India, Supreme Court, Kashmir and Art 370

 

Satyapal Malik talks to Rahul Gandhi

 

Unpacking the Terror Attacks in Anantnag

 

Pakistan's Wars: An Alternative History

 

'Why doesn't the government organise elections in Kashmir?': Owaisi

 

Jammu and Kashmir v Rest of India

 

Will a desperate Pakistan initiate a new war?

 

Prof Raja Sajjad talks about Kashmir history

 

Satyapal Malik talks about his Kashmir days as Governor

 

The Shawcross Report tabled in British Parliament

 

'I had Duty to Speak Out about Kashmir Files' - Nadav Lapid

 

The Future of Pakistan

 

Pakistan needs a "Deus Ex Machina"*

Ashraf Jehangir Qazi in The Dawn

WHAT is happening to Pakistan? Anyone interested in the question knows the answer. Who is to blame? Opinions differ.

However, there is broad agreement on the cast of culprits: political leaders; political parties; political institutions; non-political institutions; the security and intelligence establishment and its institutions; the civil services; comprehensive corruption; the dysfunctional state of the economy caught in a permanent debt trap and outrageous inequality; complete external dependency and a consequent lack of policy independence; a general lack of education and a scientific outlook; the media contributing to an uninformed, partially informed and misinformed public opinion; the deliberate misuse of religious fervour to obscure the true teachings of our faith; an obsolete social structure preserved by a voracious and unaccountable power structure; a judiciary that demands but does not command universal respect; uncontrollable population growth; irreversible climate change; a forever threat of nuclear annihilation, a security environment that challenges rational resource allocations; palliatives presented as solutions, etc.

We are taught that one should neither hate nor act in anger. This is true as far as persons are concerned. But actions that deliberately undermine the welfare of a whole people can and must be hated. When they threaten the survival of a nation and render its dreams and aspirations impossible they must be confronted by the elemental force of rejection.

If, instead, political observers and commentators couch their opinions in euphemistic and safely coded language they become complicit in the perpetration of a national crime. They convey a pathetic message of resignation, surrender and betrayal. There comes a time when Faiz Ahmad Faiz has to give way to Habib Jalib. Either Quaid-i-Azam was much mistaken or we are all complicit in insulting his memory and murdering his legacy. We prefer, however, to slander the father of our country instead of becoming the citizens it required.

We are today, accordingly, reduced to being spectators of a daily goon or puppet show in the guise of a morality play — without any wit, humour or goodwill. There are no good guys in the unfolding drama of our national tragedy.

The Baloch are killed. Their killers are martyred. When one political character attributes unspeakable and unforgiveable crimes and misdemeanors to his rival we know he speaks the truth. When his rival returns the charges redoubled we know he too speaks the truth. They are of course transparent partners in a single, massive and lethal crime against the people and the country.

So what else is new? What should be new is the realisation that we who are aware and do nothing are just as guilty. If one can live with this realisation so be it. If not, we need to do what we can and without delay. The chances are we won’t. The chances are we have already lost our country. Unless…

Another wasted year of political posturing by rupee multibillionaires representing their victims beckons. While the US contemplates a climate emergency, Pakistan is beset by an existential emergency that commands no contemplation. All the challenges confronting Pakistan will be ignored. Technocratic servants of the elite will continue to spin fairy tales about stabilisation and progress invisible to the eye of the uninitiated. They will be well compensated for dressing their employers in the finery of their analyses and assessments. Other servants or experts will do much the same in their own spheres. The people must learn to eliminate the word ‘sarkar’ from their political dictionary if they are to stand any chance against the forces arrayed against them.

When a country’s ‘leadership’ fails to address fundamental existential issues at home it can have no external policy to speak of. The rest of the world sees this and refuses to take its foreign policy seriously, however well articulated and reasoned it may be. Pakistan has itself become a major stumbling block to the success of its principal foreign policy issue: a principled, peaceful and lasting settlement of the Kashmir dispute with India that is primarily and ascertainably acceptable to the Kashmiri people.

The Kashmiri people cannot defeat India although they have so far heroically denied it the victory it strives for. Pakistan cannot defeat India although its nuclear deterrence capability limits India’s military options. A diplomatic stalemate maximises the suffering of the Kashmiri people. The world is aware of India’s perfidy in Kashmir but is simply not inclined to back a failed or failing Pakistan against the gigantic market and strategic value of what will soon be the world’s most populous country. China, for obvious reasons will continue to back Pakistan against India, while increasingly worried about Pakistan’s inability to learn anything from the amazing experience of its most reliable friend.

The US sees Pakistan as a resentful puppet ruled by dependent elites who will do its bidding even it undermines the confidence of China in Pakistan’s resilience and strategic value.

In Afghanistan, Pakistan backs the Taliban which backs the TTP which perpetrated the massacre of schoolchildren and teachers in the Army Public School on Dec 16, 2014. The army today engages with the TTP, which is essentially a Pakistani branch party of the Afghan Taliban, while refusing to engage with the Pashtun Tahaffuz Movement of Manzoor Pashteen which is a Pakistani movement because of its protests against the bombing of Waziristan.

Pakistan has practically no support among the Afghan political intelligentsia, particularly the educated youth who are the future of the country. India has the field to itself.

These absurdities are the direct result of the state of the state in Pakistan. Unless this state of affairs is addressed, foreign policy, indeed all other aspects of national policy, will not be able to develop coherence and credibility. This is all too clear to political observers in Pakistan. But they are by and large easily resigned to the prospect that this state of affairs will not be addressed — and that they will themselves be complicit in this dereliction of duty, citizenship and patriotism. Unless we await a deus ex machina.

* Deus ex Machina - an unexpected power or event saving a seemingly hopeless situation, especially as a contrived plot device in a play or novel.

FATF is linked with Situation in Kashmir, IMF loan is linked with Pak Army Expenditures - HamidBashani

 

India should support the independence of Balochistan

 

Subuhi Khan - Interview

 

Arvind Kejriwal on Kashmir Files

 

The Kashmir Files holds no ‘grand truth’ to ‘open your third eye’. It exploits cinema’s flaws

Anurag Minus Verma in The Print



PM Narendra Modi with the crew of The Kashmir Files | Twitter
The Kashmir Files has given major FOMO to many people who believe the film contains some grand truth that they are missing out on. Many Indian audiences made a pilgrimage to the theatres to open their ‘third eye’ and witness ‘the truth’ in its pure and organic form. Passions and emotions ran high in theatres and there were many videos circulating on social media where audiences were seen delivering long speeches as the end title rolled on the screen. Cinema halls are known to give ‘audiences to the filmmaker’ but this film is unique because it gave ‘audiences to audiences’.

A few days ago, Prime Minister Narendra Modi said, with regards to the film, that the entire ‘ecosystem’ worked to hide the truth, and that “a truth suppressed for so long is coming out.” In a Roger Ebert-ian fashion, he gave ‘two thumbs up’ to the film and recommended the film to his MPs. This is a significant recommendation from the head of the country. This creates more suspense about the ‘truth’ that this film claims to possess.

There is now a growing debate where the Right-wingers are saying that ‘propaganda’ of the Left and the liberals (whom they have nicknamed ‘Urban Naxal’) is ‘busted’ and the ‘truth’ is finally being told through cinema. On the other hand, people from opposing ideologies believe that The Kashmir Files is nothing but State-sponsored propaganda. This itself leads to the question: what is the meaning of propaganda in cinema and can we distinguish between ‘good propaganda’ and ‘bad propaganda’?

To answer this question, we need to turn to the history of cinema. 
Montage films of Soviet Cinema

The Russian Revolution of 1917 created a political environment that pushed the role of propaganda in cinema. The word ‘propaganda’ at that time didn’t have the negative connotation it has today.

In fact, propaganda was termed as an ‘essential activity’ to spread awareness among the public and ‘stimulate their revolutionary thoughts’. Many great filmmakers emerged in this era who believed in the power of propaganda and they made films that are considered some of the most important artworks in cinematic history. These were filmmakers who gave many film theories that are still taught across the best film schools in the world. Among them, the most prominent is Soviet director Sergei Eisenstein who gave ‘montage theories’ or editing techniques. Most modern editing techniques currently used in Hollywood and Bollywood owe a lot to Eisenstein and Lev Kuleshov’s theories of editing.

As such, the base of cinematic editing techniques lies in the idea of propaganda. No wonder famous French filmmaker Jean-Luc Godard once remarked: “Cinema is truth 24 times a second, and every cut is a lie.” There is a medium of psychological manipulation through the use of editing that every filmmaker uses to present their ideas or ‘truth’ to the public.

Now comes the classic question of ‘good propaganda’ and ‘bad propaganda.’ How can we define ‘propaganda’ when it is inherent to cinema? Can ‘good propaganda’ be termed as the transmission of ideas that expand the mind of an individual and thus contribute to society and bad propaganda as something that restricts the thinking of an individual and converts him to a hateful person? Beth Bennett and Sean O’Rourke (2006) thus “contrast ‘good’ rhetoric, which they claim appeals to reason, with ‘bad’ propaganda, which they claim appeals to the emotions,” as noted by researcher Michael Russel in his 2009 thesis. 
Relationship between propaganda and spectators

Any success of propaganda also tells us the relationship between the propaganda-makers and the target audiences. In order for propaganda films to land successfully, a proper launching ground first needs to be created. The Kashmir Files is a classic film for its time and place — in a hyper-nationalistic era, where the Right-wing machinery is working overtime to seize the ‘means of communication’ (whether it’s news channels, social media, or Internet memes); in today’s time when there is unadulterated hate against JNU (Jawaharlal Nehru University) and intellectuals; in this era when bigotry is on free display even by the heads of the states. This is the perfect time for such a film to arrive — the audiences are already in a trance of misinformation and they just want to go to theatres to stamp their prejudices rather than seeking ‘truths’.

This is the reason why one sees the video of people shouting slogans in theatres and openly making hate speeches against Muslims. This is, in fact, the kind of social-political film where you’ll gain more insight about society if you move your gaze away from the white screen of the cinema hall and observe the audience.

A film professor from my alma mater Film and Television Institute of India (FTII) used to say: “The meaning of the film is already in the mind of the public and as a filmmaker, you just need to tap into that subconscious area.” This is the reason people interpret films based on their own realities and truths that they have constructed. In the case of The Kashmir files, Kashmiri Hindus are rightfully ‘relating’ to the film because this is a rare occasion when the stories of unimaginable, horrific tragedies are presented on celluloid. On the other side, some people are ‘relating’ to the film because it confirms their biases against those they hate. This is the kind of film that doesn’t ‘tell’ but rather ‘sells’ the idea of truth to you.

American writer Susan Sontag once remarked: “If cinephilia is dead, then movies are dead too… No matter how many movies, even very good ones, go on being made. If cinema can be resurrected, it will only be through the birth of a new kind of cine-love.”

The Kashmir Files also got released post-lockdown, where the intimate experience of individual watching shifted once again to collective viewing in cinema halls. Here, the cinema hall itself became a space for a national experiment, where ‘we’, the people, flocked together to experience the moving images. In the cinema hall, Kashmiri Pandits became emotional watching the film and hugged each other as an act of shared trauma, whereas many collective haters shouted angry slogans to show that, as a nation, we are together in shared anger against people who allegedly hid the truth for long.

Cinema as a truth-telling medium

This trend of bringing out the ‘truth’ of any historical event through the cinematic medium is a complicated thing to do. Cinema can only bring out one version of the truth, which itself is deeply marinated in the biases of the person telling the story or people sponsoring the film. In cinema, every frame is political by default because by choosing what’s inside the frame, you are, automatically, hiding what’s outside of it. The very frame that your camera chose tells something about the ‘gaze’ and mind of the person who conceptualised it. This is why rather than the accuracy of events presented in the film, what matters the most is how these events are presented to create a psychological effect. How does the film play with the emotion of pre-radicalised society through the usage of cinematic mediums?

There is also a difference between political cinema and politically motivated cinema. The Kashmir Files is the latter, using propaganda to shut minds off rather than stimulate any useful cinematic or social thoughts.

However, an unexpected, and probably undesired, byproduct happens to be the catharsis for Kashmiri Pandits who feel they have ‘witnessed’ their truth being told, ironically through fiction, for we, as a society, talk more about Kashmiri Pandits than talking to them or humanely understanding their plight.

Kashmiri Pandit Tragedy & their continued exploitation

 

Pakistan's New Security Policy