'Petals of Blood' by Ngugi Wa Thiong'o

This blog is written in response to the thinking activity assigned by Megha ma'am to explain articles on 'Petals of Blood' by Ngugi Wa Thiongo. So as a part of that, I will try to explain the article named 'History, Intertextuality, and Gender in Ngugi’s Petals of Blood' by Brendon Nicholls.

About Ngũgĩ wa Thiong'o:

Ngũgĩ wa Thiong'o, originally named James Ngugi, is a prominent Kenyan author and academic, often acclaimed as "East Africa's leading novelist." 

Born on 5 January 1938, he initially wrote in English but later transitioned to predominantly writing in Gikuyu, his native language. Ngũgĩ's literary repertoire encompasses a diverse range of works, including novels, plays, short stories, and essays that span from literary and social criticism to children's literature. Notably, he founded and serves as the editor of the Gikuyu-language journal Mũtĩiri. One of his acclaimed short stories, "The Upright Revolution: Or Why Humans Walk Upright," has achieved translation into a remarkable 100 languages.

Major Works:

• Weep Not, Child (1964),
• The River Between (1965), 
• A Grain of Wheat (1967)
• Petals of Blood (1977)

Petals of Blood:

One of Ngũgĩ wa Thiong'o's major works is the novel "Petals of Blood," originally published in 1977. This novel is considered a seminal piece of African literature and a key contribution to the postcolonial literary landscape. "Petals of Blood" explores themes of decolonization, political struggle, and the impact of neocolonialism in Kenya.

The story is set against the backdrop of post-independence Kenya and follows the lives of four individuals from different backgrounds who come together in the wake of a controversial murder. Through their interconnected stories, Ngũgĩ addresses the complexities of the struggle for independence, the disillusionment with the postcolonial government, and the broader socio-political issues facing Africa.

The novel is known for its intricate narrative structure, blending elements of folklore, political commentary, and social critique. Ngũgĩ's use of language is noteworthy, as he started incorporating more Gikuyu expressions into his writing, reflecting a commitment to indigenous languages and cultural identity.

"Petals of Blood" is celebrated for its powerful portrayal of the challenges and contradictions of the postcolonial experience, making it a significant work within African literature and global literary conversations.

History, Intertextuality, and Gender in Ngugi’s Petals of Blood by Brendon Nicholls

In this article, Brendon Nicholas tries to explain that in 'The Petals of Blood', Ngugi Wa Thiong'o presents two models for anti-imperial history:

Black World Historical Struggle:

In Caribbean literature and the black diaspora, Ngugi explores a shared history with global significance, uniting the struggles of Caribbean, African-American, and African liberation. Petals of Blood embodies a theme of reconnection, merging these narratives in an epic, almost biblical structure. This is not an exaggeration; Ngugi acknowledges a resonance with the Jewish and biblical experience in his work. The novel envisions socialist liberation as realizing faith in collective human potential and portrays black world history reaching apotheosis, where freedom forms a deity seen in the inherent dignity of individuals. Petals of Blood can be seen as a kind of bible for African world-historical experiences, engaging deliberately with global Cold War politics and opposing anti-Communist Christian evangelism. It challenges evangelical Christianity's role during the Cold War with a theological belief rooted in worldly institutions.

Kenyan National Struggle:

In Petals of Blood, the second historical model focuses on Kenyan national history as a generational narrative of struggle. The novel draws from Gikuyu customary institutions, using the concept of generational history to explore democratic forms of political power. This idea is rooted in indigenous practices, particularly Gikuyu mechanisms of naming associated with circumcision and clitoridectomy. Gikuyu oral history relied on significant names given to each circumcision age-set annually, linking each generation to key historical events accompanying their rite of passage into manhood or womanhood. These practices served as a way to remember and retell Gikuyu oral history. An example of this mnemonic history is evident when Munira recounts his experiences of attending school at Siriana.

In Petals of Blood, the naming of age-sets followed an annual cycle, aligning with the harvest season and contributing to the Gikuyu oral history's seasonal and cyclical pattern. Many of these names, although Anglicized, carry references to colonial conflict. For instance, the Hitira age-set expressed solidarity with Hitler, an enemy of British colonial power. The novel prioritizes a generational history by filtering communal history through these age-sets, emphasizing a lineage of struggle.

The narrative also incorporates the Gikuyu custom of itwika, where power transferred peacefully between generations approximately every 30 years, ensuring a form of 'democratic' governance. Petals of Blood revives this idea of itwika as a cyclical and revolutionary form of democracy. The introduction of itwika occurred when the iregi age-set rebelled against a despotic king, leading to the peaceful transfer of power to the ndemi age-set. Karega's association with the iregi age-set and Nyakinyua and her husband's connection to the ndemi age-set further underscore this narrative.

The novel's blueprint for the revolutionary overthrow of the Kenyan government involves heroes like Ndemi, Kimathi, and Karega, arguing for the establishment of a 'democratic' Gikuyu government to replace colonial and neocolonial misrule. History, in this context, is generational and ultimately democratic. However, this generational theory of political power relies on a rhetoric of reproduction, with women's mothering capacities at its core. Yet, this rhetoric is complicated as paternity remains unsettled in the novel, with the father's name undergoing multiple shifts. Petals of Blood's connection to broader struggles introduces a proliferation of signs that disrupt the conventional act of naming, challenging the establishment of a stable male lineage.

Abdulla's real name, meaning 'one who asks,' prompts questions, while his self-given name, initially considered a mistake, fortuitously echoes the dissident Kenyan Swahili poet Abdilatif Abdalla, known for a pamphlet critical of the government. Ole Masai, Abdulla's Mau Mau comrade, has a name with plural origins. Popularly called 'Muhindi' in Gikuyu, he is the son of Njogu's daughter and Ramjeeh Ramlagoon Dharamshah. 'Ramlagoon' alludes to 'Ramlogan' in V.S. Naipaul's The Mystic Masseur. Ole Masai despises himself, his mother, and his father, with a name suggesting 'son of a Maasai.' His character draws inspiration from Joseph Murumbi, half-Maasai and half-Goan, the first vice-president of Kenya.

Ole Masai's complex heritage raises questions about his father's identity—Dharamshah, Murumbi, or Ramlogan? Was his name given by a Maasai, a Goan, or Mau Mau comrades? The irony surfaces when considering why Ole Masai harbors self-hatred for his 'divided self,' especially when Abdulla's name is a mistaken Christian baptism and Ole Masai's lineage includes influences from a Caribbean novelist, V.S. Naipaul.

Gender:

Petals of Blood grapples with two models of history—generational and epochal—that struggle to coexist. The challenge arises from their failure to address a crucial element: femininity in all its facets and potentialities. The novel's generational struggle hinges on a stable concept of lineage, requiring a patriarchal society with a fixed idea of paternity. However, this stability depends on unequivocal naming, a challenge in a narrative with diverse literary allusions and political affiliations. Compounding this is the portrayal of Wanja, a key female character who transforms into a successful prostitute in the novel's conclusion.

While these challenges are not insurmountable, Petals of Blood's depth allows for profound exploration. 

Conclusion:

One approach is to consider a clandestine intertext in the novel—the covert history of female struggle in Kenya, particularly the hidden narrative of prostitutes contributing their revolutionary sexuality to the Mau Mau movement. By reading against the grain and exploring this hidden history, we may move beyond narrow discussions of reproduction, gaining insights into new forms of revolutionary agency.

Fanonism and Constructive Violence in Petals of Blood by Tasnim Amin

Introduction:

"Petals of Blood" by Ngugi Wa Thiong'o condemns Kenyan elites for exploiting people and criticizes institutions like Christianity and politics. It highlights the importance of collective action against oppression and justifies violence as a means of resistance, aligning with Franz Fanon's views. The novel depicts the struggles of four protagonists in post-independence Kenya, reflecting the ongoing challenges despite achieving freedom in 1963.

1. Fanon's View on Violence:

    Fanon sees violence as a positive force for freeing nations from colonial rule. He believes that decolonization is always accompanied by violence, symbolized by bullets and bloodshed. The intensity of colonized people's violence corresponds to the oppression they face from colonial regimes. Fanon views the native's violence as a unifying and liberating force, cleansing individuals from feelings of inferiority and despair.

2. Ngugi's Perspective on Constructive Violence:

 Ngugi supports the idea that violence can be constructive when used to change an unjust social order. Violence aimed at preserving an oppressive system is considered criminal and degrading for humanity. Ngugi believes that violence, in the context of resisting injustice, purifies individuals rather than being savagery.  He argues that imperialism, in its neo-colonial form, cannot destroy the resilient fighting culture of African peasantry and working class, which reflects real-life struggles.

In simpler terms, both Fanon and Ngugi agree that violence can be a force for positive change when fighting against injustice and colonial oppression. They see it as a means to liberate people and cleanse them from feelings of inferiority. Ngugi, in particular, emphasizes that violence becomes a problem when used to protect unjust systems, and he believes in the enduring strength of African culture against imperialism.

Kenyan History of Violence:

The coastal history of Kenya involved conflicts with intruders since the eleventh century. European settlers intensified the struggle for land, leading to violence and oppression during the colonial era. The fight for freedom, notably the Mau Mau movement, challenged British forces until Kenya gained independence in 1963.

Violence in Petals of Blood:

In "Petals of Blood," Ngugi portrays Kenya's working class heroically resisting domination and destruction by global capitalism. The novel focuses on Ilmorog, a neglected region symbolizing the impact of neo-colonialism. The people, facing a point of no return, raise protagonists to resist and fight against oppressive forces. The book reflects Ngugi's political strategy against global monopoly capitalism in Africa.

In the book "Petals of Blood," the main characters—Wanja, Abdullah, Karega, and Munira—each face difficult situations in Kenya. Wanja, a strong woman, deals with mistreatment and becomes tough like her surroundings. Abdullah, a Mau Mau fighter, feels betrayed by Kenya and seeks revenge. Karega, a wanderer, looks for ways to create a better world without violence. Munira, a religious man, wants to break free from his passive life and make positive changes. Together, they represent different responses to the challenges in Kenya, reflecting a bigger struggle against problems in the country.

Certainly! Let's delve into the details:

Wanja:

Wanja is a strong and remarkable woman facing tough circumstances in Kenya. She experiences humiliation and hostility from society. To survive, Wanja adopts a tough and somewhat cruel attitude, reflecting the harsh environment she lives in. Wanja's character highlights the challenges that women and the general population face in the context of societal pressures and neocolonialism.

Abdullah:

Abdullah is an introverted Mau Mau fighter who fought for Kenya's independence. However, he feels betrayed by the country he fought for, as it fails to rehabilitate him after sacrificing his family and land. Seeking justice, Abdullah takes matters into his own hands by seeking revenge against Kimeria for betraying his friend during the Mau Mau movement. This act becomes symbolic, preserving his sense of manhood and avenging a friend's death.

Karega:

Karega is a wandering character dedicated to the unity of workers and the trade union. Unlike some characters, Karega opposes violence and seeks alternative ways to create a better world. He challenges Wanja's philosophy and remains committed to finding lost innocence, hope, and faith. Karega's character embodies a thoughtful approach to societal change, emphasizing the exploration of non-violent means.

Munira:

Munira, known as the 'man of God,' grapples with a passive role and a desire to break free from his mundane life. To prove his capability for action, Munira dismisses Karega in an act of personal revenge. Inspired by a divine feeling, he aspires to establish a 'secular new world.' Munira's symbolic act of burning the 'Sunshine Lodge,' associated with corruption, reflects a desire for cleansing and positive change.

Collectively, these characters represent various responses to the complex challenges posed by neocolonialism in Kenya. Their individual stories contribute to the broader narrative of societal redemption and the ongoing struggle against oppressive forces in the country.

Conclusion:

In the end, the author Ngugi shows some hope in "Petals of Blood" through what he calls "constructive violence." The main characters take part in or support acts of purification, like the arson that happens. After these events, there is hope for the future. The children born to parents who fought for freedom and change carry the spirit of purification and courage. Ngugi suggests that this kind of violence can burn down the corrupted society, bringing a chance for a new and better Kenya.

Works Cited

Amin, Tasnim. “Fanonism and Constructive Violence in Petals of Blood.” INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, vol. 6, no. 4, 2017. https://www.worldwidejournals.com/international-journal-of-scientific-research-(IJSR)/fileview.php?val=April_2017_1491834232__284.pdf.  Accessed 28 January 2024.

Bellow, Saul. “Ngugi wa Thiong'o | Biography, Books, & Facts.” Britannica, https://www.britannica.com/biography/Ngugi-wa-Thiongo.  Accessed 28 January 2024.

NICHOLLS, BRENDON. “History, Intertextuality, and Gender in Ngugi’s Petals of Blood.” Moving Worlds: A Journal of Transcultural Writings, vol. 14, no. 1, pp. 71-76. https://eprints.whiterose.ac.uk/97268/1/Nicholls%20History%2C%20Intertextuality%2C%20and%20Gender%20in%20Ngugi%E2%80%99s%20Petals%20of%20Blood.pdf. 

Thiong'o, Ngugi Wa. Petals of Blood. Penguin Publishing Group, 2005.

{Words: 2246

Images: 3

Videos: 3}

Thanks for visiting...

Research Methodology: Compiling a Working Bibliography

This blog has been crafted in response to the thinking activity assigned by Vaidehi ma'am, wherein we were tasked with exploring a topic from Research Methodology and representing its key aspects. Within this blog, I aim to reflect on my understanding of the process involved in "Compiling a Working Bibliography."

Compiling a working bibliography is a vital step in the research writing process, as it contributes to the credibility and thoroughness of the author's perspective. According to the Merriam-Webster Dictionary, a bibliography encompasses the "history, identification, or description of writings or publications" and involves "a list often with descriptive or critical notes of writings relating to a particular subject, period, or author."(Merriam-Webster Dictionary) This compilation not only fortifies the author's standpoint but also serves as evidence of the content's accuracy.

To access the book "MLA Handbook for Writers of Research Papers," Click Here

The Modern Language Association of America, in its seventh edition of the 'MLA Handbook for Writers of Research Papers,' offers a comprehensive guide on creating a working bibliography. It outlines several crucial points:

1. Keeping Track of Sources

2. Creating a Computer File for the Working Bibliography

3. Recording Essential Publication Information

4. Noting Other Useful Information 

5. Verifying Publication Information

6. Converting the Working Bibliography to the Works-Cited List

Creating a Computer File for the Working Bibliography

A computer is particularly useful for compiling the working bibliography. Create a computer file for this purpose, and enter full information about sources into the file as you proceed with your research. Whenever you wish to add new works to the list, to remove works you no longer think helpful, or to correct entries already stored, you retrieve the file, make the changes, and save the revised file for future use. As you research, you can arrange and rearrange your sources however you wish (e.g., in alphabetical order, in chronological order by date of publication, in order of relevance to your topic); you can also divide sources into groups (e.g., those already consulted and those not yet consulted, those most useful and those less so). At any point, you can print the file to review it or to use it for research. Since bibliographic information is essential to researching and writing the paper, be certain to save this file and to keep copies of it on paper and in a backup location.

Keeping Track of Sources

Maintaining a comprehensive record of the sources you encounter during your research is crucial. This compilation, known as a working bibliography, is initiated by the titles discovered in your preliminary readings. As you delve into reference materials, peruse the library catalog, and explore online resources, additional titles will naturally be added. Thoroughly reviewing the bibliography and notes of each source you consult often reveals more valuable references.

The dynamic nature of your working bibliography is evident as it constantly evolves throughout your research journey. New titles are incorporated, while others deemed less relevant are removed. Adjustments are made to highlight specific aspects of your subject over others. Eventually, this working bibliography transforms into the final list of works cited, which is presented at the conclusion of your research paper.

Creating a Computer File for the Working Bibliography

Creating a computer file for your working bibliography is a practical and efficient method to manage your sources during the research process. Here's a step-by-step guide on how to utilize this digital tool effectively:

1. Initiate a Computer File:

   Start by creating a dedicated computer file, such as a word processing document or a spreadsheet, specifically for your working bibliography.

2. Enter Full Information:

   Input comprehensive details about each source into the file as you progress with your research. Include information like author names, publication dates, titles, and any other relevant data.

3. Regular Updates:

   Whenever you encounter new works, decide to remove less helpful ones, or need to correct entries, access the file. Make the necessary changes and save the revised file for future use. This ensures that your working bibliography remains accurate and up-to-date.

4. Flexible Organization:

   Leverage the flexibility of a computer file to arrange and rearrange your sources according to your preferences. Options include alphabetical order, chronological order by publication date, or by relevance to your topic. You can also create groups, such as those already consulted, those pending review, or categorize sources based on their utility.

5. Print for Review:

   At any point, you have the option to print the file for a comprehensive review or to use it as a reference during your research. A physical copy can be helpful for easy reference.

6. Regular Saving and Backup:

   Given the critical nature of bibliographic information, save your computer file regularly. Keep copies in both digital and paper formats, and consider storing backups in alternative locations to prevent data loss.

By following these steps, your computer file becomes a versatile and dynamic tool, aiding in the efficient management of your working bibliography throughout the research process.

Recording Essential Publication Information

Recording essential publication information is a crucial step when adding sources to your working bibliography. It ensures that you have all the necessary details for creating a comprehensive works-cited list in your research paper. The specific information you need to record depends on the type of source you are using. For comprehensive guidelines on compiling the works-cited list, refer to Chapter 5 of the research paper. This chapter will provide detailed instructions on the information required for various types of sources, helping you accurately document and cite your references in accordance with established citation styles.

Noting Other Useful Information 

Noting additional useful information alongside the details required for the works-cited list enhances the functionality of your working bibliography. In addition to the standard bibliographic information, consider adding supplementary details to each entry. For instance:

1. Source Derivation:

   If the source is obtained from a bibliographic work, record where you found the reference. This information is valuable for rechecking and ensuring the accuracy of your citations.

2. Location Information:

   Note the library call number, network address (URL), or any other identifying information that is essential for locating each work. This ensures that you can easily retrieve the source when needed.

For example;

McCann, Sean. Gumshoe America: Hard-Boiled Crime Fiction and the Rise and Fall of New Deal Liberalism. Durham: Duke UP, 2000. [MLA Blb.; PS374.D4 M38 2000]

In this entry:

- All the essential facts for the final bibliography are included (author's name, full title, and relevant publication information).

- Additional information useful for research is provided: the origin of the reference (the electronic database of the MLA International Bibliography) and the call number (PS374.D4 M38 2000).

  

Reference origins and call numbers may be deleted when you convert your working bibliography into the final list of works cited. Including this extra information in your working bibliography ensures that you have comprehensive details for both citation purposes and efficient retrieval of sources during your research process.

Verifying Publication Information

Ensuring the accuracy of publication information is crucial when consulting sources for your research. Even if you have printed out or downloaded data, it is essential to meticulously verify the publication facts against your records. Follow these steps:

1. Verification Process

   When consulting a source, carefully compare the publication details in the source against your records. This includes information such as author names, publication dates, titles, and any other relevant details.

2. Add Missing Information:

   If you identify any missing information that is necessary for the works-cited list, make sure to add it to your records. This ensures that your final bibliography is comprehensive and follows the required citation style guidelines.

3. Correct Discrepancies:

   If any part of your records does not match the information obtained from the work itself, correct those discrepancies. Consistency in your records is essential for accurate citations.

4. Record and Verify Initially:

   Record and verify all the information about your sources when you first consult them. This proactive approach helps avoid last-minute problems and frustrations during the final stages of your research and writing.

By adopting these practices, you can maintain the accuracy and completeness of your working bibliography. Recording and verifying information at the outset of your research process will save you from potential challenges and ensure that your works-cited list is reliable and in line with academic standards.

Converting the Working Bibliography to the Works-Cited List

As you progress in your research, the working bibliography you've diligently compiled will evolve into the final works-cited list. Follow these steps when transforming your working bibliography, particularly if it's stored in a computer file:

1. Edit Entries:

   Review and edit the entries in your working bibliography to remove unnecessary information, such as the origin of reference and call numbers. Focus on retaining essential details required for citations.

2. Alphabetical Arrangement:

   Arrange the entries alphabetically by the author's last name. This ensures a standardized and organized presentation of your works-cited list.

3. Title the List:

   Title the list as "Works Cited."

4. Final Draft Incorporation:

   Once you've completed the final draft of your research paper, transfer the edited bibliography file to the end of the file containing the paper. This integration ensures that the works-cited list is seamlessly incorporated into the overall document.

By adhering to these steps, you streamline the process of converting your working bibliography into the final works-cited list. Consistency, clarity, and adherence to citation style guidelines are key to producing a polished and academically sound research paper.

Conclusion:

A meticulously compiled working bibliography becomes an invaluable asset throughout the preparation of your paper. On one hand, it serves as a highly efficient tool for discovering and gathering information and ideas. On the other hand, it furnishes all the necessary data for constructing your list of works cited. When created with care and attention, this dynamic resource streamlines your research process, ensuring both effective information retrieval and the foundational elements required for the accurate citation of sources in your final works-cited list.

(Note: Note: I have enlisted ChatGPT's assistance to incorporate additional information, highlight key points, and enhance the language.)

Thanks for visiting...

Movie Review: 12th Fail

 12th Fail

#Restart

हार नहीं मानूँगा

On January 13, 2024, Drashti and Hetal, leaders of the Movie Screening Committee in the Department of English, organized a screening of the recently released film '12th Fail,' directed by Vidhu Vinod Chopra. This blog is a response to the Sunday reading task assigned by Dr. Dilip Barad, the Head of the Department at MK Bhavnagar University, focusing on the critical insights gained from watching the film '12th Fail.'

The film is based on the true story of IPS officer Manoj Kumar Sharma and his remarkable journey from his village to attaining the prestigious position of an IPS officer. Along the way, he encounters numerous challenges and obstacles that shape his transformative path.

Introduction:

In the realm of cinematic releases, '12th Fail' stands out despite its initial struggles in traditional cinema houses, finding a resurgence and sparking discussions post its OTT platform debut. The film's prominence in conversations, especially amid blockbuster releases like 'Animal,' raises the question of what sets it apart and the impression it leaves on viewers. With numerous reviews focusing on the central character and the theme of education, a fundamental query emerges: What does '12th Fail' truly represent? This blog aims to present my review of the film, delving into the reasons behind its significant post-release discourse.

Directed by Vidhu Vinod Chopra, '12th Fail' is based on the true story of Manoj Kumar Sharma, an IPS Officer, whose journey inspired Anurag Pathak to pen a novel with the same title. The film unfolds the remarkable odyssey of Manoj Kumar Sharma, who, undeterred by numerous obstacles, perseveres on the path to becoming an IPS officer. Embodying the spirit of resilience, the film encapsulates its essence with the hashtag #Restart, encouraging audiences to persevere against all odds.

Director: Vidhu Vinod Chopra

Production Company: Vinod Chopra Films

Based on: 12th Fail by Anurag Pathak

Release Date: 27 October 2023

Caste: 

• Vikrant Massey as Manoj Kumar Sharma

• Medha Shankar as Shraddha Joshi

• Anant V Joshi as Pritam Pandey

• Anshumaan Pushkar as Gauri Bhaiya

• Priyanshu Chatterjee as DSP Dushyant Singh

• Geeta Aggarwal Sharma as Pushpa Sharma, Manoj's mother

• Harish Khanna as Ramveer Sharma, Manoj's father

• Sarita Joshi as Manoj's grandmother

• Sanjay Bishnoi as Naval

• Vikas Divyakirti as Himself

• Vijay Kumar Dogra as Sundar

• Perry Chhabra as Rajini Sharma, Manoj's younger sister

• Neeraj Kalra as Shraddha's father

• Darius Chinoy as Mr. Solanki

• Radhika Joshi as Tanya

• Fasi Khan as Kishan, Shraddha's house servant

• Rahul Dev Shetty as Mr. Mehta, Manoj's UPSC interviewer

Theoretical Framework:

The film '12th Fail' incorporates various cinematic elements that can be analyzed through the lens of relevant literary and film studies theories. Let's explore how the film aligns with or challenges these theoretical frameworks.

Realism and Naturalism:

The film strongly embraces realism and naturalism by employing destination shooting and minimizing the use of conventional cinematic techniques. The director's choice of a single-shot technique is intended to deliver a natural and realistic outcome. This aligns with the realist aesthetic, grounding the narrative in authenticity and eschewing exaggerated cinematic stylizations.

Cinematic Realism:

The film achieves cinematic realism through its use of destination shooting and a deliberate avoidance of vivid camera angles. Opting for a straightforward and less stylized approach, the director aims to faithfully capture events as they unfold in real life. A poignant example is seen in scenes depicting streets adorned with banners of coaching classes. These visuals authentically reflect the growing influence of coaching classes on students' lives, compelling them to pursue government jobs like IPS and IAS.

This trend is not limited to a specific region; the film suggests a broader societal impact by illustrating the prevalence of coaching classes at the state level. The narrative touches upon various government exams, such as those for Police constables, Clerks, Forest Guards, and more. The film sheds light on the enduring emphasis placed on succeeding in these exams, highlighting a common societal pursuit.

The observation by Dilip Barad, as articulated in "The Changing Priorities of Education in India: A Worrisome Shift Mirrored in Popular Films and Fictions," underscores a worrisome shift in the educational landscape. The focus has shifted from genuine knowledge acquisition and intellectual curiosity to a relentless pursuit of success in standardized entrance exams. This transformation reduces the essence of learning to a means to an end — cracking exams for the promise of a financially secure future. The profound impact of this shift is mirrored in popular films and fictions, including narratives like "12th Fail," highlighting the pervasive influence of this altered educational paradigm on the aspirations and experiences of the youth in India.

The introductory helicopter shot, capturing Manoj Kumar Sharma preparing to cheat, plays a pivotal role in establishing the film's tone of cinematic realism. Instead of relying on dramatic camera angles, the director chooses a direct and unembellished portrayal of a widespread phenomenon. This approach not only adds to the overall authenticity of the film but also creates a relatable connection with the audience, presenting familiar scenarios in a genuine light.

The Gaze Theory:

The shoulder shot depicting Manoj's father being fired from his job without succumbing to corruption reflects the gaze theory. It emphasizes the observer's perspective, making the audience aware of societal issues. This shot suggests that corruption is often apparent to everyone, yet individuals may choose to be complicit or turn a blind eye. It invites viewers to question their own complicity in societal injustices.

In essence, the film's commitment to cinematic realism, evident in its choice of locations and restrained camera techniques, provides a faithful depiction of contemporary societal trends. The portrayal of coaching classes and the introductory helicopter shot exemplify how the film captures real-life events, resonating with viewers through its authentic representation of common experiences.

Social Realism:

The narrative's exploration of social issues, particularly the depiction of widespread cheating in the institute, aligns with social realism. The film critiques and exposes systemic problems within the education system, drawing attention to the prevailing issues of the past and raising questions about their contemporary relevance.

Sound Theory:

The effective use of diagetic and non-diagetic sounds adds another layer to the film's realistic exposure. The reliance on diagetic sounds, those emerging directly from the screen, enhances the authentic feel. The director's choice to use non-diagetic or background sounds, like the intense sound when Manoj discovers his mistake in answering a question on terrorism instead of tourism, serves to convey emotions more explicitly. This use of sound aligns with the emotional resonance of the narrative.

Challenges to Cinematic Techniques:

The deliberate avoidance of cinematic techniques, as mentioned by the director, challenges the traditional use of stylized approaches in filmmaking. By prioritizing realism over cinematic embellishments, '12th Fail' challenges the notion that elaborate techniques are necessary for a compelling cinematic experience. The emphasis on a more straightforward and realistic approach stands as a departure from conventional cinematic norms.

Thus, '12th Fail' navigates through various theoretical frameworks, aligning with realism, cinematic realism, and social realism. The effective use of sound enhances the emotional impact, and the deliberate rejection of certain cinematic techniques challenges established norms, ultimately contributing to the film's unique and thought-provoking narrative.

Contextualization and thematic Study:

The movie revolves around the life of Manoj Kumar Sharma, a young individual hailing from Chambal, who embarks on the challenging journey to become an IPS officer. His story is more than just a personal struggle; it symbolizes the broader experiences of aspiring youth in India navigating the competitive examination landscape.

Youth Aspirations and the Competitive Exam World:

The film delves into the realm of youth aspirations, in the pursuit of various government jobs like IPS and IAS. In a scene, Naval remarks that those aspiring to become IPS officers are like herding animals, engaging in various laborious tasks to achieve their goal. He advises accepting the challenges and moving forward, stating that not everyone can become an IPS officer. Gauribhaiya, who also aspires to be an IPS officer but faces repeated failures in all six attempts at the UPSC, acknowledges the harsh reality. He expresses the determination and resilience of aspirants who arrive with the fervor to succeed, whether it means sweeping floors in a library or cleaning toilets. Gauribhaiya emphasizes their unwavering spirit, fueled by the hope of becoming IPS officers, regardless of the challenges they encounter.

Naval says

“भेड़ बकरिओ की तरह आ जाते है आईपीएस बनने । यहा आके हर तरह की गधा मजदूरिमे लग जाते है। नहीं बनने वाले तुम आईपीएस। Just accept It and move on.”

On Naval’s this statement, Gauribhaiya, who also came from the remote village to become an IPS but fails in all six attempt of UPSC, replies,

“सही बात कर रहे हो तुम। गरीब होता है इनका बाप.... यह लोग खाली हाथ नहीं आते, जज्बा लेकर आते हैं कि एक दिन यह आईएएस आईपीएस बनेंगे चाहे इनको कीसी लाइब्रेरी में झाड़ू लगाना पड़े या किसी का टॉयलेट साफ करना पड़े। हार नहीं मानते...... बडा पक्का होता है इनका जज्बा.......यह जज्बा आता है करोड़ों हिंदुस्तानी की उम्मीद से..... हार जीत सब लगा रहता है नवलबाबू, लेकिन जिस दिन हम में से किसी एक का जीत हुआ ना तो हिंदुस्तान के करोड़ों हिंदुस्तानी भेड़ बकरियों का जीत होता है।”

 

Certainly, while Gauribhaiya's resilience and commitment to motivating others through #Restart are commendable, a critical perspective reveals a broader issue. The film's conclusion, with Manoj successfully becoming an IPS officer, contrasts sharply with the numerous Gauribhaiyas who face repeated failures and shattered dreams. The narrative unintentionally emphasizes the singular success story while downplaying the struggles and disappointments of many other aspirants.

Gauribhaiya's Perspective and the Larger Context:

In this context, the movie unintentionally raises questions about the systemic challenges within the competitive exam system. The story, focused on the triumph of one individual, inadvertently underscores the harsh reality that not everyone can achieve their aspirations. Gauribhaiya's last attempt result day becomes a poignant moment that symbolizes the collective dreams of many aspirants that go unfulfilled.

The film, in portraying the success of Manoj, may inadvertently contribute to the narrative that only a few can overcome the hurdles and realize their ambitions. It prompts a reflection on the societal and systemic factors that lead to such disparities in success. The movie, while celebrating individual triumphs, inadvertently highlights the need for a more comprehensive examination of the challenges faced by aspirants, acknowledging that success is not guaranteed for everyone in the competitive exam world.

Character of Pandey:

Pandey's character in the film initially appears as a source of comedy, but underneath, he represents the genuine frustration felt by students forced into career paths against their wishes by parental and societal pressures. Throughout the narrative, Pandey's persistent frustration becomes a powerful portrayal of the challenges faced by individuals who yearn for different career paths but find themselves constrained by parental expectations.

The film unveils the impact of parental decisions on children, highlighting a lack of space for exploration and personal choices. This theme resonates with the storyline of "3 Idiots," where Farhan aspires to pursue a career in wildlife photography but faces parental insistence on engineering, driven by societal norms. The outcome for Pandey mirrors Farhan's, both experiencing failure as a result of pursuing paths misaligned with their true passions.

Pandey's aspiration to become a reporter takes a backseat to his father's desire for him to appear in the UPSC exams. The recurring failures in the UPSC exams underscore the consequences of imposing careers on individuals against their wishes. Pandey's character becomes a poignant symbol of the impact of societal expectations on personal aspirations and the struggles faced by those denied the opportunity to follow their true passions.

Pandey's character serves as a commentary on the importance of allowing individuals the freedom to explore and choose their own paths, rather than succumbing to external pressures. The film echoes the message that genuine fulfillment arises when individuals are given the space to pursue their own dreams, free from the constraints of societal expectations.

Education Industry in '12th Fail':

The film astutely captures the transformation of education into a burgeoning industry, characterized by business principles such as investment, profit, marketing, and strategic benefits. The representation of the coaching class "अ to Z" serves as a vivid portrayal of the commercialization of education, mirroring the contemporary reality where educational institutions operate as profit-driven entities.

Coaching Classes as Business Entities:

The incident involving Manoj's objection to Deep sir's lack of association with the coaching class and the receptionist's candid admission about paying him for promotional purposes exposes the business-oriented nature of these institutions. The receptionist's statement, "तुम्हें क्या लगता है ये फिल्मस्टार वही तंबाकू कहते है जो वो बेचते है?" succinctly encapsulates the reliance on celebrity endorsements and marketing strategies to attract students, emphasizing the commodification of education.

Parallel with Chetan Bhagat's 'Revolution 2020':

The film's depiction of coaching classes as profit-driven enterprises finds resonance in Chetan Bhagat's novel 'Revolution 2020,' where the character Gopal establishes an institute as a business venture to generate revenue. This parallel highlights the pervasive nature of the education industry's commercialization, as portrayed in both literary and cinematic narratives.

Blind Chase for Aspired Goals:

The rise of coaching classes mirrors the societal trend of a blind pursuit of singular goals, often dictated by societal expectations. The intense competition and the commodification of education contribute to a culture where individuals relentlessly chase a predefined notion of success, as exemplified by the fervor surrounding competitive exams.

Advertisement and Image Projection:

The film underscores the role of advertisement in the education industry, illustrating how institutions invest in creating a lucrative image to attract students. The use of film stars or popular figures as endorsements reflects the marketing tactics employed to position coaching classes as desirable and successful, irrespective of the actual educational content.

Socio-Cultural Relevance , Mental Health Impact, Financial Struggles and the High Cost of Dreams:

Furthermore, the challenges faced by aspirants extend beyond the realm of academic failures and aspirations. It's important to recognize that not everyone possesses the resilience of Gauribhaiya, who gracefully accepts setbacks and begins teaching aspiring students. Many individuals find it difficult to cope, leading to mental stress and, in extreme cases, mental breakdowns and suicides. Drashti IAS highlights a disturbing trend of increasing suicides in educational hubs, attributing this tragic phenomenon to academic pressure, mental health issues, isolation, loneliness, financial concerns, and a lack of support ("Increasing Cases of Suicides in Educational Hubs").

A comprehensive study titled "Competitive Exams and Its Impacts on Student's Mental Health: An Analytical Study in India" sheds light on the profound effects of intense competition, societal expectations, and institutional pressures associated with these exams. Disturbingly, 21% of students reported experiencing suicidal thoughts during exam preparation, and a staggering 39% believed that competitive exams had a negative impact on their mental health (Gull et al.).

Gaurav Kumar Shandilya's study, "Mental Health Status of UPSC CSE Aspirants: A Survey-Based Study," delves into the specific challenges faced by UPSC aspirants. It underscores the poor mental health status of these aspirants due to exam-related stress and pressure. The study advocates for interventions to address this critical issue and emphasizes the need for a holistic approach to support the mental well-being of students preparing for competitive exams (Shandilya). These findings highlight the urgent need to address the broader mental health implications of the competitive exam culture in India.

So, '12th Fail' goes beyond being a cinematic narrative; it becomes a commentary on the socio-cultural fabric of India, touching upon the dreams, struggles, and consequences within the competitive exam world. The incorporation of Hindi dialogues enriches the authenticity, capturing the essence of the challenges faced by youth aspirants, making the film a reflection of both individual aspirations and the collective societal landscape.

Comparative Study:

In the realm of cinema, the success of blockbusters like "Animal" is complemented by the production of films like "12th Fail," even though they may not achieve the same level of success. These films diverge from the elite fantasies often portrayed in Karan Johar's productions and instead focus on representing the struggles of ordinary individuals. This trend is not limited to films but extends to web series as well, with creations like "Aspirants," "Sandip Bhaiya," "Kota Factory," and "Super 30" also showcasing the lives, struggles, and sufferings of students. "12th Fail" follows this trajectory, delving into the challenges faced by students.

However, in comparison to other productions like "Kota Factory" and "Sandip Bhaiya" (based on the web series that I have watched), "12th Fail" may fall short in terms of engagement. The film occasionally places more emphasis on the love relationship between Manoj and Shradha, overshadowing his struggles at various points. This shift in focus can make the theme of love more dominant than the core narrative of student struggles, diverging from the more intense and captivating portrayal seen in other works.

Conclusion:

In essence, "12th Fail" transcends being a mere cinematic narrative, emerging as a profound commentary on the socio-cultural fabric of India. Director Vidhu Vinod Chopra employs cinematic realism, social realism, and a deliberate rejection of certain techniques to authentically portray the challenges within the competitive exam world. While celebrating individual triumphs, the film inadvertently highlights systemic issues, prompting reflection on success disparities and the need for comprehensive examinations of aspirants' challenges. Pandey's character symbolizes the impact of parental decisions on individual aspirations, advocating for the freedom to choose one's own path. Beyond academics, the film addresses the alarming mental health implications of the competitive exam culture, urging urgent interventions. "12th Fail" aligns with other productions focusing on ordinary lives but may face criticism for occasional deviations in emphasis. Ultimately, it inspires resilience with the mantra "हार नहीं मानूँगा" ("I will not accept defeat") and the call to #Restart, fostering hope in the face of adversity.

Works Cited

Barad, Dilip. “The Changing Priorities of Education in India: A Worrisome Shift Mirrored in Popular Films and Fictions.” ResearchGate, 16 November 2023, https://www.researchgate.net/publication/375641812_The_Changing_Priorities_of_Education_in_India_A_Worrisome_Shift_Mirrored_in_Popular_Films_and_Fictions.  Accessed 21 January 2024.

Bhagat, Chetan. Revolution 2020: Love, Corruption, Ambition. Rupa Publications India, 2011.

Chopra, Vidhu Vinod, director. 12th Fail. Vinod Chopra Films, 2023.

GULL, AAFREEN, et al. “COMPETITIVE EXAMS AND IT'S IMPACTS ON STUDENT'S MENTAL HEALTH: AN ANALYTICAL STUDY IN INDIA.” YMER, 5 May 2023, https://ymerdigital.com/uploads/YMER220557.pdf.  Accessed 21 January 2024.

“Increasing Cases of Suicides in Educational Hubs.” Drishti IAS, 8 February 2023, https://www.drishtiias.com/daily-updates/daily-news-analysis/increasing-cases-of-suicides-in-educational-hubs . Accessed 21 January 2024.

Shandilya, Gaurav Kumar. “Mental Health Status of UPSC CSE Aspirants: A Survey-Based Study.” International Journal for Research in Applied Science & Engineering Technology, vol. 11, no. 5, 2023. IJRASET, https://doi.org/10.22214/ijraset.2023.52603.  Accessed 21 1 2024.

Thanks for visiting...