ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Empowering Artistic Expression: The Influence of OTT Platforms on Tamil Cinema, with a Focus on the Film 'Viduthalai' Balamurali Krishna S 1 1 Ph.D.
Research Scholar, Department of Journalism and Mass Communication, Periyar University, Salem 636011, India 2 Professor
and Head, Department of Journalism and Mass Communication, Periyar
University, Salem 636011, India
1. INTRODUCTION The constitutional
provision for freedom of speech and expression in India has long been
a subject of debate, primarily due to the broad interpretation of
"speech" and "expression." This includes the freedom
to convey personal viewpoints through visual media such as films, web series,
and short films, especially as our viewing habits have shifted from
traditional cable TVs to smaller mobile screens. The rise of OTT
platforms, which garnered immense popularity during the COVID-19 pandemic,
has further fuelled discussions about the uncensored and unregulated content
they offer over the internet. In response to these debates, the
government recently introduced new guidelines aimed at establishing a robust
three-tier grievance redressal system for these platforms. The effectiveness of
these measures remains a topic of discussion, as some argue that they
might encroach upon the creative space of content producers, while others
view them as necessary efforts to regulate the content available on video
streaming platforms. The outcome of this ongoing dialogue will be of
significant interest to both content creators and consumers alike. This
article discusses the absence of censorship on OTT platforms in India and
its implications. It explores the need for censorship and its impact on both
creators' freedom of expression and viewers' choice. The paper also
addresses concerns about age-inappropriate content and emphasizes the
importance of regulating OTT platforms to protect democratic rights Singla (2020). 2. RIGHT TO FREEDOM OF SPEECH AND EXPRESSION In a democratic
society, individuals have the fundamental right to freely express their
thoughts and ideas through various means. However, this right is
accompanied by responsibilities, and constitutional restrictions are
necessary in the interest of public welfare. OTT platforms offer a wide range
of uncensored content, which differs from content subject to television
censorship rules aimed at preventing violence, obscenity, and social
discord. While this freedom is essential, it must be exercised without infringing
upon religious sensitivities or moral standards and should never incite
violence against the public. Therefore, censorship regulations primarily
target objectionable, potentially offensive, or sensitive content readily
available on OTT platforms. The challenge lies in ensuring that such
content is not accessed by individuals who may not be equipped to handle it,
necessitating content regulation measures. This article will
delve into the regulation of content concerning morality, public order, and
health. It will explore various censorship laws in India, tracing their
evolution over time. The necessity for adaptation to the digital age is
emphasized, encompassing not only legal frameworks but also those governing
media and censorship. The study will draw comparisons between censorship
regulations in Singapore and India Agrawal (2022). The worldwide
proliferation of the Internet has created a platform through which free speech
can reach wider audiences than in previous eras. The technological prowess and
affordability of the Internet make it conducive for citizens to actively
participate in the exchange of information. Nevertheless, a significant portion
of Internet users choose to exercise their freedom of expression anonymously,
potentially giving rise to abuses or even criminal activities that may, in
practice, be challenging to prosecute Popović (2021). 3. FREEDOM OF SPEECH AND OTT MEDIA It is a widely
acknowledged reality that the freedom to create can sometimes become overwhelmingly
complex. Historically, many Indian filmmakers faced restrictions on depicting
explicit content in their cinematic endeavours on the big screen. However,
the advent of OTT platforms provided them with a relatively unrestricted
canvas to unleash their creative expressions, encompassing themes such as
nudity, violence, gore, and explicit language. Furthermore, the exercise of
creative freedom is intertwined with the prevailing political landscape.
Projects that align with the agenda of the ruling political parties often
enjoy a release devoid of stringent regulations. This selective approach to artistic
works is a significant concern, creating economic disparities for those
involved in the production of particular projects
and acting as an impediment to future creative endeavours. The freedom of
speech empowers regular individuals to engage in the dissemination of ideas. It
undeniably constitutes a crucial component of democratic culture, ensuring that
everyone, not solely the political or cultural elite, possesses the opportunity
to contribute to public discourse. This interactive nature of freedom of speech
implies that exposure to others' ideas can have a profound impact, potentially
reshaping our perspectives. Moreover, freedom of speech is appropriate, as each
participant depends on, extracts ideas from, and adapts or critiques the
prevailing cultural context Popović (2021). A noteworthy
development occurred in January 2019 when several prominent OTT
platforms voluntarily adopted a self-regulatory code. This code prohibited
certain types of content on their platforms, particularly content that
disrespected the National Emblem or Flag, incited religious
discord, promoted terrorism, or involved child pornography. 4. INTERNATIONAL PERSPECTIVE In an
international context, various countries have implemented regulatory measures
to oversee OTT platforms. Singapore, for instance, mandates that service providers
prominently display content warnings for elements such as nudity, drugs,
sex, and violence within their content. The United Kingdom subjects OTT
platforms to a level of scrutiny similar to that of
public service broadcasters. In Australia, the OTT sector is governed by
the principal legislation known as the BSA, 1992. On the other hand,
Turkey has established a licensing regime where OTT platforms are granted
licenses for a period of 10 years to operate within the country. In
contrast, countries like Indonesia, Turkey, and Saudi Arabia have taken a more
stringent approach by implementing strict regulations that place
significant control in the hands of the government. This has resulted in
actions such as blocking several OTT platforms, including Netflix,
in their efforts to maintain authority over content distribution. Achintya (2021) On October 1,
2017, Germany implemented the Netzwerkdurchsetzungsgesetz,
or "Network Enforcement Act." This law aims to improve law
enforcement in social networks by holding providers responsible for addressing
online speech that violates criminal laws. Despite concerns from Facebook and
others during legislative proceedings, the Act gained international attention.
As the first anniversary approaches, this paper examines the past, present, and
future of the controversial law and its impact on human rights online Schmitz & Berndt (2018). 5. IMPACT OF OTT PLATFORM ON TAMIL CINEMA The emergence of
OTT platforms has ushered in a transformative era for Tamil cinema,
where the film 'Viduthalai Part-1' stands as a prime example of this
evolution. This sub-theme delves into the profound influence of OTT
platforms on the Tamil film industry, highlighting how they have
provided a unique space for daring narratives like 'Viduthalai Part-1' to
thrive. In this dynamic landscape, filmmakers are no longer bound by the
conventional constraints of mainstream cinema, allowing them to delve into
intricate socio-political narratives with a newfound creative freedom.
'Viduthalai Part-1' serves as a testament to this newfound liberation, shedding
light on issues that might have been considered too sensitive or unconventional
for traditional cinema. The impact of such films on Tamil cinema within
the OTT landscape signifies a shift towards more diverse and
thought-provoking storytelling, providing both filmmakers and audiences
with a platform for meaningful artistic expression and exploration of
pressing societal concerns. Chattopadhyay (2020) The transition of
'Viduthalai' from its theatrical cut to the director's cut on an OTT
platform underscores the profound impact that OTT platforms have on the
freedom of expression for filmmakers. This theme explores the significant
differences and artistic liberties that the director takes in the
OTT version compared to the constraints imposed by the theatrical release.
It delves into how the OTT platform serves as a canvas for the director to
fully realize their creative vision, unshackled by commercial pressures or
censorship, allowing for a more nuanced and authentic representation of
their storytelling. This shift exemplifies the unique opportunity OTT
platforms provide in enabling directors to exercise their freedom of
expression to its fullest extent, resulting in a richer and more unrestrained
cinematic experience for the audience. Cherukuri (2023) 6. RESEARCH METHODOLOGY This research
study aims to explore the influence of OTT platforms on Tamil cinema, with
a specific focus on the critically acclaimed film 'Viduthalai.' The
methodology employed for this study involves a comprehensive approach that
encompasses qualitative analysis, critical examination, and expert
insights. This exploratory research aims to explore the intricate journey and
the obstacles the films, the context of OTT platforms. The objective is to
uncover the chronological events that have significantly influenced the
trajectory of the film's presence and performance in the digital
streaming environment. 1)
QUALITATIVE ANALYSIS: The research will involve an in-depth qualitative analysis
of various aspects related to the impact of OTT platforms on Tamil cinema.
This analysis will include: 2)
CONTENT ANALYSIS: Examination
of existing literature, articles, and critiques related to Tamil cinema's
transition to OTT platforms and the specific film 'Viduthalai.' This analysis
will provide insights into critical reception and audience
reactions. 3)
COMPARATIVE ANALYSIS: A comparative study of the narratives of 'Viduthalai' in both theatrical
and OTT settings. This analysis will shed light on the unique opportunities,
challenges, and artistic freedom afforded by OTT platforms. 7. FILM PERSONALITY ON OTT PLATFORMS Anurag Kashyap
highlighted that OTT
platforms offer him creative freedom to explore socio political content, which
is often challenging to find funding for in traditional theatre-based Hindi
films. He mentioned that his film "Choked" on Netflix is an example
of how he can express his ideas without constraints and receive adequate
financial support. OTT platforms provide the freedom and resources that
are sometimes lacking in mainstream cinema. Manoj Bajpayee
emphasized that OTT
platforms provide a variety of content, leaving the choice of what to watch to
viewers. He compared it to a bookstore where people can choose their preferred
books. Bajpayee believes in viewers' freedom to select content and thinks parents
should be the primary censors for their children. He also mentioned that
he appreciates the creative freedom OTT platforms offer, allowing him to
explore diverse genres and collaborate with directors to create unique
content. Sudha Kongara emphasized that the most distinctive aspect
of OTT platforms is the freedom to independently choose the cast and tell
the story exactly as they envisioned it. Vignesh Sivan stated that working on an OTT platform
provided him with the liberty to make creative decisions without any
external pressure or interference, whether it be in casting or
scripting, which he found to be a significant advantage. Vetrimaran noted that there is a noticeable contrast
between making films in the mainstream industry, where he often felt the
weight of significant pressure, and working on OTT platforms, where he
experiences a sense of relaxation and is not concerned about adhering to market
requirements or mainstream acceptance. Gautham
Vasudev Menon mentioned
that he does not feel the pressure of writing for the audience in OTT
platforms. 8. A COMPARATIVE ANALYSIS OF OVER-THE-TOP (OTT) PLATFORMS AND TRADITIONAL
THEATERS The dichotomy
between Over-The-Top (OTT) platforms and traditional theatres represents a
profound transformation in the realm of audio-visual consumption. The advent of
OTT services, capitalizing on internet connectivity, empowers viewers with
unparalleled flexibility, enabling access to an extensive array of content at
their convenience, breaking free from the constraints of time and location. In
stark contrast, theatres offer a unique communal experience, anchoring the
cinematic journey to a specific physical space and temporal framework. The
expansive screens and immersive sound systems within theatres accentuate the
grandeur of cinematic storytelling, creating an atmosphere unattainable in the
personalized settings of OTT viewing. Dutta et al. (2011) The choice
between these platforms not only mirrors the ever-evolving landscape of
consumer preferences and economic considerations but also contributes to the
ongoing discourse surrounding the democratization of content access in the
digital age. Against the backdrop of relentless technological advancements
shaping the entertainment industry, a comprehensive understanding of these
differences becomes imperative for scholars and practitioners alike, as they
navigate the intricate dynamics of the evolving audio-visual landscape. GN (2023) 9. UNVEILING CREATIVE FREEDOM: THE DIRECTOR'S CUT PHENOMENON ON
OTT PLATFORMS In a recent
interview, Mr. Inba, the assistant director to
acclaimed filmmaker Vetrimaaran, shed light on the director's cut release
of the film "Viduthalai" on Zee 5 OTT. Contrary to popular belief,
this isn't a novel concept but a tradition that predates the digital era,
finding its roots in DVD players. During our conversation, Mr. Inba, Associate of Film Maker Vetrimaaran emphasized
the significant disparity between the director's cut and its theatrical
counterpart. The director's cut, he noted, embodies artistic integrity,
presenting an unadulterated version that encapsulates the director's creative
essence. What makes the Zee 5 OTT release of "Viduthalai" remarkable
is the platform itself. OTT platforms have emerged as revolutionary
spaces, fostering the creation of socio-political narratives that challenge
societal norms. They provide an unbridled space where directors can craft
narratives infused with their unique vision, unrestricted by censorship. This
newfound freedom enables directors to weave compelling, unfiltered stories
that resonate deeply with the audience, marking a paradigm shift in the
cinematic landscape. The director's cut release of "Viduthalai"
stands as a testament to the power of OTT platforms, ushering in an era
where creativity knows no bounds. (Inba, Personal Communication, 2023) The investigation
into the comparative nuances between the Theatrical and Over-The-Top (OTT)
versions of a film unravels a notable 20-minute difference in their respective
runtimes. This analysis extends beyond mere temporal distinctions, delving into
the intricacies of censorship adherence, language utilization, and the
multifaceted portrayal of law enforcement agencies.
Jadhav & Tilak (2023) 1)
Censorship and Certification Discrepancies: The theatrical
release version, constrained by the rigors of censor restrictions, presents a
cinematic narrative that adheres to predefined content guidelines. Its
certification as an A – Adults only film underscores the mature nature of its
content. Conversely, the OTT iteration, accessible through the Zee 5 platform,
diverges markedly by liberally incorporating unmuted profanities, rendering its
dialogues unsuitable for public exhibition. 2)
Language Content Divergence: A discerning
examination of the OTT version reveals a stark departure from the language
norms associated with the theatrical release. While the latter maintains a
level of decorum in line with its mature certification, the former ventures
into unparliamentary territories, exceeding the boundaries set for public
consumption. 3)
Portrayal of Law Enforcement Dynamics: One of the
striking disparities lies in the depiction of the police department. The OTT
rendition unfolds a series of scenes that not only demoralize but also lay bare
the darker facets of the police force. These scenes intricately unravel the
intricate handling of socio-political issues, particularly those intertwined
with a social movement spearheaded by Vaathiyar. Sharma (2021) 4)
Vaathiyar
and the Makkal Padai Movement: Vaathiyar, an enigmatic figure known as the Ghost,
assumes a pivotal role in the narrative as the leader of a formidable troupe
named ‘Makkal Padai.’ His character becomes a focal point as he finds himself
at the pinnacle of the Police Department's most-wanted list. This positioning
elevates the tension, adding layers to the overarching socio-political context. Samriti & Sharma (2020) 5)
Accusations Against the Downtrodden: The police
troupes engaged in the unfolding socio-political drama are portrayed as casting
unwarranted accusations upon the innocent, voiceless, and downtrodden commoners
of the locality. This narrative element introduces a dimension of societal
imbalance and injustice. 6)
Raw Crises in Police Camps: Within the OTT
version, the lens of scrutiny widens to unveil the rawest crises faced by these
accused individuals in police camps. The depiction of their or deals sheds
light on the harsh realities they endure, effectively peeling away the veneer
of authority and revealing a potentially malevolent side of the police
department. This comprehensive analysis not only delineates the temporal
distinctions but also unearths substantial divergences in content and thematic
portrayals between the Theatrical and OTT versions. Such explorations
contribute to a nuanced understanding of the filmic landscape, addressing the
complex interplay of censorship, language, and societal reflections within
cinematic narratives. Patil (2022) 10. UNVEILING REAL-LIFE STORIES AN DISCUSSION Indian web series
have increasingly embraced real-life events and biographical
narratives, shedding light on untold stories and captivating audiences
with their compelling storytelling. These series not only entertain but also
serve as a powerful medium for societal reflection and awareness. In this
discussion, we will explore the influence and significance of autobiographical
web series in Indian entertainment, with a particular focus on noteworthy
productions like "Delhi Crime," "Scoop,"
"Scam 1992," "Scam 2003," "Auto Shankar,"
and "Queen." These series delve into the lives of individuals
who made headlines, either through their criminal actions or their
political careers. Santhanam (2020) We will analyse
how these narratives contribute to public discourse, evoke empathy, and
raise important questions about justice, ethics, and the human experience.
Additionally, we will examine the creative and ethical challenges of
adapting real-life stories for the screen and their potential impact
on society's perception of these events and individuals. The rise of OTT
platforms has revolutionized Tamil cinema, exemplified by 'Viduthalai Part-1.'
This sub-theme explores OTT's profound impact, enabling daring narratives
and freeing filmmakers from mainstream constraints. 'Viduthalai Part-1'
symbolizes this newfound creative freedom, addressing sensitive topics
often overlooked in traditional cinema. These films signify a shift
toward diverse storytelling, empowering both creators and audiences. The
transition of 'Viduthalai' from theatre to an OTT director's cut underscores
OTT's influence on filmmakers' freedom. This theme highlights the creative
liberties in the director's cut compared to theatrical releases. OTT
platforms serve as a canvas for unbridled creative expression, devoid
of commercial pressures or censorship, resulting in more authentic
storytelling. This shift showcases OTT's unique potential to enhance
filmmakers' freedom of expression, enriching the cinematic experience. Khader (2016) 11. CONCLUSION The impact of OTT
platforms on Tamil cinema is undeniable and transformative. The case study
of 'Viduthalai Part-1' exemplifies how these platforms have provided filmmakers
with unprecedented creative freedom and the ability to explore daring and socio-political
narratives that were previously constrained by the conventional norms of
mainstream cinema. This shift signifies a broader movement in Tamil cinema
towards more diverse and thought-provoking storytelling, offering
both creators and audiences a platform for meaningful artistic expression
and the exploration of pressing societal concerns. Oozeer (2014) Furthermore, the transition of 'Viduthalai' from its theatrical cut to the director's cut on an OTT platform underscores the immense influence OTT platforms have on the freedom of expression for filmmakers. This transition allows directors to fully realize their creative vision, liberated from commercial pressures and censorship, leading to a more authentic and nuanced representation of their storytelling. OTT platforms, as exemplified by the experiences and perspectives of prominent figures like Anurag Kashyap, Manoj Bajpayee, Sudha Kongara, Vignesh Sivan, Vetrimaran, and Gautham Vasudev Menon, have become a haven for artistic expression and innovation in the world of cinema. In essence, the impact of OTT platforms on Tamil cinema has not only democratized the filmmaking process but has also empowered filmmakers to push the boundaries of storytelling. As this revolution continues to unfold, it promises to bring forth a new era of cinema that is characterized by diversity, creativity, and an unyielding commitment to exploring the complexities of the human experience.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Achintya, K. (2021). Standardisation of Freedom of Speech and Expression of the OTT Grandstand. https://dx.doi.org/10.2139/ssrn.4334753. Agrawal, C. (2022). Censorship of Over the Top Platforms in India: A Comparative Study of India and Singapore. https://dx.doi.org/10.2139/ssrn.4294043. Chattopadhyay, A. (2020). Web Series and Web Movies and their Psycho-Sociological Impact on Netizens in India. A Quarterly Bilingual Peer-Reviewed Journal for Social Sciences and Humanities. Cherukuri, A. (2023, May 25). Vidudhala Part 1’s Director Cut to be Out on OTT. Dutta, S., Dutton, W. H., & Law, G. (2011). The New Internet World: A Global Perspective on Freedom of Expression, Privacy, Trust and Security Online. GN, P. (2023). An Analysis on the Censorship and the OTT Platforms. https://dx.doi.org/10.2139/ssrn.4468339. Jadhav, B., & Tilak, G. (2023). Censorship of OTT Platforms and the Right to Freedom of Speech and Expression. Khader, Z. (2016). Analyzing the Content Preferences and Choices of the Indian OTT Content Consumer (Series & Direct to OTT Films). Global Journal of Business and Integral Security. Oozeer, A. (2014). Internet and Social Networks: Freedom of Expression in the Digital Age. Commonwealth Law Bulletin, 40(2), 341-360. https://doi.org/10.1080/03050718.2014.909129. Patil, S. A. (2022). Censorship on OTT: Infringement of Right to Freedom of Speech and Expression or not?. Popović, D. V. (2021). Freedom of Expression on Social Networks: an International Perspective. Samriti, D., & Sharma, P. (2020). OTT-Existing Censorship Laws and Recommendations. https://dx.doi.org/10.2139/ssrn.3735027. Santhanam, R. (2020, April 03). Do OTT Platforms Provide More Space for Sociopolitical Content? With no Censorship and Fewer Budget Constraints, They Provide More Opportunities. Schmitz, S., & Berndt, C. M. (2018). The German Act on Improving Law Enforcement on Social Networks (NetzDG): A Blunt Sword?. Sharma, K. (2021). Emerging Gender Role and Hate Speech Representation in Indian Web Series OTT Media Content. Journal of Emerging Technologies and Innovative Research. Singla, H. (2020). Self-Regulation by Over-the-Top Platforms: A Study in Context of Video Streaming Services in India. International Journal of Law Management & Humanities, 3(4), 1626-1639.
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