Assignment 210A: Ecological Narratives in Indian Cinema: Interpreting Sherni, Kadvi Hawa and Irada Through an Eco-Critical Lens

 Academic Information

• Name: Rajeshvariba Rana

• Roll No: 16

• Semester: 4 (Batch 2022-24)

• Enrolment number: 4069206420220023

• Paper No: 2010A

• Paper name: Research Project Writing: Dissertation Writing

• Paper code: 22417

• Topic: Ecological Narratives in Indian Cinema: Interpreting Sherni, Kadvi Hawa and Irada Through an Eco-Critical Lens

• Submitted to: Smt. S.B. Gardi, Department of English, MKBU

• Email Address: rhrana148@gmail.com

• Submission Date: 26th April 2024

Ecological Narratives in Indian Cinema: Interpreting Sherni, Kadvi Hawa and Irada Through an Eco-Critical Lens

Conclusion:

The field of ecocriticism has emerged as a vital lens through which we can explore and understand the intricate relationship between literature, culture, and the natural world. As an interdisciplinary subject, ecocriticism transcends the boundaries of literary studies, drawing upon diverse disciplines such as ecology, environmental studies, philosophy, anthropology, and cultural studies. This cross-pollination of ideas and perspectives has enriched our understanding of the complex interplay between human societies and the environment.  

From the outset, the fundamental divide that has historically existed between humanity and nature has been underscored, a divide that has been perpetuated by the relentless exploitation of natural resources to fulfil human needs and desires. However, as highlighted, this exploitation has reached a critical juncture, necessitating a shift towards reverence and active conservation efforts to preserve the natural world that sustains us.

Tracing the origins of ecocriticism, the rich legacy of environmental writing and nature-centric thought that has permeated American culture since colonial times has been delved into. This legacy, which includes the works of Romantic poets, transcendentalists, and nature writers, laid the groundwork for ecocriticism to emerge as a distinct literary theory and critical approach in the latter half of the 20th century.  

It has been emphasised that ecocriticism challenges traditional anthropocentric views by acknowledging the interconnectedness of all life forms and the importance of preserving and respecting the natural world. Through an ecocritical lens, literary texts are examined for their portrayal of the human-nature relationship, the impact of human activities on the environment, and the ways in which literature can shape environmental consciousness and inspire sustainable practices.

Furthermore, the interdisciplinary nature of ecocriticism has been highlighted, fostering dialogue and collaboration among scholars from various fields. This interdisciplinary approach encourages the exploration of diverse cultural perspectives, indigenous knowledge systems, and alternative narratives that challenge dominant Western paradigms, fostering a more inclusive and nuanced understanding of our relationship with the environment.

As underscored, ecocriticism offers a holistic approach to addressing pressing ecological concerns, promoting environmental stewardship, and fostering a deeper appreciation for the intrinsic value of the natural world through the power of literary expression. By bridging the gap between literature, science, and environmental studies, ecocriticism provides a comprehensive framework for analysing and understanding the representation of nature and environmental issues in literary works.

Building upon the interdisciplinary foundations laid out, this dissertation extends the ecocritical lens to the realm of cinema, examining how Indian films have grappled with themes of ecological consciousness, sustainable practices, and the impact of human activities on the natural world.

As highlighted, film is a distinctive medium that possesses unique capabilities in conveying messages and narratives. Through the intricate interplay of visuals, metaphors, symbolism, actions, dialogues, and the manipulation of space and time, cinema offers a powerful platform for exploring environmental themes and raising awareness about pressing ecological issues.

By embracing an ecocritical approach to the study of Indian films, this dissertation aims to contribute to the ongoing discourse on environmental issues and their representation in cinematic art. It seeks to shed light on the ways in which Indian filmmakers have engaged with ecological themes, showcasing the rich tapestry of cultural perspectives and narratives that challenge dominant Western paradigms.

The study of Indian films through an ecocritical lens allows us to challenge the hegemony of Western-centric film theories and broaden our understanding of how diverse cultural contexts shape the cinematic portrayal of environmental narratives. Indigenous knowledge systems, traditional ecological practices, and alternative worldviews often find expression in Indian cinema, offering unique insights into the intricate relationships between human communities and their natural surroundings.

Environmental issues have become an increasingly prominent subject matter for artists and storytellers across various mediums, including film. Cinema's ability to captivate and educate audiences through compelling narratives and visual representations makes it a powerful medium for conveying the urgency and gravity of environmental problems that demand immediate attention and collective action.

The potential of film theory to transcend linguistic and cultural boundaries has been emphasised, embracing the diversity of voices and perspectives that enrich our collective understanding of the human-nature nexus. By exploring the intersection of ecocriticism and film, this dissertation aims to foster a deeper appreciation for the intrinsic value of the natural world and its portrayal in cinematic expression.  

Through an interdisciplinary exploration of selected Indian films, this study endeavours to encourage a more inclusive and nuanced understanding of film theory, one that acknowledges the complex interplay between culture, art, and the environment. By doing so, it hopes to contribute to the growing body of knowledge that recognizes the vital role of art and storytelling in shaping environmental consciousness and inspiring sustainable practices.

The interdisciplinary field of ecocritical film studies has emerged as a vital lens for exploring the intricate relationships between cinema, culture, and the natural world. As the literature review has demonstrated, this burgeoning area of inquiry draws upon the theoretical foundations and methodological approaches of both ecocriticism and film studies, offering a comprehensive framework for understanding and interpreting the multifaceted ways in which environmental themes, sustainability narratives, and ecological concerns are depicted on the silver screen.

At its core, ecocritical film analysis delves into the symbolic representations of the natural world within cinematic narratives, examining the use of landscapes, natural elements, and environmental phenomena as vehicles for conveying deeper themes and exploring the complex interplay between human societies and their ecological surroundings. Through this critical lens, scholars can unravel the symbolic significance of natural imagery, shedding light on the underlying messages and ideologies that shape our perception of the environment.

As the reviewed literature highlights, ecocriticism in film studies investigates the portrayal of pressing environmental issues, such as deforestation, pollution, climate change, and the exploitation of natural resources. By critically analysing these depictions, ecocritics can shed light on the ethical, socio-political, and cultural implications of environmental degradation, fostering a deeper understanding of the urgency and gravity of these concerns within the context of cinematic narratives.

Notably, the literature underscores the potential of ecocritical film analysis to challenge the dominance of Western paradigms in cinematic representations of the natural world. By examining films from various cultural and regional contexts, ecocritics can uncover the rich tapestry of ecological wisdom, traditional practices, and unique human-nature relationships that have been woven into the fabric of these cinematic works. This approach not only promotes a more inclusive understanding of environmental narratives but also contributes to the broader goal of promoting environmental stewardship and sustainable practices.

Furthermore, as the reviewed sources emphasise, ecocritical film studies hold the potential to influence public discourse and shape societal attitudes towards environmental issues. By critically examining the ways in which films depict ecological themes and sustainability narratives, ecocritics can shed light on the power of cinema to raise awareness, inspire action, and foster a deeper connection with the natural world among audiences.

As the world grapples with the pressing challenges of climate change, biodiversity loss, and environmental degradation, the application of ecocriticism in film studies becomes increasingly vital, offering a means to explore the intersections between art, culture, and the natural world. The reviewed literature highlights the importance of rigorous, self-reflexive methodologies that draw upon philosophical, theoretical, and empirical approaches to analyse the symbolic, ideological, and psychological dimensions of eco-conscious filmmaking.

The literature reviewed in this study has shed light on the diverse perspectives and analytical frameworks that ecocritical film scholars have employed to examine the representation of environmental themes and human-nature relationships in cinema. From the works that critically interrogate the potential and limitations of eco-conscious filmmaking to those that provide in-depth analyses of specific films through various ecocritical lenses, the reviewed sources offer a rich tapestry of insights and theoretical foundations.

One prominent theme that emerges from the literature is the importance of critically examining not only the textual representations of nature and environmental issues within films but also the material and ecological impacts of the filmmaking process itself. As scholars like Adrian Ivakhiv have highlighted, a comprehensive ecocritical approach to cinema should encompass an examination of the medium's materiality, its modes of production, distribution, and consumption, and the associated environmental footprint.

Additionally, the reviewed literature emphasises the potential of cinema as a powerful medium for raising environmental awareness, inspiring action, and fostering a deeper connection with the natural world among audiences. Numerous studies have analysed how specific films, such as "Kadvi Hawa," "Sherni," and "Irada," have effectively portrayed the devastating consequences of climate change, human-animal conflicts, and environmental degradation, thereby contributing to the broader discourse on these pressing issues.

As scholars like David Ingram have pointed out, ecocritical film analysis requires rigorous, self-reflexive methodologies that draw upon philosophical, theoretical, and empirical approaches to analyse the symbolic, ideological, and psychological dimensions of eco-conscious filmmaking. The literature highlights the ongoing debate between psychoanalytic and cognitive paradigms within film theory and the potential for bridging these perspectives through critical realism, biosemiotics, and alternative psychoanalytic traditions.

The reviewed sources emphasise the need for ecocritical film studies to engage with diverse cultural perspectives, indigenous knowledge systems, and alternative narratives that challenge dominant Western paradigms. As ecocritics like Santi Ranjan Sing and Goutam Karmakar have demonstrated through their analyses of films like "Sherni," cinematic works can serve as powerful vehicles for exploring the complex interplay between environmental concerns, development imperatives, and the lived experiences of marginalised communities.

Moreover, the literature underscores the interdisciplinary nature of ecocritical film studies, fostering dialogue and collaboration among scholars from various fields, including ecology, environmental studies, philosophy, anthropology, and cultural studies. This cross-pollination of ideas and perspectives enriches the understanding of the complex relationships between art, culture, and the natural world, contributing to the development of a more holistic and inclusive approach to environmental issues.

As the field of ecocritical film studies continues to evolve, the literature reviewed in this study serves as a testament to the rich potential and ongoing challenges that lie ahead. While significant strides have been made in analysing the representation of environmental themes in cinema, there remains a need for further exploration, particularly in areas such as the ecological impacts of filmmaking, the development of robust theoretical frameworks, and the integration of diverse cultural perspectives and alternative narratives.

The film Sherni (The Tigress) is a powerful cinematic work that explores the intricate relationship between humans and the natural world through the lens of a human-animal conflict. Directed by Amit V. Masurkar, the film fearlessly tackles pressing environmental issues such as deforestation, habitat loss, and the imperative need for wildlife conservation. By employing ecocritical and ecofeminist perspectives, Sherni invites audiences to confront the complexities and ethical dilemmas that arise when human interests collide with the preservation of fragile ecosystems.

At its core, Sherni revolves around the narrative of a determined forest officer, Vidya Vincent (portrayed by Vidya Balan), who finds herself at the centre of a conflict involving a man-eating tigress (T12) that has been causing havoc in the area. The film's title serves as a metaphor, simultaneously referring to the elusive feline and drawing parallels with Vidya's own unwavering spirit and resilience in the face of adversity. Through Vidya's character, the film challenges traditional gender norms and societal expectations, presenting a nuanced and empowered portrayal of a woman navigating the male-dominated field of forestry.

Sherni's narrative unfolds in the dense forests of Madhya Pradesh, where the conflict between human settlements and the natural habitat of the tigress intersects. The film employs a docudrama-style approach, meticulously depicting the various stakeholders involved in this complex issue, including local villagers, politicians, industrialists, and conservationists. By delving into the intricate web of competing interests and perspectives, the film highlights the delicate balance that must be struck between preserving wildlife habitats and accommodating the ever-expanding footprint of human activities, such as urbanisation, industrialization, and resource extraction.

Through its nuanced storytelling, Sherni contests the prevalent urban mindset that demonises wildlife and blames animals for encroaching upon human-dominated spaces. The film challenges this notion by emphasising that it is, in fact, human development and infrastructure projects that have fragmented and encroached upon the natural habitats of these species. Consequently, animals are forced to navigate these artificially-imposed boundaries, leading to their presence in areas deemed 'ours.' This thought-provoking narrative prompts viewers to re-evaluate their perceptions of wildlife and recognize the role of human activities in disrupting ecological equilibrium.

Moreover, the film explores the intersections between environmental issues and broader social and political concerns. It exposes the opportunistic behaviour of local politicians who capitalise on the human-animal conflict for personal gain, fueling public outrage and concealing known facts in their pursuit of votes. The portrayal of the media's role in amplifying sensationalised narratives without verifying facts further underscores the complex dynamics at play. Sherni poignantly illustrates how truth and facts can become obscured amidst changing narratives, opportunistic politicians, and media representatives vying for public attention.

The film's visual language and cinematography play a crucial role in conveying its ecocritical themes. Through carefully composed shots, sequences, and montage editing techniques, the filmmakers effectively capture the encroachment of human development into natural habitats. Scenes depicting the intrusion of mining operations, highways, and factories into dense forests serve as poignant reminders of the relentless assault on ecological sanctuaries. The imagery of a once-pristine forest now transformed into a copper mine, with animals like T12 and her cubs struggling to navigate the fragmented landscape, resonates powerfully with the audience.

Sherni's narrative also intersects with the discourse of political ecology, scrutinising the politics of ecological science and the diverse perspectives of various stakeholders, including governments, corporations, indigenous communities, and environmental advocacy groups. The film navigates the contested terrain of environmental politics, challenging dominant narratives and amplifying marginalised voices in the discourse on ecological risks and conservation efforts.

By conducting a comprehensive ecocritical analysis of Sherni, this study has unveiled the multifaceted ways in which the film's visual language and storytelling techniques are harnessed to raise awareness and promote critical thinking about pressing environmental issues. The examination of elements such as shot compositions, editing techniques, lighting, and costume choices has revealed how these cinematic elements are wielded to convey ecocritical perspectives and foster a deeper understanding of the intricate relationship between humans and the natural environment.

The narratives explored in "Kadvi Hawa" and "Irada" serve as poignant reminders of the urgency and magnitude of the environmental crisis confronting humanity. Through their visceral storytelling and nuanced character portrayals, these films transcend mere entertainment to become clarion calls for collective action, challenging viewers to confront the harsh realities that have long been ignored or dismissed.

In "Kadvi Hawa," Nila Madhab Panda's searing exploration of the devastating impacts of climate change on marginalised rural communities, the film's raw and unflinching portrayal of the struggles faced by the farming community in Bundelkhand shines a harsh light on the inextricable links between environmental degradation, poverty, debt cycles, and the perpetuation of systemic inequalities. The haunting image of a child proclaiming that rain is but a fleeting visitor, gracing the earth sporadically in winter or summer, encapsulates the generational trauma inflicted by climate change and serves as a chilling testament to the urgency of the crisis.

By delving into the complex interplay between erratic weather patterns, prolonged droughts, and dwindling natural resources, "Kadvi Hawa" exposes the existential threats that have upended the very foundations of rural livelihoods. The film's empathetic portrayal of characters grappling with these existential challenges humanises the crisis, compelling viewers to recognize the shared humanity that binds us all, regardless of geographical or socioeconomic boundaries.

Furthermore, "Kadvi Hawa" presents a powerful indictment of the profound injustices that underpin the climate crisis, where the affluent revel in the comforts afforded by their excessive consumption patterns, oblivious or indifferent to the environmental consequences, while the most vulnerable communities bear the disproportionate brunt of the impact. The film serves as a clarion call for a paradigm shift in our collective consciousness, one that prioritises environmental stewardship, social justice, and the well-being of our planet's most vulnerable inhabitants.

Transitioning to "Irada," Aparnaa Singh's gripping exploration of the toxic nexus between corporate greed, political corruption, and environmental degradation, the film shines a spotlight on the devastating consequences of irresponsible industrial practices and the collusion between unscrupulous businessmen and self-serving politicians. Through the harrowing story of Parabjeet Walia and his quest for justice, the film exposes the insidious practice of "reverse boring" – the illegal and clandestine dumping of chemical waste deep into the earth – and its catastrophic impact on human health and the environment.

By humanising the crisis through the lens of personal tragedy, "Irada" compels viewers to confront the far-reaching consequences of unchecked corporate exploitation and the complicity of those in positions of power. The film serves as a potent reminder of the urgent need for ethical business practices, environmental stewardship, and the role of activism in driving positive change.

Moreover, "Irada" situates itself at the intersection of postcolonial theory and environmental justice, challenging the traditional boundaries of postcolonial studies. As the film poignantly illustrates, the pursuit of corporate profits and the disregard for environmental sustainability often perpetuate patterns of marginalisation and disenfranchisement within formerly colonised territories, echoing the lingering impacts of colonial subjugation. Through this lens, the film underscores the need for a comprehensive approach that recognizes the inextricable link between environmental stewardship, social justice, and the ongoing struggle to dismantle the remnants of colonial oppression.

Collectively, these films serve as powerful catalysts for personal and political action, stimulating critical thinking and inspiring viewers to bring about concrete changes in their daily choices and long-term behaviours, both as individuals and as societies. By placing nature at the centre of their narratives and utilising the power of cinematic storytelling, "Kadvi Hawa" and "Irada" challenge our "ecological blindness" and compel us to recognize the urgency of the environmental crisis.

Through their raw, visceral depictions of the consequences of human actions and inactions, these films underscore the gravity of the challenges we face as a global community. They remind us that the path forward demands a fundamental reevaluation of our priorities and a concerted effort to transition towards sustainable, equitable, and environmentally responsible practices – a future where the pursuit of progress is no longer at odds with the preservation of our planet, but rather a harmonious coexistence that ensures the survival and thriving of all life on Earth.

In the face of mounting evidence of environmental degradation, biodiversity loss, and the escalating impacts of climate change, these films assert the power of storytelling to inspire transformative change. By confronting our collective indifference and challenging the dominant narratives that have perpetuated the exploitation of our natural resources, "Kadvi Hawa" and "Irada" emerge as vital contributions to the ecocinema genre, urging us to embrace a more holistic and interdisciplinary approach to addressing the complex web of environmental, social, and political issues that threaten the very foundations of life on our planet.

As we grapple with the daunting challenges that lie ahead, these films serve as beacons of hope, reminding us that through a shared commitment to environmental justice, social equity, and a deep reverence for the intricate balance of our ecosystems, we can forge a path towards a more sustainable and equitable future for all. They challenge us to shed the veil of complacency and indifference, to amplify the voices of those on the frontlines of this crisis, and to harness the transformative power of art and storytelling to catalyse lasting change.

In the end, the enduring impact of "Kadvi Hawa" and "Irada" lies not only in their artistic merits but in their ability to inspire a collective awakening – a recognition that the fate of our planet and the well-being of its inhabitants are inextricably intertwined. Through their compelling narratives and powerful imagery, these films beckon us to embrace a new paradigm, one where environmental stewardship, social justice, and the preservation of our natural world are not mere afterthoughts, but the guiding principles that shape our societies, our economies, and our collective path forward.

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