REPRESENTATION OF SOCIAL ISSUES IN CINEMA

SPECIFIC REFERENCE TO INDIAN CINEMA: CASE STUDY OF SLUMDOG

MILLIONAIRE

Shashwat Gupta, Goldsmiths College, University of London, UK

Suraksha Gupta, Brunel Business School, Brunel Univeristy, UK
ABSTRACT
Cinema allows cinema industry to address various social issues using a written storyline and
screenplay. As a media it plays an important role in the construction of perceptions and
impressions about social conditions of a society. International launches and distribution of
movies and idolisation of actors reveal the scale at which cinema influences society. This paper
analyses how cinemas continue to act as a form of media for communicating to masses while
they remain a source of entertainment. Referring to the history of representation of society
through cinema author focuses on the Indian society through a case study of the motion picture,
Slumdog Millionaire. Referring to the movie, findings reflect on the role of cinema as an
informative medium of representing the issues being faced by people in a society.
INTRODUCTION
The beginning of cinema production can be traced back to 1895 when the first motion picture
was produced in a studio setup by Lumiere Brothers in a caf in France which took on as a new
revolution (Stam, 2000:19-20). Based on its ability to capture and present movement on a screen
as a live image, cinema emerged as a medium of communication. Cinemas started acting as a
binding factor for societies as they were able to cut across the barriers of gender, caste, class, age
and literacy levels facilitating its multipurpose role in a social structure (Raheja & Kothari, 2004:
13). Today when boundaries of geographical and culture barriers are being broken down, cinema
as a media plays a significant role for communicating to masses. The existence of media and its
need for freedom to proactively play a dominant role in construction of a society has been
emphasised through various theories by social researchers. As proposed by authors such as
Couldry (2000:40) core focus of media should be on imagination, creativity and identification
apart from acting as a source of information, representation and a resource of identifying social
and individual realities of a society.
Slumdog Millionaire a cinema directed by an English director (Danny Boyle) has been
reviewed to understand the role of cinema in the given context. The cinema is based around the
average life of a boy from the poverty stricken areas of India and hence provides an interesting
and insightful representation of the social issues surrounding the poor of the nation. A fictional
story of a poor teenager who wins a game show, exhibits his lifes experiences of child
exploitation in the form of begging, communal riots, the evils of gang war and most importantly
the sufferings of the common people on a global stage. The cinema weaves fantasy and hardship
together in a way not just to entertain but also to educate. Perception of the cinema by the
Indian audience and western audience is a reflection of the power that cinema as a medium has
in terms of representing a society.

The content of a cinema is a powerful means of communication to the masses and Slumdog
Millionaire has managed to gain the popularity vote across the globe exhibiting the power that
cinema possesses as a medium to break boundaries with 8 Oscar awards and many other awards
like the Golden Globe. The cinema provided a fresh perspective of Indias version of an
American dream. A story of rags to riches, dealing with issues of religion, child abuse and
other hardships featured in the cinema used an interesting mix of reality and fantasy that
managed to keep the audience entertained. The cinema satisfies the parameters of entertainment
and influential but raises many questions for social and media researchers:
1.
Do cinemas represent social reality?
2.
Do cinemas play a role in driving awareness of people towards social issues being faced by
a society?
This paper uses different theories and methods like semiotics and psycho analysis to break down
the movie into various methodological and definite symbols. It uses audience studies to provide a
balanced explanation of the importance of cinema and its power in the social structure on a
global scale. The paper has been divided into five sections each contributing to the analysis and
attempting to answer the questions presented by cinema and its role in society.
First section introduces the readers to the importance of cinema, its powerful role in
representation and reasons behind the choice of Slumdog Millionaire as a case study in the
relative context. Second section reviews the literature for theoretical underpinning of social
representation in cinema and its evolution. Third section explains the methodology used. Fourth
section presents the analysis. The fifth section presents the findings, conclusion, limitations and
avenues for future research.
Cinema: a tool for communication
Literature suggests that cinema is a tool for documenting reality and representing society in its
various forms (Bush, 1933; Harmon, 2009). Technology has helped it to transit and expand at an
exponential pace (Shintani, 2006). According to Bill Nicholas (2007) cinema is still in its early
stages of evolution but has a history that can be traced back to the end of the 19th century. For
Nicholas (2007) cinema bears expectations for improvement and development, as it is a product
of scientific research that relates to the fancies of human inspiration. The transformation of
cinema and its improvisation is reflected through the change over decades from a silent motion
picture to the animation and graphical motion pictures with engineered speech and sound effects
to support the image (Galloway et al., 2009). Richard Abel in 1985 described the beginnings of
the American cinema as a combination of aesthetics of attraction which focused on the
capabilities of the moving cinema creating a spectacle of human figures or natural landscapes.
Historical Preview
Early 20th century witnessed an emergence of wartime cinema (Ashby and Higson, 2000)
initiated by a Danish cinema Ned Med Vaabenene in 1914 which was based on a book by
Bertha Von Suttner, a Danish novelist (Erik, 1971). Saunders (1984) claims that around 1920s
Europe recognised the supremacy of American cinema in style and theme but despised its
dominating affectation. During the same years, then a small time studio Warner Bros.
successfully launched the first cinema with synchronised sound [Weblink 1]. The period of

1920s in Britain saw the emergence of documentary cinemas under the name of John Grierson
[Weblink 2]. As per Murthy (1980) Grierson treated documentaries as recording facilities useful
for interpreting reality. Jo Fox (2007) discussed Griersons efforts in using cinema as the crucial
medium to present the governments strategy during Second World War. Rest of Europe
including Italy, Germany and Eastern Europe recognized cinema as a tool for developing social
mindset and reflecting reality which could be used as a powerful source of stimulating audience
(Stephan, 2006). Hill et al. (1998) and Ginette Vincendeau (2006) have discussed the
development of European cinema as an aesthetic and innovative field of art that is socially
committed to a humanistic outlook.
Theories of socialism constructed after the First World War by Soviet cinema (Beumers, 1999)
highlighted difficulties of structuring a system and projected use of cinema as a happy marriage
between artistic freedom and a social purpose (Murthy 1980:6). Hollywood around 1960s
produced cinemas based on British espionage novels by Ian Fleming, regarding the Cold War
tensions prevailing after the Second World War (Fox, 2007). Its involvement and interest in
Britain and British culture was emphasised on by movies on British Pop like A Hard Days
Night that focussed on promoting the Beatles and their music [Weblink 3]. The extension did
not just limit itself to Europe and Hollywood extended their arena by extending towards the east
in the 1990s (Zhu, 2008). A new Genre of cinema came into existence and was referred to as
the Third World Cinema which was not influenced not produced by Hollywood producers or
corporations Chanan, 1997).
Third world countries produced a number of revolutionary movies based on decolonisation and
other debates on the freedom of the Third World Countries. This genre continued to exploit
cinema as a tool of mass-communication for very sensitive and debatable issues that played a
prominent revolutionary role and as a medium of communication (Guneratne, 2003). The first
evidences of the Third World Cinema also referred to as the Third Cinema, are from Brazil,
where cinema took birth between 1908 and 1911 (Lopez, 2000). As claimed by Robert Stam in
2000, the Third Cinema now produces over half the worlds cinemas, excluding cinemas made
for television.
The Indian cinema industry forms a part of the Third Cinema. It has grown immensely since
its beginnings in 1913 [Weblink 4]. Cinema in India came to life with, Raja Harishchandra, the
first Indian feature cinema. Dhundiraj Govind Phalke also known as Dadasaheb Phalke, the
director of the cinema has been proclaimed as the father of Indian cinema [Weblink 4]. The first
phase of Indian cinema or the silent era was dominated by the industrialisation of culture and
progressed predominantly in the latter part of the nineteenth century (Dissanayake and
Gokulsingh, 2004). This period saw production of cinemas with intent to imagine a unified
spatio-temporal India.(Cook, 2007; 217).
During transition, narrative in Indian cinema drifted towards melodrama, which explored the
issues relating to the transformation of a society towards a more modern and a secular social
structure. (Cook 2007) The most strident voice in the 70s belonged to the counter culture as
India was not immune to these global changes and to compound matters, the Emergency (1975)
caused a tectonic shift in the very foundation of Indian social and political life (Raheja &
Kothari, 2004: 87). This was a period that saw changes in the attitude of depiction in Indian

movies and the growth of art cinemas which repudiated the conventional pattern of
cinemamaking (Dissanayake and Gokulsingh, 2004).
The era of 1970s witnessed a mutiny against then existing cinematic norms (Raheja & Kothari,
2004: 87-88). There was an almost gleeful abandonment of straightforward narrative as art
cinemamakers slipped off the syntax of songs and stock shots that governed Indian cinemas so
far. It was a period which saw the breaking of stereotypes in terms of the content of the cinemas
(Dissanayake and Gokulsingh, 2004). However, art cinemas despite breaking the conventions are
still dominated by commercial cinemas that cater to the audiences idea of a cinema- for most of
whom it is a medium of escape from reality (Dissanayake and Gokulsingh, 2004).
The national cinema of India is the largest in the world in terms of the number of cinemas
produced annually as 877 feature cinemas and 1177 short cinemas were released in the year 2003
alone. Bollywood a part of Indian Cinema, is one of the largest cinema industries in the world
today (Propris and Hypponen 2008). Since the release of its first silent cinema in 1913, the
Indian cinema industry is creatively and successfully employing and entertaining billions of
people around the globe (Raheja & Kothari, 2004: 13).
Cinema: a cognitive linkage
In order to address such a huge audience, cinemas play a very important role in conditioning the
thoughts and beliefs of the people because they are able to interact cognitively with audience and
allow them to absorb, interpret, critique and reject the narrative and theme portrayed to them
(Banaji, 2006: 174). Cinemas in India have dealt with various social issues in the past. A
continuity of movies on issues of war and conflict has been a prominent feature of the Indian
cinema. The relation to social subjects in cinema has also presented many cinemas on social
subjects like widow remarriage, inter-caste marriage, dowry, political corruption, dyslexia and
various other subjects (Virdi, 1994). As mentioned by Shakuntala Banaji in 2006 Indian cinemas
are a powerful source of discourse for eliminating the issues such as gender bias, sexuality,
family, class, religion and violence as these issues are deployed or excluded in a limited number
of ways by the cinema (Banaji, 2006: 168).
Fictional works in these narratives drift away from reality through fantasy songs and depicted
exaggeration of love stories and melodrama. But the cinema helps in educating the audience
about various facts regarding the issue (Elsaesser, 1991). Hence according for theorists it is a
common belief that the portrayal of fantasy takes priority in the Indian cinema but the limitations
of cinema representation bound by the society are also easily evident in cinema (Chaudhuri,
2005). Shakuntala Banaji (2006) argued how cinema tries to imply a factor of good or bad based
on the values of society.
Movies that lay stress on the values and the relationship of good and bad in Indian cinema has
been explained by Banaji (2006) as the representation, based on the argument that cinema does
not affect the spectator once he walks out of the cinema. Considering Dernes theory of the
influence of a cinema on its spectator, and the direct reactions caused by it, combined with
ideology of Annette Kuhn which emphasises on the importance of social representation in
cinema as it is an exchange of money in return for representations (Kuhn, 1994:21-22) making it
crucial that the realities of life and social issues are reproduced in some way to ensure awareness
amongst the audience. This would also allow Cinema to educate and break social barriers and

evils prevalent in the society. In order to analyse and gain an understanding of representation,
this paper links the literature on representation and the addressed social issues such as communal
conflicts and poverty in the Indian slums by Slumdog Millionaire.

Research Method
Qualitative research is usually associated to the explanation of certain phenomenon and it is
usually done in small case studies (Denscombe 2000). The answers to research questions raised
by this research cannot be quantified or measured in numbers. Thus, a qualitative approach was
helpful to consider and analyze several variables and gain a deeper understanding of the area of
the research. A cinema can be considered to be a set of images with sound This research applied
semiology to analyse the cinema. Semiology helped researchers to explore various concepts
signified in the cinema selected for the case study.
Semiotics is a phenomenon that draws from linguistic and cultural aspects of a society and is
applicable to social sciences and humanities. The word Semiology originated from a Greek
word Semion and means signs. Semiotics as proposed by Saussure (1961 and 1983) is a
study of role of signs in the social life of people living in a society and as per the doctrine of
signs by Peirce (1931) it is used to govern the laws prevalent in a society. Semiotics method can
be applied to various types of media such as image, cinema and sound as it helps explore the
concept behind the visual signifier in these forms of media.
Interpretivism can help to observe and analyse various ways through which a cinema represents
social concerns. Exploring the use of semiology in the case study, justifies the claims and
arguments made by the researcher about cinemas role as an informative mass media. Based on
the research method selected for analysis this research can be divided into different categories
namely exploratory, descriptive and explanatory studies (Saunders, Lewis and Thornhill 2000).
Exploratory phase of the study focuses on explainining what really is happening and seeks new
insights (Saunders, 2000). Descriptive analysis provides distinctive information as it is based on
sensory characteristics of a situation and this phase helps the researcher to be sensitive to analyse
the situation considering its different attributes. Explanatory phase helped the researcher to
understand messages behind situations in the cinema and stimulate the minds of the viewers
towards the issues raised by the cinema.
Findings and Discussion
Case studies are the preferred strategy when how or why questions are being posed and the
explanatory case study approach is justified when the investigator has little control over events
and focus on a contemporary phenomenon within some real-life context (Yin, 2003:1). Case
study approach works on the basis of the judgment of the researcher, but, it helps to triangulate
sources of information such as personal interviews, newspaper reports, documents, and
independent reports (Feagin et al, 1991). Use of Slumdog Millionaire as a case study helped the
researcher to interpret and analyse cinema as a tool for representing social realities and its impact
on creating an awareness about the issues being faced by a society. The movie chosen is
relatively recent which made the availability of supporting literature or text on the cinema

difficult to find. Hence, researcher used different sources and works available on similar subject
and used them to provide a fresh perspective.
To ensure a balanced approach various reviews and interviews related to the cinema available as
secondary data were used. The available data were helpful to explore the aftereffects of the
movie if any, through various features on events that occurred after the release of the movie, in
India across the globe. The data in the form of text was interpreted using theories of semiology
from the context of the cinema and the society. These theories were interconnected to some
fictional narratives in the cinema that dealt with similar issues and their success in educating the
masses.
The analysis revealed that the cinema satisfied its target audience by reflecting the current
society in India. For Indian audience it has managed to represent reality that exists in their
society while for the western audience it has created a sense of empathy for the poor in India. It
has also very cleverly managed to play on the minds of the audience by creating awareness of
social issues that otherwise the audience thought was non- existent. Issues like living in a slum
which incorporates poverty, begging etc. portrayed in the cinema have been woven very
creatively within the storyline. By using a good combination of images, words and sounds in the
cinema, it has been able to communicate a wide variety of information, which includes precise
facts and vague impressions (Rosenstone, 1995: 80).
The cinema carries a similar narrative as other cinemas produced and based in the Indian
diaspora, and reflects on such issues. The setting of the cinema in an Indian slum and its
characters built up in the Indian society, apply the limitations of Indian culture and traditions to
the narrative. Hence, the resemblance of Slumdog Millionaire to another bollywood cinema
based in a similar setting cannot be undermined. As claimed by the BBC, the movie may be
referred to as an Indian cinema by with a western director, in which the central character is
played by a British born actor [Weblink 10]. The reflections of the Indian society and the city of
Mumbai in the movie, have been claimed by the Director Danny Boyle as captures of a tiny
bit [Weblink 10].
Slumdog Millionaire received a warm global reception. Discussing the ideology of a popular
cinema which tries to satisfy the hidden desires of its audiences by offering them what they lack
and cannot seek easily such as sex, glamour, riches and ends by communicating unalterable
materiality of the society in which characters exist (Valicha, 1988: 31). Highlighting the ways in
which a story or a truth can be told and twisted to communicate different types of messages
Arundhati Roy proposed It isn't about the story. It isn't about the Truth. It isn't about what
really happened. It's none of that high falutin' stuff. It is about us. We make the decisions about
how much we would like to see. And when the mixture's right, it thrills us, and we purr with
approbation (Roy 1994).
The first portrayal of the Indian social structure may be noticed in the cinema when the game
show host, addresses the crowd and welcomes them in four different languages. The signifier of
a secular society sets stage for the portrayal of communal disharmony prevalent in the country,
revealed later in the cinema. The fictional narrative relates to the consequences of this
disharmony wherein because of religious riots many children get orphaned and homeless. The

same has been revealed about Jamal who as a kid escaped the riots with his brother, Salim and a
girl from the vicinity, Latika. The three characters form the main characters for the movie.
The representation of issues in cinemas is dependent on the level of acceptance of the audience.
As per Judith Mayne (1993: 172) spectatorship is one of the ordinary activities when theorized
has the ability to create spaces around a concept in opposite directions and drives audience to
recognize contradictory nature of their pleasures and beliefs. Valicha (1988) and Roy (1994) both
have argued about the process of making a cinema which is socially relevant as well as
commercially successful is all dependent on understanding the audience. Valicha (1988) stated
that cinemas are an outlet for the audiences fantasy, whereas, Roy (1994) suggests that it is the
audience who decides what it wants. Steven Spilberg during Oscar Academy Awards 2009 while
discussing about the power of cinema to influence the audience stated:
Cinemas inspire everyone who ever sat in a theatre, or worked in front of or behind a
camera [Weblink 8]
Times magazine in an article about the perception of children living in poor areas of Mumbai,
quoted their narratives about incidents in the cinema as true to life. The article also featured
case of a boy who escaped a broken home and spent years of his life travelling on a train and
looking for refuge. Such resemblances help audience to relate to the life of the characters in the
movie who consider the cinema as an accurate picture of the real world. As cinema directly
implicates the production and reproduction of meanings, values, and ideology in both sociality
and subjectivity, it should be better understood as a signifying practice or a work that produces
effects of meaning and perception, self images and subject positions for all those involved,
makers and viewers, and thus a semiotic process in which the subject is continually engaged,
represented and inscribed in ideology (De Lauretis, 1984: 37). Slumdog Millionaire has
received criticism from Indian audience as they suggest that the movie depicts India as a poor
nation. News features reveal the comments of a famous Bollywood actor and celebrity, Amitabh
Bachhan who claims the cinema portrays India as a third world dirty underbelly developing
nation and causes pain and disgust among nationalists and patriots, he suggests that this
portrayal of India is categorization or discrimination towards the country. He adds, let it be
known that a murky underbelly exists and thrives even in the most developed nations [Weblink
9].
Based on a book Q and A by Vikas Swaroop an Indian diplomat and author the movie tells the
story with all the emotions and reflections of a bollywood movie. The presence of a song, dance
composition in the cinema helps it relate more to the Indian style of narration. The selection of
hero of the cinema who is also an Indian by origin and ethnicity and other Indians as actors helps
audience to relate better. The hero who never went to a proper school seems to possess
knowledge about the name of the man on a 100 dollar bill but not Indian Rupee note which he
gains from an American tourist who he faked as a tour guide and helped his friends conduct
robbery. The appropriateness of incidents such as pick pocketing and theft has been explained by
the reviews of tourists on their visit to tourist spots in India. One such reviewer posted a warning,
Avoid being duped by the fake guides and car parking people in Fatehpur Sikri. [Weblink 5].
The narrative of the cinema emphasises on tortures like child labour, forced beggary, physical
torture and prostitution and the cinema proclaims that it re-iterates a deserving story of rags to

riches[Weblink 6]. The events in the cinema induce suspense and entertainment factors making
it a source of entertainment that reveals something new to the western audience and makes them
aware of the poverty struck regions of India and educates them about life in those areas. But the
debate sparked by its influence explains the divisions within the society and the difference of the
rich and the poor. While some Indians rank among an elite group of the richest people in the
world and a cinema industry that believes in representing reality condemn the representation of a
harsh reality. The ones living a life mirrored in the cinema perceive it as a happy cinema and an
inspiration. Based on the cinema, one of Indias leading English dailies opened a factfile of
poverty and malnutrition and revealed statistics that support the representations made by the
movie. The times of India declares that India sustains the highest number of malnutritioned
population in the world and the same accounts for nearly 50% of child deaths in India [Weblink
7]. Authors such as Harbord (2007:1) stated that the cinema is a fictional and experimental work
which can be considered as ametuers 8mm production presented in the form of an ethnographic
documentary and works as a teaching tool for the audience and gives the author a test run. For a
fictional piece of work, Slumdog Millionaire portrays many concerns of the Indian society. In an
attempt to help the audience to be able to relate to a fictional story, the portrayal of the society as
claimed and mentioned earlier has been captured true to life
.
Conclusion
This paper analyses the work of a cinema as a form of informative mass media through social
representation. While Indian society has been considered to be a very literate society since
ancient years, the reflection made by the film portrays a negative image of Indian society through
a story that revolves around people living in slums. The story has been projected in a manner
that is found very unique and interesting but very sad by international audience. This paper
reviews cinema from the historical context to the current situation, uses semiotic method to
answer the research questions based on the analysis of much appreciated cinema Slumdog
Millionaire. The film portraits a transparent picture of social concerns of a society made of a set
of poor people in India. The movie also provides a good example of how a cinema set in a
society should abide by the limitations, culture and traditions of the particular society. The
aftereffects of the cinema demonstrate that representation of social reality by cinema can cause
various organisations to step up and work for the society in which they operate. The reviews,
reactions and media coverage received by the cinema emphasises that cinema represents and
helps create awareness about social problems. Such representations always help the audience to
see a silver lining in the dark skies.
Cinema has the capability to create a fusion of fantasy and reality for developing a provision of
hope and inspiration on a belief that society can stand through social plagues. While cinema can
represent the social epidemics for a good reason and can initiate a supportive action in real-life,
in contradiction it can also use symbols and images to communicate messages or values related
to a society that become dominant in the minds of spectators. Over a period of time these
become beliefs and are considered as truth by the spectators. Therefore, while cinema has the
ability to create a homogeneous image of a society when viewed from the perspective of its
spectators who are from another culture based on its capability to project a society as good or

bad that may eventually lead people to either trust or distrust the society. Simultaneously, it can
be used as a media to communicate about the strengths and opportunities that a society offers to
international audience and create a market for the society. Today, during globalisation when
businesses are seeking to explore new territories, cinema can become a media that can cut
through the language barriers and use images and symbols to communicate the value a society
can offer as a brand would offer. Findings recommend that governing bodies and businesss
managers work with cinema producers to communicate their messages to their target audience.
Future work on this topic should be carried out in order to understand if cinema can be used to
communicate generally or to specific segments of spectators.
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