In this atmosphere of heavy moralizing, whether political or personal, can a young person find true, meaningful, relevant articulation of personal relationships and its intimate journey in the world. The film does more than raise questions about the police censorship and attack on the freedom of choice of young individuals in love, whose actions do not breach public decency in any way. Morality TV is also a powerful indictment on the media’s approach to news bytes that are more titillating and sensational than the factual and objective, with one eye on their Television Rating Points and advertising revenues. It is this manufacture of “news” for entertainment quality and value that draws Vohra’s anger and criticism. Even though she is critical
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At its heart, Morality TV seeks to comprehend the impact of exposing and surveillance for “moral turpitude” and the film not only responds to the practice of television around, but to an ongoing concern about the language of the political film. The sting operation has become the accepted language of television news. In Operation Majnu story this language came to a culminating moment—one that justifies violence in the name of righteous indignation.
Vohra’s documentary became an illustration of social morality and moral panic in the face of changing relationships in today’s times and the languages and gaze which subtly impose this on a daily basis, a 24x7 breaking news basis. Specific to Operation Majnu, Shyam Parmar- an NDTV stringer—held out a lot in terms of playing the story. As he says in the film “I kept telling my bosses that this is a manufactured story, not a real thing.” But eventually the competitive universe of TV news meant that he had to do this story because every other channel was …show more content…
Before setting out, she goes to meet her boyfriend on the sly. Her story, which recurs throughout the film illustrates the wider question of the sanctity of love. Gossiping eye and dehumanizing innuendo occupies every sphere, thus public space is scrutinized by a private eye called “television news.” The television news has deployed the sting with impunity—to enter people’s lives, homes and embraces rather than exposing political and corporate machinations. The park questions the clear demarcations of public and private that we take for granted. Lovers do these things in public because they are afforded no space of their own—one materially, the other
At its heart, Morality TV seeks to comprehend the impact of exposing and surveillance for “moral turpitude” and the film not only responds to the practice of television around, but to an ongoing concern about the language of the political film. The sting operation has become the accepted language of television news. In Operation Majnu story this language came to a culminating moment—one that justifies violence in the name of righteous indignation.
Vohra’s documentary became an illustration of social morality and moral panic in the face of changing relationships in today’s times and the languages and gaze which subtly impose this on a daily basis, a 24x7 breaking news basis. Specific to Operation Majnu, Shyam Parmar- an NDTV stringer—held out a lot in terms of playing the story. As he says in the film “I kept telling my bosses that this is a manufactured story, not a real thing.” But eventually the competitive universe of TV news meant that he had to do this story because every other channel was …show more content…
Before setting out, she goes to meet her boyfriend on the sly. Her story, which recurs throughout the film illustrates the wider question of the sanctity of love. Gossiping eye and dehumanizing innuendo occupies every sphere, thus public space is scrutinized by a private eye called “television news.” The television news has deployed the sting with impunity—to enter people’s lives, homes and embraces rather than exposing political and corporate machinations. The park questions the clear demarcations of public and private that we take for granted. Lovers do these things in public because they are afforded no space of their own—one materially, the other