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After coming to power at the Centre with a majority in the 2014 elections, Narendra Modi’s government brought the experience of hatred from the Godhra to the rest of the country. Despite assuming the responsibility of the Prime Minister of the country, Modi never hesitated to practise the politics of discrimination and hatred against Muslims in all his dealings.
Artist supporters poisoned by his ideas spread this poison further through their tone and style. This poison can be seen in scenes and heard in dialogues on social media, short videos, reels and movies. The audience and intellectuals shocked by the hatred perpetrated by The Kashmir Files might not have seen and heard the ‘hate campaign’ that has been going on for the last three years.
After the sudden death of Sushant Singh Rajput, there was an organised attempt to defame the Hindi film industry without any basis. As a result of this effort, the hashtag ‘Boycott’ starts running at the time of release of every new film.
Clearly the central government and the BJP leadership are unhappy with the secular attitude of the Hindi film industry. Directly or indirectly pressure is being put on the Hindi film industry. The situation has become so dire that every script is being sent to the lawyers first. They advisewhether or not to make that intoa film. They ensure that the supporters of the government and the BJP do hot take offence toany dialogue or scene in their film.They are on high alert about this taandav and tamasha.
The Kashmir Files, only consolidates and concentrates in one frame the hate ideas being spread over the years. Radhika Menon’s character in the movie, at a university like JNU, comments made to media and criticism of Congress are recreations of that same propaganda.
Hindi films were always about love, harmony and brotherhood in the society that emerged from the horrors of Partition soon after Independence. Films inspired by Gandhi-Nehru ideals in nation building filled progressive consciousness among the audience. Here we must not forget that Hindi films have been mainly influenced and infused with the upper-caste feudal thinking, just like in Indian society, but efforts for harmony in social diversity also persisted. Tolerance and compassion prevailed. For a long time, the love stories of Hindi films tried to bridge the gaps existing insociety.
The films depicted ped an idealistic society and families. They were guarded against fanaticism and religious hysteria. Audiences kept singing ‘Tu Hindu Banega Na Musalman Banega, Insan Ki Aulad Hai Insaan Banega’, though the family and society in the stories of the films remained predominantly Hindu upper castes to woo the majority audience of the country.
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