The interests of the capitalare subjugating everything else Loo king at contemporary cinema, it is obvious that this cinema is using its forgetfutriess as a vwapon against the public. It's ntved a tong distance away from history, heritage, culture and memory. ln fact. it is manufacturing a collective amnesia in a commercial basis. Such amnesia provides excettent manure for the tust for power to flourish
This is not a phenomenon that happened onefine mo ming. The very growthof Indian cinema had happened during a period of intrusion, even as censorship viras inflicted upon it. Its very existence has been under deference to censorship. it has rarety fought against the establishment, though some tone voices have managed to sneak themsetves across the barrier.
The generat mission of the saver screen is not to go deep into the world vve tive in. mine out its core and show us: it is to make us feetcompetted to forget.
Its craft isn't about rnernory_. it's about making one Lose one's sense of reatity.
Cinema is atways under a state of emergency - an emergency imposed by povcer and money. Even though each fitm has its ovvn potitics, Indian cinema's preoccupation with being apotitical displays its ovvn stavery to the system. This is the reason why a fiLmrnaker Like Krzysztof Zanussi has been saying that censorship is the biggest obstacte, si nce the dawn of Soviet cinema The old Commun ist order and the nevv capitatist one have the tech no Logy to potish and shapecinema at the very content Media suchas poeby, novet and nevvs journatism have deveto ped the tactics to circumvent such interventions