Assignment - 5 - New Historicism: Contemporary Fictional Representations in Films of Indian Historical Figures

TOPIC OF THE BLOG:-

This blog is part of an assignment for the Paper 205A - Cultural Studies - Sem - 3, 2023.

NEW HISTORICISM: CONTEMPORARY FICTIONAL REPRESENTATIONS IN FILMS OF INDIAN HISTORICAL FIGURES

Table of Contents:-

• Personal Information
• Assignment Details
• Abstract
• Keywords
• Introduction
• What is New Historicism?
• How can we apply New Historicism to Film?
• Historical Figures and Film
• Ashoka - Film: ‘Asoka’ (2001)
• Rani Padmini (Padmavati) - Padmavati (2018)
• Mangal Pandey - ‘Mangal Pandey: The Rising’ (2005)
• Rani Lakshmi Bai - Manikarnika (2019)
• Strength and Limitation of applying New Historicism to Film
• Strengths
• Limitations
• Conclusion
• Works Cited

Personal Information:-

• Name:- Pooja Anilbhai Bhuva
• Batch:- M.A. Sem 3 (2022-2024)
• Enrollment Number:- 4069206420220005
• E-mail Address:- poojabhuva2002@gmail.com
• Roll Number:- 15

Assignment Details:-

• Topic:- New Historicism: Contemporary Fictional Representations in Films of Indian Historical Figures
• Subject Code & Paper:- 22410 - Paper 205A - Cultural Studies
• Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
• Date of Submission:- 27th November, 2023
• About Assignment:- In this assignment, I am going to discuss how we apply the idea of New Historicism to Indian historical figures represented in films.

Abstract:-

In this exploration of New Historicism in films, we discover how it acts as special glasses, revealing the connection between movies and the times they depict. Using this approach, we delve into the social, political, economic, and cultural vibes of the historical settings in films. Filmmakers become cultural historians, contributing to conversations about history through cinematic representations. Examining films like 'Asoka,' 'Padmavati,' 'Mangal Pandey: The Rising,' and 'Manikarnika,' we see how historical figures are portrayed with creative liberties. While New Historicism offers a rich understanding of films within their historical contexts, it also presents challenges. Filmmakers' choices impact how history is perceived, raising questions about accuracy and sensitivity. In conclusion, New Historicism serves as a valuable tool, providing insight into the past through the lens of cinema, yet caution is needed to navigate the balance between entertainment and historical truth in filmmaking.

Key Words:-

New Historicism, Film, Ashoka, Rani Lakshmi Bai, Mangal Pandey, Rani Padmini, Limitations

Introduction:-

New Historicism is like a special pair of glasses we use to look at stories in movies. It helps us see that movies aren't just fun stories; they're also connected to the time when they were made. Imagine you're watching a movie about a brave queen or a strong king from the past. New Historicism lets us peek into the clothes they wear, the words they speak, and the places they live, showing us what life was like back then. It's like a time machine for our minds, helping us understand not only the story but also the world it comes from. But, we need to be careful, because sometimes movies can change the true story to make it more exciting or interesting. So, when we use New Historicism, we're like detectives looking for clues about the real past in the make-believe world of movies.

What is New Historicism?

New Historicism is a theory about stories and history that emerged in the late 1900s, greatly influenced by Stephen Greenblatt. (Mikics) It differs from the usual way people look at stories and history because it asserts that stories are connected to the time and culture they originate from. Instead of considering stories as separate and enduring forever, New Historicism views them as a product of specific historical and cultural situations.When we look at stories through the lens of New Historicism, we're diving into the social, political, economic, and cultural vibes of the time they were created. This approach helps us connect literature to the real-world conditions it emerged from. Social conditions include how people interact, the rules they follow, and who holds power – all shaping characters and storylines. Political factors involve the big governing ideas and events that influence what a story is about. Economic conditions show us the money side – class differences, financial landscapes, and how characters live. Cultural conditions bring in the beliefs, values, and artistic trends of the time, affecting the language, symbols, and themes in stories.

New Historicism was mostly a way to understand power, and it took a lot of ideas from the studies of Clifford Geertz in anthropology, Michel Foucault's descriptions of torture and punishment, and Louis Althusser's ideas about how control of thoughts and beliefs happens. (Parvini) Stories are seen as clues about what people believed in, what they valued, and what conflicts were happening during a certain time. New Historicism says that stories are not just by themselves; they're linked to the society they come from. New Historicism doesn't believe there's just one true history. It accepts that different people and groups can have different views of what happened. Let’s see how this idea of New Historicism can be applied in the Film.

How can we apply New Historicism to Film?

If we are using New Historicism to study Contemporary Fictional Representations of Indian Historical Figures it means looking at the films as more than just art. It means seeing them as important pieces of culture that add to the conversations about history during the time they were made. The films become not just stories on their own but contributors to the bigger discussions about culture and history. Filmmakers play a crucial role to explore this and give justification to the particular idea. Through their films, they contribute to the ongoing dialogue about the past, offering their perspectives on how history is remembered, interpreted, or revised. (GRINDON) Filmmakers can be viewed as cultural historians because, through their cinematic representations, they engage with and interpret historical events, figures, and the broader cultural enviornmen. Movies are like time capsules, capturing and reflecting the world. Filmmakers, as storytellers, create cultural artifactsfilms that go beyond entertainment. Shaped by and shaping society, movies interpret the spirit of their time, known as "zeitgeist." Characters, settings, and plots mirror the attitudes and concerns of the era. Watching movies is like viewing a snapshot of history, understanding how people felt and what mattered to them.

In which ways filmmakers may represent historical figures in films? The visual elements in films, such as costumes, architecture, and landscapes, can provide visual cues about the historical period. For example, a film set in the 1920s might use Art Deco design and flapper fashion. Filmmaker also uses language as a tool to represent particular time through the nobel words they are using. 

Historical Figures and Film:-

When applying New Historicism to a film, the filmmaker typically takes liberties to portray the entire story of a particular character, or only the character is present while the entire story is changed.

ASHOKA - FILM: ‘ASOKA’ (2001)

In ancient India, Ashoka, a powerful king born around 304 BCE, initially sought power through conquest. However, the Kalinga War changed him. Witnessing the devastating aftermath, he felt deep remorse and embraced Buddhism's teachings of peace and compassion. Ashoka transformed, dedicating himself to non-violence and ethical rule. His empire, the Mauryan Empire, became a symbol of tolerance and compassion. Through pillars and edicts, he spread messages of respect and non-violence. Ashoka's story teaches that even mighty rulers can change, emphasizing the importance of compassion and peace for a just society.

‘Asoka’ is a historical drama that portrays the life of Emperor Ashoka, who ruled the Indian subcontinent during the Maurya dynasty. The film, starring Shah Rukh Khan, blends historical events with creative elements to narrate the story of Ashoka's transformation from a conqueror to a follower of Buddhism. Analyzing Ashoka's character in the 2001 film with Shah Rukh Khan using New Historicism involves checking historical accuracy and understanding changes made for storytelling or audience engagement. It explores how the movie reflects the cultural and political landscape of the early 2000s in India, examining if it aligns with societal norms or challenges them. The narrative, visual elements, and audience reception are considered to grasp the movie's impact and connections to broader contexts. Also, the intentional changes to historical events are investigated to uncover the film's underlying messages and their alignment with contemporary beliefs. In short, examining Ashoka through New Historicism reveals how the film interprets and communicates history and culture from its time of creation. (Sivan)

RANI PADMINI (PADMAVATI) - PADMAAVAT (2018):-

Rani Padmavati, a legendary queen of 13th-century Mewar, was known for her unparalleled beauty. Intrigued by tales of King Ratan Singh's valor, she visited Chittor, where their union formed an unbreakable bond. However, their peaceful reign faced a threat from Sultan Alauddin Khilji, determined to claim Padmavati. To protect their kingdom, Padmavati and Ratan Singh devised a plan. The story unfolds with diplomacy, strategy, and sacrifice, as Padmavati's beauty draws Khilji into a relentless pursuit. In the face of a larger army, Rani Padmavati and Chittor's people made the heartbreaking decision to defend their honor, creating a tale of love, sacrifice, and resilience celebrated in art and storytelling.

"Padmaavat," directed by Sanjay Leela Bhansali, is a period drama rooted in the epic poem "Padmavat." It explores the legendary tale of Rani Padmini, the queen of Mewar, providing a cinematic interpretation set in a historical context. Despite artistic merits, the film has faced controversies over historical accuracy, prompting discussions on the balance between creativity and fidelity. Bhansali takes a fictionalized approach, allowing creative liberties while acknowledging dramatization. The movie showcases Bhansali's grand visual storytelling, incorporating elaborate sets and costumes. The controversy adds allure, sparking debates on filmmakers' responsibilities and cinematic narratives' impact on historical perceptions. "Padmaavat" blends fact and fiction, serving as an artistic exploration of history, evoking emotions, and provoking discussions about the life and legend of Rani Padmini. (Bhansali)

MANGAL PANDEY - ‘MANGAL PANDEY: THE RISING’ (2005):-

Mangal Pandey, a sepoy in the British East India Company's army, played a crucial role in the 1857 uprising against British rule. His refusal to use rifle cartridges greased with animal fat sparked a rebellion. Pandey's courage inspired fellow soldiers, leading to his arrest and trial. Despite facing the death penalty, he remained defiant. On April 8, 1857, before his execution, Pandey expressed his love for his country and refusal to bow to oppression. His sacrifice fueled rebellion across India, symbolizing the indomitable spirit in the fight for independence. Mangal Pandey's story became integral to India's struggle against colonial rule.

This film depicts the life of Mangal Pandey, a soldier in the British East India Company's army who played a key role in the events leading up to the Indian Rebellion of 1857. Aamir Khan portrays the titular character in this historical drama. The 2005 film "Mangal Pandey: The Rising" portrays the life of Mangal Pandey, a key figure in the lead-up to the Indian Rebellion of 1857. Directed by Ketan Mehta and starring Aamir Khan, the movie depicts Pandey's internal conflict as a sepoy in the British East India Company's army. Set in colonial India, it explores cultural clashes, religious tensions, and the introduction of the Enfield rifle, leading to Pandey's transformation from a loyal soldier to a central figure in the 1857 uprising. Aamir Khan's portrayal captures Pandey's internal struggles and rebellion, symbolizing broader sentiments of resistance. While taking creative liberties, the film delves into themes of identity, patriotism, and the fight for freedom, contributing to the cinematic representation of India's struggle against colonial rule. (Mehta)

RANI LAKSHMI BAI - MANIKARNIKA (2019):-

Rani Lakshmi Bai, also called the Rani of Jhansi, was a brave queen in India during the old times. She was born in 1828 and became famous for standing up against the British rulers when they tried to take control. Even though her husband, Maharaja Raja Gangadhar Rao, had passed away, she didn't let the British take over Jhansi using their Doctrine of Lapse. Rani Lakshmi Bai fought very bravely in the Siege of Jhansi in 1858, where her city was under attack. She dressed like a warrior and showed excellent military skills. Even though Jhansi was eventually captured by the British, Rani Lakshmi Bai's story lives on as a symbol of India's fight against the British. People still admire her for her courage, love for her country, and strength in tough times.

"Manikarnika: The Queen of Jhansi" is a historical film released in 2019, depicting the extraordinary life of Rani Lakshmibai, the Queen of Jhansi, during the Indian Rebellion of 1857. Kangana Ranaut portrays the iconic queen, showcasing her resilience, courage, and commitment to defending her kingdom against the British East India Company. Directed by Kangana Ranaut and Radha Krishna Jagarlamudi, the film explores Lakshmibai's journey, emphasizing her military prowess and dedication to Indian independence. While creatively dramatized, "Manikarnika" serves as a tribute to the Queen of Jhansi, contributing to the cinematic portrayal of key figures in India's fight against colonial rule. (Jagarlamudi)

Strength and Limitation of applying New Historicism to Film:-

STRENGTHS:-

New Historicism encourages a comprehensive examination of films within their historical and cultural contexts. This approach enables a richer understanding of the intricate connections between cinematic narratives and the broader societal landscape. By integrating historical, cultural, and literary perspectives, New Historicism allows for a more interdisciplinary analysis of films. New Historicism's emphasis on power dynamics is particularly relevant in film analysis. It allows scholars to dissect how films represent power structures, social hierarchies, and political ideologies, shedding light on the complexities of historical narratives. New Historicism is like looking closely at movies and understanding that they are made in a specific time. This helps us analyze why filmmakers make movies and how these movies can change or support the stories we know about history. (Palmer)

LIMITATIONS:-

Using New Historicism to understand movies can be tricky because filmmakers often decide what parts of the story to show and what to leave out. They make these choices thinking about what the audience will like, how the story fits together, and how long the movie should be. People might have different ideas about what they watched, making it challenging to agree on just one meaning. Even though New Historicism looks at the culture and context in movies, the hard part is figuring out how much of the story is true and how much is just for making the movie more exciting. Filmmakers might change some facts to make the movie more interesting, but this could mean the story is not completely accurate. When movies show things in a way that's not quite true, it can affect how people think about history. The way characters and events are shown in films can shape what people remember collectively, making it important for movies to be careful about how they tell historical stories. When making movies about historical events, it's important to be aware that some things might still be sensitive and make people feel strong emotions or remember difficult experiences. Filmmakers need to be careful in showing these events in a way that doesn't hurt or repeat stereotypes.

Conclusion:-

In conclusion, New Historicism is like a special tool that helps us understand movies not just as stories but as reflections of the time they were made. It's like magic glasses that reveal the hidden connections between films and the real world. While it lets us explore history in a fun way, we need to be detectives and remember that movies sometimes change the true stories to be more exciting. Understanding these strengths and limitations of New Historicism in films helps us appreciate the colorful tapestry of stories while being aware of the balance between entertainment and historical truth. So, let's keep watching movies with our magic glasses on and enjoy the journey through time!

Works Cited:-

• Bhansali, Sanjay Leela, director. Padmaavat. Bhansali Productions, 2018.
• GRINDON, LEGER. Shadows on the Past: Studies in the Historical Fiction Film. Temple University Press, 1994. JSTOR, http://www.jstor.org/stable/j.ctt14bs6kx.
• Jagarlamudi, Krish, and Kangana Ranaut, directors. Manikarnika: The Queen of Jhansi. Zee Studios, Kairos Kontent Studios, 2019.
• Mehta, Ketan, director. Mangal Pandey: The Rising. Kaleidoscope Entertainment, Tfk Films, INOX Leisure Limited, Yash Raj Films, 2005.
• Mikics, David, and Internet Archive. A New Handbook of Literary Terms. New Haven: Yale University Press, 2007. Internet Archive, https://archive.org/details/newhandbookoflit0000miki/page/n1/mode/2up.
• Palmer, William J. “The New Historicist Films.” The Films of the Nineties, 2009. SPRINGER LINK, https://doi.org/10.1057/9780230619555_2.
• Parvini, Neema. “New Historicism - Literary and Critical Theory.” Oxford Bibliographies, 26 July 2017, https://www.oxfordbibliographies.com/display/document/obo-9780190221911/obo-9780190221911-0015.xml.
• Sivan, Santosh, director. Asoka. Dreamz Unlimited, Arclightz Films, 2001.

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