ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Analysis of Alcohol, Tobacco, and Drug Consumption scenes in the Tamil Film 'Vikram' by Psychoanalytic film theory K. Abish Vignesh 1 1 Ph.D.
Scholar, Department of Communication, Manonmaniam Sundaranar University, Tirunelveli – 627012, Tamil Nadu,
India 2 Assistant
Professor, Department of Communication, Manonmaniam Sundaranar University, Tirunelveli – 627012, Tamil Nadu,
India
1. INTRODUCTION Every day, the number of teetotalers decreases while the number of people who drink, smoke, or use drugs increases. People mortified the person who had bad habits, but now the majority of people mortify the teetotalers. Many people signify that the number of teetotalers declines daily as the number of people who drink, smoke, or use drugs climbs. People used to despise people with filthy habits, but now most people despise teetotalers. Many people regard habitual alcohol, smoking, and drug use as a source of pride and a heroic act. This arose as a result of the glorification of certain behaviors in movies. South Indian moviegoers were very susceptible to film content because they considered movies a festival and actors to be gods. According to Christian Metz, the audience identifies with the film characters and adopts their emotions and behaviors. Rajini's stylized presentation of that content on screen influences many people to start smoking. Even in 2012, he advised people to stop smoking and drinking alcohol. Nobody believes it. The misery persists. As a result, there was a disparity between audience perceptions of actors in films and real life. Cinema has a greater influence on inducing behavior than actual inductors. There was a connection between the screens and the spectators' minds. They identify as a mirror on the screen rather than as real-life individuals Tsialides (2021). Film psychology study is incredibly important. 1.1. Psychoanalysis and Cinema Psychoanalysis and cinema share a common origin and emergence. Many theories in film analysis stem from literary studies and political movements. Among these, psychoanalysis film theory has distinguished film interpretation, film creators, and the spectator's unconscious mind. Sigmund Freud was the first psychologist and theorist to propose psychoanalytic theory and its application to cinematic analysis Carley (2015). The film has had a significant impact on people all around the world, particularly in South India. It shapes the receiver's viewpoint and influences South Indian politics Balabantaray (2020). Identification in the imaginative order of the spectator's mind is required by film Lacan (1991). Lacan asserts this through his influential "Mirror Stage" in film theories. The film was a popular medium due to its capacity to inadequately mirror reality and as a technique for gaining control of the unconscious mind Metz (1986). According to Christian Metz, the audience identifies with the film characters, and there is a strong bond between the audience and the cinema equipment (actor, camera, screen, music, costume, etc.) Colón (2007). The film screen no longer serves as a mirror for the spectator's hidden unconscious feelings. Thus, the film's objects can induce or stimulate any behavioral content over Id consciousness (unconscious), which is processed as action over Ego consciousness (conscious) in an appropriate setting McGowan (2015). As a result, academics should focus on influential films from South India. 1.2. Need for Study Film analysis is required for viewers such as South Indians, who see actors as gods. The performer can do whatever he wants, whereas the audience cannot Panbu Selvan & Brindha (2020) because of Jacques Lacan's symbolic order (society, culture, family, law). As a result of the action of screen characters and situations, the catharsis effect occurs over spectators, resulting from pleasure, satisfaction, or other senses. In ancient Greek theaters, philosopher Aristotle developed the catharsis effect. Catharsis, according to Aristotle, is the purification of the spectator's mind and brings comfort from the frustration of violent instinct, sexual desire, and emotional release over varied experiences Scheff (2007). This was true in certain cases, although Freud was hostile to the hypothesis. The catharsis effect was partially dismissed by the majority of film psychoanalysts, including Carl Jung, Jacques Lacan, Christian Metz, and others. They accepted that the audience experiences sensations as a result of the actor's actions. However, it not only purifies the spectator's psyche but also suppresses much insanity Allen (2007). Today, we can observe that many audiences embraced the film's negative notions rather than the positive ones. The researcher's need to examine a popular film to experiment with the psychoanalysis film theory leads him to use purposive selection to select the "Vikram" film as a sample. 1.3. The Vikram Film The worldwide gross collection of the film Vikram was 430 crores. Multiple popular stars in the film make it more popular among Tamil audiences. The film's idea is anti-drugs; however, the drug sequences are celebrated. The protagonist, "Vikram," played by Kamal Hassan, is not a drinker. He is nevertheless portrayed as a druggist. And the antagonists, Santhanam (Vijay Sethupathi) and Rolex (Surya), were depicted acting out drug use. Santhanam uses a variety of medications to obtain the strength he requires to fight. All of these appeal to many people's IDs, especially youngsters. Because children imitate cartoon characters such as "Chotta Bheem," who eats "laddu" for strength, and "Popeye," who eats "spinach" for power, the "Santhanam" character in drug consumption followed this pattern, which inadvertently grants a substantial effect over children and other adults. The Rolex figure draws enormous crowds by introducing voyeurism as well as narcotics. Many scenes contain enticing images of booze bottles. As a result, contrary to its premise, Vikram's picture infused several drug thoughts into the audience's consciousness. Addicting alcohol, smoking, and drug consumption habits as a source of pride and a heroic act. This occurred due to the glorification of these habits in cinemas. 1.4. Tamil Film and the Audience Psyche South Indian film spectators were highly susceptible to the cinema's content. Because they celebrate cinema as a festival and actors as gods. Many people start smoking because of Rajini's styled presentation of that content on screen. Even in 2012, he asked people to quit smoking and alcohol-consuming habits. No one accepts that—still, the woe increases. So there was a difference in the audience's perception of an actor in the films and real life. Cinema has more effect on inducing behavior than real-life inductors. There was a relationship between the screens and the psyche of the spectators. They identify themselves on screen as a mirror rather than a real-life personality Tsialides (2021). Because psychological research on films is so important. 2. Review of Literature India, a historically and culturally rich nation, grapples with significant issues of alcohol abuse, with even casual drinkers at risk of becoming hazardous consumers Prasad (2009). This study aims to explore the influence of Tamil cinema on alcohol consumption and analyze its impact on the audience's psyche. While Prasad's research provides valuable qualitative data on the effects of alcoholism in India, but it lacks an examination of how the alcohol culture permeated the country or the factors that reinforced it. In contrast the, Surendran (2017) study delves into the role of Tamil cinema and songs in promoting alcohol consumption for various life situations, shedding light on its societal repercussions. Surendran's research highlights the pervasive influence of Tamil cinema, which often portrays alcohol consumption as a means of celebration, coping with depression, and navigating life's challenges. The glorification of alcoholic scenes in cinema has contributed to severe societal issues, particularly in Tamil Nadu. Surendran argues that the portrayal of alcohol consumption in songs and scenes compels viewers to mimic these behaviors, demonstrating a direct link between on-screen depictions and real-life actions. However, the study falls short in providing a comprehensive understanding of the audience's psyche, omitting an in-depth analysis of the underlying motivations and influences. He also not analyze the influence of tobacco and drug consuming scenes of Tamil cinema. The Role of Psychoanalytic Film Theory-Kaplan (1990) recommends employing Psychoanalytic film theory to dissect cinema's impact on the audience's unconscious. This clinical method, originally designed for dream interpretation, has been adopted by film theorists to analyze cinematic content. It posits that cinema possesses a potent ability to engage the viewer's unconscious, effectively shaping their beliefs and values. By applying psychoanalysis, researchers gain insight into how film elements resonate with the audience's psyche. Further Gambarato (2006) exploration of Lacan's Psychoanalytic film theory extends the understanding of film's influence on desire. According to this theory, film elements serve as objects cause of desire, engendering a craving for the objects depicted on-screen. While Gambarato provides a valuable framework, the study does not specifically address how addictive substances like alcohol, tobacco, and drugs function as objects of desire in film, a vital aspect this review endeavors to elucidate. Fetishization and Objectification in Film Mulvey (2013), draws attention to how various film elements, including camera framing, movement, and lighting, contribute to fetishizing any objects on-screen. This fixation triggers a strong desire within the audience's psyche. She also underscores the objectification of female characters in cinema, who are often portrayed as commodities for sexual gratification. This aspect of Mulvey's research is pertinent to understanding the influence of film on the audience's unconscious. Her study was applicable to analyze addictive substance portrayal in films. But the film also enforces character identification and adoption of Film Attributes. Metz film studies, Igartua (2010) emphasizes the significance of audience identification with film characters and apparatus. Through identification, viewers unconsciously adopt the attributes and behaviors of these characters, including violence, lifestyle choices, and, potentially, substance consumption. While Igartua's work provides valuable insights into audience engagement with film, it does not specifically address the adoption of addictive substances by viewers, a critical aspect explored in this review. The Psyche - Freud (2022) divides the psyche into three components: the Id, representing primal instincts; the superego, encompassing moral instincts; and the ego, which serves as the balance between the Id and superego. While Freud's theories acknowledge the existence of dark instincts within the Id, they do not explicitly state that scenes depicting alcohol, tobacco, or drug consumption are stored in the unconscious. This review argues that such portrayals constitute a form of dark instinct and, therefore, should be considered as part of the content stored in the audience's psyche. While psychoanalytic film theory has extensively examined the impact of violence, lust, and desire in film on the audience's psyche Lapsley (2006), there remains a research gap regarding the influence of alcohol, tobacco, and drug consumption in cinema. This review addresses this gap by focusing on the portrayal of addictive substances in Vikram film scenes and its impact on the audience's unconscious. 3. Objective of the study ·
To analyze whether the Vikram film represses Alcohol, Tobacco,
and Drug-consuming behavior over the audience's
unconscious psyche. ·
To analyze the portrayal of Alcohol, Tobacco, and Drug
Consumption by the film causes temptations. ·
To analyze the emotions in which the addictive substances
consuming memory traces repress in the psyche. 4. Research Questions 1)
How
Identification of film characters contribute to the repression of alcohol,
tobacco, and drug-consuming behavior over the
audience's unconscious? 2)
Do the
film elements cause extreme temptations over alcohol, tobacco, and drugs? 3)
In which
emotions of the unconscious psyche does the film repress alcohol, tobacco, and
drug-consuming behavior? 5. Method The research methodology includes qualitative and quantitative content analysis and focus group discussions. Content analysis is used to examine alcohol, smoke, and drug content scene by Scene using psychoanalytic film theory of Identification, fetishism, and Object cause of desire. It is also utilized to collect data on the duration of triggering scenes, character consumption, and the sense that repressed the behavior over Id consciousness. Focus group discussions were used to interpret scenes based on Id consciousness variables (fear, anger, lust, and so on) and to assess the strength of restraining the consuming activity. Augustine, Prabhakaran, Deepak Venkatesh, Veera Manikandan, and Keerthi Vasan are the members of the Focus group discussion. The Scene's Impact is determined by comparing data from content analysis and focus group discussions. The Impact was the Scene's ability to suppress smoking, drinking, and drug use over Id consciousness. There were four levels of Impact. Negative influence - These scenes inadvertently instill anger, disgust, or the desire never to consume it. Low Impact - There is no inhibition of Id consciousness in these scenes. Medium Impact - Although these moments never provide robust repression, they do bring the consuming character closer to the already consuming spectators through a similar habit. Extreme effect - These scenarios have a high power to restrain Id behavior, and that triggers over Ego in the appropriate situation. In data analysis, some letters are employed as symbols. They are as follows: (M) - Main character, (S) - Supportive character, (B) - Background character, and (I) - Indirect consumption of alcohol, drugs, or smoking, such as holding it in hand or near the character but not consuming. Some moments conjure up images of the character devouring. This type of Scene also contained (D) - Direct intake of alcohol, drugs, or smoking. The researcher compares the data obtained to determine which character suppresses the most addictive behavior. Because the audience identifies with the main characters more than the other characters, he also discovers which emotions or sensations (anger, desire, aggression, etc.) were usually suppressed. Because when the Ego experiences any feelings or emotions, it mirrors the hidden behavior of the id. Then he assesses the impact, which means addictive substances fetishism degree of the scenes to determine whether the film has a high potential to suppress addicted behavior over Id or not. Fetishism was caused by camera angle, movement, shot, and other film elements that to contribute undeniable desire for alcohol, tobacco, and drugs. Data Collection and
Interpretation: Analysis of
Vikram's Scenes That Trigger Smoking Behaviour Table 1
Findings of
Vikram's Scenes That Trigger Smoking Behaviour Table 2
Table 2 shows the number and the duration of scenes that
trigger smoking behaviour. Table 3
Table 3 shows which emotions the film characters smoke.
This was analyzed because the smoking behavioral temptations also repressed the same emotions of the
audience unconscious of the ID as memory traces. When the spectators feel the same
emotions in real life, then the repressed smoking behavioral
memory traces rise to Consciousness and cause temptations. Table 4
Table 4 shows which characters smoke in this film.
According to Christian Metz, audiences identify with the film characters. Thus,
they adopted the emotions and other aspects of the character to understand the
film. So, the audience is unconsciously receptive to the characters smoking behavioral memory traces, in their ID. The audience closely
identifies with the film's Main Lead characters. So, the number of scenes and
duration of the main lead character smoking in the film cause severe effects on
the audience's psyche. Thus, it was proved that the film's smoking content
strongly represses smoking behavior in the audience's
unconscious psyche. Table 5
Table 5 shows the direct and indirect signification
of smoking in the film. Direct smoking signification causes strong temptations
to the spectators. This was because of Lacan’s Object cause of desire. The film
serves as an object cause of desire, which causes the desire over smoking behaviour
to the audiences. Table 6
Table 6 shows the extreme impact scene number and duration was more than the negative impact scene number and duration. Low-impact scenes have no impact on the audience, Medium impact scene only reminds the smoking behavior of the already smoking person. But Negative impact scenes suggest that the smoking habit is harmful and Extreme impact scenes cause strong temptations and fetishism over the smoking habit. Here we can see the extreme impact scenes were more than negative impact scenes. So, it was proved that the film caused severe temptations over smoking. Figure 1
The extreme impact scenes are more in numbers than the negative impact scenes. This causes severe smoking behavior repression. Figure 2
The extreme impact scenes are more in duration than the negative impact scenes. This causes severe smoking behaviour repression. Important notes: Scenes with a medium impact are more common than high ones. However, extreme impact situations are longer than lower or moderate intensity. Thus, these smoking scenes have a powerful effect on the Id consciousness, which triumphs over Ego awareness in certain circumstances. Super Ego is crucial when it comes to stopping the Smoking Id's habit. Super Ego's Impact, however, depends on the unique circumstances of each viewer, which the author of this thesis cannot account for. Analysis of Vikram
Scenes That Trigger Alcohol-Consuming Behavior Table 7
Findings of Vikram
Scenes That Trigger Alcohol-Consuming Behavior Table 8
Table 8 shows the number and duration of scenes that
trigger alcoholic behavior in audience ID conscious. Table 9
Table 9 shows the moods in which the film characters
consume alcohol. This was analyzed because the
audience's Id consciousness receives alcoholic behavior
memory traces in specific emotions of the psyche from the film. So, when the
audiences feel the same mood in real life, the Id triggers the alcoholic
temptations over the ego from the repressed memory traces. The number and
duration of the specific emotions, in which the film character consumes alcohol
inflict strong repression of alcoholic behavior over
the audience's unconscious. Table 10
Table 10 shows the characters consuming alcohol in
the film. The audience identifies with the film characters. They closely
identify the Main Lead characters and adopt their emotions, characteristics,
and other attributes. So consuming alcohol in the films causes severe
repression of behavior in the audience Id
consciousness. The more in number and duration of main lead characters
consuming alcohol in the film causes more repression. Here the main lead
characters have more numbers and durations of scenes of alcohol consumption,
causing severe repression of alcoholic behavior over
the audience's psyche. Table 11
Table 11 shows the direct and indirect signification
of alcohol consumption in the film. The direct alcohol-consuming scenes have
the presence of alcohol in the frame. Thus, the film elements serve as the
object cause of the desire to inflict temptations over alcohol. Table 12
Table 12 shows the impacts of the scenes triggering alcohol behavior over the audience's unconscious. There was betting between Negative and Extreme impact scenes. Because negative impact scenes degrade alcohol consumption in the audience's unconscious. Extreme-impact scenes encourage alcohol consumption in the audience unconscious. Here extreme impact scenes are more in numbers and durations than negative impact scenes. So, it was proved that the film's alcoholic scenes cause severe alcohol temptations. Figure 3
The extreme impact scenes are more in numbers than the negative impact scenes. This causes severe alcoholic behavior repression. Figure 4
The extreme impact scenes are more in duration than the negative impact scenes. This causes severe alcoholic behavior repression. Important notes: The negative effect sequences are long and numerous enough to rival the extreme impact scenes. Still, intense impact sequences feature more occurrences than other types of impacts and last longer on average. So, the Id consciousness profoundly affects ego awareness while viewing these alcoholic scenarios. There is no way for researchers to understand the spectators' Super Egos, which have the power to control the dormant Id's alcoholism. Analysis of Vikram
Scenes That Trigger Drug-Consuming Behavior Table 13
Findings of Vikram
Scenes That Trigger Drug-Consuming Behavior Table 14
Table 14 shows the number and duration of scenes that
trigger drug-consuming behavior. Table 15
Table 15 shows the emotions in which the film
characters ingest drugs. The audience watching the film is repressed by the
drug-consuming behavior in a specific emotion, which
was relevant to the characters' emotions, who consume drugs. These all emotion
given in the table was triggered by severe drug consumption in the film. So,
the audience Id conscious that receiving these memory traces causes temptations
when they feel the same emotions given in the table. Table 16
Table 16 shows the characters consuming drugs in the
film. Audiences closely identify themselves to the film characters, according
to their importance. The important main character Santhanam has the most number
and duration of drug-consuming scenes. Thus, he strongly inflicts
drug-consuming memory traces over the audience's psyche,
because they adopt the attributes of the characters they identify.
Hence, the film caused strong repression of drug-consuming behavior
over the audience's unconscious psyche. Table 17
Table 17 shows the direct and indirect signification
of drug consumption. The direct consumption scene was more in number and
duration. Thus, the film serves as Lacan’s object cause of desire, which causes
a strong desire for drug consumption in the spectators’ unconscious. Table 18
Table 18 shows the impact of the scenes triggering drug-consuming behavior. In the race between negative and extreme impact scenes. The extreme impact scenes have more numbers and durations. So, the film's portrayal of drug consumption causes strong temptations in the audience's unconscious psyche was proved. Figure 5
The extreme impact scenes are more in numbers than the negative impact scenes. This causes severe drug-consuming behavior repression. Figure 6
The extreme impact scenes are more in duration than the negative impact scenes. This causes severe drug-consuming behavior repression. Important notes: The majority of film characters are in low-impact scenarios. However, it has no effect. Extreme-impact scenes last the longest and profoundly impact the spectator's mind. Repressed Extreme impact drug scenes over Id awareness, waiting for an appropriate situation to reveal over Ego consciousness. The researcher cannot evaluate the spectators' Super Ego, which deactivates the repressed behavior of the Id. 6. Highlighted Findings The viewer's ID is profoundly affected by all the smoking, drinking, and drug use. Each person's superego was shaped differently by their upbringing, personal history, social milieu, and other factors. Yet it would be impossible for researchers to assess the spectators' superegos. For this reason, it would be premature to conclude that the audience members imitate these unsafe practices. The research, however, shows that these scenes have a devastating effect on the id consciousness of the audience. It's designed to trigger in just the right circumstances. Routines easily deceive spectators who lack a substantial superego. 6.1. Highlighted Findings of Smoking Scenes In the vast majority of instances, smoking is used by the characters to aid in the Thought process (4 scenes, 2:09 duration) and alleviate their Heroism (2 scenes, 4:26 duration) shown in Table 3. The audience also feels the temptations in the same emotions of thought process and heroism. The most frequent smokers are Amar, Bejoy, and Jose as shown in Table 4. The main protagonists smoke in 14 scenes totalling 10 minutes and 9 seconds as shown in Table 4. The audience identifies the main lead character closely. So, these scenes strongly repress smoking behavior in the audience's psyche. Table 5 shows the direct smoking scenes are 14 with 10 minutes and 9 seconds of duration. According to Lacan's Object cause of desire, these direct smoking scenes strongly tempt the audiences. The total runtime of smoking depictions in Extreme Impact is 7 minutes and 22 seconds shown in Table 6, which strongly tempts the audience to smoke by the fetishism of Christian Metz. 6.2. Highlighted Findings of Alcoholic Scenes The majority of the situation alcohol was consumed by Vikram and Amar as shown in Table 9. They are the main lead characters, which the audience closely identifies to understand the film. Thus, their alcohol behavior inflicts strong memory traces over the audience's unconscious. The characters drink alcohol in their joy (4 scenes, 7:06 duration) and desire (5 scenes, 5:16 duration) sensations maximumly in the film as shown in Table 2.2. So, spectators also feel the temptations while the same emotions are triggered in real life. Table 10 shows the main characters spend 11 minutes and 26 seconds drinking, which drastically represses the alcohol temptations in the unconscious through Identification of Metz. Table 11 shows that direct consumption scene number 6 with a duration of 10:07 causes a severe desire for alcohol in the audience, according to Lacan’s Object cause of desire. Negative impact scenes have a duration of 5:44 and 4 scenes. But there are six Extreme Impact moments, they last for eight minutes and fifty-three seconds shown in Table 12. It has a strong effect on the unconscious mind, which causes severe temptations over alcohol. 6.3. Highlighted Findings of Drug-consuming Scenes Drugs fueled most of the strength (4 scenes, 6:19 duration) and violence (8 scenes, 12:05 duration) seen in different scenes shown in Table 15. Spectators also feel the drug-consuming temptations in the same sensation in real life. Table 16 shows a total of eight scenes of Santhanam using drugs that take up to 12 minutes and 56 seconds. According to Identification of Film Characters in Psychoanalysis, Santhanam inflicts devastating drug-consuming temptations in the spectators' psyche. There is a significant effect on the picture as a whole from the 17 minutes and 45 seconds spent on the film's main character consuming drugs shown in Table 16 and the 18 minutes and 18 seconds spent on scenes depicting the direct consumption of drugs shown in Table 17. By Identification and Object cause of Desire in psychoanalysis, these cause drastic drug-consuming temptations over the audience's psyche unconsciously. The primary theme of Vikram's film is opposition to drugs, although the movie's drug scenes barely last 14 minutes and 39 seconds as shown in Table 15, while the drug scenes in Extreme Impact last 14 minutes and 39 seconds of 8 scenes shown in Table 18. These all-cause strong temptations over drug consumption to the audiences. 7. Limitations The study solely looked at the smoking, drinking, and drug use depicted in the movie "Vikram," a symbol of the repressed ego waiting for the right moment to act. But the spectators' superego, which shields them from their own destructive, id-driven impulses, is beyond his ability to understand. The author can’t prove that the spectators will imitate the behaviour of smokers, drinkers, and drug users in the film. However, the research shows that these scenes significantly induce addictive substance-consuming temptations in the audience's unconscious, which needs the right circumstances to satisfy, when analyzed psychoanalytically. 8. Conclusion The study attempted to comprehend the significance of the smoke, alcohol, and drug scenes in Vikram's film. The researcher aims to alert filmmakers and film spectators to this type of content, not to discourage or discredit the essence or other objects of cinema. Even though a good movie has some devastating range, the spectator's unconscious absorbs it and takes action. As a result, the study intends to become aware of this content through psychoanalytic film theory. Extreme impact scenes are necessary for a film to portray the characteristics of a character. But, including more negative impact scenes, you can balance the intense impact scenes. As a result, the spectator's Id consciousness was not significantly suppressed by smoke, alcohol, and drugs. Filmmakers should use a limited amount of smoke, alcohol, and drug scenes to benefit the spectators and society. When repressed unconscious harmful behaviour from the Id rises to the Ego, observers are also responsible for responding to the Super Ego.
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