Nepal does not have a very long film history, but the industry has its own place in the cultural heritage of the country. Most Nepali films use Bollywood-style songs and narrative, and are shot on 16-millimeter film. In film industry parlance, Kathmandu, the capital and center of the Nepali-language film industry, is called Kollywood (or Kaliwood as an alternate spelling) within Nepal (not to be confused with India's Tamil-language film industry, Kollywood, based in Chennai).
Beginning:
The making of Nepali films is said to have begun with D. B. Pariyar's Satya Harishchandra, which was the first Nepali language film to be shot. It was produced from Kolkata, India, and was released on September 14, 1951. Aama was the first film produced in Nepal, and was released on October 7, 1964. It was produced by the Information Department of His Majesty's Government of Nepal (now Government of Nepal), directed by Hira Singh Khatri and the lead actors were Shiva Shankar Manandhar and Bhuwan Thapa, who are regarded as the first actors in the history of the Nepali film industry. The first film to be produced under a private banner was Maitighar, which was released at the end of 1966 by Sumonanjali Films Pvt. Ltd. Although it was a Nepali movie, it had many Indians contributing toward the making of the film. Mala Sinha had the lead role, along with C P Lohani. It had special appearances of Sunil Dutt and comedian Rajendra Nath. Directed by B S Thapa and music scored by Jaidev, a veteran music maestro, it had Lata Mangeshkar, Asha Bhosle, Usha Mangeshkar, and Manna Dey, all of them established Indian singers, doing the playback-singing along with the household names of Nepali music, like Narayan Gopal, Prem Dhoj Pradhan, C P Lohani, and Aruna Lama.
Then the government established the Royal Nepal Film Corporation in 1971. Mann Ko Bandh was the first film produced by the Corporation. Prakesh Thapa was the director of the film. Nati Kaji and Shiva Shankar were the music composers of the songs. Amber Gurung scored the background music. The film premiered in 1973 in Kathmandu. Mann Ko Bandh was followed by Kumari (the first Eastman color Nepali film) in 1977, Sindoor in 1980, and Jeevan Rekha in series. The success of these films opened up avenue for private parties to enter into filmmaking as industrial endeavor.
Golden Era:
After the 1980s, some relatively more creative films were made and they became successful too. Thus, filmmaking started to appear a little more viable profession and the number of productions increased a bit. After the introduction of private companies in the Nepali film industry, the time came when more films were being made and they were much more accepted by Nepali audiences. Some popular films such as Samjhana, Lahure, Basudev, Saino, Koseli and Kusume Rumal were released between 1984 and 1993. The leading actors of those times were Bhuwan K.C. and Tripti Nadakar, whose on-screen chemistry saw them being dubbed the "golden couple" of the Nepali film industry. In the later years of the decade, the industry saw the rise of Rajesh Hamal and Karishma Manandhar.
After the restoration of the Democracy in 1990, the film industry began to grow rapidly. The number of productions increased. Within a period of three years, some 140 films were made. Distribution started to develop. Market share in the existing market increased and the market itself expanded. Cinema halls increased to more than 300. Nepali filmmakers became optimistic of displacing Hindi films, which had dominated the Nepali market.
Conflict Era:
The start of the downfall of the Nepali film industry was the result of the Maoist revolution. In the era of war and conflict, fewer films were made with low budget and even lower performance, which resulted in even smaller audiences. In the later years of the conflict, the production and release of Nepali films had come to a standstill with many actors and filmmakers leaving the country in search of work because there were no films being made.
However, during the 1990s, some filmmakers, mostly with non-fiction base, started championing for a new kind of cinema. They denounced the crude imitation of Bollywood aesthetics and demanded indigenous aesthetics and a more realistic approach. They made some films which have received some critical acclaim at home and some international recognition. Historic movies like Balidan and Seema Rekha made during this period were appreciated both by critics and audience.
Later the Film Development Board (FDB) was established by the Government of Nepal according to the existed Motion Picture Act amended on 20th November 1991.
Present Situation:
By 2006, with Maoists coming into mainstream politics, the Nepali film industry started to develop. Now, more and more films are being made and released. The production companies and those in the industry are enthusiastic about the country's new situation. Also the quality of the films being produced is improving, however, in comparison to Bollywood, it still lags far behind and the competition is tuff with maximum youths preferring Bollywood and Hollywood to Kollyhood.
Also, most of the Nepali films of new generation have the same storyline that was used in Bollyhood during 1990s and 2000. Actresses are either shown glamorous or a simple village girl. Such story still prevails in mainstream Nepali movies. We could see the movie posters pasted on the wall of the streets where the heroines are either in shorts or are crying their eyes out. Although few new generation directors are trying to display a different storyline and give a new look to the film industry, the maximum audience of the Nepali Film industry are those who prefer the traditional pattern and relate themselves to the movies that shows simple village life. That is why the directors often hesitate to take risk making movies with different taste and storyline.
New generation movie makers however, are geared up to make sensible cinema with entertainment rather than Bollywood inspired socio-actions. Kagbeni, Sano Sansar, Mero Euta Saathi Cha, First Love, Kohi Mero, etc. are some of the fine example of quality cinema in terms of presentation, performance, story and technical superiority.
Thus, the Nepali cinema still has not been able to come far away from where it started, in terms of the storyline. However, keeping in mind the interest and choices of younger crowds and to attract their attention and interest towards the industry some new generation directors have been experimenting with the story of the movie. And, also the involvement of the skilled and professional actors, directors and the crew in the film has resulted in the improvement in the quality and the story of the films. We could say that, at present, the Nepali Cinema is catering to both kinds of its audience - old and new.
- Kiran Giri
Monday, December 19, 2011
Stereotyping Women in Media
Women images, in media are always stereotyped. The roles they perform, the way they are presented are all traditional and had been the same way for decades now. Women are always prioritized for their physical beauty, sex appeal, submissive and suffering character. Be it advertorials or soap operas, women always are portrayed in their stereotype images.
Women in Advertorials
Despite women's pro-active movement and Code of Commercial Advertising on Doordarshan, the Code for Self Regulation and Code for Advertising Practice of the Advertising Standard Council of Pakistan and the Indecent Representative of Women (Prohibition) Act 1986, the fact remains that both Print and Electronic Media continue to portray stereotype images of women. They focus on sex appeal or physical beauty of women to sell a product. In spite of some good work being done by NGO's like Media Watch, Amnesty International and some select UN committees, the assessment of the content and portrayal of women by media have remained a neglected area of research and a matter meriting redress by the regulatory bodies.
In most of the advertorials, Women are portrayed either as housewives obsessed with cleanliness, personal hygiene, fragrances and liking for products to keep home dirt and germ free or as a sex object focusing their physical beauty, well-set hair, perfect body shape and teeth, shining skin, etc. to sell products. Woman's beauty and bodily charm is used to sell cosmetics and physical fitness products.
Even the advertorials depict women as submissive characters and dependent on men for their rescue while most of the men in the advertisements are more masculine and strong and comparatively successful. Advertisements showcasing successful and competent women are lesser than the ones with housewives and beautiful bimbos. The ads that feature women in the lead and central role are the ones for kitchen and home appliances, sanitary, cosmetics, baby care, domestic help and detergents. Some ads also show women crying out for help unless a man comes to rescue. Such ads portraying man as strong and central character often promote products for man's use. The ads for cosmetic products show women obsessed with her physical beauty and trying to make her look beautiful in order to attract a man.
A study of women in advertisements shows that women's appearance in personal hygiene product adverts are seven times more than those of the adverts in other categories. Seventy five percent of all adverts portray women for products used in the bathroom or kitchen; fifty six percent of adverts portray women as domestic helps or housewives. While men are presented in forty three professions concerning their roles, women in comparison are presented in eighteens of them.
Adverts, thus, stereotype women image portraying them as dedicated housewives or beauties in order to attract men.
Women in Soap Operas
Another stereotype entails depicting women as a wife or a mother or shy, submissive and suffering women or someone meant exclusively for home and in certain cases, another woman's enemy. This type of image is usually seen in the daily soaps. Women here are showcased as wife or mother or a daughter-in-law or a domestic help suffering through all the trouble for the sake of the family welfare, fighting with the evils, usually another woman portrayed as villain. Though she is attractive, she is home centered and contented. Although, the central character is given to the lady, the male characters are usually successful and often competent. No matter how competent the woman is shown in the soap at the beginning, as the series proceeds and she gets married, all women turn into the submissive and suffering housewives. All her, dreams and aims are shattered and she ends up having only one aim in life that is, to beget children and nurture her new family. Almost all of the prime time soap operas fall into this category. No matter how competent she was at the beginning, she ends up herself into middle of the domestic trouble.
The aim of each woman depicted there is to get married and beget children. These soaps are about companionship and relationship. In them relationship between women among themselves are important but not so important as between a woman and a man. The woman is left to serve the world inside her home while the outside world belongs to her husband or sons, similar to the traditional society. Most of the soap operas showcase traditional families with women busy in household chores and tensions and also are dressed in traditional attire, usually a sari covering their heads with a Pallu. Most of our prime television soaps fall in this category. Only few of the soap operas show women as competitive and working lady. However, a woman who pursues her career at the expense of her men-folk is shown to come to grief for her audacity and unnatural aspiration and also displayed as a failure. Any attempt on her part to challenge the accepted stereotype image of a woman whose success and achievement depend upon her working with men does not find favour with conventional audience. Hence, the soap operas, too, stereotype women's role.
Women in Film Industries
The film industry is not an exception. The actresses in the movies are usually the sufferers and waiting for their hero to come and rescue them. Old movies where the lady had a strong character were rare as woman stronger than a man was not acceptable in the society. However, few movies did break the stereotype. So far, the Western market has overcome the traditional pattern of portraying women however the Eastern film market still revolves around the same line with very few exceptions. Women still are weak and dependent over their father or their boyfriend/husbands. They usually are the easy target for the villains and it is the hero who rescues them. They are usually obsessed with their looks and make up. One of the best example is the Bollyhood movie Tees Mar Khan where Katrina Kaif's character is so much obsessed with being an actress and looking good that the only thing she does in the entire movie is make up and overacting. The actresses are either simple villager or a super glamorous city girl but always weak and dependent on a male.
Women as Media Professionals
Also, the media as a profession for women is more or less difficult. They are always left behind in terms of major decision making or control of the management. The important decision makers are usually men and also the major or the important role and responsibilities lies on their hands. Women are more often in front of the camera reading news or leading some programs. The presenters, as we see them, are beautiful ladies with perfect physical features. Women are judged not just by their talent but also their beauty and good looks in the media. Be it a mainstream media or other, women with good looks could be found dominating the cameras. Not just adverts and daily soap operas but also professional media outlets, broadcast stations prefer women with good looks and facial features than a plain one. In the media, women are judged more by their looks then their intellect. This, however, at present, is changing and we can see few women enjoying the important and decision making posts in the media houses.
Media, as a result, has not been doing justice to the role of women in society. However, for media to promote balanced and non-stereotype portrayal of women in their multiple roles, it is imperative that government, media, NGOs and private sector should come together and forge joint strategies to promote gender equality and gender justice. However this presupposes gender sensitivity among media owners and managers. In its new-found expansive role, media should foster a broad ethical content and moralizing impulse in the society so essential for the emergence of a civil society. Moreover for the society’s abiding benefit media must nurture and transmit humane values of civilization. They must take upon themselves the proactive role of a protector and a promoter of human rights, gender justice and democratic order. Thus, the stereotyping of the women in the media should be removed and they should be treated and characterized as equals and in their present status and role. However, in context of portraying women in a fair manner, Eastern media (especially Nepali) still has a long way to go.
Women in Advertorials
Despite women's pro-active movement and Code of Commercial Advertising on Doordarshan, the Code for Self Regulation and Code for Advertising Practice of the Advertising Standard Council of Pakistan and the Indecent Representative of Women (Prohibition) Act 1986, the fact remains that both Print and Electronic Media continue to portray stereotype images of women. They focus on sex appeal or physical beauty of women to sell a product. In spite of some good work being done by NGO's like Media Watch, Amnesty International and some select UN committees, the assessment of the content and portrayal of women by media have remained a neglected area of research and a matter meriting redress by the regulatory bodies.
In most of the advertorials, Women are portrayed either as housewives obsessed with cleanliness, personal hygiene, fragrances and liking for products to keep home dirt and germ free or as a sex object focusing their physical beauty, well-set hair, perfect body shape and teeth, shining skin, etc. to sell products. Woman's beauty and bodily charm is used to sell cosmetics and physical fitness products.
Even the advertorials depict women as submissive characters and dependent on men for their rescue while most of the men in the advertisements are more masculine and strong and comparatively successful. Advertisements showcasing successful and competent women are lesser than the ones with housewives and beautiful bimbos. The ads that feature women in the lead and central role are the ones for kitchen and home appliances, sanitary, cosmetics, baby care, domestic help and detergents. Some ads also show women crying out for help unless a man comes to rescue. Such ads portraying man as strong and central character often promote products for man's use. The ads for cosmetic products show women obsessed with her physical beauty and trying to make her look beautiful in order to attract a man.
A study of women in advertisements shows that women's appearance in personal hygiene product adverts are seven times more than those of the adverts in other categories. Seventy five percent of all adverts portray women for products used in the bathroom or kitchen; fifty six percent of adverts portray women as domestic helps or housewives. While men are presented in forty three professions concerning their roles, women in comparison are presented in eighteens of them.
Adverts, thus, stereotype women image portraying them as dedicated housewives or beauties in order to attract men.
Women in Soap Operas
Another stereotype entails depicting women as a wife or a mother or shy, submissive and suffering women or someone meant exclusively for home and in certain cases, another woman's enemy. This type of image is usually seen in the daily soaps. Women here are showcased as wife or mother or a daughter-in-law or a domestic help suffering through all the trouble for the sake of the family welfare, fighting with the evils, usually another woman portrayed as villain. Though she is attractive, she is home centered and contented. Although, the central character is given to the lady, the male characters are usually successful and often competent. No matter how competent the woman is shown in the soap at the beginning, as the series proceeds and she gets married, all women turn into the submissive and suffering housewives. All her, dreams and aims are shattered and she ends up having only one aim in life that is, to beget children and nurture her new family. Almost all of the prime time soap operas fall into this category. No matter how competent she was at the beginning, she ends up herself into middle of the domestic trouble.
The aim of each woman depicted there is to get married and beget children. These soaps are about companionship and relationship. In them relationship between women among themselves are important but not so important as between a woman and a man. The woman is left to serve the world inside her home while the outside world belongs to her husband or sons, similar to the traditional society. Most of the soap operas showcase traditional families with women busy in household chores and tensions and also are dressed in traditional attire, usually a sari covering their heads with a Pallu. Most of our prime television soaps fall in this category. Only few of the soap operas show women as competitive and working lady. However, a woman who pursues her career at the expense of her men-folk is shown to come to grief for her audacity and unnatural aspiration and also displayed as a failure. Any attempt on her part to challenge the accepted stereotype image of a woman whose success and achievement depend upon her working with men does not find favour with conventional audience. Hence, the soap operas, too, stereotype women's role.
Women in Film Industries
The film industry is not an exception. The actresses in the movies are usually the sufferers and waiting for their hero to come and rescue them. Old movies where the lady had a strong character were rare as woman stronger than a man was not acceptable in the society. However, few movies did break the stereotype. So far, the Western market has overcome the traditional pattern of portraying women however the Eastern film market still revolves around the same line with very few exceptions. Women still are weak and dependent over their father or their boyfriend/husbands. They usually are the easy target for the villains and it is the hero who rescues them. They are usually obsessed with their looks and make up. One of the best example is the Bollyhood movie Tees Mar Khan where Katrina Kaif's character is so much obsessed with being an actress and looking good that the only thing she does in the entire movie is make up and overacting. The actresses are either simple villager or a super glamorous city girl but always weak and dependent on a male.
Women as Media Professionals
Also, the media as a profession for women is more or less difficult. They are always left behind in terms of major decision making or control of the management. The important decision makers are usually men and also the major or the important role and responsibilities lies on their hands. Women are more often in front of the camera reading news or leading some programs. The presenters, as we see them, are beautiful ladies with perfect physical features. Women are judged not just by their talent but also their beauty and good looks in the media. Be it a mainstream media or other, women with good looks could be found dominating the cameras. Not just adverts and daily soap operas but also professional media outlets, broadcast stations prefer women with good looks and facial features than a plain one. In the media, women are judged more by their looks then their intellect. This, however, at present, is changing and we can see few women enjoying the important and decision making posts in the media houses.
Media, as a result, has not been doing justice to the role of women in society. However, for media to promote balanced and non-stereotype portrayal of women in their multiple roles, it is imperative that government, media, NGOs and private sector should come together and forge joint strategies to promote gender equality and gender justice. However this presupposes gender sensitivity among media owners and managers. In its new-found expansive role, media should foster a broad ethical content and moralizing impulse in the society so essential for the emergence of a civil society. Moreover for the society’s abiding benefit media must nurture and transmit humane values of civilization. They must take upon themselves the proactive role of a protector and a promoter of human rights, gender justice and democratic order. Thus, the stereotyping of the women in the media should be removed and they should be treated and characterized as equals and in their present status and role. However, in context of portraying women in a fair manner, Eastern media (especially Nepali) still has a long way to go.
Friday, December 16, 2011
Government media: advantages and disadvantages
Nature of the medium affects the way they deliver information to the audience. It is not only the content that leads people to interpretation, the nature of the media plays equally significant role. What is communicated is equally important as how it is communicated. Regarding the nature of media, or the authority that operates mass media, they can be categorized as:
Government media (State owned)
Commercial media(Privately owned)
Community media
Hence, media ownership remains a significant field of study that deserves a careful consideration. One can argue whether or not, a particular type of media (like those given above) can best serve people and the nation. There are enough merits and de-merits one can discuss, of any of the media. The control of power and authority, in the sector of mass media, make them distinct in terms of their roles and functions. All three types of media are bound to function as per their own rules and obligations. Though there are differing situations and circumstances that determine their boundaries, there is, at least, a set of features that define their existence in a particular course of time.
Government Media
Government media are the part of a government, which function as its mouthpiece. It is also called state owned media; a media, that works for mass communication, which is ultimately controlled and funded by the state. The news outlets may be the sole media outlet or may exist in competition with privately controlled media. Some critics claim that government media are not media by themselves, only appendages of the government.
Limitations of State owned media:
It remains in contrast with privately owned media with no direct control from any political party. Critics argue that state media are not media in a true sense; it is not more than the mouthpiece of the government. Its loyalty, first to the government restricts it aim to act as the voice of the voiceless. In this regard, it serves a particular interest group, not general people. In some cases, state media can be used frequently by the autocratic government as the propaganda tools. It suffers deliberate manipulations of its contents by the ruling party, reducing its efficiency and credibility. Government may censor the content which it deems illegal, immoral, or unfavorable to government, hence, it is not independent of the governing party. Some governments also compel journalists’ affiliation with the ruling party like in Soviet Union and North Korea. Within countries with high level of government interference, it may use the state media for propaganda purpose.
State media, in many situations, may be used to promote the regime in favorable light, vilify opposition by launching smear campaigns, give skewed coverage to oppositional views or to act as a mouthpiece to advocate the regime’s ideology.
On the other hand, state media may only report on legislation after it has already become law to stifle any debate. It reduces the sphere of ideological conflicts. People are led to follow an existing ideology that might not serve the needy, but certain interest groups instead.
Public Choice Theory advocates that government media distorts information in favor of ruling party and entrenches its rule, while preventing the public from informed decisions, therefore undermining democratic institutions. This discourages independent media which promotes alternative voices allowing individual to choose political parties, goods, services without fear. State owned media are also criticized for the boundary they impose in media competition. Unlike independent media, state owned media cannot ensure people’s acquisition of unbiased information. Because competition is a part of Check and Balance System of democracy, which is discouraged by state media, it fails to act as the Fourth Estate of the nation. Government media are found prominent in poor, autocratic, non-democratic societies with highly interventionist government that have some interest in controlling flow of information.
Strengths of state owned media:
According to Public Interest Theory, state ownership is desirable. Dissemination of information is public good and to withhold it would be costly, even if it is not paid for. Cost of provision and dissemination of information is high. However, once costs are incurred, marginal costs for providing information are low and therefore are subject to increasing returns. In a progressive society, state media can be less biased, more complete and accurate.
State owned media are media for people. It is not an individual who holds the authority, and hence, it is not guided by an individual interest. Government media are open to all and accommodate voices of general public. In a true sense, state owned media can best act as voice of the voiceless. With due consideration of its roles and capabilities, it is treated as Fourth Estate of the Nation. State media is the only media in the nation which treats people as citizens. For state media, people are not merely the sole consumers of its products, but in fact, it has and fulfils its responsibilities towards the people and the nation. It is often used in contrast to private or independent media, which is guided by a commercial viewpoint. Its content is usually more prescriptive, with no pressure to attract high ratings or to generate ad revenue. The contents therefore, are considerably more reliable, credible and accurate in this sense, compared to that of independent media. State media legitimatize its presence by emphasizing national unity against domestic or foreign aggressions. In more open and competitive contexts, the state may control or find its own outlet. The state media bare less government control in more open societies.
State owned media may be required by law to provide free airtime to bodies like election authority and even civil societies organizations to air educational messages and contents related to Public Service Announcements.
State media have far much greater reaches than independent media in terms of population and geography and therefore, are preferred by the national plans and other campaigns that require maximum public attention. More than commercially oriented media outlets, state media are preferred to reach poorer strata of population.
Being a public media, it is identified for its loyalty towards people. It can best bridge the gap between the people and the government. Government frequently uses state media to convey the national plans and programs to grass root level. State media motivates people to be together for general welfare by promoting women’s empowerment or even public participation. State media like BBC are widely recognized for their diligent practice and their respect to people’s right to freedom.
Sujan Achchhami
BA III
Sagarmatha College for Higher Studies
Government media (State owned)
Commercial media(Privately owned)
Community media
Hence, media ownership remains a significant field of study that deserves a careful consideration. One can argue whether or not, a particular type of media (like those given above) can best serve people and the nation. There are enough merits and de-merits one can discuss, of any of the media. The control of power and authority, in the sector of mass media, make them distinct in terms of their roles and functions. All three types of media are bound to function as per their own rules and obligations. Though there are differing situations and circumstances that determine their boundaries, there is, at least, a set of features that define their existence in a particular course of time.
Government Media
Government media are the part of a government, which function as its mouthpiece. It is also called state owned media; a media, that works for mass communication, which is ultimately controlled and funded by the state. The news outlets may be the sole media outlet or may exist in competition with privately controlled media. Some critics claim that government media are not media by themselves, only appendages of the government.
Limitations of State owned media:
It remains in contrast with privately owned media with no direct control from any political party. Critics argue that state media are not media in a true sense; it is not more than the mouthpiece of the government. Its loyalty, first to the government restricts it aim to act as the voice of the voiceless. In this regard, it serves a particular interest group, not general people. In some cases, state media can be used frequently by the autocratic government as the propaganda tools. It suffers deliberate manipulations of its contents by the ruling party, reducing its efficiency and credibility. Government may censor the content which it deems illegal, immoral, or unfavorable to government, hence, it is not independent of the governing party. Some governments also compel journalists’ affiliation with the ruling party like in Soviet Union and North Korea. Within countries with high level of government interference, it may use the state media for propaganda purpose.
State media, in many situations, may be used to promote the regime in favorable light, vilify opposition by launching smear campaigns, give skewed coverage to oppositional views or to act as a mouthpiece to advocate the regime’s ideology.
On the other hand, state media may only report on legislation after it has already become law to stifle any debate. It reduces the sphere of ideological conflicts. People are led to follow an existing ideology that might not serve the needy, but certain interest groups instead.
Public Choice Theory advocates that government media distorts information in favor of ruling party and entrenches its rule, while preventing the public from informed decisions, therefore undermining democratic institutions. This discourages independent media which promotes alternative voices allowing individual to choose political parties, goods, services without fear. State owned media are also criticized for the boundary they impose in media competition. Unlike independent media, state owned media cannot ensure people’s acquisition of unbiased information. Because competition is a part of Check and Balance System of democracy, which is discouraged by state media, it fails to act as the Fourth Estate of the nation. Government media are found prominent in poor, autocratic, non-democratic societies with highly interventionist government that have some interest in controlling flow of information.
Strengths of state owned media:
According to Public Interest Theory, state ownership is desirable. Dissemination of information is public good and to withhold it would be costly, even if it is not paid for. Cost of provision and dissemination of information is high. However, once costs are incurred, marginal costs for providing information are low and therefore are subject to increasing returns. In a progressive society, state media can be less biased, more complete and accurate.
State owned media are media for people. It is not an individual who holds the authority, and hence, it is not guided by an individual interest. Government media are open to all and accommodate voices of general public. In a true sense, state owned media can best act as voice of the voiceless. With due consideration of its roles and capabilities, it is treated as Fourth Estate of the Nation. State media is the only media in the nation which treats people as citizens. For state media, people are not merely the sole consumers of its products, but in fact, it has and fulfils its responsibilities towards the people and the nation. It is often used in contrast to private or independent media, which is guided by a commercial viewpoint. Its content is usually more prescriptive, with no pressure to attract high ratings or to generate ad revenue. The contents therefore, are considerably more reliable, credible and accurate in this sense, compared to that of independent media. State media legitimatize its presence by emphasizing national unity against domestic or foreign aggressions. In more open and competitive contexts, the state may control or find its own outlet. The state media bare less government control in more open societies.
State owned media may be required by law to provide free airtime to bodies like election authority and even civil societies organizations to air educational messages and contents related to Public Service Announcements.
State media have far much greater reaches than independent media in terms of population and geography and therefore, are preferred by the national plans and other campaigns that require maximum public attention. More than commercially oriented media outlets, state media are preferred to reach poorer strata of population.
Being a public media, it is identified for its loyalty towards people. It can best bridge the gap between the people and the government. Government frequently uses state media to convey the national plans and programs to grass root level. State media motivates people to be together for general welfare by promoting women’s empowerment or even public participation. State media like BBC are widely recognized for their diligent practice and their respect to people’s right to freedom.
Sujan Achchhami
BA III
Sagarmatha College for Higher Studies
Party Politics in Media in Nepal
Diwakar Pyakurel
1. Introduction
Multiparty politics and independence of press both are inseparable parts of today's democracy. They both together contribute to strengthen democratic values and practices. However, the relationship between political parties and media / press sector is quite complex and interesting.
Wikipedia, the free Encyclopedia defines, "A political party is a political organization that typically seeks to influence government policy, usually by nominating their own candidates and trying to seat them in political office. Parties participate in electoral campaigns, educational outreach or protest actions."
The Legal Dictionary of "The Free Dictionary Dot Com" defines 'freedom of the press' as, "The right, …to gather, publish, and distribute information and ideas without government restriction; this right encompasses freedom from prior restraints on publication and freedom from Censorship." Thus, press freedom also includes the environment also free from any political interference. In this respect, involvement of party politics in media is regarded as an intrusion to press freedom. In principles, political biasness of any media or any journalist is never acceptable.
However, as in various sectors of social lives, practices are deviated from the principles. Frequently political parties are seen to be involving in controlling media and manipulating the messages. In Nepal too, party politics in media is an apparent phenomena. That can be seen in different forms.
2. Forms of political involvement in media in Nepal
I) Journalists' organizations with political face
In Nepal, there are many organizations of journalists, which are well known for their political identity. For example, Nepal Press Union is backed by Nepali Congress, Press Chautari Nepal by CPN - UML and Revolutionary Journalists Association (Krantikari Patrakar Sangh) by UCPN Maoists. These organizations don't claim themselves to be sister organizations of respective political parties, neither do the parties call them formal sister organizations. However, we can easily know them from their programs and activities. Some of the most common programs by these groups are to organize press meetings when a leader from respective party visits districts, and provide the platform for the leader to interact with journalists in the district. Besides, they become more active to serve its "mother party", when the party has some grand programs like general conventions to foster media coverage of such programs.
II) Media run by political parties
Besides their authentic mouthpieces, political parties in Nepal are believed to be running other media as well to disseminate their ideas. It is most commonly seen in weekly tabloids. No matter they claim themselves to be objective, they have specific group of readers with specific political ideology and thus, their political ideology is a kind of an "open secret". For example, 'Chhalphal', 'Dristi' and 'Budhabar' are near CPN UML, though the party has its authentic mouthpiece, 'Navayug'. Similarly, 'Tarun', 'Sanghu' etc are near Nepali Congress. Moreover, different fractions of a single party have different outlets and they compete for larger readership. Not only big parties, small parties also have newspapers to spread their agendas.
III) Political panel during FNJ elections
Federation of Nepalese Journalists (FNJ) is the "umbrella organization" of Nepalese journalists, and it works for rights of journalists and media without political discrimination. However, its members are elected from political panels. During general convention of the body, the above discussed journalists' associations with political face form their separate panel and run for election. Nevertheless, FNJ doesn't acknowledge political affiliation of its candidates formally. In the last FNJ convention (May 2011), Press Chautari and Krantikari Patrakar Sangh had a common "progressive" panel, whereas Nepal Press Union had its own "democratic" panel. Besides, there were some "independent" candidates, however in comparison to politically allied panels, they seemed far weaker.
IV) Political appointment
In Press Council, the governing body of media freedom and responsibilities too, executive members of the board including the chairperson are appointed politically. Article 4 (1) of Press Council Act, 1992 says, "The Council shall be an autonomous and corporate body having perpetual succession." However, the sixth article of the same act provisions for political appointment, that government is free to appoint people form the sector of law or journalism as it wishes. It has been tradition that the government has been appointing the chairperson and members, only those who support the governing party.
Besides, the Government of Nepal own and runs many media houses, namely Gorkhapatra Samsthan, Radio Nepal and Nepal Television, and a news agency Rastriya samachar Samiti (RSS). In these houses too, office bearer executives and other members are directly appointed by Minister of Information and Communications.
3. Political affiliation of journalists: Accusations and defences
I) Accusations
Because objectivity and balance are two of the basic components of media ethics, there are many critics who can't tolerate party politics in media, including political affiliation of journalists. They opine that it brings biasness in their profession, and they might favour one side whereas criticizing another even in news.
Nirmala Mani Adhikary, Assistant Professor of Journalism at Kathmandu University, who has written dozens of books in media, says, "Whenever journalists do politics, or politicians do journalism, it hampers both sectors." For him, political biasness results in decrease of accuracy, balance, creativity and objectivity, which are in deed prime responsibilities of a journalist.
IN the same way, P Kharel, Chairperson of Nepal Press Institute and the first professor of Journalism in Nepal, opines that Nepali journalism is yet to be professional. In addition to many reasons, "... there has been 'Party Journalism' in Nepal. It is more on weekly tabloids, in comparison to broadsheet dailies", he says.
II) Defences
No one ever openly acknowledges that political involvement of journalists is positive. Even those who are involved in politically-backed journalists' associations too don't accept the accusations that they are promoting party politics in media. However, they defend themselves as saying that every one has political ideology, and it is fundamental human rights as well. So, journalists too are free to choose and express whatever political stream they like.
However, Nirmala Mani says that there lies a great difference between having a political belief and practicing politics itself. Thus, though journalists are allowed to keep their beliefs, as they too are human beings; they can't practice politics at the same time being a journalist.
4. Conclusion
As of everything, involvement of party politics in journalism (or journalism's involvement in part politics) has both positive and negative sides. However, in consideration of well-established global journalistic norms and values, political affiliation of journalists and media can't be considered acceptable, since it endanger objectivity, neutrality and objectivity of journalists. Of course, they are free to keep and follow whatever belief they like. But they should always be careful and cautious so that there beliefs doesn't have any negative influence in their professionalism.
1. Introduction
Multiparty politics and independence of press both are inseparable parts of today's democracy. They both together contribute to strengthen democratic values and practices. However, the relationship between political parties and media / press sector is quite complex and interesting.
Wikipedia, the free Encyclopedia defines, "A political party is a political organization that typically seeks to influence government policy, usually by nominating their own candidates and trying to seat them in political office. Parties participate in electoral campaigns, educational outreach or protest actions."
The Legal Dictionary of "The Free Dictionary Dot Com" defines 'freedom of the press' as, "The right, …to gather, publish, and distribute information and ideas without government restriction; this right encompasses freedom from prior restraints on publication and freedom from Censorship." Thus, press freedom also includes the environment also free from any political interference. In this respect, involvement of party politics in media is regarded as an intrusion to press freedom. In principles, political biasness of any media or any journalist is never acceptable.
However, as in various sectors of social lives, practices are deviated from the principles. Frequently political parties are seen to be involving in controlling media and manipulating the messages. In Nepal too, party politics in media is an apparent phenomena. That can be seen in different forms.
2. Forms of political involvement in media in Nepal
I) Journalists' organizations with political face
In Nepal, there are many organizations of journalists, which are well known for their political identity. For example, Nepal Press Union is backed by Nepali Congress, Press Chautari Nepal by CPN - UML and Revolutionary Journalists Association (Krantikari Patrakar Sangh) by UCPN Maoists. These organizations don't claim themselves to be sister organizations of respective political parties, neither do the parties call them formal sister organizations. However, we can easily know them from their programs and activities. Some of the most common programs by these groups are to organize press meetings when a leader from respective party visits districts, and provide the platform for the leader to interact with journalists in the district. Besides, they become more active to serve its "mother party", when the party has some grand programs like general conventions to foster media coverage of such programs.
II) Media run by political parties
Besides their authentic mouthpieces, political parties in Nepal are believed to be running other media as well to disseminate their ideas. It is most commonly seen in weekly tabloids. No matter they claim themselves to be objective, they have specific group of readers with specific political ideology and thus, their political ideology is a kind of an "open secret". For example, 'Chhalphal', 'Dristi' and 'Budhabar' are near CPN UML, though the party has its authentic mouthpiece, 'Navayug'. Similarly, 'Tarun', 'Sanghu' etc are near Nepali Congress. Moreover, different fractions of a single party have different outlets and they compete for larger readership. Not only big parties, small parties also have newspapers to spread their agendas.
III) Political panel during FNJ elections
Federation of Nepalese Journalists (FNJ) is the "umbrella organization" of Nepalese journalists, and it works for rights of journalists and media without political discrimination. However, its members are elected from political panels. During general convention of the body, the above discussed journalists' associations with political face form their separate panel and run for election. Nevertheless, FNJ doesn't acknowledge political affiliation of its candidates formally. In the last FNJ convention (May 2011), Press Chautari and Krantikari Patrakar Sangh had a common "progressive" panel, whereas Nepal Press Union had its own "democratic" panel. Besides, there were some "independent" candidates, however in comparison to politically allied panels, they seemed far weaker.
IV) Political appointment
In Press Council, the governing body of media freedom and responsibilities too, executive members of the board including the chairperson are appointed politically. Article 4 (1) of Press Council Act, 1992 says, "The Council shall be an autonomous and corporate body having perpetual succession." However, the sixth article of the same act provisions for political appointment, that government is free to appoint people form the sector of law or journalism as it wishes. It has been tradition that the government has been appointing the chairperson and members, only those who support the governing party.
Besides, the Government of Nepal own and runs many media houses, namely Gorkhapatra Samsthan, Radio Nepal and Nepal Television, and a news agency Rastriya samachar Samiti (RSS). In these houses too, office bearer executives and other members are directly appointed by Minister of Information and Communications.
3. Political affiliation of journalists: Accusations and defences
I) Accusations
Because objectivity and balance are two of the basic components of media ethics, there are many critics who can't tolerate party politics in media, including political affiliation of journalists. They opine that it brings biasness in their profession, and they might favour one side whereas criticizing another even in news.
Nirmala Mani Adhikary, Assistant Professor of Journalism at Kathmandu University, who has written dozens of books in media, says, "Whenever journalists do politics, or politicians do journalism, it hampers both sectors." For him, political biasness results in decrease of accuracy, balance, creativity and objectivity, which are in deed prime responsibilities of a journalist.
IN the same way, P Kharel, Chairperson of Nepal Press Institute and the first professor of Journalism in Nepal, opines that Nepali journalism is yet to be professional. In addition to many reasons, "... there has been 'Party Journalism' in Nepal. It is more on weekly tabloids, in comparison to broadsheet dailies", he says.
II) Defences
No one ever openly acknowledges that political involvement of journalists is positive. Even those who are involved in politically-backed journalists' associations too don't accept the accusations that they are promoting party politics in media. However, they defend themselves as saying that every one has political ideology, and it is fundamental human rights as well. So, journalists too are free to choose and express whatever political stream they like.
However, Nirmala Mani says that there lies a great difference between having a political belief and practicing politics itself. Thus, though journalists are allowed to keep their beliefs, as they too are human beings; they can't practice politics at the same time being a journalist.
4. Conclusion
As of everything, involvement of party politics in journalism (or journalism's involvement in part politics) has both positive and negative sides. However, in consideration of well-established global journalistic norms and values, political affiliation of journalists and media can't be considered acceptable, since it endanger objectivity, neutrality and objectivity of journalists. Of course, they are free to keep and follow whatever belief they like. But they should always be careful and cautious so that there beliefs doesn't have any negative influence in their professionalism.
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