Name: Ghanshyam Katariya
Paper 204: Contemporary Western Theories and Film Studies
Subject Code: 22408
Topic Name: Deconstructive Exploration of Caste and Justice in "Article 15"
Batch: M.A. Sem-3(2022-24)
Roll No: 7
Enrolment No: 4069206420220017
Email Address: gkatariya67@gmail.com
Submitted to: Smt. S. B. Gardi, Department of English, MKBU
Title: Deconstructive Exploration of Caste and Justice in "Article 15"
Introduction:
"Article 15," directed by Anubhav Sinha, stands as a powerful cinematic exploration delving into the pervasive issue of caste-based discrimination in rural India. Applying a deconstructive lens to this film unveils the complexities of systemic injustice, social hierarchies, and the challenges of confronting deeply rooted prejudices. This essay embarks on an exploration of how the deconstructive framework sheds light on the film's portrayal of caste and justice, emphasizing the fluidity of power dynamics and the nuanced process of seeking justice within an entrenched social structure.
Deconstructing Social Hierarchies:
The film disrupts ingrained social hierarchies by confronting the oppressive caste system. Deconstruction involves a critical analysis of how the characters challenge and subvert these hierarchies. Rather than presenting caste as a fixed and unchanging structure, "Article 15" underscores the fluidity of power dynamics, highlighting instances where individuals break free from their prescribed social roles.
Binary Oppositions in Caste Narratives:
"Article 15" presents binary oppositions between the privileged and the oppressed, challenging the simplistic categorization of individuals based on caste. A deconstructive approach invites us to question these caste-based dichotomies, revealing the characters' struggles to navigate and challenge social structures. The film blurs the lines between the 'upper' and 'lower' castes, illustrating the nuanced ways in which individuals transcend societal expectations. Here is an interesting outline that comes out that, “The film may be sincere in its intent of mainstreaming conversations around discrimination, but raises complicated questions about the ownership of stories and who has the right to tell those stories (Pathak).”
In the movie as we see that by the time Ranjan rescues a missing Dalit woman and carries her in his strong, Brahmin arms, the audience is primed for director Anubhav Sinha’s camera as it lionises the conscientious cop for, well, doing his job at great personal risks (Pathak). It resonates that of The White-Savior Industrial Complex as we get mesmerised by the brahmin hero is saving those in the need where we do not have to forget that “If we are going to interfere in the lives of others, a little due diligence is a minimum requirement (Cole)”. In contrast there is the dalit activist named NIshant,“the despair that haunted Ambedkar continues to haunt the likes of Nishant.The helplessness arising from the accident of birth is evident from Nishant’s concluding remarks (Rath):
I wanted to be a writer.
And a scientist.
I thought I’d write about science.
But it came to nothing.
Because the place I was born into
was a terrible accident. (Sinha)
“White men saving brown women from brown men(Spivak)”In the movie as well, it was an upper caste man saving lower caste women from upper caste men. In the movie Gaura (a Pasi) gets a job in mid-day meal but everyone refuses to touch the food prepared by her. The gangrape of the Pasi girls by the contractor is a response to their demand for higher wages. The girls are hanged from the tree to send a message to the entire community reminding them of their position in social hierarchy (Rath). Here “Obviously, the most oppressed group of any oppressed group will be its women, who are twice oppressed. So I imagine that they react accordingly: as oppression makes people more militant, women become twice militant, because they are twice oppressed.” (Hansberry)
Play of Language and Representation:
Language serves as a crucial element in the film, reflecting the diverse linguistic and cultural landscape of India. Deconstruction involves an exploration of the play of meanings within linguistic choices, emphasizing that language can perpetuate stereotypes or become a powerful tool for challenging dominant narratives. The film's characters employ language to resist and redefine their identities in the face of discrimination.
The divide is also reflected in the scenes where Ayan’s subordinates justify not filing the FIR (about the missing girls) because “These people file false complaints” and “Their boys and girls run and come back in a few days. No matter how much we do for these people, they are ungrateful.” In another scene, Brahmdutta (policeman) disparages Dr Malti as, “Quota wali Doctor coming to the rescue of SC girls even when our taxes paid for her education” because she refused to give a false post-mortem report. (Rath)
Ayan’s privileged background and ignorance about the actual existence of bookish realities of caste discrimination reflects in several scenes. It reflects when he is informed about him being Brahmin by his subordinates. It reflects when he asks his subordinates about their castes and to explain the hierarchy (since he cannot understand why the Pasis are referred to as “Yeh Log”). It reflects in his statements like – “This is wild wild West” and when he calls Lalgaon a “funny place” because of the untouchability that prevails even in terms of Pasi shadow. (Rath)
In one of the scenes, Ayan (an IPS Officer) is educated by the driver as to why he shouldn’t buy water from a shop run by the Pasi. He is told that they are SCs and live with pigs and hence are impure. (Rath)
DifferAnce in Legal Justice:
“In Anubhav Sinha’s Article 15, a foreign-travelled Brahmin policeman played by Ayushmann Khurrana, is plucked from Delhi and parachuted into a nondescript hamlet in Uttar Pradesh, a posting he describes as a ‘punishment’. (Pathak)” This is a very contranst in this film that showcase that the chain of events are nothing but the rootein life in the various areas of india and to understand the system the protagonist Aryan is sent to the posting in the rural Uttar Pradesh so that he can be moulded by the power.
Derrida in his Structure, Sign and Play notes that “The center is at the center of the totality, and yet, since the center does not belong to the totality (is not part of the totality), the totality has its center elsewhere(Lodge).” This can be found in the character of Ayan as he is the center by representing the upper caste as well he is not representing the totality because there is hierarchy above him and he is just the little part of the whole totality. The protagonist, Ayan, symbolizes the pursuit of justice within a flawed legal system. Deconstruction emphasizes the play of differences and deferrals in Ayan's attempts to navigate the legal complexities. The film reveals that the pursuit of justice is subject to systemic biases, challenging the notion of a fixed and impartial legal framework. Ayan's journey highlights the constant negotiation and reevaluation required in the quest for justice.
Infinite Play of Symbolism in the Rural Setting:
From the beginning the song ‘Blowin' In The Wind’ by Bob Dylan starts to symbolize the grand theme of the film. ‘The Discovery of India’ by Javaharlal Nehru is also one powerful symbol in the film.The rural setting in "Article 15" serves as a powerful symbol of systemic discrimination. Deconstruction allows for an examination of the infinite play of meaning associated with the location, challenging fixed interpretations and inviting viewers to engage with the evolving significance of the rural landscape. The setting becomes a dynamic space where the complexities of caste-based discrimination unfold, resisting static representations.
Deconstructing Notions of Equality in the film ‘Article 15’
The film explores the theme of equality as enshrined in the Indian Constitution. Deconstruction involves questioning fixed notions of equality, emphasizing that achieving true equality is a complex process subject to systemic resistance. "Article 15" prompts viewers to engage critically with the layered dynamics of social injustice, challenging the idea that equality can be achieved through linear and unambiguous means.
“Article 15 seeks to address a societal crisis but ends up reinforcing many of the same ideas it seeks to challenge. The status quo remains mildly shaken but not bestirred: the Dalit must be both, brutalised by, and rescued by, the Brahmin (Pathak). This showcases that even if the film is describing the caste discrimination the film ends up revolving around an upper caste and it makes only the one from the upper caste and an elite in the power to rescue the discriminate and not giving the power to the low in the society.
The film may be sincere in its intent of mainstreaming conversations around discrimination, but raises complicated questions about the ownership of stories and who has the right to tell those stories.There are no easy answers, but there are patterns that inform us about how lived experiences percolate into fictional accounts and embed them with nuance. (Pathak)
Conclusion:
In its poignant depiction of societal intricacies, "Article 15" emerges as a compelling cinematic commentary on the struggle to dismantle entrenched prejudices and advocate for a more just society. Through the deconstructive lens, the film adeptly navigates the fluid nature of power dynamics, the complexities of a flawed legal system, and the ongoing negotiation required in the pursuit of equality. It challenges fixed notions and invites viewers to critically engage with the layered dynamics of social injustice. As the credits roll, the film leaves us with a resonating call for continual reflection and active resistance against oppressive structures, urging society to play an integral role in the ongoing pursuit of a more equitable future.
Word Count= 1536
Works Cited
Cole, Teju. “The White-Savior Industrial Complex.” The Atlantic, 21 March 2012, https://www.theatlantic.com/international/archive/2012/03/the-white-savior-industrial-complex/254843/. Accessed 27 November 2023.
Hansberry, Lorraine. “Lorraine Hansberry discusses her play "A Raisin in the Sun" interview by Studs Terkel.” Studs Terkel Radio Archive, WFMT Radio, 1959, https://studsterkel.wfmt.com/programs/lorraine-hansberry-discusses-her-play-raisin-sun. Accessed 26 November 2023.
Lodge, David. Modern Criticism And Theory: A Reader, 2/E. India, Pearson Education, 2002.
https://www.google.co.in/books/edition/Modern_Criticism_And_Theory_A_Reader_2_E/IFPqIIt-zKgC?hl=en&gbpv=1 Accessed 27 November 2023.
Pathak, Ankur. “Ayushmann Khurrana's Article 15 Is One Brahmin Hero Away From Being A Great Film.” HuffPost, 28 June 2019, https://www.huffpost.com/archive/in/entry/article15-review-ayushmann-khurrana_in_5d15fd0ee4b03d61163a2646. Accessed 26 November 2023.
Rath, Riah. “ARTICLE 15: Incomplete Journey from Constitution to Constituency.” Master's Programme in Public Policy, 2 January 2023, https://mpp.nls.ac.in/blog/article-15-incomplete-journey-from-constitution-to-constituency/. Accessed 26 November 2023.
Sinha, Anubhav, director. Article 15. Benaras Media Works, Zee Studios, 2019.
Spivak, Gayatri Chakravorty. "Can the subaltern speak?." Imperialism. Routledge, 2023.
171-219. https://abahlali.org/files/Can_the_subaltern_speak.pdf Accessed 27 November 2023.
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