The lifting of ban on Bollywood films has actually encouraged competition and revived cinema in Pakistan
‘’Intolerance of the kiss is an extreme example of the dichotomy and hypocrisy with which we have set some mores and rules. Degrading, brutalizing scenes of violence and hate pass the censor untouched and uncut. But even when a kiss expresses pure tenderness and affection between two people and not lust, it is this non-violent, non-destructive action that is banned!’’ (Jabbar 2001:41)
Jabbar (2001:41) director of the first English language film in Pakistan Beyond the Last Mountain (1976), notes that he had to shoot a scene for his film where a man and a woman kiss several times, depicting a low intensity lustful act as compared to a romantic affection. All the kisses had to be cut. The censor board would allow vulgar shots of women in a dance sequence but a simple kiss would be cut.
Censorship of films in Pakistan requires an exploration and understanding of the social and political scenario of the country. Constant political unrest after 1947 has resulted in major setbacks related to the Arts of the nation. The Censor Board was an adopted baby from the British rule of the sub-continent. The British had enforced the Cinematography Act 1918 which was to silence the freedom movement. This Act after 1947 was amended but never fully developed into a new set of laws for a new born country like Pakistan.
Bollywood films were banned in Pakistan after 1965 War between the two countries. In 2008, the ban on Bollywood films was lifted under General Pervez Musharraf’s government (2001-2008).
Prior to this ban on Bollywood films, Pakistanis were watching pirated Bollywood films on DVDs or video tapes as Bollywood films have a huge fan following in Pakistan. Indian stars and their films are well liked by the masses. However, the censor board does not allow all Bollywood films to be screened in Pakistan even after the ban was lifted in 2008.
The Central Board of Film Censors (CBFC) in Pakistan is responsible for all foreign films being screened in Pakistan. This board has also been given guidelines from the Federal government in the form of Film Censorship Code. Therefore, the independence of the board is dependent upon the Federal Government’s Code of Censorship.
To understand the censorship policies regarding Bollywood films in Pakistan, we need to explore the core issues related to censorship in Pakistan. We zone back to the creation of the two countries (India and Pakistan) to understand the complexities of censorship in Pakistan.
Bollywood in Pakistan
In 2008, under the government of General Musharraf (2001-2008) Pakistan formally lifted the ban on Bollywood films being screened in cinemas. This ban covered films which featured Indian actors but only as long as the importer did not import the film from India. The films imported had to be shown as imports from companies based in countries other than India. The official paper work done before the import of these films is done in a manner that the films are not read as an ‘Indian product’. There are several steps where the importer of the film has to obtain clearance certificates. These cover proofs of country of origin and that the film was shot in another country, or that the production company is based outside India.
In November 2008, after the Mumbai attacks in India, the relationship between India and Pakistan worsened. This incident also affected the scope for cinema goers watching Bollywood films in Pakistan. Pakistan Cinema Management Association Chairman at the time, QaiserSanaullah Khan, said that in the aftermath of the Mumbai attacks, there was a significant reduction in the demand for Indian films and exhibitors and distributors were reluctant to buy screening rights of new Bollywood movies. Though Bollywood films were not banned after the attacks yet the audience did not show up at the cinemas across Pakistan to watch the films.
However, earlier in 2006, Sohni Mahiwal (1985, dir. Raja Nawate), a film based on Punjabi folklore was allowed to be screened in Pakistan. This film was imported from India after a long legal battle in the courts. "I filed seven petitions in the Lahore High Court and twice approached the Supreme Court of Pakistan, which decided the case in my favour because the story was based on Punjabi folklore," says Mr Zafar, the importer of the film. The Pakistan Film Producers Association did not allow a complete lifting of the ban on Indian films. Sohni Mahiwal (1984) was only one film that was screened in cinemas in Pakistan.
To explore different facets of Bollywood in Pakistan, we need to explore Lollywood, the film industry of Pakistan.
Disentangling Lollywood
The term Lollywood was coined to refer to films made in the city of Lahore. This term was first coined by Saleem Nasir, who used to write for the now defunct magazine called “Glamour”. The first film made in Lahore was The Daughter of Today (1924, dir. Shankradev Arya). After independence in 1947, first Pakistani film was Teri Yaad, ‘In Your Memory’ (1948, dir. Daud Chand), which started off a series of films being made in the country. The 1970s saw the industry’s boom. In 1974, a total of ‘114 motion pictures’ were produced in Pakistan, ‘a record that still remains unsurpassed’ (Gazdar 1998:145). Later, in the 1980s, the number of film production declined due to pirated VCDs and VCRs becoming a part of millions of Pakistani households.
Indian films were smuggled in the country in spite of the ban on Indian films since 1965. The Pakistani film industry declined after the 1970s due to popular pirated Bollywood films being watched by Pakistani audiences in their homes and also due to Lollywood’s poor quality production.
This poor quality can also be traced back to the root cause of the film makers not being able to engage with audiences culturally or cinematically. The separation of East Pakistan, now Bangladesh, is also one factor associated with the decline of the film industry.
During the 1980s, the Pakistani cinema was losing ground to home owned VCRs and pirated Indian films. Jabbar (1999:36) notes that in 1999, there were about 550 cinema halls for over 90 million people. Out of these 550 halls, 350 are concentrated in major cities and towns. This left only 200 for the areas where the majority of the population live. However, the number of theatres declined during the first decade of the 21st century. It is only recently that new multiplexes have been constructed in the cities of Karachi, Lahore and Rawalpindi.
This shows the huge divide between the urban masses and rural population which does not have easy access to cinemas. The cinemas which have been constructed in rural towns usually screen films which are in the native languages of the area. Punjabi and Pashto language films are popular among the locals of Punjab and Khyber Pakhtunkhwa, respectively.
The Pashto films beat all records for films produced in Pakistan in the last ten years. During 2001-2009, 156 Pashto films were produced as compared to 99 Urdu language films in this period. The local people engage in this cultural activity as other social outlets have declined in the province. These films have also been criticized by the media for being obscene and vulgar.
It is noteworthy that media in Pakistan are influence by the Indian media. This is not limited only to cinema but television is also subject to major influence. Sonwalker (2001: 513) has noted that Indian channels are perceived to be objective or politically convenient. However, they are used more for convenience and not credibility. When Pakistani media is heavily influenced by Indian media and the public is receptive, why is there resistance from certain sections of the society to ban Indian TV channels and Bollywood films? Is it due to the ‘Indian-ness’ of their influence?
To better understand media in Pakistan and to explore the answers to the above questions, firstly, we need to analyse and look at the historical background of censorship and media in Pakistan.
Censorship
The very word ‘censor’ makes one think about what is NOT to be said, heard or seen. What is censorship? What is being censored? If we were to take away the biases, maybe one can reach the truth of any matter. Then that brings us to another issue; truth. What is true? Whose truth is truer than the other? Everyone has a version of the truth.
When a film is banned, what is being hidden from the public? Is the Censor Board trying to keep the public way from reality? Or is it done to protect the society from possible outrage by the public? Is state controlled censorship, meant to protect the state? Protection from what? A series of questions arise when we think about censorship.
Kaur and Mazzarella (2009) note that implicit forms of censorship are ambiguous. Moreover, they note, censorship is not in but of the public sphere. The censors work is generally opposed to publicity yet censorship courts the full glare of publicity. Furthermore, censorship is done by calculated publicized. This is done in the name of protecting cultural integrity.
What is the state trying to suppress through censorship? Can suppression be an answer to protect cultural integrity? Censorship is meant to stop offensiveness or objectionable behaviour related to certain ideas circulated in a social setting. Censorship has been practiced on the grounds of blasphemy, treason, obscenity. Each society has its own standards, norms, ideologies related to blasphemy, treason and obscenity. Hence, censorship is a complex term and has no definite meaning.
Pakistan is a prime example of state controlled censorship. The state uses censorship as a vanguard to protect cultural integrity. But what cultural integrity is the state trying to protect? Is the cultural integrity dependent upon state controlled censorship?
In Pakistan, self-censorship is a clear indication of one thing; people speak and write carefully. Censorship begins within them. They create a sense of self-censorship. Daniyal Mueenuddin, a Pakistani author of the book ‘The Other Rooms, Others Wonder’ (2009) commented on censorship in Pakistan in these words, ‘‘…who will reason with these people?’’.
The Censor Board in Pakistan is a state controlled entity where the decision to censor is unquestionable. Even the authors have accepted the state controlled censorship in Pakistan. Moreover, Mohsin Hamid, author of ‘The Reluctant Fundamentalist’ (2007) talking about censorship said, ‘‘…being aware of what I am saying….and deciding what not to say…its (censorship) not something I like …’’. The writers of the country are imposing self-censorship before even approaching the Censor Board. They don’t like the censorship laws but have conditioned themselves to think before they speak or write.
This just shows the embedded nature of the censorship laws that have been enforced by the state. The state controlled censorship cannot stop people from thinking or tell them what to think but it can surely censor their expression.
Kaur and Mazzarela (2009) note that censorship is not only primarily a mechanism for denial and repression; it serves to articulate a language of the hidden and the sacred. It is out in the open even if it is not shown. The state controlled censorship in Pakistan has been politicized by the changing political scenario. We need to examine the historical background of censorship in Pakistan to better understand the Censor Board of Films.
Code of Censorship of Films in Pakistan
Acoording to Jabbar (1997:342), some of the censorship rules are as follows:
‘’…While judging each film, the authority should keep in view that each film piece, scene, song, incident, dialogue has to be examined in the context of the film as a whole, its relevance and appropriateness to the plot or its thermatic and artistic justification….
- In judging a film, the main consideration should be the impression it is likely to create on an average audience which includes a considerable portion of children, teenagers, adolescents and young persons of immature judgement and of impressionable age
- In case of imported films, themes which are purely permissive in character and treatment and which come into direct clash with the accepted standards of morality and social values in Pakistan should be discouraged
- The aim of the authority should be to eliminate the public exhibition of the film or any part thereof including an incident, dialogue, song or dance which is likely to :-
•impair accepted moral standards and social values by glorification of vice or crime,
•give offence to any section of the public or injure the feelings of any class or persons; or,
•hurt national sentiments
- in the light of the foregoing principles, a film shall be regarded as unsuitable for public exhibition if, directly or indirectly, it
- Security, law and order:
•brings into contempt Pakistan or its people or tends to undermine its integrity or solidarity…
•violates any provision of the Constitution.
•promotes anarchy or violence…
•brings into contempt the armed forces, police force or any other force as an institution
•portrays the armed forces or police force in derogatory uniforms or such uniforms as are not in accordance with the approved pattern…’’.
Jabbar (1971) notes that there is a system of conditioning by which we accept the censor certificate at the beginning of a film as a harmless formality. The scenes which have been censored might ignite a sense of imaginary thoughts of that particular scene that was censored in the film but to no avail. In the age of mass media, people don’t have time to think or imagine. They have perhaps become saturated with messages, statements and speeches. Furthermore, he notes, the growth of censorship is due to the failure in this age. He calls it the ‘mental vacuum’ (Jabbar 1971:66). The censor and its strength lie with the bureaucracy and not the public viewing the films. This bureaucracy in Pakistan which consists of people from non-film background sit on the board of censor to decide which films will be viewed by public. The Censor Board has members from Civil Services in Pakistan including the intelligence agencies of Pakistan.
JavedJabbar (1971:70) has challenged the ‘very idea of censorship’, calling it ‘a manifestation of reactionary fear of progressive change’. He has called the system in Pakistan under a ‘reactionary grasp-the dogmatic mulla, the uncultured bureaucrat, the conservative businessman, the order oriented power structure’.
Jabbar (2001) notes that certain formula films depict the female form in a suggestive manner and the song and dance in these films are filmed with poses that suggest the female form to be seductive. It is quiet remarkable that such songs are passed by the Censor Board for viewing by Pakistani audiences, where the conservative mind-set doesn’t quite accept the presence of women in public.
Jabbar (1971:51) has compared the Pakistani censor board to Western censor boards, where most of the work is accomplished by a system of self-censorship conducted by producers. He points out that the local board should exercise a rational, balanced and open-to-the-modern-world policy. This policy might not be an arbitrary fix but stimulate themes for creative films and encourage talent. He has suggested that a policy be adopted by the Board to jolt out their reverie the local filmmakers and prod them, by use of exhibition certificates, to stop cheating from other sources and start doing their own work. His suggestion is also to utilise the policy to promote a mature concept of obscenity in the public mind. In other words, ‘’the idea that all that is nude is obscene should be discarded for the more comprehensive: All that is obscene is not nude (Jabbar 1971:52)’’.
This brings us to find out the source of censorship. What is being obscene? Where is censorship coming from? What does it mean? To understand some of the answers to the above questions, we need to explore censorship in the Sub-continent.
Censorship in South Asia
Kaur and Mazzarella (2009) note that censorship became particularly controversial in mid 1990s in India with films such as Fire (1996, dir. Deepa Mehta) whose screening provoked a hostile reaction by Hindu extremist party, the Shiv Sena.
The Shiv Sena claimed that Fire (1996) should be banned in India and should not be allowed to play in India because the lesbian couple in the movie were named after two Hindu goddesses, Rita and Sita. Moreover, Shiv Sena claimed that there were no lesbians in Hindu families because Hinduism allowed bisexual relations. They wanted the name to be changed to Muslim names. BalThackerey, the leader of Shiv Sena whose party is a major presence in India's film capital Bombay, also protested and told the Pioneer newspaper that contrary to the story of the film Fire, lesbianism does not exist in Hindu families. The point of all these protests appears to have been to 'fire' up Hindu-Muslim relations.
The film was screened amidst protests by Shiv Sena with the courts allowing it to be screened in India. Kaur and Mazzarella (2009) argue that such incidents calling for withdrawal of a certain film, book and newspaper article are not just silencing tactics; rather they rely, for their political efficacy, on harnessing and mobilizing the public energy of the very artefacts that they are trying to suppress.
On the contrary, in Pakistan, Bollywood films like Tere Bin Laden ‘Without You Laden’ (2010 dir, Abhishek Sharma) and Delhi Belly (2011 dir, Abhinay Deo) were banned in Pakistan . Tere Bin Laden was banned for this film was unsuitable for Pakistan due to possible eruption of violence. The film is about a Pakistani journalist who wants to get an American immigration visa and he resorts to a fake interview with Osama Bin Laden to get his visa. The mocking satire on Osama Bin Laden was not acceptable and the film was banned from public screening. This film was not banned solely because it was an Indian film but the satire regarding Osama was too much for the Censor Board to digest.
The Censor Board banned Delhi Belly due to its profane language. This film is about three struggling middle class men sharing an apartment and trying to make ends meet, when they fall into a trap by the drug mafia. The film and its characters have used abusive language. According to the producer of the film, Aamir Khan as quoted by The Times of India, ''Delhi Belly is a comic caper targeted at a young audience. People who can't identify with disrespectful and unclean language ought to stay away from it. It's an adult film. When we went to the Censors, we approached them for an A-certificate’’.
However, there were protests in India against the screening of Delhi Belly which made a total of Rupees 487.5 million ($10.9 million) at the box office since its opening week on 1st July 2011. Protesters stormed theatres for showing this film in India. The attacks did not halt the screenings.
Another Bollywood film, Shoot On Sight (2007, dir. Jag Mundhra) was banned in Pakistan.The film depicts the Muslims living in London after the bombings in the year 2005. This film is about a Muslim police officer investigating the killing of a suspected terrorist. The main character who is a terrorist is played by a Pakistani actor, Mikaal Zulfiqar. The certificate to screen this film was taken away after the Board realized that a Pakistani actor playing the character of a terrorist was not acceptable.
Moreover, Shoot On Sight had a dialogue where a White/Caucasian man says, ‘…all Muslims are not terrorists but all terrorists are Muslims…’.
Recently in Pakistan, Aarakshan ‘Reservation’ (2011, dir. Prakash Jha) was released in cinemas. However, in India, it was banned in states of Punjab, UP and Andhra Pradesh despite the Board of Film Censors certified it as being fit for public viewing. This decision was also reaffirmed by the Bombay High Court. This film is about the reservation of seats in educational institutions for the Dalits.
This film has been called ‘anti-Dalit’ by the Chairman of the National Commission for Scheduled Castes. The film also depicted the children from the Dalit caste as having rude manners. The film also showed affluent businessmen not wanting their children to study with Dalit caste children because they ‘stink’. This kind of subjects portrayed in the film created uproar and certain states in India banned the film in spite of High Court orders for its release.
Meantime, screened in India, Pakistani film Ramchand Pakistani (2008, dir. Mehreen Jabbar) won The International Film Critics Prize in the year 2008 in New Delhi, India. This film contained abusive language; however, the Censor Board had been very liberal and not a single word of abuse was cut and the film got a ‘’U’’ certificate. This shows the Board’s partiality towards films made by Pakistani filmmakers whereas Delhi Belly (2011 dir, AbhinayDeo) was banned for its abusive language.
Conclusion
The censorship of Bollywood films in Pakistan is an extremely complicated and problematic issue. Secondly, the ban on Bollywood films being lifted in 2008 doesn’t automatically allow all Bollywood films to be screened in Pakistan. The Censor Board is subject to policy of the Federal Government. Hence, it is not a completely independent entity, separate from the state.
There is a general consensus among the producers of the film industry in Pakistan that their own production capacity and screening time for their films have been badly affected by the foreign and Bollywood films that are being screened in Pakistan. Some of them call for the ban on foreign films shown in Pakistan. This attitude indicates that they do not want to compete on an international level and do not want to work on the quality of their films. Their stated reasons are that they do not receive adequate financial returns on investments.
However, recently, a couple of Pakistani filmmakers, with low budgets have done well at the box office. These films have been critically acclaimed as well. Films like Bol ‘Speak’ (2011 dir, Shoaib Mansoor) and Khudakeliye ‘In the name of God’ (2007 dir, Shoaib Mansoor) were not produced with huge budgets, however, these did well at the box office. The lifting of ban on Bollywood films has actually encouraged competition and revived cinema in Pakistan.
Filmography:
Aarakshan (2011 dir, PrakashJha) Starring: Amitabh Bachchan, Saif Ali Khan, DeepikaPadukone Writer: PrakashJha Music: Shankar Ehsaan Loy
Beyond The Last Mountrain (1974, JavedJabbar) Starring: UsmanPeerzada, Zahoor Ahmad, Marianna Haq Writer: JavedJabbar Music: SohailRana
Bol (2011, dir. ShoaibMansoor) Starring: Humaima Malik, AtifAslam, Iman Ali Writers: ShoaibMansoor Music: AtifAslam
Delhi Belly (2011, dir. AbhinayDeo) Starring: Imran Khan, Vir Das Writer: AkshatVerma Music: Ram Sampath
Fire (1996, dir. Deepa Mehta) Starring: ShabanaAzmi, Nandita Das Writer: Deepa Mehta Music: A.R Rahman
Hyderabad Blues (1998, dir. NageshKukunoor) Starring: NageshKukunoor, Rajshri Nair Writer: NageshKukunoor
KhudaKeLiye (2007 dir, ShoaibMansoor) Starring: Shaan, Naseeruddin Shah, Iman Ali Writer: ShoaibMansoor Music: Rohail Hyatt
Ramchand Pakistani (2008, dir. MehreenJabbar) Starring: Nandita Das, Maria Wasti, NomanIjaz Writer: JavedJabbar Music: Debajyoti Mishra
Shoot On Sight (2007 dir, Jag Mundhra) Starring: Om Puri, MikaalZulfiqar,Naseeruddin Shah Writer: Jag Mundhra Music: John Altman
SohniMahiwal (1985, dir. Raja Nawate) Starring: Sunny Deol, Poonam, ZeenatAman Writer: Shanti PrakashBakshi Music: Anu Malik
Tere Bin Laden (2010 dir, Abhishek Sharma) Starring: Ali Zafar, Pradhuman Singh Writer: Abhishek Sharma Music: Shankar Ehsaan Loy
Teri Yaad (1948, dir. Daud Chand) Starring: Jahangir, Sardar Muhammad, Ghulam Muhammad Writers: SardariLal Music: InayatNath
The Daughter of Today (1924, dir. ShankradevArya) Starring: A.K. Kardar, Wilayat Begum, Vijay Kumar Writer: G.K. Mehta
BibliographyAshar, U., 2011.‘Blow Job' in Aamir Khan's ' Delhi Belly'[online].The Times of India. Available from: http://timesofindia.indiatimes.com/entertainment/bollywood/news-interviews/Blow-Job-in-Aamir-Khans-Delhi-Belly/articleshow/8273436.cms [Accessed 13 September 2011].
Chaudhry, A., 2011.‘Shoaib Mansoor, Tackling Sensitive Issues in Pakistan’[online]. Desiclub.Com. Available from: http://www.desiclub.com/bollywood/bollywood_features/bolly_article.cfm?id=2645 [Accessed 13 September 2011].
Dwyer, R., 2006. Filming the Gods: Religion and Indian Cinema. Routledge
Dwyer, R., 2005. 100 Bollywood Films. London: Lotus Collection
Gazdar, M., 1998. Pakistan Cinema 1947-1997. Karachi: Oxford University Press
Jabbar, J., 1998. ‘A Commentary on Mass Media Laws: A Historical Perspective’. In: J. Jabbar and Q.F. Isa, eds., 1998 Mass Media Laws and Regulations in Pakistan. Singapore and UNESCO: Asian Media Information and Communication Centre
Jabbar, J., 1971. A Man in the Queue. Karachi: Readers Associates
Jabbar, J., 2001. Beyond the Last Mountain. Karachi: MNJ Communications (Pvt) Ltd and Summit Media
Jabbar, J., 1999. The Global City. Karachi: Royal Book Company
Mahmood, N.,2009.‘Pashto films still rule box office’[online]. Pakistan Defence. Available from: http://www.defence.pk/forums/current-events-social-issues/41892-pashto-films-still-rule-box-office.html [Accessed 13 September 2011].
Mazzarella, W. and Kaur, R., 2009. ‘Between Sedition and Seduction: Thinking Censorship in South Asia’. In : W. Mazzarella and R. Kaur, eds., 2009 Censorship in South Asia: Cultural Regulation from Sedition to Seduction. Bloomington: Indiana University Press
Noorani.A.G., 2011. ‘Banning Films’[online]. Dawn.Com. Available from: http://www.dawn.com/2011/08/20/banning-films.html [Accessed 13 September 2011].
Pakistani Authors Reflect on Censorship in Pakistan, 2009. Video. New York: 5min life Vidoepedia.
‘Pakistani Cinema’ [online]. Available from: http://www.bollywhat.com/beyond/pakistani.html [Accessed 13 September 2011].
‘Pakistan Film History’[online]. Pakistan Film Magazine. Available from: http://mazhar.dk/film/history/ [Accessed 13 September 2011].
Pinglay, P., 2010. ‘Bollywood's spoof Osama bin Laden movie proves global hit’[online]. Mumbai, BBC News South Asia. Available from: http://www.bbc.co.uk/news/10609775 [Accessed 13 September 2011].
Robinson, S., 2008.‘The India-Pakistan Thaw Continues’ [online].Time World. Available from: http://www.time.com/time/world/article/0,8599,1720814,00.html [Accessed 13 September 2011].
Siyal, H., 2009. ‘Revival of Pakistan in 2011?’[online]. Pakistani Ultimatum Media. Available from: http://www.pakium.com/2011/04/09/2011-the-revival-of-cinema-in-pakistan [Accessed 13 September 2011].
Sonwalker, P., 2001. ‘India: Makings of Little Cultural/Media Imperialism?’ . Gazette Vol.63(6), 505-513. London: Sage
Thoral, Y., 2000.The Cinemas of India. New Delhi: Macmillan
Trivedi, H., 2006. ‘All Kinds of Hindi: The Evolving Language of Hindi Cinema. In : V. Lal and A. Nandy, eds., 2006 Finger Printing Popular Culture: The Mythic and the Iconic in Indian Cinema. New Delhi: Oxford University Press
Tyrell, H., 2004. ‘Bollywood versus Hollywood: Battle of the Dream factories’. In: F. Lechner and J. Boli, eds., 2004 The Globalization Reader. 2nd ed. Oxford: Blackwell
Usman, A.,2010. ‘Halcyon Days’[online]. The Express Tribune. Available from: http://tribune.com.pk/story/15094/halcyon-days/ [Accessed 13 September 2011].
2006. ‘Pakistan to show Bollywood film’ [online]. BBC News. Available from: http://news.bbc.co.uk/2/hi/entertainment/4639216.stm [Accessed 13 September 2011].
2008. ‘Indian films see steep fall in Pakistani audience post-Mumbai attacks’ [online]. Thaindian News. Available from: http://www.thaindian.com/newsportal/entertainment/indian-films-see-steep-fall-in-pakistani-audience-post-mumbai-attacks_100131124.html [Accessed 13 September 2011].
2011.‘ShoaibMansoor is back’ [online]. The Times of India-Bollywood. Available from: http://articles.timesofindia.indiatimes.com/2011-07-27/news-interviews/29820306_1_worthless-burden-shahid-jamal-age-old-societal-norms [Accessed 13 September 2011].
2011. ‘The Bollywood Censorship board should not be bullied by the government’ [online]. Debatewise Where Great Minds Differ. Available from: http://debatewise.org/debates/3552-the-bollywood-censorship-board-should-not-be-bullied-by-the-government [Accessed 13 September 2011].
2011.‘Bollywood hit ‘Delhi Belly’ causes upset’[online]. Dawn.Com. Available from: http://www.dawn.com/2011/07/13/bollywood-hit-delhi-belly-causes-upset.html [Accessed 13 September 2011].
