion. Where does the onus of responsibility lie? With the cinema-maker only or also with the cine-goer? Why are we silent? Why are we only blaming the filmmaker for his or lack of sensitivity and awareness about peace and social issues? Why did our own consciences become a party to this decline of our cinema? These are some of the questions at the end for summing up.
* Moneeza Hashmi has been closely associated with the electronic media for the past four decades. She recently retired from the Pakistan Television as the Director Programmes and Director Training Academy. She is presently serving as the General Manager, HUM TV, Lahore, Pakistan.
Social/Activist Filmmaking as a Tool for Social Change and Development
Samar Minallah*
The paper would discuss the importance of recognizing the power of social documentaries and how they could be used to create awareness on community’s social issues, and ultimately inspire societal change.
* Ms. Samar Minallah is an Islamabad-based independent filmmaker and researcher on social issues.
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