ETHICAL PROBLEM WITH

THE FILM INDUSTRY OF

PAKISTAN
Film is arguably the foremost influencing supply of communication round the world. Self-made
nations use the medium of film to teach and make awareness among their individuals and to market
their culture domestically also as internationally. The medium of film is one in all the explanations
behind the vertical flow of data that we tend to witnessing round the globe.

In the words of legendary filmmaker Ingmar Bergman Film as dream, film as music. No art passes
our conscience in the way film does, and goes directly to our feelings, deep down into the dark
rooms of our souls.

This citation substantiates the idea that film is that the most powerful kind of all communication
techniques and leaves a profound impact on the psyche of a private and successively affects the
society. This important tool is employed for portrayal the culture, issues and dreams of a society.
Because the world has become a world village, cinema associate degrees film-making plays a crucial
role not solely in promoting cultural values and bonding completely different nations however
conjointly in providing an alternate means of expression.

Pakistan, incorporates a made history of film-making. The historic town of urban centre was the hub
of film creating, before the partition of Bharat. Its conjointly same, that the industry in Bharat was
born in urban centre. When the partition, most of the trade migrated to the Mumbai. But still, urban
centre was home to a major range of actors, administrators and film producers. The 50s and 60s
were the peaks of Pakistani industry. They were in competition and at par with the Indian films of
that point.

DAWN OF PAKISTANI FILM-INDUSTRY:

After the partition, reconstruction of the film industry in Pakistan was an uphill task but luckily we
had a good number of artists here and they played a very crucial role in laying a solid foundation of
the film industry in the country. The first Pakistani film Teri Yaad was discharged in 1948, that was
so the primary joint effort of Pakistani artists that was thriving. The primary blockbuster film within
the time period of the Pakistani cinema was Do Ansoo that discharged in 1950. Do Ansoo became
the primary film in Islamic Republic of Pakistan to fancy a 25-week run at the box workplace,
eventually achieving a jubilee standing.

The early days of Pakistani cinema also witnessed the directorial debut of its first woman film
director in the legendary singer and actress Noor Jahan. Released in 1951, the Punjabi film Chanwey,
was directed by her.
GOLDEN ERA:

As film viewership enlarged exponentially within the country throughout now, Sassi, (1954) went on
to become the primary Pakistani film to achieve golden anniversary standing by enjoying 50-weeks
on theatres.

Around the same time, the primary ever Sanskrit language film Umar Marvi was free in 1956. The
Pakistani movie industry is additionally notable for manufacturing several outstanding and famous
actors, directors, producers, writers and playback singers. The time of 1956 - sixty six is thought to
be the golden era of Pakistani movie industry. Throughout this era, several classical films were
created and made in Islamic Republic of Pakistan. As of these days, Aaina is taken into account to be
the foremost prospering and well-liked Pakistani film that was ever created. The film stayed within
the cinemas for over four hundred weeks.

Pakistan screenland was in a very far better form before the late 1970s. The themes were a lot of
softer and romantic and that they accustomed concentrate on the problems of the society and were
within the frame of reference of a class man. Asian nation screenland created

Some of the nice comedians like Munawar Zareef, Rangeela, Nanha and Lehri. Even the lot of
stronger Indian screenland ne'er had comedians like them. We tend to had heroes like Waheed
Murad, Mohamad Ali, Nadeem, Sudheer etc and Noor Jehan and Sabeeha Khanum were

The leading heroines. Except for the solid, Asian nation screenland had superb technicians and music
administrators likewise like Khawaja Khursheed Anwer. Armaan, Bandish, Shaheed, Baji, Koel, Amrao
Jaan adenosine deaminase and Baharo Phool Barsao ar thought of to be the foremost booming films
created throughout this golden age of the Pakistani cinema.

Not several in Islamic Republic of Pakistan understand the actual fact that since the birth of cinema
in Pakistan, solely 2 Pakistani films had been submitted for the Oscar Awards, Foreign Language Film
Awards class. Each submissions were musical-dramas in Urdu. Pakistan's 1st Oscar submission was
Jago HUM Swera (The Day Shall Dawn, 1959). The flick was recorded in capital of Bangladesh, East
Pakistan (contemporary Bangladesh) by the East Pakistan Film Development Corporation. Supported
a completely unique by Bengali author Manik Bandopadhaya, the films book was written by Faiz
Ahmad Faiz and it had been directed by A.J.Kardar. Scripted within the Urdu language. The films
plot was regarding the daily lives of the fishermen of East Pakistan and won a significant award at
the Moscow International festival.

Pakistan's second and final Oscar submission, Ghoonghat (The Veil, 1963) was regarding the
disappearance of a veiled young bride on the day she is regular to be married off to a fashionable
young man. Since 1963, no Pakistani film has been submitted for Oscars.

Pakistans 1st venture into English filmmaking was Beyond the Last Mountain (1976), initiative of
Javed Jabbar. However, the film's Urdu version Musafir didn't had best at the box-office.
But since then we will see never-ending decline of the Asian country screenland. Allow us to have a
glance at a number of the main reasons behind the failure of Pakistan film industry.

PROBLEMS WITH THE INDUSTRY:

Industries of the world.

- One of the major reasons There were several reasons behind the eroding away of the
Pakistani film industry. One of the major reasons was the Fall of Dhaka. It came as a rude
and destructive jolt to the Pakistani film industry.

- At the same time, the mid-70s saw the introduction of video cassette recorders in Pakistan
and instantly films from all over the world were copied (pirated) onto tapes, and attendance
at cinemas dwindled as people preferred to watch Indian films in the comfort of their
homes. This ushered in video piracy in Pakistan. Films began to be copied on tapes on the
day they hit the cinemas.

- Under the Martial Law of Zia ul Haq, just like the other genres of arts, cinema also fell prey
to its numerous dictates.

- During this period, classic love stories and Urdu films totally vanished from the scene. The
new genre of films that were being made were commonly known as Gandasa Culture.

- Mola Jutt, which was a huge success fell into this category of films. Sultan Rahi became
famous and hundreds of Punjabi films were produced, proudly showcasing violence,
bloodshed and a low degree of sensuality.

The Gandasa Culture begins from here, wherever the films were created shown a tricky guy of
geographical region, Sindh etc. Having a Gandasa all the time, just like the feudalistic lords he fights,
he drive, he sleeps, however dont work features a heap of cash. Heroines were there too only for
the sake of beauty with heaps of sensuality. Id add a touch sensualise however the body and
physique of each the male and feminine actors were huge large not slim, what is more they wear
garments of various colours that create them seems like a tent apart from a dress. Illiterate
filmmakers era it absolutely was with no sense of film creating, stepped into the trade they created
movies that don't have any coordination between the story and scenes the screen play nor the lead
role couples.

This trend continuing well into the 90s, that resulted in disappearance of audiences from the
theatres and also the Pakistani movie industry virtually folded. Till 1999, the trade went through
heaps of ups and downs.

And people were merrily looking at film industry and Hollywood movies at that point with none
criticism on the 2 huge behind the failure of Asian country movie industry in my opinion is poor
spiritual interpretation by the Mullas. Operating in films isn't thought of excellent by the good
families in our country. This is often the rationale why we tend to don't see enough educated folks
returning into this trade that is already lacking expertise.

In my opinion, films of international customary may be created whereas staying within the
boundaries given by Islam and it's not necessary to own vulgar or nude scenes during a moving-
picture show. Its quite obvious that we tend to cannot expect illiterate folks to contend
internationally.

In Pakistan, a movie is usually made for an audience which is not educated and does not have a taste
for art or aesthetics. They would just come to cinema to see action fights or vulgar sort of a dance of
a female dancer.

The need of the hour is to create movies which have proper themes and subjects rather than the
Gandasa Culture.

After the decade of 1970s, Pakistani film producers concentrated on making profit rather than using
the medium of film as a serious mean of communication. Their mentality is to spend 10 lacks on a
movie and they would be satisfied if they can earn about 2/3 lacks of profit.

The censorship policy of the Pakistan film industry needs a rethink. While examining films, the
censor board can eliminate public exhibition of a film or any part thereof which is likely to:

1. Impair accepted moral standards and social value by glorification of vice or crime:

2. Give offence to any section of the public or injure the feelings of any class of persons:

3. Hurt national sentiments:

4. Contains dialogues, songs, speeches, dances, jokes or gesture which are obviously vulgar obscene
or indecent:

5. Undermines Islam: or

6. Ridicules, disparages or attacks any religious sect caste and creed.

I don't assume that a correct film is created by following all the on top of mentioned clauses of the
censor board.

Right now there's no correct film academy in Pakistan, whereas all round the world the art of film is
educated properly. There are a unit complete acting faculties and even the technicians also are
properly trained. Thats why Hollywood and Bollywood area unit able to produce professionals who
will surpass in their needed fields.

Till the time Pakistani business was drained and destroyed. With a block on issue based mostly films,
showing heart on screen, cinema took course towards showing violence. Violent action movies
disassociated the overall population UN agency needed to observe quality cinema as critical rowdy
fighting sequences, progressing to the theatre was currently seen as a social sick, girls operating
within the business were looked down upon and tagged sleazy, now not did respectable families
appreciate operating within the movie industry. Personal spiritual beliefs were forced into cinema to
create it morally acceptable, this eventually killed the cinema. With the business not manufacturing
any films, the overall public most well-liked to remain reception rather than progressing to the
theatre, foreign films were watched at homes victimisation VCRS, and native classics were conjointly
enjoyed.

New individuals weren't stepping up to vary the case because the business was like went into
associate degree previous non-sense perceptions. The TV & Drama business was flourishing however
not the movie industry. Whereas film industries have weather-beaten changes in viewing habits, it
seems that government edicts compete an enormous role within the collapse of the business. The
theatre owner needs the govt. to restrain on DVD piracy whereas filmmakers insist that government
support is required to produce refined and up-to-date equipments for film-making. Movies from the
neighbour Asian nation conjointly get the share of its blame as most Bollywood films have a lot of
larger budgets for films and its selling campaigns. The films presently being created, if any weren't
adequate. Cinema homes found it troublesome to control and generate profits and therefore slowly
pack up. From 750 cinema homes within the country, by 2002 solely one hundred seventy remained.
People who remained were barely creating profits and had extraordinarily poor conditions and no
new releases. These troubled times eventually diode the Pakistani cinema to extinction.

RENAISSANCE OF PAKISTANI INDUSTRY:

However, in the last decade, Gen.Pervez Musharraf not only opened the market for independent
media houses but also helped in revitalization of the Pakistani film industry by nurturing new talent
and encouraging film making. The efforts for the revival of Urdu film industry in Pakistan was also
brought into limelight.

The now dead Pakistani film industry needed a miracle for revival, that miracle did come in 2007.
This game changer did not realistically revive the industry but it led to events that are today pushing
the industrys revival. This breakthrough was Shaoib Mansoors Khuda Kay Liye (In the name of
God). This film was a not just any step towards revival, it was a very bold one indeed, and this
movie was made on sensitive religious issues concerning Pakistan.

(Another Problem: Shoaib Mansoor was given life threats due to the contents of his film but the
veteran was not to be shaken, this was a step breaking the boundaries set by the era of strict
censorship, being out there defying the conservative norms set by the past government and later
society, showcasing a true form of creativity and free expression.)

The film was free not solely in Asian country however was allowed unleash in neighbour Asian
country, it had been contend across a hundred cinemas in Asian country. This unleash junction
rectifier to the Asian country government lifting the ban on the discharge of Indian movies in
Pakistan.

But its means too thought to stare at a revival while not sniffing hassle trapped, the new wave of
Pakistani movies weren't solely supported problems, quality, motion-picture photography however
additionally commercialized films are and area unit being made. These business films have content
that is deemed as vulgar by ethical critics inside and out of doors the business. Whereas people
don't have any drawback viewing foreign films with similar content if less morally unacceptable,
however suddenly fingers area unit raised if the native business follows suit. This terribly behaviour
are often attributed to the cloud left by the fateful policies once 1977, the cloud still roams around.
there's no drawback for folks not appreciating content that isn't virtuously acceptable to them,
they'll choose to not watch it, a similar means film-makers choose to create it, however but crying
for bans associate degreed difficult for them to be created banned threatens to bring the business
back to face one in and of itself an act can all over again become a similar wall to creative thinking
and free expression.

It is argued that quality films are often made while not freedom of expression, however it should be
accomplished, that was the logic utilized in 1977 and that we saw the implications of that. By
proscribing creativity, you may never see those quality films that you so dearly demand as it is often
after failures and exploring other avenues, masterpieces are produced. Had Da Vinci been told that
he could only paint Mona Lisa, he would never have been able to paint it, because that is not how
masterpieces are made, hundreds of lesser pieces are made, which are made by solely creative and
personal choices not by the rules set by society to eventually stumble upon that masterpiece. It is
sad that there are people even within the industry that should promote freedom of speech,
expression and choice negate this purpose and instead choose to target others on making content
that is not acceptable that is not pure.

There are those who stand for banning Bollywood content once again, stating patriotism as the
reason but are also blinded by it. Even at this stage the Pakistani film industry produces no more
than 10 films a year, of which 3 or 4 turn out to be hits. Cinemas cannot stand to be profitable with
just 3-4 films a year and the addition of Hollywood movies which are not in the common tongue, not
highly popular amongst the masses. Such a ban will once again lead to shutting down of cinema
houses and repeat the very process that begun in 1977.

Embrace thy neighbour:

For associate audience that is comparatively a lot of crucial and has the power to perpetually
compare native content with the foreign films they watch, it's essential that films created regionally
ought to have a world charm. it's crucial conjointly as a result of given the present state of screens in
Pakistan, no film will create business sense unless its varied revenue streams, but home unleash,
square measure exploited.

There square measure roughly sixty six screens within the country out of that principally forty square
measure capable of generating revenue. the great news is that a lot of a lot of screens square
measure underneath construction however the dangerous news is that until the time after we have
a minimum of 80-100 screens, no film will create profit unless in fact if somebody tries to alter the
colour of their cash or has institutional support and doesnt care regarding creating cash in on a
production. The theatrical unleash within the country of production is just one among the various
revenue streams of a movie.

Cinema audiences from provincial capital to Sydney square measure keen to visualize the remainder
of the globe on the large screen. This doesnt in any means imply that film-makers got to create
compromises on creativity; thats a lame excuse. Any sensible film-maker has the power to inform
an area story in its true context in ways in which it will charm to audiences all over.

For the sake of argument if we have a tendency to forget the international audience, why not look
eastward? in any case, we have a tendency to square measure solely a couple of kilometres faraway
from one among the worlds largest cinema-going audience and don't have any language or cultural
barriers in and of itself, unless in fact you suspect that the folks of Amritsar speak Bantu and also the
population of Delhi has ne'er seen a pants tunic in its entire life.

While there may even be some truth to the argument of some Pakistani industries that they face the
curse of non-tariff barriers in Indo-Pak trade, most claims concerning Pakistans industry not having
the flexibility to make it to the Indian mart live supported mere assumptions and half-hearted
efforts.

We know for an undeniable fact that a minimum of 1 among the two Pakistani films free in India
throughout the last 10 years has done very well. Wouldnt that be a rate of fifty per cent success by
simple calculation? Shouldnt Pakistani producers and film-makers be train up to use such a massive
likelihood nearly lying next door?

( Apart from theatrical release in different territories, there are many other possible revenue streams
of a film namely music rights, satellite, direct to home, video on demand, pay TV, iTunes, Netflix,
airborne rights, etc. In order to exploit all these possibilities, a person from production needs to keep
the overall bigger picture in mind and that person usually is the producer. And yes, a producer is not
the person with a big suitcase full of money. Instead, he is the person who has to look over the whole
project, from script development to production to post-production to planning the festival circuit run
to the actual release and subsequently exploiting auxiliary rights which can be equally profitable in
some cases. )

Film is different than TV:

So an important audience and stiff competition from world content and a need to export your
cultural product on the far side the borders clearly demands rigorous designing and execution. The
primary challenge is that the script that takes up a overriding importance in these conditions. Like all
alternative departments in an exceedingly film crew, we've a shortage of film script writers. little
doubt a number of last years releases showed tons of promise however we tend to still have a
protracted thanks to go. A note of caution here is necessary: film isn't TV.

Audiences consume TV in terribly alternative ways. Its free, its within the comfort of a home,
associate degrees in most cases it nearly works as an interlude between varied domestic chores. Its
technically associate degreed sultrily an altogether completely different expertise. Cinema, on the
opposite hand, could be a group action, you create a meeting to look at one thing largely with
friends and family, its visually and audibly a way richer and rigorous expertise and specifically, you
buy it. So yes, whereas TV will facilitate evolve some content for cinema, it'll got to be terribly non-
TV to form it to the large screen.

Who will carry it further?

The lack of resources isn't solely restricted to developing content for films. It permeates all
alternative areas of film production. Primarily as a result of Asian country has suffered what will
solely be delineated as a whole disconnect from its tradition of cinema production within the most
brutal of the way. Whereas Pakistani cinema was in nearly complete hibernation within the Nineties,
things modified quite drastically on the surface. Not solely did the mode of film production bear
substantial changes, with the introduction of digital cinema the ways of delivery have conjointly seen
revolutionary alterations. Thus we've the will and therefore the passion to create cinema, we've new
theatre halls to exhibit our labour of affection however we tend to have the human resource to
provide that job of art that we thus need to cherish?

The institution of varied film faculties in major urban centres throughout the previous couple of
years has trained associate passionate heap of film-makers. However within the absence of a totally
functioning industry, that may use the trained human resource and so develop a dependent
relationship, these establishments area unit nevertheless to take advantage of their own true
potential. For a totally functioning industry still an overseas goal we tend to not solely want
film administrators however conjointly a number of the opposite most important members of a
movie crew akin to assistant administrators, unit production managers, gaffers, administrators of
photography, to call some. Not like another art forms, film may be a fully cooperative venture.

Simply put, smart administrators cant keep films unless they need glorious initial assistant
administrators or meticulous location managers. Film faculties ought to turn out those too. We tend
to merely don't need to finish up with many film administrators and no sound designer or continuity
script supervisor or nobody to hold the lights.

Small is beautiful:

All these inventive challenges have solutions and also the smart folks that square measure creating
films in West Pakistan square measure finding ways that to subsume them a day and creating do
with what they need. After all, we've got seen the discharge of seven films last year and plenty of
square measure secure for 2017. However there square measure different, rather less inventive
things to fret concerning, things that square measure on the far side the management of film-
makers and producers.

Like all different media product, cinema is additionally dependent on each non-public and public
cash all over within the world. Whereas the thought of expecting public cash to subsidise cinema in a
very country like West Pakistan is essentially fraught with danger, it's the non-public cash that has
nonetheless to show religion in native cinema.

The idea of a movie as a potential product of message delivery has nonetheless to sink in with either
the corporates or the non-governmental sector. we have a tendency to saw partial company
sponsorships in a number of the films free last year, however that was primarily thanks to cricket
being the topic of the film instead of film as a product. Like exhibitors, corporates are finding the
convenient route too convenient to experiment something new. If a sponsor is aware of their
reaching to get a lot of mileage by golf stroke cash on say, quick & Furious that is a long time
complete in itself, why would they opt for an area film? The company complete managers build it
sound terribly logical though' the fact is way from it. The potential mileage for a company complete
from an area film is manner more than any foreign film just because it's loads a lot of opportunities
on the market resembling product placement, developing advertising content round the film,
victimisation the forged for promotions, to say many. Sure these opportunities provide far more
than just golf stroke their brands on the posters of quick & Furious!

CONCLUSION:
Beyond the hyper sentiments mixed with patriotic pride about the rise of Pakistani cinema, all these
challenges are real but clearly not impossible to deal with. There is loads of promise and the passion
to make local films is inspiring, but to develop a local film industry various elements need to come
together and form a synergy. In the face of such challenges, independent film-makers and producers
should focus on low-budget productions till we have a mature film economy which can respond and
contribute to the growth of local cinema.

There are brighter days ahead, we must not bring with us that cloud of darkness, and we must leave
it behind. We should not judge Pakistani content as being poor just for the fact that its Pakistani. I
myself try to make it a point by trying to watch all Pakistani movies which release, in the theatre.
This is my part in supporting the industry, but my part in supporting the industry is also to not call
for restrictions, by not acting as a moral police to the film-makers. Supporting foreign competition
within the industry, understanding that it is essential for a long term revival and to churn out high
quality products.

Cinema is art and art is a medium of free expression. I am not defending or supporting vulgarity, I
am stating the importance of being allowed or having the choice to produce it, it is the principle
that is important and not what it protects, restrictions in art will lead nowhere but the eventual
extinction of art.

Article By,
MUHAMMAD KHIZER AHMED KHAN
Student of Bahria University Karachi Campus