Cinema as a tool of National narratives and Geopolitics

ABSTRACT

This paper aims to understand how world politics, the geopolitical environment in the international arena, and economic relationships between countries are portrayed in films and entertainment media. This paper attempts to understand the portrayal of the themes through varied parameters, namely, the geopolitical timeline of when the film was released, the theme or the event that the film is trying to address, the region the movie was produced in and the audience it would cater to. As films are pretty nuanced and very interpretative, these themes might overlap. Nevertheless, it will attempt to identify and understand the themes as best possible. This paper also aims to understand the active relationship between films and the various global interactions among nation-states. It will also examine the impact of these films on the foreign policy decisions made by the State and how the narratives change with changing leadership. This paper will understand films through the lens of international politics and not just as a medium of entertainment.

INTRODUCTION

Beyond the fiction of reality, there is the reality of the fiction.

– Slavoj Žižek

Let’s ask a simple question. How much of the reality that we live in do we see in fiction? This question seems to have a complex answer. The main reason for the existence of films is their ability to transport viewers to a world of imagination or fiction where anything can happen, unlike the rigid realities we live in. However, upon closer examination, one might find that fiction interacts with present, everyday realities and fosters an ideology within itself. Films and ideology have a deep-rooted connection, and it is impossible to analyse films without encountering the ideology they inevitably promote. This is particularly evident in films that fall under the genre of politics or political commentary. Politics is often described as a struggle for power, where ideology plays a crucial role. Films have the power to influence the masses, making them a potent tool for those in power to wield. This is why ideology is embedded in films. According to Slavoj Žižek’s documentary ‘The Pervert’s Guide to Ideology’, ideology is a socio-economic and political apparatus that is created and propagated by humans. He argues that ideology is a social reality, and attempting to escape it is also an ideology.

Ideology has a significant impact on the superstructure, shaping our perception of political reality. Unfortunately, this often results in a distorted or biased portrayal of events that goes unchallenged due to the disclaimer that it is a work of fiction. This allows ideologies to spread without being acknowledged. Films with political themes are particularly susceptible to this, as they are shaped by the prevailing ideology of the time and place in which they are created and discussed. These films serve as a means of propagating state-sponsored ideologies, which can then be used to legitimise state propaganda. They are essentially used as a trial run to measure the public’s reaction to certain ideas before implementing them. These films function as a symbolic order, swaying public opinion in line with the desired political narrative. The depictions in these movies, being fictional, are often exaggerated and used to evoke feelings of patriotism and nationalism, making it easier for political leaders to shape the status quo in their favour.

Films are generally regarded as a source of entertainment, but they also have a profound impact on the realities of our lives. Even movies with superhero themes, which are purely fictional, have the power to shape political realities. For instance, the Marvel Cinematic Universe, a franchise that features individuals with exceptional abilities, highlights the inability of governments to address significant issues or credible threats. These governments tend to view those who can effect change as a greater threat than the aliens themselves. This commentary reflects on the governments’ and leadership’s propensity to prioritize personal insecurities and power politics over the greater good. This, in turn, questions the relevance of democratic institutions and government, which is ironic given that the films originate from a country that has historically promoted democracy. This paper aims to explore how these films portray global politics and economic relations, and the rationale behind these depictions.

RELATIONSHIP BETWEEN POLITICS AND THE FILM INDUSTRY

Before examining the portrayal of political institutions in films, it is important to consider the extent to which these institutions influence the film industry, as this relationship will greatly determine the narrative or nature of the films. It is crucial to understand the independence of the film industry when it comes to politics. During the Cold War era, also known as the era of ideological conflict, films played a significant role in fostering a sense of nationalism among the population. They served as an effective means of disseminating an ideology that would advantage the host country. Films became a tool of soft power, and both sides utilized them to the fullest.

Independence Day, a motion picture released in 1996 and starring Will Smith, exemplifies the interconnection between politics and cinema. The film centres around an alien assault on Earth and the United States of America’s leadership and military’s endeavour to exact retribution and obliterate the extraterrestrial ships, thereby preventing further attacks. This reflects the ‘saviour of the world’ narrative that the United States of America champions and takes pride in. The movie’s portrayal of the United States as the epicentre of the world is strikingly evident. The Cold War period in Hollywood was greatly influenced by the United States’ aspiration for global dominance. It sought to establish US supremacy across the globe. The Cold War was a critical juncture in US political history, and it was essential to emerge victorious in ideological warfare. Consequently, the United States utilised film as a medium to rally the masses and legitimise its actions through an exalted portrayal of patriotism and nationalism. Depicting the US as the only state capable of addressing global threats was a recurring theme in these films. Although the movie is more than a decade old, it accurately portrays the nature of the international arena. It depicts the US at the centre, emphasising that the US is a superpower today and an economically advanced nation with immense financial resources and the ability to carry out military operations. However, compared to the present reality, this portrayal might not be entirely accurate, as the US is currently grappling with enormous debt and bearing significant costs for its interventions around the world.

Nonetheless, it maintains a significant influence and directs economic ties in some manner or form. Hence, one can argue that the depiction is a fictionalized exaggeration of reality, despite the presence of some factual elements. How autonomous is the film industry -from any location or time frame- in creating or presenting narratives that challenge the established order? This study will delve into specific films as case studies and scrutinize them meticulously to glean a clearer understanding of the portrayal and to what extent it reflects the true picture of the global arena.

Analysis

Part 1 of the paper examined films as tools of ideological expression and explored the relationship between the film industry and the State. Moving forward, the paper will delve into regional cinema to investigate its narratives and discourses. Entertainment media has emerged as a powerful socio-political institution that wields influence over the state and individuals through the stories and ideologies it presents. Media has the capacity to depict social realities in accordance with the norms, values, and laws of society at a particular time (Zelizer and Allan, 2011). By comparing and contrasting films from different eras with the social realities of their respective times, it becomes possible to uncover the interconnections between reality and representation. During the Cold War era, films were utilized to foster domestic patriotism, thereby granting the State the legitimacy to pursue its ambitions and achieve greatness. Independence Day is an illustration of this phenomenon.

The way in which the domestic audience receives information about foreign policy through portrayals of interstate relations is complex, and these portrayals are often influenced by state-centred bias and ideology, which can result in the transmission of biased information (Baum, 2007; Cohen, 1963; Entman, 2004; Chomsky, 1989; McChesney, 2008; McQuail, 2005). The role of the media as a discourse-producing entity and as an entity that defines the complex but symbiotic relationship between the government and the media is central. However, while the media should work independently, it is often commercially motivated and, therefore, promotes the ideas and beliefs of the status quo due to the intertwining of vested interests with the corridors of power (Bagdikian, 2004; Bettig and Hall, 2003; Norris, 1990; Vivian, 2006). This results in the media and government submitting to the interests of a small section of the community being propagated, rather than serving the socio-cultural aspect of the institution.

In the 21st century, propaganda and ideology have become increasingly pervasive. This is due to the rise in content production that aligns with state agendas and the status quo. In India, the movie “The Kashmir Files” has sparked debates regarding whether it is a right-wing propaganda. The movie recounts the exodus of Kashmiri Pandits in Kashmir and the bloodshed that occurred during the 1990s. In today’s context, where right-wing ideologies are gaining momentum, it is evident that ideology and statecraft are interconnected. The portrayal of world and domestic politics is not devoid of an underlying ideological intent. For instance, Bollywood movies like “Raazi” and “LOC Kargil” play a crucial role in propagating India’s foreign policy stance within the domestic political arena. These movies depict India as a progressive global entity, while also propagating the Indian “Big Brother Syndrome” towards its neighbours.

In the movie “Raazi,” released in 2018 and starring Alia Bhatt and Vicky Kaushal, an undercover RAW agent is married to a Pakistani army official to retrieve crucial information regarding Pakistani moves in Bangladesh and India in 1971. The movie portrays India as a superior state trying to liberate Bangladesh (then East Pakistan) from the “Enemy.” This theme of Indian superiority among its neighbours is prevalent in most films that deal with world and domestic politics. Similarly, the developed West promotes capitalism through films and other visual media.

Hollywood emerged as a centre for state-sponsored and ideology-driven content during the Cold War. Movies like Wall Street, released in 1987 during an ideological conflict between the United States and the USSR, reflected capitalist ideologies and demonized the USSR and its communist system. The film depicted the ruthless and often exploitative nature of capitalism that prevailed during the 1980s. One of the lead characters, Gordon Gekko, portrayed by Michael Douglas, advocated for the greed and highly capitalistic nature of businessmen. In the context of the Cold War, this promoted a specific type of capitalist ideology to counter the Soviet or communist threat. The glorification of the businessman and the discontentment of the businessman played a significant role in the domestic economic output. The 1980s glorified greed, and this movie accurately represented it. Wall Street explicitly conveyed the notion that morality should not be prioritized over money. The film also featured a speech by Gordon Gekko, in which he declared, “Greed is good.” Movies like this projected a sense of American exceptionalism in the political and economic sense.

“Don’t Look Up” is a satirical film released in 2022 that critiques the global response to the impending climate crisis. Although the movie aimed to address the issue on a worldwide scale, it primarily focused on Western perspectives. A film that seeks to tackle an international issue should address it on a more comprehensive level. The film, produced in the United States and released on an Over-The-Top (OTT) platform, failed to address the problem it intended to address due to the country’s state-centred ideology and propaganda, which portrays the United States as the saviour of the world. Even though countries like Russia and India were mentioned, the film’s Western bias was evident in the portrayal of these countries as technologically inadequate in stopping the comet from colliding with Earth. This bias is also reflected in movies produced globally, where the notion that national interest takes precedence over all else is a recurring theme.

Therefore, it can be asserted with confidence that when motion pictures address world politics and economic relationships either currently or historically, the narrative is not unconnected to the state’s agenda. It is permeated with ideology that continually resurfaces. The only solution is the establishment of an autonomous media institution. It is crucial to distinguish between art and the state, as art has proven to be revolutionary in the past. The art produced in India during its quest for independence embodies that essence of truth and authenticity which appears to be lacking in today’s profit-driven, capitalistic world. It is vital to view things objectively, removing the tint of ideology, and acknowledge reality for what it is. This is where the political economy comes into play, exposing the exploitative, biased, and dismissive workings of the industry and institution. Numerous academic studies have examined and concluded that films have significantly influenced the public’s perspective on the State and its actions, making a thorough analysis of contemporary films even more necessary. In a world where false information spreads rapidly, independent media is indispensable.

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