Fahmidul Haq, associate
professor of mass communication and journalism at the University of Dhaka who
has authored several books on the country's mainstream and digital cinema, is
hopeful about positive changes to Bangladesh’s film industry. AKM Atikuzzaman writes
How do you relate the state of movie theatres with the sorry state of the country's cine culture?
Cinema halls are an integral part of cine culture so much so that without the former the latter will disappear. Watching in small screens or discussing movies might continue, yet diminished would be the cine culture in its proper sense. Absence of halls in a country would even bring its production of films to an end, although we might keep watching foreign movies in small screens.
If we are to say that Bangladeshi cinema is in a crisis, its solution should be designed centring the cinema halls.Bangladesh
is the lone country in South Asia where no
reform has yet been initiated regarding cinema halls. In India , Pakistan
and Nepal
Our leading crisis is that the cinema halls are disappearing one after another. If we cannot save those halls and construct new ones, Bangladeshi cinema will be abolished one day.
The countries you exemplified went to digitalisation upon government policies while inBangladesh
I came to learn from some policymakers that the government is not prepared to make the infrastructure; rather it is interested to ensure policy supports. Therefore, we should welcome those who are coming forward from the private sector with infrastructure development scheme. We should wait and see what they can accomplish.
How do you evaluate the particulars of the Jaaz initiative, as a section of producers and exhibitors observe the virtual print fee and Tk 3 per ticket charge as introduction of new taxation? This is when different government taxes, among others, are already blamed for the downfall of theatres.
Tk 3 per ticket is definitely a big amount since a producer gets on an average Tk 6 per ticket. Well, we do welcome their initiative but the government should oversee the details and should check that no initiative becomes a monopoly. If one entrepreneur takes the responsibility of digitalisation of a large number of halls, it can create scopes for profit maximisation through monopoly. Similarly other entrepreneurs should come to the market with other options, ensuring a healthy competition.
However, many of you have advocated that audience interest do not depend on formats, while the overall environment and a better movie are of significance. What size of the audience may turn to the screens following digitalisation?
It is a matter of concern. Renovation is not a matter of sound and image alone, it involves improvement of environment, seating arrangement and other facilities. If the entrepreneur only facilitates digital technologies, leaving unaddressed other issues, its fate will become uncertain. Yet I have doubts about creativity and merit of the persons related to the industry. I am not so much confident on them. For instance, Bhalobashar Rong, the digital film set to be released in halls shortly, is directed by Shaheen-Sumon. They are making films in Bangladesh Film Development Corporation (BFDC) for many years. Some of those might do business, but we cannot remember any name of a breakthrough film from them. Therefore there is a reason to doubt the ‘brightness’ of Bhalobashar Rong. Sharpness of image and sound alone cannot bring change, film’s content, insight, depth of social understanding, even the ability to entertain are matters of concern.
I am rather hopeful on the new generation of young directors who are making digital movies exploiting smart technology and low budget. Some of the films might become hits; some might stir the psyche of a large audience. Only one movie can lead a breakthrough; or some big hits in a row can do the job. I am assertively hearing footsteps of a change.
Besides films from BFDC, we did not face a scarcity of the so-called ‘good films’ from television channels or independent makers, which could not revive the industry at bringing the audiences back to the halls. How then are you so hopeful about a change?
At this point in time, we need some ‘middle cinema’ which will accommodate plenty of popular and commercial attractions as well as a kind of social awareness so that the movies cannot be overlooked as poor entertainment. I want to put a good number of recent titles from Kolkata and Bollywood in this category. By the way, with regards to renovating cinema halls and drawing audiences to screens, I support even importing foreign films including Indian ones, Hindi blockbusters to be more specific. The reason of ban is not valid now while the protected market could not provide us with good movies. However, I am not in favour of completely free market; I support limited protection.
Besides the reality of protection, it is blamed that the industry has been ignored for decades in the policy level, burdened with expired machines, lack of meaningful training or education. Why would it not fail?
That we were rich in terms of infrastructure is not true. Amidst that reality we got many good movies in the past. Due to different internal and external factors the market dropped suddenly. Foreign movies should run side by side with the local productions; otherwise the communication will be hampered. It is also a right of the audience that they get the opportunity to watch different kinds of movies in the big screen.
How do you relate the state of movie theatres with the sorry state of the country's cine culture?
Cinema halls are an integral part of cine culture so much so that without the former the latter will disappear. Watching in small screens or discussing movies might continue, yet diminished would be the cine culture in its proper sense. Absence of halls in a country would even bring its production of films to an end, although we might keep watching foreign movies in small screens.
If we are to say that Bangladeshi cinema is in a crisis, its solution should be designed centring the cinema halls.
Our leading crisis is that the cinema halls are disappearing one after another. If we cannot save those halls and construct new ones, Bangladeshi cinema will be abolished one day.
The countries you exemplified went to digitalisation upon government policies while in
I came to learn from some policymakers that the government is not prepared to make the infrastructure; rather it is interested to ensure policy supports. Therefore, we should welcome those who are coming forward from the private sector with infrastructure development scheme. We should wait and see what they can accomplish.
How do you evaluate the particulars of the Jaaz initiative, as a section of producers and exhibitors observe the virtual print fee and Tk 3 per ticket charge as introduction of new taxation? This is when different government taxes, among others, are already blamed for the downfall of theatres.
Tk 3 per ticket is definitely a big amount since a producer gets on an average Tk 6 per ticket. Well, we do welcome their initiative but the government should oversee the details and should check that no initiative becomes a monopoly. If one entrepreneur takes the responsibility of digitalisation of a large number of halls, it can create scopes for profit maximisation through monopoly. Similarly other entrepreneurs should come to the market with other options, ensuring a healthy competition.
However, many of you have advocated that audience interest do not depend on formats, while the overall environment and a better movie are of significance. What size of the audience may turn to the screens following digitalisation?
It is a matter of concern. Renovation is not a matter of sound and image alone, it involves improvement of environment, seating arrangement and other facilities. If the entrepreneur only facilitates digital technologies, leaving unaddressed other issues, its fate will become uncertain. Yet I have doubts about creativity and merit of the persons related to the industry. I am not so much confident on them. For instance, Bhalobashar Rong, the digital film set to be released in halls shortly, is directed by Shaheen-Sumon. They are making films in Bangladesh Film Development Corporation (BFDC) for many years. Some of those might do business, but we cannot remember any name of a breakthrough film from them. Therefore there is a reason to doubt the ‘brightness’ of Bhalobashar Rong. Sharpness of image and sound alone cannot bring change, film’s content, insight, depth of social understanding, even the ability to entertain are matters of concern.
I am rather hopeful on the new generation of young directors who are making digital movies exploiting smart technology and low budget. Some of the films might become hits; some might stir the psyche of a large audience. Only one movie can lead a breakthrough; or some big hits in a row can do the job. I am assertively hearing footsteps of a change.
Besides films from BFDC, we did not face a scarcity of the so-called ‘good films’ from television channels or independent makers, which could not revive the industry at bringing the audiences back to the halls. How then are you so hopeful about a change?
At this point in time, we need some ‘middle cinema’ which will accommodate plenty of popular and commercial attractions as well as a kind of social awareness so that the movies cannot be overlooked as poor entertainment. I want to put a good number of recent titles from Kolkata and Bollywood in this category. By the way, with regards to renovating cinema halls and drawing audiences to screens, I support even importing foreign films including Indian ones, Hindi blockbusters to be more specific. The reason of ban is not valid now while the protected market could not provide us with good movies. However, I am not in favour of completely free market; I support limited protection.
Besides the reality of protection, it is blamed that the industry has been ignored for decades in the policy level, burdened with expired machines, lack of meaningful training or education. Why would it not fail?
That we were rich in terms of infrastructure is not true. Amidst that reality we got many good movies in the past. Due to different internal and external factors the market dropped suddenly. Foreign movies should run side by side with the local productions; otherwise the communication will be hampered. It is also a right of the audience that they get the opportunity to watch different kinds of movies in the big screen.
Besides the reality of
protection, it is blamed that the industry has been ignored for decades in the
policy level, burdened with expired machines, lack of meaningful training or
education. Why would it not fail?
That we were rich in terms of infrastructure is not true. Amidst that reality we got many good movies in the past. Due to different internal and external factors the market dropped suddenly. Foreign movies should run side by side with the local productions; otherwise the communication will be hampered. It is also a right of the audience that they get the opportunity to watch different kinds of movies in the big screen.
That we were rich in terms of infrastructure is not true. Amidst that reality we got many good movies in the past. Due to different internal and external factors the market dropped suddenly. Foreign movies should run side by side with the local productions; otherwise the communication will be hampered. It is also a right of the audience that they get the opportunity to watch different kinds of movies in the big screen.
First published in New Age XTRA, 21 September, 2012
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