Context:
The debate on whether propaganda can qualify as great art has resurfaced following the commercial and political visibility of the Hindi film ‘Dhurandhar’. The discussion raises deeper questions about the relationship between art, power, ideology, and ethics, especially in a socio-political environment where cinema increasingly shapes public consciousness and social narratives.
Key Highlights:
Understanding Propaganda and Art
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Asim Siddiqui defines propaganda as the selective use of facts, images, and narratives to persuade people toward a specific viewpoint.
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Sudhanva Deshpande argues that propaganda is rarely accidental; it is usually backed by organised forces and sustained by a larger ideological ecosystem.
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The core tension lies between:
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Art as a space for questioning power, and
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Propaganda as a tool for reinforcing dominant power structures.
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Cinema and Ideological Influence
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The Hindi film industry has witnessed a rise in films that propagate the Hindutva worldview, often with:
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State and non-state support
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Strategic amplification through media and social platforms
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Despite orchestration, many such films fail commercially, suggesting limits to manufactured consent.
Representation and Social Impact
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Portrayal of Muslims as ‘enemies within’ is not new and has historical roots tracing back to the Ram Janmabhoomi movement.
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Films like The Kashmir Files receiving a National Award for national integration are viewed as ironic, given their polarising narratives.
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There is concern over suppression of alternative narratives, such as:
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Removal of caste identifiers in a film on Jyotirao Phule.
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Filmmakers are often pressured to include rage-baiting scenes to trigger social media attention and visibility.
Art vs Ideology Debate
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Deshpande contends that:
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True art interrogates authority and unsettles dominant narratives.
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Propaganda legitimises and stabilises power.
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The claim that contemporary nationalist propaganda counters progressive cinema of the 1950s–1970s is challenged as a false equivalence, since progressive cinema did not promote hatred against any community.
Critical Engagement with Art
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It is possible to:
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Appreciate the technical or aesthetic merit of a propagandist work
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While remaining critical of its ideological message
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Critical thinking allows society to:
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Re-evaluate older films and texts
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Question earlier emotional or ideological responses
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Relevant Prelims Points:
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Issue: Blurring boundaries between propaganda and artistic expression.
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Key Terms:
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Propaganda
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Hindutva
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Islamophobia
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Sectors Involved:
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Cinema
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Media
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Cultural institutions
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Impact:
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Shaping public opinion
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Reinforcing or challenging social divisions
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Relevant Mains Points:
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Art, Culture, and Society:
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Cinema as a powerful medium influencing social attitudes.
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Representation and responsibility in cultural production.
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Ethics and Democratic Values:
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Tension between freedom of expression and social harm.
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Role of art in promoting empathy versus exclusion.
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Conceptual Clarity:
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Propaganda: Persuasion aligned with power.
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Art: Exploration that encourages reflection and questioning.
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Way Forward:
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Strengthen cultural literacy and critical thinking among audiences.
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Protect creative freedom while encouraging ethical accountability.
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Ensure space for plural narratives in cinema and art.
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Foster independent cultural institutions insulated from political pressure.
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UPSC Relevance (GS-wise):
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GS Paper I – Art & Culture: Role of cinema in society.
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GS Paper I – Indian Society: Social narratives, communal representation.
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Ethics: Art, propaganda, moral responsibility, critical reasoning.