However, looking back over a longue duree and specifically from an academic viewpoint, the potency of guns has long surpassed their denotative value as instruments of carnage, and has connotatively foregrounded ideological opposition in exemplary ways. In its time, such determined actions as exhibited by the assassins of Gandhi and Rahman would strike as a violent discourse that questioned all fixities of emergent nationhood.
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The gunning down of the Mahatma in full public view and of Bangabandhu Sheikh Mujibur Rahman in stealth were tantamount to acts of parricide, the immediacy of which had plunged both new born nations in shock and anomie. In this paper, the authors choose to historicise the multiple matrices of nations and their attendant cultures by concentrating on the deeper and symbolic significations of guns-both visual and theoretical. In the collective unconscious of both nations therefore, the signification of guns as firearms that have created a counter-discourse to the national imaginary, has had currency right from the time of their birth. For instance, in the cases of India and Bangladesh, which form the geo-political core of this paper, the assassinations of Mahatma Gandhi (1948) and Sheikh Mujibur Rahman (1975), both key architects of the destinies of their people who fell to gunshots fired point blank at them, are pointers to the sociological understanding that ‘nations … are constituted in self-contradictory struggles … that are prolonged and in some senses endless’ (Pandey, 2012, p.
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While each of the three nations has in turn developed its indigenous version of macro-history that further problematises the South Asian scenario, there is also the simultaneous existence of cross-cutting discourses of ideological dissent in post-colonial critiques underlying the founding principles of these nations. The years from 1947 when colonial India was first partitioned on the basis of the ‘Two-Nation’ theory to 1971 when this very theory proved fallacious as Bangladesh (formerly East Pakistan) proclaimed her independence from Pakistan, have been a tumultuous phase of history in the Indian subcontinent. The paper is conceptualised as a substantial contribution to film and cultural studies, as this area has hitherto remained uncharted in academic discussion. The authors from either side of the India-Bangladesh border intend to focus on the use of guns in Bangla cinema of these three evolving phases, applying film analysis to select productions from Bangladesh and West Bengal in India. The third category, conversely, is another façade of culture-one that symbolises the present time as an ‘age of simulations’ that hardly has any organic connection with ground realties that the films claim to contextualise. The paper hypothesises that the first two categories qualify as cultural texts attempting to approximate historical realities, wherein guns function as vital symbols of power and unity, resistance and liberation. This undoubtedly signifies the confusion of cultural values. Basing upon Baudrillard’s contention that we have lost our capacity to grasp reality as it is, and need to depend on set-up realities in a virtual world, this paper claims that the initial patriotic zeal (its remnants notwithstanding) of Bangla cinema has taken a retrogressive turn, so as to seek recourse in representations of violence as channels of personalised/disorganised pseudo-real entertainment like video games.
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The last category is perceived by and large as hyperrealist, for it substitutes ‘the signs of the real for the real itself’. The authors perceive three distinct phases of such representation-films from West Bengal highlighting Partition violence around 1947 exponents from Bangladesh upholding the independence of former East Pakistan in 1971 and the brutality of the West Pakistan armed forces and hyper action in contemporary commercial cinema. A perusal of Bangla cinema following the Partition of India (consequently, of Bengal too) in 1947, and the Liberation war of Bangladesh in 1971 shows a tradition of ample use of guns and ammunition. The authors hold that both are symptomatic of the unreal nature of contemporary Bengali culture in an age of mass consumption. In tracing a specific trajectory of cultural evolution, this paper builds upon Jean Baudrillard’s concept of ‘simulacrum’, arguing that the use of guns in Bangla cinema from Bangladesh and West Bengal (India) is connected with ‘hyper-reality’ and ‘simulation’.