Do we even really need a Censor Board, anymore? 

The Censor Board is again in the news today, for failing to certify a film, ‘Lipstick Under my Barkha’, which its boss Pankaj Nihalani, believes cannot be fit in its three pre-defined categories of certification- ‘U’, ‘U/A’ and ‘A’. The film, therefore remains uncertified. Not too long ago, a similar issue erupted, when a film maker had to eventually go to court, to over ride, several cuts recommended by the Censor Board.

When the Decks were all set for the film’s release, a shocking thing happened. The film suffered an attack of ‘pre-release piracy’. There were even suspicions raised about the print being a ‘For Censor Board’ copy. There have been similar reports, suspicions and allegations surrounding for South Indian films like ‘Premam’ and ‘Papanasam’ as well, but this post deals with the relevance of the functions of the Censor Board, in a modern Digital ubiquitiously internet accessible world.

The origins of the Censor Board in India can be traced to times of Pre-Independence. At that time, India was divided into several presidencies like The Nizam, Travancore Dynasties, Madras Presidency, Bengal Presidency and so on. Each of these independent presidencies had their own independent admistrative agencies, typically, under the blessings of the British.

So, if a Film made at that time, had to be shown over the country, it meant that it had to be certified multiple times. This presented a peculiar problem. A film could be certified for viewing in one presidency, yet could be deemed ‘unfit’ in another.

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A 1938 Censor Board certificate of the Telugu Film – ‘Malla Pilla’ issued by the Madras Board of Censors. The Film was directed by G.Ramabhramam. 

In the year 1949, Independent India setup up a ‘film enquiry committee’ under the auspices of Bombay’s then Mayor, S.K. Patil. The commitee which in its member board consisted of ace Film Makers like B.N.Sircar and V.Shantaram. It also consisted of representatives of the I.C.S ( The body under Information and Broadcasting Wing). The group toured the country and met various stake holders in the country and took their feedback and presented a report titled ‘Report of the Film Enquiry Committee 1951’.

Some of the committee’s recommendations which were eventually implemented were :

  1. Setting up of a body to preserve film Heritage. This body later became the NFAI.
  2. Setting up of a training institute for Actors and technicians aspiring to be part of the Film industry. This body was what became FTII, Pune. ( There was an independent Training institute in Madras which was set up by the South Indian Film Chamber of Commerce. Some of the successful graduates of this institute were Actor Rajinikanth and Chiranjeevi).
  3. Setting up of the first local ‘Raw film’ research and Manufacturing Factory in Ooty. Prior to this Raw films had to be imported and were very expensive.
  4. Having a unified Censor Board, across the nation.

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A Recertified Censor Board Certificate for the Film ‘Ratha Kaneer’ issued by the CBFC.

The validity of the Censor Board certificate was originally meant for only 5 years. It was later extended to 10 years. This means, that every 10 years, a film maker would have to get his film recertified, a totally absurd procedure that has thankfully been done away with.

Censor Certificates of the films Kutty(2001 Janaki Viswanathan) and Thotaal Thodarum (2014 Cable Shankar). The Certificates provide more details about the Censorship process and have done away with the expiry-period of the certificate.

Although Newer forms of Technology for information like the ‘Radio’ and “Television’ evolved, the Censor Board continued to hold its relevance. Not only did Cinema reign supreme in its mass appeal in the ‘Entertainment’ sector, but its other competitors had to follow a ‘code of conduct’, for disseminating information. A channel which wished to broadcast ‘Video’ ( Television) or ‘Audio’ ( Radio) had to get a license in order to obtain ‘radio spectrum’ to transmit their signals. This meant that they were bound by ‘rules’, and they had to be responsible for the infomration which they broadcasted. So, an organization like the Censor Board continued to have ‘functional sense’, until till about a decade ago.

Up and until this time, people were still used to a traditional ‘uni directional’ flow of information. But the growth of the internet brought focus on the bi-directional aspect of the Internet. Not only could users now demand content, at a time of their choosing, but now they could be a part of the system. They could now create content but also share them to the world (upload), something that had not been a part of mankind.

It is in today’s new digital landscape that the ‘function’ of the censor board needs to be addressed. What is the role of the ‘Censor Board’? Every minute, 300 hours of video is uploaded on YouTube, alone. If one even conservatively assumes that this sums up 50% of global uploads ( Commercial Digital content, new user content created, remixed , modified, and shared), then we roughly have about tonnes of data, represented in 600 hours of video, as a function of ‘bandwidth ‘and ‘storage’.

So, there is no way that we can have a body that can physically monitor so much content, even if it had the accessibility. And this rate of content generation only continues to grow. The second aspect is that this content is constantly shared, modified and re-shared. Each of the users on the Internet today :- receive, consume and share. In this flood of ‘rapid information exchange’, in most cases, the ‘creator’ and the ‘last mile user’ analogy has changed totally.


The second aspect is that ‘any form of content’ is so easy to access. At a click of a button, pornography is accessible. Pirated and Infringing content is accessible. Most websites don’t even use the mock ‘Click here to Enter if you are above 18, else leave’. It is just pointless.

So, now we come to the scenario, where a content creator who wishes to disseminate his information under the traditional model, has to subject his rights of ‘freedom of expression’ to a group of individuals who may have a different moral code of conduct, and may choose to apply the scissors, whereas, disseminating in the parallel much larger internet world, need not have to go through the knife. The same aspects come from the viewers point of view, as well. Barring the ‘monetary’ aspects, there seems to be a huge mismatch.

The second aspect of the question, is, what are the powers of a Censor Board in ‘reality’? There have been umpteen instances, when a film, which has been ‘Certified for Public Viewing’ has been held up allegedly by ‘miscreants’ or by those who have used the ‘publicity’ for their own benefits. The Censor Board has been able to do nothing, in these cases.

The Censor Board continues to play an important role, but its role has been severely limited by technological advances, and at times, rendering it redundant, when seen holistically from a view point of society. May be, it is time, that an entire upheaval of the vintage body happens, in connection with the times.

 

 

 

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Gnanavel Raja takes on Tamil Rockers.. 

Last week, one witnessed an emotional outburst of Producer Gnanavel Raja, during a promotion event for the Vijay Antony Starrer ‘ Yeman’. Understandably, for all the pain that Raja has gone through as a producer, being able to do nothing, he spewed all venom against ‘Tamil Rockers’, an alleged website that promotes Online Media Piracy of Tamil films.

Although Tamil Rockers is just one of the possible hundreds of ‘strength-in-depth’ Tamil based Piracy websites, TamilRockers has nearly became the face of ‘Tamil Piracy’. The reason for this has to be strongly attributed to its presence on Social Media, typically, something that has become a way of our lives – The Meme culture.

It is unknown who makes these memes supporting Tamil Rockers. It could be someone associated within the website network itself or it could be a fan or a supporter, but with the power of social media, TR has obtained immense popularity over atleast the last 6 months.

This has immensely helped the site differentiate itself from its potential competitors, and has nearly almost grown to become the face of ‘Tamil Piracy’, as much as ‘The Pirate Bay’ represented the ‘Adhi’ and ‘Andham’ of Piracy at its peak.

The moot problem in my opinion in this case is while TR like any other Piracy network causes monetary losses to the Cinema Industry, it additionally with its memes coming out on Social media ( which the public mock for a minute and forget) takes a dig at the near impotency of the Film Industry, that they can do nothing about it.

So, now Gnanavel Raja has decided to jump into the administrative bandwagon to see if he can control this horse. He hopes to pin down ‘TR’ in six months and stream the live event of sending the folks behind ‘TR’ to jail. The irony however is that, even if such an event happened, neither would it be a ‘publicity stunt’ or a ‘deterrant’. How many of the public even remember the raids that Actors ‘Parthiban’ and Vishal did on Pirated DVDs? How many people remember Poor Premji coming out and cribbing against Pirates, when Biriyani’s Audio was pre-release-pirated? I dont think there would be many.

Even if we assume that ‘TR’ is shut down for good, will it affect the Public? I don’t think so. Names like ‘MegaUpload’, ‘KAT’ and “TPB’ were once names ‘allegedly’associated with Piracy. They are no longer at their prime. Infact, some of the leaders in this field do not exist. Their assets have been seized, their Servers are down and they no longer are able to serve feeds, as they once used to. Does this make a difference on the users, who once used these websites? No. Those who consumed such content have simply moved on. Their attitude towards both the ‘copyright holder’ and the ‘person or website serving such content’ is just ‘indifference’.


A very interesting response from the end users perspective, taken from a Social Media post which came into my FB feed. A lot of these points have been discussed at various places earlier, like Cheran’s C2H business model for example. 

Cinema which has one of the most distinctive features of being an early’ art’ and ‘cultural’ medium that brought various classes of people together seems to slowly move toward in a direction not much desirable,  from the perspective of the generic film watching public. 
Newer Technologies for communication keep coming. Pirates usually rely on the strength of ‘technology’ while the Anti-Piracy group relies on ‘legal means’.  Each time, the mirage of having caught up appears, the gap distances itself in the next round.