4.3: The Film City and/as the Immaterial Infrastructure of Urban Life
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- Shanti Kumar
- University of California Press
In Bihar—considered to be one of the least economically developed states in India—Chief Minister Nitish Kumar announced in November 2012 that his government was seriously considering plans to build a film city near the capital city of Patna. The announcement by the chief minister was in response to intense lobbying by actors, producers, and directors from the Mumbai-based Hindi film industry and the local Bhojpuri film industry, which has in recent years witnessed an amazing growth and rise in popularity in India. 19 For more than a decade, major Bollywood stars from Bihar, including Shatrughan Sinha, Manoj Bajpai, director Prakash Jha, and Bohjpuri film star Ravi Kissen, have aggressively promoted proposals to set up a film city in their home state. A home-grown film city, they argue, would not only attract talent and resources from Bollywood and other regional film industries into Bihar but also stimulate the local Bhojpuri film industry. In 2013, the consultancy firm Grant Thornton submitted a feasibility report to the government of Bihar recommending the construction of a film city in the state. However, in 2014, the chief minister announced plans for building an IT city in Nalanda (his home district) in Bihar. 20
Frustrated by lack of progress on a film city in Bihar, director Prakash Jha and actor Shatrughan Sinha are now trying to convince the government of Madhya Pradesh to set up a film city in Bhopal. The government of Madhya Pradesh has already set aside one thousand acres near Bhopal for a proposed film city complex. Bhopal, known as the “city of lakes,” has emerged as a recent favorite of many Bollywood filmmakers, who are drawn to the scenic locations and picturesque beauty of the city’s many lakes and gardens. Prakash Jha shot four films in Bhopal from 2010 to 2013. These films, Raajneeti (2010), Aarakshan (2011), Chakravyuh (2012), and Satyagrah (2013), are among some of the most popular Hindi films of the past few years. 21
When Amitabh Bachchan—without any doubt the biggest film star in the history of Indian cinema—was in Bhopal to shoot for Jha’s film Aarakshan , he was warmly welcomed by fans and embraced by the city as its unofficial brand ambassador-in-law because Bachchan’s father-in-law had lived in Bhopal long ago (when Bachchan’s wife, Jaya, was a young girl). It is important to note that Bachchan has also served as the brand ambassador for the Department of Tourism in Gujarat since 2010, and was appointed the brand ambassador for the Health Department in Andhra Pradesh in 2015. Following Bachchan’s “Khushboo Gujarat Ki” (the fragrance of Gujarat) campaign for Gujarat tourism, it was reported that the number of hotel reservations in the state rose from 4,500 to 6,400 within two years. During that time, the number of tourists visiting Gujarat reportedly increased by 55 lakhs (one lakh is equal to 100,000). Vipul Mittra, secretary of tourism for the state of Gujarat, claimed that the state’s efforts to promote tourism with Bachchan as its brand ambassador helped because “he has great credibility and people take him seriously.” 22 While it is practically impossible to posit a causal relationship between the growth of tourism in Gujarat and Bachchan’s position as the ambassador of the state’s Tourism Department, the affective value of his promotion of the “fragrance” ( khushboo ) of Gujarat is undeniable.
Such is the respect and popularity that Bollywood superstars like Bachchan enjoy among fans across India, and the branding of cities through identification with film stars shows how cinema and celebrity culture are considered crucial for generating a buzz for public-private partnerships in government-sanctioned plans for urban development in India today. Following Bachchan’s appointment as the brand ambassador of Gujarat, West Bengal roped in Shah Rukh Khan as its brand ambassador, and many other states soon followed suit. As Tanvi Trivedi of the Times of India reports, “Prachi Desai represents Goa tourism, Hema Malini is the face of Uttarakhand’s Sparsh [clean] Ganga campaign, Saina Nehwal, badminton champ is the brand ambassador for Andhra Pradesh since 2010. Interestingly Haryana (where she was born) also wanted her to be the face. Preity Zinta is the only celebrity representing Himachal Pradesh, Celina Jaitly is the brand ambassador for Egypt, Mountaineer Anshu Jamsenpa who conquered the Mt Everest in 2011 is set to become the brand ambassador of North East India Tourism campaign. Reportedly Arunachal Pradesh wants Aamir Khan, Madhya Pradesh is interested in Abhishek Bachchan (mom Jaya Bachchan is from the state) and Chhattisgarh has asked Sushmita Sen to be their brand ambassadors.” 23 Trivedi quotes filmmaker Aniruddha Roy Chowdhury, who directed Shah Rukh Khan’s promotional films on West Bengal, as saying, “Even though a Bachchan or Shah Rukh don’t [sic] have any connect with Gujarat or Bengal, their global appeal does the magic.” 24
As Nigel Thrift points out, in a crowded marketplace, the only way to make a commodity stand out from its competition is through “a series of ‘magical’ technologies of public intimacy.” 25 Thrift argues that these “magical” technologies work through qualities such as the allure of glamour, style, and celebrity to produce intangible affective value for a commodity or a brand. For instance, describing how glamour works through and for commodities, Thrift writes, “For all its breathtaking qualities, glamour does not conjure up awe. It operates on a human scale, in the everyday, inviting just enough familiarity to engage the imagination, a glimpse of another life, utopia as tactile presence. . . . Glamour is about that special excitement and attractiveness that characterizes some objects and people. Glamour is a form of secular magic, conjured up by the commercial sphere.” 26
Nowhere is this link among the “secular magic” of Bollywood, political considerations of governance, and commercial logics of the marketplace more clearly articulated in public policy than in the state of Uttar Pradesh in northern India. In October 2012, Chief Minister Akhilesh Yadav declared a new master plan to create a TV/film city in Lucknow and an IT corridor in Agra (which will connect with the existing media and industrial enclaves of Noida near the nation’s capital, New Delhi). It is significant that plans for the Lucknow-Agra-Noida TV-film-IT corridor also map onto the chief minister’s proposal to extend the six- to eight-lane superhighway called Yamuna Expressway (which currently connects Noida to Agra) to the state’s capital, Lucknow. The chief minster’s plan to create the Lucknow-Agra-Noida corridor of media industries and superhighways is a clear indication of how media in general, and cinema in particular, are increasingly viewed by politicians and policymakers as keys to the rapid growth of urban infrastructure in India. In 2003, a report by Mckenzie, Crisil, and ICICI commissioned by the government of Uttar Pradesh recommended creating the “right mix of policies” to develop proper infrastructure to fast-track the state’s growth rate by 2020. Although the report was commissioned by a previous government, the current chief minister, Akhilesh Yadav, has embraced the 2020 vision to promote “brand UP” by integrating film policy with industrial policy and infrastructure policy. The plans for a film city in the Yamuna Expressway corridor are considered crucial to promoting “brand UP.” 27
The merging of political and economic activities with the glamour of Bollywood celebrity and culture is engendering new forms of public intimacy in urban India. As Thrift reminds us, the aim of public intimacy in urban life is not simply to create new subjects for the global capitalist order (or other disciplinary regimes). 28 Instead, Thrift argues that these spaces are also “new forms of body with the capacity to alter us to that which was previously unable to be sensed—with the corollary that certain objects can no longer be sensed—so producing the potential to generate new kinds of charms.” 29
In addition to the above-mentioned state-supported plans for integrating the allure of Bollywood into the infrastructure of urban life, some corporate houses in India have embarked on creating private versions of public intimacy through the construction of film cities. The much-advertised plans by the corporate powerhouse Sahara India to build the Sahara Pariwar Film City in its Aambi Valley development project near Pune are indicative of this popular trend (www.saharaindiapariwar.org/filmcity.html). One of the largest media conglomerates in India, Sahara India owns TV channels, film theaters, sports teams, hotels, retail outlets, and financial services. The founder of Sahara Group, Subrata Roy, was jailed in March 2014 by the Supreme Court of India on charges of financial fraud. 30 It is safe to assume that Sahara’s plans for a film city may be on back burner for a while.
In August 2012, Bollywood actor Jackie Shroff announced his partnership in a project to build a mini–film city near Nal Sarovar in Ahmedabad, Gujarat. Initially, Shroff was promoted as the brand ambassador for Nal Sarovar Film City with industrialists Mihir Pandya and Kishansinh Solanki as the major financial backers. However, when Solanki decided to quit the project, Shroff joined Pandya as an investing partner in the project. According to Shroff, Solanki, and Pandya, what sets Nal Sarovar City apart from other film city projects in India is that the film city will be developed as part of an urban enclave with residential homes and resort areas. 31 In the promotional material for Nal Sarovar City, the “film” part of the city is underdeveloped, and the residential plots and resort areas are more prominently displayed, revealing how the concept of a film city is being used to develop and sell real estate in urban and semiurban areas near major cities like Ahmedabad in India.
If Sahara Film City and Nal Sarovar City are stalled projects, a more successful corporate venture is Prayag Film City, also known as Chandrakone Film City or Midnapore Film City, located in Chandrakone, West Midnapore, near Kolkata in West Bengal. Prayag Film City is being built by the Prayag Group, which has business interests in diverse areas such as real estate, hotels and resorts, biscuits and cakes, cements, bricks and tiles, tea, fruit, fishery, poultry, farming, aviation, news, and electronic media (www.prayag.co.in/filmcity.html). The Prayag Group plans to build its film city in three phases: phase 1 is a film zone; phase 2 consists of an entertainment zone; and phase 3 will include a hospitality zone. Phase 1 of Prayag Film City opened with great fanfare on April 15, 2012, with Bollywood superstar Shah Rukh Khan as its brand ambassador. It is important to note that Shah Rukh Khan is also brand ambassador for West Bengal, the state in which Prayag Film City is located.
In publicity brochures, Prayag Film City presents itself as a city unto itself: “Pesh hai ek city—Prayag Film City” (Presenting a city—Prayag Film City). The prominent status of Shah Rukh Khan as the brand ambassador—in the foreground with a caricatured model of the film city in the background—reminds readers of Prayag Film City’s close connection to the Mumbai-based Bollywood on the west coast, even if Kolkata is all the way on the other side of India. What makes this connection even stronger is the promise of “entertainment ka maha dose” (a big dose of entertainment) in Prayag Film City—delivered by none other than Shah Rukh Khan, arguably the biggest entertainer Bollywood has ever produced since Bachchan.
When all three phases are completed, Prayag Film City, according to publicity materials, will be the “world’s largest film city.” Currently, the title of the world’s largest film city currently belongs to Ramoji Film City (RFC) near Hyderabad, which began operations in 1997. According to the Guinness Book of World Records, RFC has surpassed Hollywood’s Universal Studios in both size and the range of media facilities offered. RFC is the dream project of Cherukuri Ramoji Rao, the owner of the Eenadu Media Group in Andhra Pradesh. The Eenadu Group is one of the largest media conglomerates in South India, and Ramoji Rao’s business empire consists of several English and Telugu-language periodicals, including the widely read newspaper Eenadu ; a multilingual satellite television network, ETV; a film distribution banner, Ushakiron Movies; and a financial services group, Margadarshi. 32
Following the success of RFC, Innovative Film City (IFC) was launched on January 18, 2008, in Bidadi, which is about fifty kilometers from Bengaluru. IFC is part of the Innovative Group, which runs a multiplex cinema business along with media production and entertainment and leisure activities in Karnataka. IFC has a much smaller portfolio of films made in Bidadi than RFC. However, some filmmakers from Kannada cinema and television and other regional media have used the production facilities at IFC in the past few years, and Innovative Group plans to promote the film city as a tourist destination and production center on a much larger scale in the coming years.
What makes film cities unique in Indian cinema is that for the first time, filmmakers from anywhere in the world can make an entire film from preproduction to postproduction in a one-stop studio that provides multiple outdoor locales and diverse indoor settings. In addition to being state-of-the-art media production centers, film cities are major tourist attractions that provide visitors access to a variety of picturesque gardens, entertainment parks, and tours of film sets and production studios. 33
It is important to note that film cities are resource-intensive ventures and take a long time to complete (it took almost a decade each for RFC and IFC to get up and running). Given the intense competition within and across the major centers of film production in various Indian languages—including Mumbai for Hindi/Marathi cinemas, Chennai for Tamil cinema, Hyderabad for Telugu cinema, Bengaluru for Kannada cinema, and Kolkata for Bengali cinema—film cities are financially risky ventures.
In this regard, the value that a film city can generate for an urban center or a small town cannot be estimated in economic terms alone. Instead, it must be understood in terms of the affective value generated by a film city for an urban center seeking to expand its reach into regional, national, and global circuits of production and consumption. A growing number of cities in India are using proposals for film cities to generate a buzz and create a brand identity that sets them apart from similar cities. By embracing Bollywood stars as ambassadors and closely identifying with the latest Bollywood narratives, fashions, and trends, political and cultural elites in urban India are vying to brand their cities as the newest and best centers of creativity, innovation, and invention.