Outsiders (Part-II)

In film, outsiders are those who are not involved directly in the production phase (pre-production, production and postproduction) but are vital parts of the production cycle, because they determine the value of the produce; we are talking about consumers and in this case, the audience.

Let’s analyze film as a product to understand its complexities. When talking about a product-its production, distribution and exhibition, finance and quality control are the most essential factors, and this demands professional management. But also to comment on the system we have to understand the film production cycle.

First of all, it’s a fact that Nepali films are not up to the expectations of the Nepali people. But how many of those who complain are part of the regular audience? Very few, that’s for sure. By reading it in the newspaper and hearing it from a third party, we determine the quality of Nepali cinema. Instead of criticizing Nepali cinema for what it is not and what it doesn’t have, we need to talk about what it is and what it does have.

Nepali filmmakers are making one film after another; in most cases producers break even, and every once in a while they make profits. The big film production companies are announcing huge and ambitious projects one after another. Cinema production is on a constant rise, even amidst various problems, as we are all well aware, but producers are not hesitating to invest. This illustrates how feasible film projects are. My point here is that even with a very critical and demanding audience, Nepali cinema is still surviving. Nepali cinema industry has a limited market, it needs to be expanded, the sooner the better. But is it not our duty to support it? 

I don’t know exactly what particular genre of film is in demand in Nepal, but markets seem to fulfill the demand of its existing core consumer base. This is proven by the very fact that the industry is sustaining itself. If we look at the basic theory of supply and demand, we will understand the whole phenomena. Whatever the demand is, if it is not being addressed, then that demand requires niche marketing, and it is whole different level of marketing which may require higher investment and may not be feasible at this initial phase. We can’t ask for much when our demand is a latent demand. So the point here is if we think that the Nepali film industry is not coming out with good films then we have to understand the fact that there is no demand for good cinema right now, if there is a strong demand, it will be addressed. No film investor will risk his money to entertain just you or me, so he makes films that will please most of his potential consumers. Our demand is not compelling enough. Sometimes, a good product is not enough, the right form of marketing and proper government backing is also needed. There is an example: French cinema is renown the world over for its quality and subjects but in France itself, until quite recently more than 70 percent of screen time was taken over by Hollywood films. Sometimes proper marketing and government intervention is equally important.

It’s very easy and human to put blame on others. Nepali cinema is not world class, so we don’t watch it. But what about our own exposure to world class cinema? How much do we understand cinema? The different movements of cinema, the different genres, different productions styles and narratives, do we know about these things? I am talking about how much as an audience do we know about cinema? We know very little, and the sad thing is that we don’t even want to learn the art of film appreciation. Or is there even such a thing? We are complaining about our mainstream cinema, and we are demanding art house cinema, or serious cinema. But I want to give some examples: from the 80s to mid 90s cinema in Taiwan was highly artistic. These films were too sophisticated and the majority hardly understood it, and gradually Taiwanese film lost its market to more commercial and mainstream Chinese and Hong Kong cinema, but when they realized the problem and began to focus on all level of the audience, the industry survived a near collapse. It’s not just about making good cinema, we always have to know whom we are making films for.

I used to be a part of a cinema society, where we use to screen world class films, twice a month at reasonable hours, at next to nothing entry fees, but not in a single screening did those people who strongly advocate good cinema show up. Our audience was mostly limited to film and theatre students and a small pocket of film enthusiasts and that was all. What it proves is that there is no audience for alternative cinema, even as an audience, so its production and marketing is a long way to go. When the times come, the demand will be created, and then the right product will always hit the market.

It is important for an outsider to understand and appreciate cinema the way it is meant to be. People try to generalize cinema and have a common approach to all kinds of cinema. They also think the box office collection or good reviews are the only barometer to determine the success of the film. Sometimes a box office record smasher gets a thrashing in the press, and most of the times critically acclaimed cinemas have disastrous collections at the box office. And every time there is an avant-garde film, it will create some outrage. This happens simply because the society is least anticipating it when it happens. Film is not about right and wrong, it’s about expression, but most of the time outsiders watch the cinema from their perspective. When someone is narrating a story, either listen to his story, or don’t listen to it at all, but what people do is listen to his story with preoccupations and bias in mind. 

We Nepalis don’t have that much of an appetite for art, but things are changing. We have to be able to appreciate any form of art, once this starts to happen, and there will be general awareness among potential consumers, the product will always be of quality. Art has to be included in our basics needs, and only then can we come up with good art. In cinema, an audience has to know basic information about the genre of film, styles of narratives. To understand cinema we have to be able to identify and anticipate the story, and with difference in genre and narratives, it may look different. We have to understand and know these facts. We have to have better understanding of cinematic form and grammar; we have to be able to understand the difference between popcorn flicks and serious ones. Once the public has a better understanding of this, everything will slowly change.

Local cinema is not able to address the changing taste of cinema goers and is stuck with its existing market. The movie industry needs to open up. Both outsiders and insiders have a vital role to play. Outsiders need to demand and thus, the insiders will be forced to supply. This is the only way out.