Guns in Bangla cinema across borders: perspectives on cultural evolution

The paper explores the symbolic significance of guns in Bangla cinema, tracing their representation across three distinct phases. The backdrop is the tumultuous history of the Bengal region, marked by the Partition of India in 1947 and the Liberation War of Bangladesh in 1971. These events profoundly impacted Bengali identity and culture, leaving a lasting imprint on cinematic representations of violence. The authors aim to historicize the multiple matrices of nations and their attendant cultures by concentrating on the deeper and symbolic significations of guns. The assassinations of Mahatma Gandhi and Sheikh Mujibur Rahman, both key figures whose deaths involved guns, highlight the gun's potency as a symbol of ideological opposition. The paper focuses on Bangla films from Bangladesh and West Bengal, utilizing purposive sampling to select representative texts. The three categories of films are those based on the 1947 Partition, those depicting the 1971 Liberation War, and those set in more recent times, often depicting simulated realities. The framework for analysis draws upon Jean Baudrillard's concept of 'simulacrum' to examine the evolution of the representation of guns from historical reality to hyperrealism.

The paper draws upon existing scholarship on South Asian visual culture and its delayed response to the traumas of Partition, contrasting the representation of Partition in West Bengal and East Pakistan cinema. It acknowledges the scarcity of firearms in early East Pakistan films, reflecting the historical reality of limited access to weapons for civilians. Conversely, the paper notes the significant body of work from West Bengal cinema addressing the aftermath of Partition, citing works by directors like Ritwik Ghatak and Satyajit Ray. The study also considers Baudrillard's work on simulacra and hyperreality to understand the shift in the representation of violence in contemporary cinema.

The study employs a purposive sampling method to select representative Bengali film texts from Bangladesh and West Bengal, focusing on the use of guns as a motif across three historical phases. The films are categorized based on their temporal and thematic focus: those based on the 1947 Partition of India and Bengal; films depicting the 1971 Liberation War of Bangladesh; and contemporary films representing simulated realities. The paper analyzes selected films from each category using film analysis techniques to understand the visual and symbolic representations of guns. Interviews with filmmaker Tanvir Mokammel provide valuable insights into the challenges of accessing authentic weapons for filmmaking and the historical context of firearm use during the Liberation War. The analysis draws upon Baudrillard's concept of the simulacrum to interpret the evolution of the representation of guns in Bangla cinema, examining the shift from realistic depictions of historical events to increasingly hyperreal and simulated portrayals of violence.

The analysis reveals a distinct evolution in the portrayal of guns in Bangla cinema across three phases. In films depicting the 1947 Partition, guns are subtly present, often associated with state repression and communal violence (e.g., *Chitra Nadir Paare*, *Rajkahini*). The 1971 Liberation War films feature a more prominent role for guns, representing both the struggle for independence and the brutality of the conflict (e.g., *Amar Bandhu Rashed*, *Juddhohisu*). Contemporary films, however, showcase an increasing trend towards hyperrealistic and simulated violence, often devoid of any meaningful connection to social or political realities (e.g., *Bullet Babu*, *Commando*). The authors argue that the shift reflects a move from representations attempting to approximate historical realities to the creation of self-contained 'realities' in the realm of hyperreality. The use of guns in contemporary films, often detached from coherent narratives and driven by commercial interests, is contrasted with their symbolic significance in the earlier phases. The study also highlights the influence of Hollywood action films and video games on the representation of violence in contemporary Bangla cinema, furthering the trend towards simulated realities.

The findings demonstrate a clear progression in the representation of guns in Bangla cinema, mirroring broader cultural shifts. The initial phases reflect efforts to grapple with traumatic historical events, using guns as potent symbols of power, resistance, and national identity. The transition to hyperreality in contemporary cinema reflects the influence of global media and the normalization of violence in popular entertainment. The study raises concerns about the potential impact of such simulated violence on viewers, particularly young audiences. The paper also touches on the socio-political contexts in Bangladesh and West Bengal that have influenced cinematic trends, including political instability, economic changes, and the rise of religious fundamentalism. The analysis contributes to the field of film and cultural studies by exploring a previously uncharted area of academic discussion.

This paper offers a unique perspective on the evolution of Bangla cinema by analyzing the changing portrayal of guns. The study traces a distinct shift from historical representations to simulated realities, reflecting broader cultural and socio-political influences. Future research could explore the transnational influence on Bangla cinema further. The paper highlights the need for critical engagement with the potential impact of simulated violence in popular media.

The study's reliance on purposive sampling might limit the generalizability of the findings to the specific films analyzed. Further research with a larger sample size could offer a more comprehensive understanding of the phenomenon. The focus primarily on feature films might exclude other media forms that also utilize the image of guns.