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This chapter locates India, and broadly the post-colonial context, within the larger debates concerning television’s audiovisual form and mode of address. It tries to demonstrate that certain key traits in Indian popular performative traditions, representing an ‘alternative’ negotiation with modernity, are somewhat homologous with what western theorists have tried to specify (though in contradicting terms) as the features of televisual mode of address and ‘flow’. The chapter reads the specific imports of this correspondence in histories of Indian television with special reference to a somewhat novel way television has started imagining the nation after liberalization. The significance of the Indian popular film form as lending a major legacy to tele-viewership in India constitutes a major strand of argument.
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Beneath many instances of ’sweeping’ change, both structural and representational, in the market-dominant, liberalized and privatized Indian televisual scenario there lies a hidden transcript of continuity insofar as the encoding of development issues, images and messages is concerned. In the periods of Doordarshan and later corporate channels, though with markedly different historical contexts, reference points, contents and styles — the encoding of ’development’ leaves little autonomy to the audiences. In a political slant indicating how the two televisual periods converge in contracting the space for public debate and civic engagement the essay seeks to make a departure from the dominant view which puts them in binary positions.
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A unique confluence of technological, political and economic factors in the 1990s drove the transformative process that led to the battering down of the government’s monopoly over television. By the end of the 1990s, the growing strength of Indian capitalism after the liberalization of the Indian economy and the forces of what Thomas Friedman has called ‘Globalisation 3.0’ allowed Indian entrepreneurs to level the playing field. The Indian state, having embarked on economic liberalization, was forced to adapt to satellite television as an agent of global capitalism it certainly did not give up control over television easily or voluntarily. Operating at the junction of public culture, capitalism and globalization, satellite news networks have had profound implications for the state, politics, democracy and identity formation. Despite all their shortcomings and sensationalism, the emergence of satellite television news networks has enhanced and strengthened deliberative Indian democracy.
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This chapter looks, in particular, at issues surrounding the trial of Mohammad Afzal Guru in 2006–7, but also with reference to the terrible Mumbai attacks of November 2008. Whilst tragic in multiple ways, these events are also made spectacular, emotive, and divisive, according to interpretation by television. The framing of television news in India could be several, but is often not. Pantomime terrors, extravagant formatting, phone-in trial reports seem to be the order of the day. The station ident, newsreader-presenter and video confession all contest for screen attention in the trial of Mohamed Afzal, and the ground for this was prepared long ago. This short history of a 24 hour news channel ends with ‘The Big Fight’ - a staged and theatrical mode of ‘infotainment’ that sacrifices intelligent reporting for ideological fit.
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With special reference to the current scenario in West Bengal, this chapter argues that the rise and popularity of Bangla news channels like Star Ananda, 24 Ghanta, Kolkata TV, and Tara News have resulted in the emergence of a vernacular style of news broadcasting which is quite distinct from that of global or national news media. One major point in this chapter is how the vernacular news channels encourage particular forms of address — the emotional, the intimate and the melodramatic — and how close-ups and sound bites create particular kinds of telegenic political leaders who can use these formal characteristics to their advantage. This chapter explores the ways in which a distinctive kind of vernacular is reconfiguring the nature of political participation itself and hence the notion of citizenship and perhaps even the nature and functioning of the nation-state in India.
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Tamil television lends itself to some interesting initiatives in gender empowerment through its programming in 3 categories – fiction, reality, and talent shows. This chapter provides a glimpse into television programmes on leading Tamil channels over the last decade (2000–10) from a gender perspective. Focusing particularly on women and transgender characters/hosts, emotional and psychological quotients of the shows and their audiences, moments of dramatic intensity, the chapter demonstrates how the vernacular televisual representations were quite different from the stereotypical portrayals of the mainstream ‘national’ television, even though the programmes were produced, televised, and received within the broader patriarchal framework of Tamil cultural and political contexts. The chapter, as a whole, intends to look at the production, representation and identification of Tamil television soaps and reality shows as vehicle for spotlighting gender issues and alternative sexualities in the public domain.
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The exponential growth of television news in India – from one state controlled network until 1991 to more than 100 news channels in 2012 – has transformed broadcast journalism in the country. This proliferation of news networks has intensified competition for audience and advertising revenue, leading to excessive marketization of news, which increasingly veers toward infotainment. The chapter examines the challenges faced by Indian television news – focusing on economic and political dimensions of television news - and its implications for the world’s largest democracy.
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