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Abstract

Film is a technology based art where plentiful photographs chronologically create moving image

because of our eye inertia. Film is a cluster of arts that visually narrates a story as a result of

creative and technological effort. A good film considers storytelling and screenplay, music and

sense of rhythm, extraordinary photography, expert of technology, idea about acting and use of

artists, and good management including ugly political and bureaucratic perplexity of Bangladesh.

Government film industry – Film Development Corporation (FDC) controls the mainstream

market of film and produces a lot of film of various stories. Kazi Hayat is one of the successful

directors of mainstream film production who starts filming early in the decade of 90. Kazi Hayat

makes almost twenty films and Dayi Ke? Danga, Itihas etc hit movies are his big gig. Kazi

Hayat acclaims himself as an ‘alternative filmmaker’ of mainstream for his violent storytelling.

His representation of violence and reality keeps his stance reserved and as ideological state

apparatus, his film creates a particular class of audience and most of them are working class like

rickshaw puller, day labor, vehicle driver, hawker etc. The idea of constructive violence is also

available in his films as creating fabricated hero. Like N’gugi wa Thiongo’s fabricated hero

“Masai Warrior” of nationalism reserves inspiration of constructive violence in Petals of Blood,

Kazi Hayat uses freedom fighter as his core protagonist who shields the oppressed and repressed.

When I was growing up as school going boy with my neighboring people who are occupied as

workers, I witnessed their clamorous expression after enjoying Kazi Hayat movie. They are

talking about the revolutionary nature of ‘hero’ and his fiery dialogue. Use of slang is one of

major element of his films and dramatic presentation of violence like ‘hero’ shoots the minister

in public assembly or uprooting eyes, reality like police let down innocent people for bribe or

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mayor steals the relief goods. Happy moments are ignored in the films of Kazi Hayat rather

tedious situation of context.

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First Chapter: Introduction

Men represent their real conditions of existence to themselves in an imaginary form. From the

‘primitive world’ to this ‘world outlooks’; while admitting correspond to reality, constitute an

illusion which is interpreted to discover the reality of the world behind the imaginary

representation of that illusory world. The reborn of representation of the real conditions of

existence of the individuals occupying the posts of agents of production, exploitation, repression,

ideologization and scientific practice-a cyclic order of representation. In the world of ‘film

reality’, the representation of daily experience conjures different climatic movement which is

flamboyant, gaudy, and extravagant in nature of film. ‘Film reality’ is a strong propaganda for

film movement which creates the third perception of representation because of objectivity. The

discourse ‘representation of violence and reality in the films of Kazi Hayat’ takes the

concentration of focusing the mainstream film production where the representation of cinematic

reality bumps. How did violence end up becoming one of Dhaliwood’s main entertainment

factors? This is something I have to ask myself most of the time I go to the theater. Today, it is

almost impossible to watch films that don’t contain violence at least as a side spectacle. If either

as a horror movie that makes violence its only focus, or just a slapstick comedy that needs a few

more laughs, we all would agree that these films do not portray the painful and horrifying reality

of violence. Nevertheless, violence is one of the most popular themes in films, and with special

effects and violence longing audience there is no end of this in sight. It is not enough that we all

are exposed to war, disasters, and accidents in the daily news, but we have made it into our

primary entertainment as well. Film critics analyzing violent film images that seek to

aesthetically please the viewer mainly fall into two categories. Critics who see depictions of

violence in film as superficial and exploitative argue that it leads audience members to become

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desensitized to brutality, thus increasing their aggression. On the other hand, critics who view

violence as a type of content, or as a theme, claim it is cathartic and provides "acceptable outlets

for anti-social impulses." Critics call violent film a "stylistically excessive," "significant and

sustained way" of social, political and economic expression of society. Kazi Hayat depicts the

image of violence and reality in such a way which is politically conscious about the

contemporary political crisis and anxiety. All of the films of Kazi Hayat always deal with typical

traumatic issues like economic discrimination, illegally outcaste individual by police force,

breach relationships, frustrated freedom fighter, smuggling, psychotic imbalance, useless

policies, hollow generation, corrupted authority like minister, MP, Police Officer, businessman,

politicians, curse of prostitution, distrust, deceit, murder, hijacking, kidnapping, decomposed

tune of life, post liberation anarchy, manipulation of ideology, fractured neighborhood, noise and

pollution, blight of unemployment etc. Director Kazi Hayat has a tendency to give a strong blow

to the system, clears the air of distrust, and wipes the infamous misdeeds of life which generate

themes of films. The director argues about his progressive stance in mainstream film production.

The social picture of his films breeds a Bangladesh which is biologically and mentally identical

to the reality. The offerings of Kazi Hayat, in a sense, impact on the birth of super hero that

infuses mass deception.

1.1 Thesis Statement:

Locating the similarity, contrast, comparison between representation of violence and reality in

the films of Kazi Hayat and contemporary political, social, economical condition of country, the

gap of communication receives dilemma.

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1.2 Objectives:

To study how film and literature explain the position of reality and filmy reality respectively

newspaper filtered and celluloid filtered representation of everyday reality. Besides, it tries to

know which class of people experiences as audience of Kazi Hayat’s film and receptor of

oppression.

1.3 Methodology:

The concern of this paper is to reach the relative position of violence and reality in the context of

film, literature and observation over reality which explores the director’s point of view of

representing vulnerable state of country’s principle issues. By watching and reading films of

Kazi Hayat and news, discussion, books; this paper adopts two methodologies: discourse method

and literary theory. Discourse is “a group of statements which provided language for talking

about….a particular topic at a particular historical moment” (quoted in Hall 44). Literary theory

directs the reading and explaining the visual representation. This paper gives elaborate and

critical reading of a number of selected films and newspaper taken from mainly technical media

and print media containing a particular type of apparatus. The information is collected through

discourse analysis then given literary reading to develop a framework which explains the

distinction and harmony of representation and fact.

1.4 The range of the study:

The paper concentrates on the films containing various social, political and economical

conditions which are responsible for violence and oppression. The focus is, however, on the

propaganda of representation through manipulation of reality and reaction to the facts of

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commercial purposes. Regarding creative dimension, the project relies heavily on the

‘alternative’ and ‘progressive’ propaganda of film movement and the ‘every representation is

misrepresentation’ propaganda across the nation.

The paper draws much from Marxist Theory, Structuralism, Deconstructive, and Cultural

Studies. However, I would not like to position it exclusively in any of the schools mentioned but

an amalgamation of all of the above.

1.5 The design of the paper:

The paper is divided into five chapters. The first chapter, that is, the present one, with the title:

“Introduction”, discusses the objective of the paper and makes the thesis statement; it also

outlines the methodology and specifies the extent and design of the study. The second chapter,

“The theoretical base, terms and terminologies”, introduces the major terms and issues that this

paper uses for developing the argument. Chapter 3 “Lights on the areas: Analyzing the films and

the style of storytelling” analyzes all the prominent propaganda of film and storytelling. Chapter

4 “Critical Analysis” analyzes political, social and economical condition and representation, and

role of expression. Finally, last chapter or “Conclusion” summarizes the paper as well as

suggests the scope for further research in the related area.

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Second Chapter: Theoretical base, Terms and Terminologies

Propaganda, according to its conversion technique, appears in the form of discourse, and

discourse, as Foucault argued, is political. Discourse is made and circulated by the ruling class,

and therefore hegemonic, in the sense that it serves the interest of the powerful. When certain

forms of discourse appear regularly in political, sociological, economic and cultural contexts, it

inevitably produces what Barthes called ‘myth.’ As this paper intends to enquire the ways in

which films and their themes as well as newspaper propagate and manipulate the mass people I

find it pertinent, before moving to further discussion, to elaborate the terms and topics that this

paper cashes in on. These include: discourse, basic elements of Marxism, Althusser’s ideological

apparatuses, the different models of propaganda, representation, structuralism, deconstruction,

and myth. I would also like to reiterate that this paper draws heavily from Marxist theory,

Cultural Studies, and Discourse Analysis.

2.1. Marxism

2.1.1. Concepts of class:

In the Communist Manifesto, Marx offered a condensed summary of his class theory that has

long shaped class analyses by Marxists and others. The famous line, “The history of all hitherto

existing society is the history of class struggles,” introduced an argument that previous epochs

had displayed multiple, different classes and “subordinate gradations” of classes whose complex

struggles had shaped their histories. Marx concluded that argument by sharply distinguishing his

own time: “our epoch, the epoch of the bourgeoisie…has simplified the class antagonisms.

Society as a whole is more and more splitting up into two great hostile camps…Bourgeoisie and

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Proletariat.” Although the Manifesto was a document to rally supporters, not a scholarly treatise,

Marx has been widely interpreted ever since as having endorsed the idea that capitalism had

fundamentally simplified class antagonism.

Marx’s other statement that deeply influenced especially Marxist class analyses was the

enigmatic two page Chapter 52, entitled “Classes,” at the end of volume 3 of Capital,. There

Marx again briefly refers to capitalism’s tendency to gather all people into one or the other

group: capitalists and wage-laborers. Yet before he elaborates any definition of classes, the

chapter stops abruptly with these bracketed words: “Here the manuscript breaks off.” The stark

incompleteness of Chapter 52 convinced many readers that Marx never fully developed his

concept of class. Marxists thus felt free or perhaps even obliged to turn to the available concepts

of class that pre-dated Marx and to incorporate them into the evolving tradition. Thus, Marxism

became the site chiefly of the multiple definitions and theories of class discussed above. They

were similar in their shared dualism, but different in focal content: property (rich versus poor),

power (rulers versus ruled), or consciousness (class conscious versus mystified by false

ideologies).

2.1.2. Base and superstructure:

Marx and Engels use the “base-structure” concept to explain the idea that the totality of relations

among people with regard to “the social production of their existence” forms the economic basis,

on which arises a superstructure of political and legal institutions. To the base corresponds the

social consciousness which includes religious, philosophical, and other main ideas. The base

conditions both, the superstructure and the social consciousness. A conflict between the

development of material productive forces and the relations of production causes social

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revolutions, and the resulting change in the economic basis will sooner or later lead to the

transformation of the superstructure. For Marx, though, this relationship is not a one way process

- it is reflexive; the base determines the superstructure in the first instance at the same time as it

remains the foundation of a form of social organization which is itself transformed as an element

in the overall dialectical process. The relationship between superstructure and base is considered

to be a dialectical one, ineffable in a sense except as it unfolds in its material reality in the actual

historical process (which scientific socialism aims to explain and, ultimately, to guide).

2.1.3. Exploitation:

Marx refers to the exploitation of an entire segment or class of society by another. He sees it as

being an inherent feature and key element of capitalism and free markets. The profit gained by

the capitalist is the difference between the value of the product made by the worker and the

actual wage that the worker receives; in other words, capitalism functions on the basis of paying

workers less than the full value of their labor, in order to enable the capitalist class to turn a

profit.

2.1.4. Alienation:

In a nutshell Marx's Theory of Alienation is the contention that in modern industrial production

under capitalist conditions workers will inevitably lose control of their lives by losing control

over their work. Workers thus cease to be autonomous beings in any significant sense. Under

pre-capitalist conditions a blacksmith, e.g., or a shoemaker would own his own shop, set his own

hours, determine his own working conditions, shape his own product, and have some say in how

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his product is bartered or sold. His relationships with the people with whom he worked and dealt

had a more or less personal character.

2.2. Ideology and Ideological State Apparatus

In his "Ideology and Ideological State Apparatus," Louis Althusser summarizes his main

concepts on the issues such as conditions of production, structures of society, the theory of the

state, the role of individual, and the definitions and functions of ISA and RSA, ideology,

education, etc. (In other words, he examines the ways in which a State exerts control over its

subjects--both through ISA and RSA-- in order to reproduce its productive power.) Althusser

proposes a discussion on the relationship of the State and the subjects. His view on ideology

assumes that the ideology is the greatest material power, and thus expands the traditional Marxist

view that sees economy as the ultimate power of the capitalist society.

2.2.1. Ideology:

Althusser revised Marx's view of ideology, which he described as:"…thought as an imaginary

construction whose status is exactly like the theoretical status of the dream among writers before

Freud. "He saw human individuals being constituted as subjects through ideology.

Consciousness and agency are experienced, but are the products of ideology 'speaking through'

the subject. He built on Lacan's work, presenting ideology as an imaginary construction that

represents the real world. However, it is so real to us that we never question it.

Hence Ideology is-"a system of the ideas and representations (images, myths, ideas or concepts,

according to the case) which dominate the mind of a man or a social group"(158).

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A. Ideology has no history (of its own). Ideology is conceived as pure illusion, and all its reality

is external to it. Ideology is a structural and must be studied synchronically.

B. Ideology is eternal since it omnipresent in its immutable form (161).

C. "Ideology is a 'Representation' of the Imaginary Relationship of Individuals to their real

Conditions of Existence"(162).

D. Ideology has a material existence"(165).

E. There is no practice except in ideology, and there is no ideology except by subject and for

subjects (170).

F. Interpellation-the trick that makes humans to see themselves as entity free.

1."Ideology Interpellates Individuals as Subjects"(170).

2. Ideology has the function of constituting individual as subjects.

3. There is an ideological effect that make human recognize themselves as subjects.

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2.2.2. The ISA:

In a highly influential essay, Althusser identified the 'Ideological State Apparatus' as the method

by which organizations propagate ideology. This is in contrast to the Repressive State Apparatus

(RSA), by which compliance can be forced and includes the army, police. The ISA contrasts

with the RSA in that it produces willing compliance. Ideologies interpellate people into defined

subject positions through the ISA. Ideological State Apparatuses include those used in religion,

law, politics, trade unions, media and the family. Althusser puts education at the top of the tree:

2.2.3. Marxist Theory of the State-State power and State Apparatus:

A. The State is a "machine" of repression, which enables the ruling classes to ensure

their domination over the working class (137).

B. State power-State power is maintained by "repressive structure," the external force.

However, the state power might also maintain more subtly by State Apparatus.

C. State Apparatus: RSA (Repressive State Apparatus) and ISA (Ideological State

Apparatus)

1. The basic difference between RSA and ISA is that RSA functions by violence whereas ISA

functions by ideology. Nevertheless, every State Apparatus-whether repressive or

ideological functions both by violence and by ideology (145).

2. RSA functions first by repression then by ideology whereas ISA functions first by ideology

then by repression.

3. A plurality of ISA must exist before the existence of one RSA.

4. The ruling class who hold RSAs can also easily decree ISAs. In order to hold State power

for a long period, the ruling class should at the same time exercising its hegemony over and

in the ISA (146).

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5. RSA belongs to the public domain whereas the ISA belongs to the private.

6. It is easier to lay down the laws in RSA than in ISA.

7. RSA is secured by its unified and centralized organization under the leadership of classes in

power whereas ISA is secured in contradictory forms by the ruling ideology, the ideology of

the ruling class (149).

2.3. Discourse

Discourse traditionally means conversation, or a serious discussion, or examination of a learned

topic. In general, discourse refers to the ‘how’ of a narrative as opposed to its ‘what.’ In

contemporary literary criticism, discourse has many different meanings and emphases.

Sometimes it is used to mean not more than “a piece of writing.” The term ‘discourse’ had its

earlier uses in linguistics and literary study, but through the influence of semiotics and post-

structuralism, and the work of Michel Foucault in particular, has come to have a wide application

in the Humanities and Cultural Studies.

Discourse is language in use, not language as an abstract system. It is, now generally, used to

designate the forms of representation, conventions and habits of language use producing specific

fields of culturally and historically located meanings. For Foucault discourses are 'large groups

of statements, rule-governed language terrains defined by what Foucault refers to as “strategic

possibilities,” which is comparable by a limited extent to one possible usage of the term

‘register’ in Linguistics.

Foucault's definition of discourse can be summarized as systems of thoughts composed of ideas,

attitudes, courses of action, beliefs and practices that systematically construct the subjects and

the worlds of which they speak. Foucault theorized that discourse is a medium for power which

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produces speaking subjects. He argued that power and knowledge are inter-related and therefore

every human relationship is a struggle and negotiation of power. Foucault further stated that

power is always present and can both produce and constrain the truth. Discourse, according to

him, is related to power as it operates by rules of exclusion. Coining the phrases power-

knowledge Foucault stated knowledge was both the creator of power and creation of power.

Foucault furthers his stance on power-knowledge by asserting that power-knowledge is both

organized and hierarchical within the context of clusters of relationships. Therefore, from

Foucault’s perspective, individuals and organizations develop various discourses to conform

with, circumvent, or contest existing power-knowledge relations.

Foucault’s understanding of discourse shifts attention away from the formal analysis of the

universal workings of language proposed by Saussure (and developed by Barthes) towards an

analysis of the rules and practices which shape and govern what is sayable and knowable in any

given historical moment. In this sense, Foucault uses discourse or discursive formations to refer

to groups of statements which provide a way of representing a particular topic, concern or object.

These statements might be produced across a number of different texts appear at more than one

institutional site, but are connected by a regularity or underlying unity. In Foucault’s later work,

this attention to the way discourses make possible certain kinds of representation and knowledge

was tied in with a greater attention to the apparatuses and institutions through which discursive

formations operated. Stuart Hall suggested that this new focus in Foucault’s work marked his

increased interest in exploring the specific social practices – what individuals did – were

regulated by discourse. Central to this focus was in Foucault’s work was an attention to the way

knowledge about certain issues or topics was inextricably linked with the workings of power.

Thus, knowledge for Foucault – especially, that associated with the growth of the human

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sciences – was connected with a concern amongst experts and professionals to regulate and

control the habits and actions of the wider population and particular groups of individuals.

2.4. Representation:

Representation connects meaning and language to culture. It is an essential part of the process by

which meaning is produced and exchanged between members of a culture. It does involve the

use of language, of signs and images, which stand for or represent things. The shorter Oxford

English Dictionary suggests two relevant meanings for the word ‘representation’-

a) To represent something is to describe or depict it, to call it up in the mind by

description or portrayal or imagination; to place a likeness of it before us in our mind or in the

senses.

b) To represent also means to symbolize, stand for, to be a specimen of, or to substitute

for; as in the sentence, “In Christianity, the cross represents the suffering and crucifixion of

Christ.”

At the heart of the meaning process in culture two systems of representation are related. The first

enables us to give meaning to the world by constructing a set of correspondences or a chain of

equivalences between things –people, objects, events, abstract ideas, etc. - and our system of

concepts, our conceptual maps. The second depends on constructing a set of correspondences

between our conceptual map and a set of signs, arranged or organized into various languages that

stand for or represent those concepts. The relation between ‘things’, concepts and signs lies at

the heart of the production of meaning in language. The process, which links these three

elements together, is what we call ‘representation’.

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The three approaches, according to Stuart Hall, explain how representation of meaning through

language works. We may call these the reflective, the intentional and the constructionist

approaches. We will analyze each approach as an attempt to answer the questions, “Where do

meanings come from?” and “How can we tell the ‘true’ meaning of a word or an image?”

In the reflective approach, meaning is thought to lie in the object, person, idea or event in the real

world, and language functions like a mirror, to reflect the true meaning, as it already exists in the

world. The second approach, the intentional approach holds that it is the speaker, the author, who

imposes his or her unique meaning on the world through language. Words mean what the author

intends they should mean. The third approach recognizes this public, social character of

language. It acknowledges that things don’t mean: we construct meaning, using representational

systems- concepts and signs. Hence it is called the constructivist or constructionist approach to

meaning in language. Constructionists do not deny the existence of the material world. Of course

signs may also have a material dimension. But the meaning depends, not on the material quality

of the sign, ‘but on its symbolic function. It is because a particular sound or word stands for,

symbolizes or represents a concept that it can function, in language, as a sign and convey

meaning- or, as the constructionists say, signify (sign-i- fy).

Therefore, the terms discussed above give a brief overview of the terminologies that will follow

in the chapters to come. Be it the ideological apparatuses that sustain the exploits of the ruling

class, or the discursive regimes that hinder class consciousness, or the manufacture of consent

through propagandist strategies, the propagation of the concept of the “the representation of

violence and reality in the films of Kazi Hayat” that is sweeping across the globe may be

explained in reference to these terms.

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Third Chapter: Lights on the areas: Analyzing the films and the style of

storytelling

3.1 Case Study one:

Dayi Ke ?

Who Is Responsible ?

Runtime: 150 min.

Cast: A. T. M. Samsuzzaman, Ilias Khanchon, Anju, Anwar Hossain, Raj, Zambu.

Music: Ahmed Imtiaj Bulbul.

Editor: D. M. Mazumder.

Camera: Shirajul Islam Shiraj.

Producer & Distributor: Batikrom Cholochitra.

Story & Dialogue: A. T. M. Samsuzzaman.

Director: Aftab Khan Tulu.

Concept & Idea: Kazi Hayat.

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Picture: a scene from Dayi Ke ?

Synopsis:

A widow becomes the owner of some land as her late husband's heir. Local Chairman Dabir

forcefully marries the widow to get richer. He promises to give her the same place as the other

wives have. A few years later, she gives birth of a child named Kadam Ali. Then Dabir

Chairman seizes the land and divorces her. Not only this, he then throws away the new born

child and the mother to gutter.

A new life starts. She begs door to door to live with Kadam Ali. But it seems that nowhere she

could be safe. The avaricious look of the land owner gives her no rest. Then she is sold to a

brothel by the man who promises to give her a job. The betrayal of the whole world gives her

way to serenity and she kills herself.

Kadam Ali becomes a derelict and the cruel world makes him a shoe-polisher, street-canvasser,

hocker, ferrywala and various kinds of money-earning tricks. After a long-term struggle, he

becomes a quake who has no degree and with a motto of ‘my medicine does nothing whether it

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redeems or downs the syndrome. Kadam Ali continues his life in various moves like slum,

streets and station.

On the other hand, his step-brother Faruk passes his doctor degree successfully and obtains a job

as physician. He rents a flat with a family in the city who falls in love with a maid named Saleha.

Saleha serves the family who are keen to her though they behave with her as slave. Faruk’s

father has no reason to take it easily; in spite of this he marries Saleha. Dr. Faruk flies to England

for higher degree with scholarship and his father, Dabir, kicks out Saleha from his house. Kadam

Ali appears on an election rally of his peccadillo father Dabir and assassinates him in poblic

mob.

Kadam Ali is accused of murder and hanged by the judicial department. This way, the unwanted

child gets relief and leaves behind a big question to the existing world that who takes the

responsibility of his ruined life.

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3.2 Case Study two:

The Father

Runtime: 84 min.

Cast: Bulbul Ahmed, Shuchorita, Sultana, Shawkat Akber, Teli Samad, John Nepiar Adams.

Music: Azad Rahman.

Editor: Abu Taleb.

Camera: Harun-ur-Rashid.

Producer: Mohammad Ahmed & Md. Samsul Islam.

Distributor: Image Movies.

Director: Kazi Hayat.

Synopsis:

The film is based on a true story of parental love through trans-cultural drawback. An American,

John Adams, came to Bangladesh to do his job. He was a very gentle hearted American. One day

his driver Shajahan had a car accident and he died.

Then John had the responsibility to take care of the driver’s widow and the new born child

Khuku. Unfortunately, the widow died of T.B. and before the death, she requested John to take

care of her daughter as his own.

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Picture: a scene from The Father.

John raised Khuku like one of his own in spite of having many problems of his personal

life.John's wife and daughter refused to stay with him and returned to America.

As days passed by, it has been 22 years since John lived in Bangladesh for caring after Khuku

and being a true father. John and Khukhu love each other as they are bonded by a unique nature

of relationship, father-daughter.

Shabuj is a young Bangladeshi artist. He comes to Cox's Bazar to spend a vacation and do his

job, painting. At the same time, John and Khuku both are in Cox's Bazar. A strange

misunderstanding takes place dramatically. Shabuj misunderstands John and Khuku as they are

in an illigal relationship. But then John describes the whole matter with Shabuj and he realises

that he was so wrong. It is just a cultural gap and misunderstanding between the east and the

west.

In due course, Khuku falls in love with Shabuj, so do Shabuj. Then John requests Shabuj to

marry Khuku and Shabuj accepts the proposal gladly. After the marriage of the daughter, John

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wishes to go back to his own country. But the fatherly love torments him and he comes to

Khuku's house to see her for the last time.

There is also a misunderstanding between a relative of Shabuj and John. For the second time he

feels that it is high time to leave. John goes back to America, where he belongs, where he has a

family.

The celluloid can give us the scene of the departure of John, but the endless love of a father

remains eternal.

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3.3 Case Study three:

Sipahi

The Soldier

Run Time: 148 min.

Print: Color

Cast: Manna, Ilias Kanchon, Champa, Ratna, Khalil, Ahmed Sharif, Anwar Hossain, Mizu

Ahmed

Distributor: Moushumi Kathachitro

Release: 1992 (Bangladesh)

Cinematographer: Mozzaffor Hossain

Editor: Syful Islam

Music: Ahmed Imtiaz Bulbul

Story, Screanplay & Direction: Kazi Hayat

Synopsis:

The story starts from 9, April, 1971(During the Liberation War of Bangladesh). Kashem is a

soldier who escapes from former West Pakistan Army to join Liberation War in favour of

Bangladesh (East Pakistan). He comes to his village which is attacked by Pak Army. His

younger brother Kanchon and his friend Razu have already joined the war. Kanchon takes the

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Picture: a scene from Sipahi in front

of National Parliament House.

lead of his village guerilla force as appointed as Commander. Pakistani Army fires and loots the

villlage with the help of some Rajakars (Bangladeshi Pak Helper). Eventually, in a strike against

enemy force, Kashem gets wounded and requests his brother Kanchon to shoot him to death

because it is more honourable of dying in brother’s hand rather Pakistani Army.

This part is the Prologue of the film. Then the film opens 21 years after the liberation war.

Freedom Fighter Kanchon is now a police officer in Dhanmondi Thana. He saves a minister

while attending in a public assembly; 10 year old boy attempts to blast a bomb by taking 50 taka

from opponent party of the minister; the boy then dies from self-bomb blust. Kanchon is an

honest, loyal and responsible police officer. On the other hand, his friend Razu is now a fearful

terrorist of the city. Razu is enlisted as an outcast in police recordbook. Razu lives in a slum

which is a downtown area renowned as the heart of smugling, black marketing, kidnapping and

so on. Razu is accused of false robbery in Minister’s house and Kanchon is appointed as the

investigator. Kanchon clears the air that Razu is not guilty; actually he was trapped by so-called

elite Khan Shaheb. The crime of Razu is simple; he loves Ratna, the daughter of the Minister.

Khan Shaheb was a Rajakar and now he is a heroin smuglar as well as an undergrond godfather

who has reputation as rapist. But all these dark sides are hidden and he is an well known social

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leader. Khan Shaheb plots blue print against Razu to keep away her daughter and stops the

mouth which might be a threat for his illegal business.

But when Razu frees from jail, a strange kind of bitterness, restlessness, stubbornness provokes

him. His metamorphosis from freedom fighter to terrorist gets fuel from the society that already

in a great trouble with corruption, treachery, violence, vice, brutality, aggression, unequal

economic distribution, polluted politics etc. The fatal and collapsed social system helps frustrated

and depressed Razu to choose a life of hatred and oppression. His lifelong friend Police officer

Kanchon tries to shape him but Kanchon is distracked by the same villain Khan Shaheb as

revenge for freeing Razu. Kanchon marries his boss’s daughter Champa. And then pregnant

Champa is slaughtered by Khan Shaheb in front of Khanchon. As a result, the unborn child gets

dead and ensures the impregnancy of Champa forever.

And then Champa succeeds to suicide. Kanchon becomes insane and kills the hooters of Khan

Shaheb and him. Kabila plots a prisoner and Khanchon is suspended.

In the end of the story, Kanchon runs with the national flag of Bangladesh and rebuking the

authorities who are responsible for post-war disorder. He keeps running towards the ‘Jatio

Shangshad Bhaban’(National Assembly Building) to scrutinize the politicians but from back his

father in law shoots him dead. Many of the pedestrians, police members, public mobs and Razu

salute the dead body of Kanchon and keep their regard.

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3.4 Case Study four:

Danga

Riot

Run time- 120 min.

Cast- Suchirita, Manna, Rajib, Miju Ahmed, Anwara.

Publicity- B. K. D. Publicity.

Editor- Syful Islam.

Cinematography- Azmol Haque.

Distributor- Mousumi Kothachitra.

Producer- Mrs Helena Mustafiz.

Director- Kazi Hayat

Synopsis

The story starts with the scene of stereotype Bangladeshi local government system where the

Chairman loots the relief goods for village and tries to sell to businessman. One of the villagers,

Chobi, protests Chairman’s sacking and Chairman attempts to rape her. In the meantime, the VP

of local Begunbari College, student leader, saves Chobi and opens the storage of relief goods to

distribute among the villagers. Chairman fades up with the behavior of VP and orders killer Kalu

to assassinate the VP. At night when VP, Habib, returns home from a student movement against

the corrupted Chairman, Kalu eliminates him barbarously and the Barber, Amulya, witnesses the

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Picture: a scene from Danga.

killing. Kalu alerts the Barber that if he tells anything to Police, he’ll cut his tongue and uproot

eyes. When OC goes to arrest Kalu, Kalu attacks the police and police locks him to Thana

custody. The governmental MP then phones OC to release Kalu without any demand and the OC

explodes up with anger for this kind of judicial system. Gonosongeet plays in background. OC

then stands in front of the statue of rebel poet Kazi Nazrul Islam and asks the poet to write a new

kind of poetry which will guide generation which is drowned with corruption, dishonesty,

distrust and so on. OC is a freedom fighter and he cannot bear this kind of illegal activities. He

reacts violently and screams insanely that why we then fight for liberation that only some

opportunistic people entertain the harvest of independence. However, the MP comes to his

election area plead supports to obtain ministry. He takes money from various businessmen by

imposing pressure to bribe for his ministry. MP then tries to rape Chobi and she escapes to police

station. Later, MP and Chairman plot to kick out Chobi and her mother from village. But the OC

gives shelters for them and his high level authority scolds him. OC manages his high officials

and marries Chobi, but they tell him to transfer in other place. OC convinces them that he’ll

leave after the investigation of Habib’s murder. OC takes disguise as a saint to uncover the

mystery. The barber confesses that he witnesses the murder of Habib. OC takes recorder as a

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proof to court. Kalu cuts the tongue and uproots eyes with taking signature of barber that his

confession to OC is wrong. Kalu then goes to OC’s residence and wounds Chobi’s mother. Kalu

enters sleeping OC’s bedroom, steals the tape recorder and attempts to kill OC. Chobi’s mother,

Amina, is shoot dead by Kalu with OC’s pistol. The murder of Chobi’s mother rises to court with

false accusation over OC. In the court room, again the barber comes with a written confession

against Kalu and cleares the air that OC is not guilty. The court releases OC and he shelters the

barber. At night OC and Kalu runs out for each other to take revenge. Kalu goes OC’s house and

kills the barber. Then Kalu runs after OC’s pregnant wife and eventually, OC finds Kalu. A

terrible fight breaks out between OC and Kalu. Kalu stabs OC’s wife from back and cuts off

OC’s right hand. When Kalu returns, OC finds his pistol and shoots Kalu to death. Chobi, OC’s

wife, dies after giving birth a baby. On the other hand, the MP upgrades to minister and an

inaugural program is arranged to congratulate him. OC comes to the congregation where the

Minister gives speech to locales; OC shoots the Minister and is shoot by Minister’s men so that

both are dead. In the dying moment, OC shouts in anger with the rotten, corrupted social and

political system. OC calls for a ferocious riot to mass people to uproot the so-called system.

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3.5 Case Study five:

Onnomanush

The Otherman

Run Time: 130 min.

Print: Colour

Cast: Kazi Maruf, Rajib, Shabnur, Shakil Khan, Kazi Hayat, Don.

Distributor: ATN Music

Release: (Bangladesh)

Cinematographer: Khokon Mukherji

Editor: Amzad Hossain

Music: Sydur Rahman Sagir

Story, Screenplay & Direction: Kazi Hayat

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Synopsis

Picture: a scene from Onnomanush.

The film starts with voiceover which narrates the story of an orphanage ‘Ashiana Etimkhana’ is

forty kilometers north-east from Chittagong where only male children are granted. The

orphanage runs with the fund of donation and various social aids. Orphans entitle the principle of

orphanage, Mr. Azam, as ‘Father’. Principal’s best student Maruf passes his exam successfully

with fourth position in entire board and now the principal wants him to study in Engineering in

Dhaka. But Maruf rejects to leave the orphanage that he cannot stay without him and attempts

various emotional tricks to avoid admission. Finally, the principal convinces Maruf forcefully

and leaves orphanage to Dhaka where in Sunflower Engineering College with tuition and

accommodation free. Maruf is a boy who is meritorious but introvert, serious but strange, quiet

but stubborn and psychologically fanatic in behavior. After arrival in Dhaka, Maruf encounters

with a CNG driver that the driver scolds him for his stupid nature that he is relentless in the city

like Dhaka. When Maruf tells him that he is new in Dhaka and cannot find his destination the

driver feels pity for him and drives him to his college for free. He attends the class lately at first

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day with a pocketful of surprise that he is a mere creature with torn clothes in front of his punk

classmates. At night, when Maruf moves appointed Mr. Hamid’s resident, principal’s friend, he

faces triviality that Mr. Hamid is a lonely man as well as an adulterer and drunkard. Maruf leaves

the place immediately and phones his ‘Father’ that he cannot accord with the city dwellers as he

comes from remote village. While he is aimlessly walking in the streets, Police assaults him that

why he is toddling hither and thither. Police searches his bag and finds a dagger which he uses in

his rural life. Eventually, the driver appears and saves him from arrest. The driver shelters him.

After sleepless night, he sleeps in the classroom and the teacher rebukes him that he ignores the

class. The teacher punishes him to solve a complex equation and Maruf surprises everybody by

solving the question. At the lunch time, Maruf introduces with heartthrob Nupur, classmate.

They become friend and share the lunch, education and subconsciously Maruf falls in love

desperately. Nupur is the daughter of police IG, hard nature and Nupur manages him as Maruf is

teaching her math. Maruf wins ‘Best Boy’ title in an essay competition about globalization and

Nupur serves motivation for his presentation. Day by day, Maruf’s affection grows harder. At

college, Maruf bumps into some traumatic situation like Nupur’s secret admirer Shakil feels

jealousy for his intimacy, bad boy Don makes his life hell like scene create in film show. He

returns the deal hitting Don with football which generates a gloomy environment in the college

campus. Maruf also sabotages the exam scripts secretly when he learns that Nupur fails to ensure

the target score. On the following day of competition, Don attempts to rape Nupur and

eventually Maruf saves her to kill Don and hides the corpse in his room. Shakil takes senseless

Nupur to hospital and after recovery Nupur thinks that Shakil saves her. Shakil takes the chance

and wins the heart of Nupur as lover. Nupur’s father prepares to send her America after informed

about their relation and they make a secret plan to flee to Cox’sbazar. Maruf fails to bear this

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emotional breakdown (use of montaz) but he cannot tell anything moreover he helps them to

unite. However Maruf rescues Nupur from her father’s captivation to arrive her to the rail station

where Shakil is waiting. But Shakil is seized by police in the meanwhile with the presence of IG.

Maruf takes Nupur to Chittagong in his orphanage and tries to convince the principal but refuses

shelter, Maruf kills the ‘Father’ and escapes to deep forest in the hill. Maruf tells Nupur a lie that

he informs Shakil to come here. Police investigates Shakil that Nupur has fled with Maruf.

Police searches Maruf’s room and discovers the rotten corpse of Don. Police then moves to

Chittagong in search for Maruf with Shakil. Maruf continues to trick with Nupur about Shakil

and finally, he tells Nupur that he cannot stay without Nupur. Nupur feels helpless after knowing

this. Maruf tells her about how his parents died in conflict between Bangali and indigenous and

his killing for Nupur. Eventually, Maruf kills a police officer and wounds Shakil when the

investigator police come close to Maruf’s den. Shakil again approaches to reach Nupur but a

terrible fight breaks out between Maruf and Shakil. Finally, Nupur’s father, the IG, shoots Maruf

to death and rescues the couple.

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3.6 Case Study six:

Itihas

The History

Run time- 155 min.

Release- 2002 (Bangladesh)

Cast- Mousumi, Kazi Maruf, Ratna, Kazi Hayat, Dipjol.

Publicity- B. K. D. Publicity.

Editor- Mujibor Rahman Dulu

Cinematography- Harun-Al-Rashid

Distributor- Mousumi Kothachitra.

Screen Play- Kazi Hayat

Director- Kazi Hayat.

Synopsis

The story takes the year of 1997 to 2000. The story starts with a concept that ‘the incident of

today is the future of tomorrow’. The protagonist Maruf is a professional mercenary killer who is

telling his dark story behind choosing this risky, underground life to his senior friend Aziz, a

broker. Maruf is a school going boy who lost his mother in early age and his sister, Kajol, takes

care of him. Ahad Chowdhury, Maruf’s father, is a renowned journalist of a famous national

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daily and economically diffident in this high price market. Ahad Chowdhury devotes his life for

writing and now, he is writing the history of Bangladesh which will be published in upcoming

Ekushe Boi Mela. He is a man of strong ethics and extreme nationalism. One day, Maruf is going

to school and he is assaulted by police raid. Police arrest a number of suspects as criminal of

Atul Prashad murder. Police torture every captive in investigation and when they are informed

that Maruf is the son of journalist Ahad Chowdhury they torture him more as his father writes

column against Police’s bribery and illegal actions. Police plot a false case that Maruf is a

Phensidyl (drug) addict and he has to confess in front of his father. Police put four bottles of

Phensidyl in Maruf’s bag and call on his father. When his father comes to police station to

release his son, police insult him badly as his son is a hijacker for Phensidyl adiction. However

Maruf’s sister escapes him from police custody with a big amount of bribe. His father becomes

speechless with police behavior and decides to send Maruf to America. In the moment of leaving

Bangladesh for America, police assault him for second time in front of his family as a necklace

hijacker though he was staying at home all the time of hijacking. He is sent to central jail as a

convict and introduces with notorious criminal Kabila who manages Maruf’s bail. After

discharge from confinement Maruf comes to know that his father died in heart attack on the

following day of his arrest. Maruf bursts in agony after knowing his father’s death and decides to

take revenge for his downfall. Distance increases between Maruf and his girlfriend, Khushi.

Khushi tries to get him back like happy old days but Maruf denies that he cannot come back.

Then Khushi takes vow to remain with Maruf by rejecting family’s order. Maruf takes shelter in

Kabila’s den and is adjacent to underworld. He kills the police officer who charges against him.

His friend Aziz takes him to a fraud, fake saint ‘Whiskey Peer’ who is a notorious smuggler and

supplies weapon for terrorists. ‘Whiskey Peer’ takes whiskey with his followers and designs

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illegal trade. Maruf becomes a follower of that supposed saint and becomes one of the vicious

killing machines of the city. Maruf kills two men of opposition party Sobahan as they attempt to

kill his friend Aziz. Maruf’s sister Kajol joins to her father’s newspaper as crime reporter.

Eventually Kajol discovers Maruf in ‘Whiskey Peer’ as her assignment.

Picture: a scene from Itihas.

‘Whiskey Peer’ identifies Kajol that she is disguised journalist and orders Maruf to kill her

without knowing that she is Maruf’s sister. ‘Whiskey Peer’ tries to band with Sobahan to

eliminate Maruf. The gang kidnaps Maruf’s sister to get Maruf. Maruf attacks them to death and

Aziz is also died in the fight. Maruf and Kajol escapes and scrutinizes the so-called judicial and

intellectuals who are in charge of writing history.

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Chapter Four: Critical Analysis of representation of violence and reality

4.1 Representation of Political violence and reality

Kazi Hayat’s films are full of political ups and downs with power shifting of politics in the

context of Bangladesh. The range and access of politics are vehemently shock the audience as

well as intrude the real life situation. He intends the revolutionary and ugly both practice of

political school such as democracy as capitalized corrupted tyrannical system, feudalism as

ludicrous oppressive system, socialism as late manifestation of ideology which recedes in the

face off with reality. Democracy represents as family dynasty which is a spent force now-a-days.

People elect local representatives but no avail moreover repressing oppression twist over

inhabitants. The members of parliament are busy in corrupting in pacts and plotting machination

against each other. Circulation of power manipulates and provokes the promises keep to people.

Power monger politicians situate the internal condition vulnerable and restless as well as ongoing

reality. Oscillation and confusion pulls back the usual progression of politics so that the mass

people retreat confidence. Kazi Hayat presents student politics as a fresh force which redirects

the hope of politics. Student politics confronts against the tyrannical system and reserves the

demand of mass support. The protest and participation of students are not wholly fresh as

grouping, manipulated by high command. Terrorism plays significant role as impartial tool so

that terrorists are always far peak to reach. ‘There is no last commitment in politics’ and

‘Terrorists have no ally’ is referential concretely in Kazi Hayat’s film. The local government

system is also at stake like chairman indulges in looting relief goods which are familiar picture in

Bangladesh. Village leaders take bribe and blow the trial. The investment for election seems to

be business for public representatives. Politicians concentrate on self interest and make stash of

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property through corruption. Political violence takes place regularly and the arch rival parties do

not hear one another. The power party oppresses, represses the opposites and in reply, opposites

start anarchy and if this is the natural happenings of politics then how people can resist

themselves from the edge. Autocratic mentality destroys the usual flow of politics and

continuously puts the future of country at stake. The foreign threats are getting hard day by day

for the unsteady situation of diplomatic policy because of intermittent government. The rising of

phoenix like hero calls on public to join with him to uproot the system. In his different film, the

hero bears the heavy burden of political expectation from different point of view that represents

the proletariat class. The succession of hero gives the purgation to the oppressed. There are

references of liberation war and the burning question of all time that what we have got in this

forty years of independence as year passes age increases. The establishment of rajakar (Pakistani

ally from Bangladesh)’s prosperity uncovers the dark rotten side of politics. The ideology and

doctrine of independence has faded far away from the dream and day by day image is getting

blurry. Political violence creates the outbreak of vengeance so that families are entailing helpless

anxiety. Schizophrenic state sets up the field of practice so that the ultimate production of

politics is hellish. Kazi Hayat tries to unmask the mask of fraud, counterfeiting, and corrupted,

contaminated, dishonest politicians through his story. The expression of Kazi Hayat is too acute

that the representation is proverbial and thought provoking. The class struggle in politics

frustrates the expectation so that scattered successes are invisible at rate.

4.2 Representation of Social violence and reality:

The social picture in the films of Kazi Hayat depicts a vulnerable structure of society which

generates class conflict. The society is conservative, prejudiced and greedy interrelation as well

as biased by so called leaders. Urban and rural both societies has different amount of perplexity

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in their own way so that when people migrate one place to another they face trauma rather

advantage. When audience explores the chanting versification of social contracts, the interest and

attraction gets wings through fair progression with the film. Kazi Hayat deliberately presents the

image of different mentality in distinct films such as local government lead vs. city oriented

individuals in Dayi Ke ?, the coalition of local government and bourgeois politicians for

oppression and burgle in Danga, the impact of liberation war on individual and communal

ideology differs in the society of Sipahi, the psychological distance between city dwellers and

rural inhabitants shows us a fatal misunderstanding in Onnomanush, acculturation and trans-

cultural prohibition priors in The Father, maintenance of terrorist through fake intimate relation

is exampled in Abbajan, the corruption of police force is expressed nakedly as a result of

political manipulation in Itihas. Kazi Hayat puts his social manifestation discreet with the change

of government of Bangladesh and examples are available. The relation of rich and poor people

finally stands as master-slave relation. If we consider from Marxist point of view, the society is

doomed with capitalist system where producers produce and consumer society consumes. The

distance between production and consumption create two unmatched line so that the excellence

of production is still far beyond. The oppression and repression varies in different class of

society in different level. The chronological step of construction of social norms and regulations

are actually history of segregation, neglecting and conspiracy. The standards are designed by

hegemony doctrine so that the collective needs and expectations are excluded. Educated people

abuse illiterate people rather concern. The amalgamation of good and bad never mixes like water

and oil so that the subjective nature is grounded vehemently. The society requires some taboos

which are mainly based on religious belief and superstition. These taboos are abused by the

social leader to execute self interest imposing over innocent people. Contemporary crises are

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habituated all over the society and the blow of universal crisis is surrounding with the social

daybreak. From the structuralist point of view, these disorders of society are not the production

of instance rather the construction of disorders are the harvest of long term overflow of

corruption, conspiracy, fall of law etc. The perforated structure of social resolution deviates the

principle of unity moreover scatters the objects. The mode of production: in a position to obtain

food, shelter and clothing in order to live; produce the means of subsistence and distinguish with

animal; coincide with what they produce and how they produce etc are the bases of secular

production. The universality of production gets bad harmony as well as the unity of production

falls apart. The gluttonous skippers ransack the property of weak poor people such as seizing the

land to increase landless. The production of violence is inseparable as well as the unpleasant

reality. Stereotype social bond is valueless in present days’ mobility. Chronological outcome of

foreign extravagant amusement technology forces the relentless situation so that the social policy

is faltered. Government cannot provide the pop wants of people so that the possibility of huge

anarchy cannot be wiped. The market of high rate puts public in distasteful mentality and occurs

creek environment in collective conscious. Multiparty ideology breaks in collide with individual

policy and the matter will be horrifying if the immediate remedy is not brought into. Kazi

Hayat’s representation of social manifesto is basically a transcendent activism against least

authority to uppermost politicians. His omnipotence priority is to put forth the sarcastic dark

practice of power politics and the scrutinizing microscopic view over social structure of many

years.

4.3 Representation of Economical condition:

The wrecked economics of country impacts in the films of Kazi Hayat in which the whole

production refers a deprived management. The making is so mean that the print of film is low

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standard and audience cannot receive the actual taste of film. As a result, the main purpose of the

film movement is far away and maximum audience fails to grant the inward philosophy of story.

As a film maker Kazi Hayat has a distinct dichotomy and the publicity of propaganda through

celluloid is enormous, and he is almost successful to create a particular class of audience who are

fascinated with the super hero concept. The haphazard economics of both real life and film

reality put the contextual similarity of expression same. The division of class depends on the

status of economical stance so that the competition among the ethnic classes produces bitter

experience most of the time. The distance and contrast between lower class and high class is

bridged by middle class. Middle class faces the real hardship of life that its tendency is to touch

the sky. Unlimited expectation puts the humanistic behavior at edge and the outburst of bloody

violence is possible in any moment. The appointed figures fail to recover the economics but the

present is more corrupted than the past one. Teaching of past cannot survive the horrifying future

which will be a devastating experience of people. The unemployment problem increases day by

day and the huge portion of young educated generation indulges in terrorism, smuggling, murder

etc. The frustrated look of work station snatches the potentiality of youth so that the generation is

panopticated with drugs, poaching, and various criminal activities. The illegal machinations of

politicians are organized by the young generation and the rate of abuse is many times more than

yesterday. If these immense man powers cannot be directed properly then the upcoming high

price market will destroy the ecosystem of whole. Totalitarian authority damages the normal path

of economics so that foreign aid or loan distributors face off their fund. The communal living is

getting ‘petting elephant’ day by day and the break of family happens easily. The maximum

percentages of population are involved in day laborer and the per capita income rate is very low.

Most of the people are living under poverty line and having a onetime meal a day. Gross matter

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is that the hike of theft, robbery, hijacking, murder, rape kind of crimes is increasing fast.

Dishonest businessmen cheat people by managing fake license like physician, teacher, engineer

etc. The market is sunk with contaminant products so that public health is disrupt. These

scenarios are the facts and issues of Kazi Hayat. The contemporary condition of Bangladesh is

more like films of Kazi Hayat. Discrimination with woman is the product of wrecked economics.

Power shifting is decided by the businessman society so that in the election time, candidates are

scattering money for buying vote. Valuable government property is illegally occupied with the

bribed money. From top to bottom, the government is corrupt though there is some good quality

secretary or politicians or police officer etc. Apparent position of various classes is one of the

main attentions of Kazi Hayat. There is a tendency to emigrant in America of protagonist of Kazi

Hayat as well as the real life for better lifestyle. Dayi Ke? is a good example of contrast and

discrimination between floating people and well-to-do people. The overall picture is frustrated

both in film and reality so that the labor class is the favorite audience of Kazi Hayat. Idea of

superhero that someone strong will come and rescue the vulnerable, enclose the mentality of that

particular audience.

4.4 Case Study four: Cultural Practice and Participation:

Film is known as the gesamtkunstwerk- the fusion of all the arts in one work. So as a medium of

culture, film takes the highest potentiality to conjure the attention of all. Film is a cultural force

which explores the amalgamation of all arts so that the pragmatic aim of film movement is to

concern mass people about cultural practice of home and abroad. Kazi Hayat posts various

cultural dogmas in his particular films and the presentations have distinct alliance with native

culture and foreign invasion. The practice of everyday to the practice of ritual, Kazi Hayat

thrives at least one position that his act is to concern about the ongoing and upcoming flow of

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culture. Pop culture of the western hits the Bengali Peninsula of culture and the target generation

is boozed with that. Kazi Hayat’s main means of subsistence is to unmask the fraud

representation and manipulation of culture. Acculturation is also evident in his films. The Father

is good example of intervening space between two different cultures. An American father and his

Bangladeshi daughter (not biologically, adopted) faces difficult situations for their American

expression in Bangladesh. Their intimate familiarity like Americans seem to odd like illegal

sexual intercourse and even, Khuki,s (daughter) husband Shabuj, first, thinks that they are in

illegal relationship in concealment of father-daughter. And finally John, father, backs to America

for good. In Itihas, Kazi Hayat unveils the fraud saint, Whisky Peer, who is actually a drug and

arms smuggler. In this film, Kazi Hayat shows how people use culture as weapon of tyranny.

Food habit is changing as fast food takes the ground of local ingredients. In Danga, Police

Officer takes the disguise of Baul to investigate a murder case. Songs are also important element

in his film that song defines various climaxes and gives solution. The use of gonosangeet refers

the inspiration from independent war to this fragile condition of country though many years have

passed. The recitation from rebel poet proposes the revolutionary mentality of the protagonist as

regeneration power. Speaking in English is used as superiority which proves the domination of

western. The difference of urban and rural practices are seized in Onnomanush where village

pertained Maruf cannot cope with urban dwellers. Maruf turns to psycho-killer when fails to cold

deals. The schizophrenic nature of Maruf drives him to police shot to death suggests the

confusing characteristics of young generation all over the country. The ritual practice of public

defenses the invasion of foreign bad culture. Kazi Hayat proposes this cultural activism at a large

rate and culture as a language of protest to the poor class apparently elite class manipulates the

practice of culture as a bludgeon of exploitation. As a result, conflict between pop culture and

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native culture is inevitable. The tide of globalization has both bright and dark side of phase and

the possibility of hybrid culture like postcolonial culture lives beside the culture of tyranny.

However, Kazi Hayat’s position is progressive as he receives the global culture curiously and

scrutinizes the all through of that expression, and finally handles to the access of mass people

through film.

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Chapter Five: Conclusion

In the previous chapters, I have talked about discourse analysis in the context of today’s ruler

and ruled, the outer and inner part of bourgeois politician, the state as a force of oppression,

rebellious mood of students, corruption of police adjoining a force of justice. I have also

discussed in detail the overall condition of political, social, economical and cultural violation

over the decades. The difference between high and low class people makes two discriminative

separate lines that the audience of Kazi Hayat’s films as well as mainstream films are the mass

working class and the intellectual society rejects the appeal of mass as taking it deceptive

tendency of mainstream market to establish the concept of ‘super hero’ utopian society.

However, the films of Kazi Hayat require a particular kind of political, social and economical

stance draw close to communism. Film as a medium of domination, Ideological State Apparatus

is followed now and then, deploys a powerful expression to impose or impact over the audience.

The villain and hero control the viewers and their dialogues are uttered as inspirational quotation.

Now film, through its discourses, has the greatest power to reach the psyche of each individual in

a given society. If the possibilities and advantages are used as blowing wind of new hope and

reality then the aim of art like film reaches the peak. Though Kazi Hayat cannot be pertinent to

intellectuals but his least exposure is to vanish the cloud of ill omen. The various political

murders like grenade attack of twenty first august of 2007 or the most wanted killers like Sweden

Aslam are respectively fictitious in Sipahi and Danga in many years ago to the fact. Kazi

Hayat’s traditional and organic representation of violence and reality keeps his position concrete

so that the chronological depth of story establishment increases respectively.

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At the end of my research, I would like to suggest that the knowledge of how our reality is being

manipulated by filtered reality and film is potential step toward doing something about the

manipulation. The typical sense of defining mainstream Bangla film should be developed neither

the industry might collapse for lacking of constructive criticism. At the very least, if you know

the techniques of filming or of criticizing are using to influence you, you will be less likely to be

duped by film propaganda and visual manipulation.

This research can act as a resource for other researchers who may be interested in this field, and

they can explore this topic further to fill in the blanks and put forward new questions or issues

that haunt our society and media today.

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Work cited

Danga, Screenplay & Dir. Kazi Hayat; Bangladesh, Mousumi Kothachitro. VCD.

Dayi Ke ?, Screenplay by A. T. M. Samsuzzaman. Dir. Aftab Khan Tulu; Bangladesh, Batikrom

Cholochitra. DVD.

Itihas, Screenplay & Dir. Kazi Hayat; 2002. Bangladesh, Mousumi Kothachitro. VCD.

Onnomanush, Screenplay & Dir. Kazi Hayat; Bangladesh, ATN music. VCD.

Sipahi, Screenplay & Dir. Kazi Hayat; 1992. Bangladesh, Mousumi Kothachitro. VCD.

The Father, Screenplay & Dir. Kazi Hayat; Bangladesh, Image Movies. VCD.

Barthes, Roland. Mythologies. 1957. Trans. Annette Lavers. London: Vintage, 2000.

Hall, Stuart. “The Work of Representation.” Representation: Cultural Representations and Signifying

Practices. Ed. Stuart Hall. London: SAGE Publications, 1997. 16-79.

Marx, Karl and Engles, Frederic. Selected Works. 2 vols. London: Lawrence and Wishart, 1962.