Abstract
Since the time when Lumiere Brothers first showcased their film in 1896, India has come a long way in crafting its own territory in the world of cinema. It has a legacy of over a century marked by phenomenal growth in post-independence India, commencing what is called the ‘golden age of cinema’. Along with the evolution of cinema, there was also a surge in accessibility. From the grandeur of theatre to compact televisions and now through mobile phones, cinema is giving rise to consumers even in the remotest parts of the country. Catering to the needs of the diverse audience, storytelling also diversified and as society evolved, so did the storytelling.
It is no surprise then that scholars have often called each frame in the kaleidoscopic world of cinema as a closer look at society and its issues like caste relations, the democratisation process, growing urbanisation, etc. Why should not they? After all, these frames where the stories come alive are not merely for entertainment; rather, they are a medium providing a closer lens at the ever-evolving sociocultural dynamics of any society.
In this context, Shivam Singh’s book is a timely attempt to understand the nuances of rural India through Hindi cinema. Through selective films, this book is an exploration of the Indian hinterlands and how its culture was represented in the cinema of that time.
The author employs a qualitative approach by combining textual analysis of films with cultural analysis theory, creating a tapestry that delves into the transformation of rural India. He creates a unique combination by integrating cinematic analysis with sociological imagination through his analysis of rural problems as crafted by the directors and their cinematic portrayals.
The introductory chapter sets the stage by outlining the methodology and the themes explored in the subsequent chapters. The chapter on theoretical orientation provides a solid foundation with an introduction to some pioneering work in rural sociology. In this chapter, Singh has incorporated writers and scholars who are even remotely related to rural sociology, starting from Tonnies who is known as the father of sociology to Sorokin, Zimmerman, Galpin, Maine, Bailey, John M Gillette, A R Desai, etc. Along with it, the author lays a solid foundation by introducing the key concepts in rural sociology like caste system and dominant caste, parochialisation and universalisation, Sanskritisation, etc.
The writer further makes its readers familiar with the different phases of cinema, starting with the concept of cinema itself where he argues that defining cinema as a ‘place where movies are seen’ is highly problematic and prefers a cultural connotation to the term ‘cinema’ calling it ‘the art of the moving image’ (p. 72). The writer then examines films from distinct eras and how they mirrored the societal shift during the same period. The historical contextualisation serves as a crucial backdrop for the subsequent chapters as he majorly divides the phases of post-independent India into (a) the national building era/Nehruvian era (1950s), (b) the crisis of the state era (1970s) and (c) liberalisation, privatisation, globalisation and satellite era (since 1991 era). Chapters 4–6 are then dedicated to meticulously dissecting the films following a clear and consistent structure of plot, analysis and narratives.
The author has skilfully intertwined the cinematic narratives with the sociopolitical realities of India. For instance, his selection of four movies namely Do Bigha Zamin, Naya Daur, Parakh and Upkar from the era of 1950s and 1960s relates to what he describes as the Nehruvian era. These films reflect the changes occurring in India through the implementation of five-year plans where the focus on agriculture tilted towards industrial development. Therefore, the movies made during this time focused on the plight of farmers who were dealing with this change. The author presents an analysis of this time by touching upon the problems of commodification of land, industrialisation of rural areas, migration.
Similarly, the following eras are discussed placing them in the context of the fifth, sixth and seventh five-year plans which marked the transitioning towards economic liberalisation. For this section, Singh analysed movies like Manthan, Chitchor, Ankur, Ghulami and Saudagar. With more emphasis on industrial development and Western influence, the movies of this period focused on evils like child marriage, poverty and crime. The formation of cooperatives based on the Gandhian principle of Swaraj was highlighted through movies like Manthan. Through the analysis of these movies, Singh focused on issues of elections, class exploitation, the status of women, etc. However, a minor critique lies in the occasional lack of synchronisation and chronology in historical narration (p. 180). Additionally, the absence of specific references within the text raises questions about the sources of historical information.
As the narrative progresses into the post-liberalisation, the book addresses notable changes in cinematic portrayals of rural life. The importance of education, women empowerment and role of media became the central themes of the movies. The author describes a sense of despair attached to village life among the migrants exemplified through movies like ‘Welcome to Sajjanpur’.
The author has strategically used narratives from the film to give insights even to those who have never watched these movies. However, it is noteworthy that the sociological references are not the most recent, potentially limiting the scope of the book’s academic relevance. While the author’s exploration of rural India is insightful, a clearer elucidation from the author regarding the rationale behind the selection of films would have enriched the narrative providing a more robust framework for comprehension and engagement.
Nonetheless, ‘Rural Culture in Hindi Cinema’ by Dr Shivam Singh is a commendable contribution to the field of audio-visual research and rural sociology. The book successfully navigates the intersection of film studies and sociological analysis, providing readers with a comprehensive understanding of the evolving rural landscape in India. Despite minor critiques, the book stands as an insightful exploration of the cinematic portrayal of rural culture, making it a valuable resource for sociologists, film scholars and anyone interested in the sociocultural fabric of India. Singh has crafted a thought-provoking narrative that invites readers to critically engage with the cinematic reflections of rural India and its dynamic transformations over the decades.