Major Events In The Decade Media Essay

The 1990s besides known as the Nineteen Nineties and abbreviated as the Nineties or 90s was the decennary that started on January 1, 1990 and ended on December 31, 1999. It was the last full decennary of both the twentieth century and the 2nd millenary ( 1990s in Pakistan, 2010 ) .

“ December 31, 2009, is non merely the terminal of the twelvemonth ; it brings a momentous decennary of accomplishments in Pakistan to a helter-skelter and bloody terminal. After a comparatively peaceable but economically dead decennary of the 1990s, the twelvemonth 1999 brought a bloodless putsch led by General Parvez Musharraf, showing in an accelerated economic growing that led to more than doubling of the national GDP, and dramatic enlargement in Pakistan ‘s urban in-between category. The decennary besides cast a immense shadow of the US “ war on panic ” on Pakistan, finally turning the state into a frontline province in the progressively deathly struggle that shows no marks of slaking. Along with the blood and Gore and pandemonium on the streets, there are hopeful marks that regulation of jurisprudence and answerability is get downing to predominate in the state with the Restoration of representative democracy and independent bench, mostly in response to an progressively self-asserting urban in-between category, vivacious mass media and turning civil society ( Pakistan ‘s Decade of 1999-2009, 2010 ) . ”

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Major Events in the Decade- Year wise ( 1990s in Pakistan, 2010 )


Benazir Bhutto dismissed as premier curate on charges of incompetency and corruptness.


Pakistan and India sign the Rail Communication Agreement besides known as the Samjhauta Express understanding.

October 2- The Punjab subsidiary bench service tribunal act is passed.

December: A train going from Karachi to Lahore hits a parked cargo train at Ghotki, killing over 100 of the 800 riders.


The twelvemonth remained a twelvemonth assorted with euphory and calamity. While Pakistan won the finals of the Cricket World Cup, 1000s died in the implosion therapy that occurred in the northern parts of Pakistan as a consequence of torrential rains swelling the Indus River. The Nawaz authorities inaugurated a few undertakings in the state of Punjab towards the improvement of route webs and ordered a military operation in the state of Sindh to counter the turning linguistic communication public violences and cultural tenseness.

January 12 – Lahore-Islamabad expressway undertaking launched.

February 22 – Nawaz Sharif introduces yellow-cab cab strategy.

May 22 – An temblor mensurating 5.5 on the Richter graduated tables work stoppages northern Pakistan.

June 19 – Military operation starts in Sindh.

September 8 – Almost 1000 people die and 3 million are evacuated due to deluging in Punjab

September 28 – Pakistan Airline ‘s AP-BCP clangs near Kathmandu airdrome, Nepal – killing all 167 aboard.


While Pakistan moves closer to peaceful dialogue with Afghanistan in 1993, the state was fed with adequate governmental dramatisation when President Ghulam Ishaq Khan dissolves the National Assembly of Pakistan and dismisses the Nawaz authorities. Towards the terminal nevertheless, Farooq Laghari is appointed the 8th president and Benazir Bhutto is ushered into the office yet once more.

February 5 – Kashmir Solidarity Day observed for the first clip.

March 7 – Afghan political groups sign the Islamabad Accords in Pakistan in order to organize a alliance until elections can be held.

April 18 – President Ghulam Ishaq Khan dissolves National Assembly, dismisses Nawaz Sharif authorities. Balakh Sher Mazari becomes care-take premier curate.

May 26 – Supreme Court restores National Assembly and Prime Minister Nawaz Sharif.

July 18 – President Ghulam Ishaq Khan and Prime Minister Nawaz Sharif quit their offices.

October 6 – General elections held. PPP wins 86 ; PML ( N ) secures 72 seats.

October 19 – Benazir Bhutto is elected Prime Minister by 121 ballots for the 2nd clip. November 13 – Farooq Laghari elected 8th President of Pakistan.


Pakistan conducts atomic trials in response to those carried out by neighboring India


Pakistan invests in the private sector to hike power production.

July- the Pakistani embassy in Kabul is attacked.

December-A bomb blast aiming the Egyptian embassy in Islamabad putting to deaths


Prime Minister Benazir Bhutto is dismissed for a 2nd clip on charges of corruptness


February 3- General elections are held.

August 14 – Pakistan celebrates 50 old ages of independency from British regulation.

November 13- Nawaz Sharif promises US president Bill Clinton he will happen those responsible for the violent death of four US business communities and their Pakistani driver.

November 26- Pakistan ‘s first expressway, which links Islamabad to Lahore, is opened.

December 2 – Pakistan ‘s president, Farooq Laghari resigns.


The 5th nose count of Pakistan is compiled.

Pakistan carried out atomic trial on 28th May to go the 7th declared atomic capable state and the first Muslim state to make so ( 1998 in Pakistan, 2009 )


Pakistan tests its Ghauri II missile.

May: The Kargil struggle between Pakistan and India begins.

October 12 – Nawaz Sharif is deposed in a putsch d’etat by general Parvez Musharraf

November 23- Pakistan is suspended from the commonwealth, after exigency regulation was applied following the putsch

Scenario in Pakistan ( Decade Of 1990s ; 1990-99 )

The available offense statistics show that the entire offense instances registered in 1947 at the clip of Independence were 73,105, which doubled to 129,679 in 1971. Then there was rapid addition in offense rate peculiarly after 1980.The sum reported offense during the decennary from 1980 to 1990 about doubled from 152,782 to 403,078 ( Gillani, Rehman H, & A ; Gill, Summer 2009 ) .

Harmonizing to statistics from the one-year growing rate of offense has by and large been higher than that of population growing rate since 1951. These figures relate to the reported offense merely. No dependable figures can be given about the unreported offense in the state. However, about 30-50 % offenses are by and large considered to be unreported in Pakistan ( UN office on Drugs & A ; Crime, Center for International Crime Prevention, 2007 ) .

Crime population ratio given in the undermentioned tabular array reveals that in 1966, 180 offenses were reported per 100,000 populations. By the twelvemonth 1991, it increased to 257 per 100,000 populations, which shows an addition of 40 % . The state of affairs farther worsened in 1998 when the reported offenses increased to 323 per 100,000 individuals.

Population and Crime Growth in Pakistan




in Millions

Entire No. of



Crime Growth

Rate ( % )

Crime per

thousand of



























Pakistan Economic Survey ( Various issues ) Federal Bureau of Statistics. ( 2008 ) . Pakistan Statistical Year Book. Islamabad

Bureau of Police Research and Development, Islamabad

hypertext transfer protocol: // % 20YASIR % 20Employment % 20Poverty % 20Inflation % 20n % 20Crime % 20Nexus.pdf. The Pakistan

Nadeem, Azhar Hassan ( 2002 ) , Pakistan: The Political Economy of Lawlessness. Karachi: Oxford University Press

Crime Scene in Pakistan by Type

The reported offense includes slayings, attempted slaying, nobbling for ransom, auto lifting, colza, robbery, dakoit and larceny etc. Crime statistics are reported but can non be considered dependable. Throughout the 1990s, there appeared to be a major addition in the figure of offenses reported each twelvemonth. Harmonizing to the Pakistan Statistical Yearbook, 1991, from 8,000 to 20,000 slayings or attempted slayings, 3,500 to 6,000 snatchs or abductions, 100 to 600 robberies, and 120,000 to 250,000 other offenses were reported yearly between 1981 and 1990.



All Reported


Attempted Murder






















































Beginning: Pakistan Statistical Yearbook 2008 – 9

During the decennary of 1990s, condemnable force, particularly nobbling for ransom and, in consequence, unfastened warfare among political groups, rendered the metropolis of Karachi so unsafe that in May1992 the armed forces had to be called in to launch Operation Cleanup to grok felons and terrorists and to prehend unauthorised arms. Criminalism extended into all degrees of society. Known felons had & A ; still hold ties to political figures and were able to thwart legitimate efforts to implement jurisprudence and order. In early 1994, the ground forces was still activity involved in jurisprudence enforcement in Sindh.

Crime Statisticss of Pakistan shows that there is a rapid addition in the figure of offense reported over clip like other states of the universe. It may be because of assorted factors such as high unemployment, lifting poorness, increasing rising prices and urbanisation. Some other non-economic factors are besides responsible for it such as the increasing function of unconventional establishments such as Mass Media particularly Motion Pictures in socialisation of kids and immature coevals ( Gillani, Rehman H, & A ; Gill, Summer 2009 ) .

Trends & A ; Popularity of Bollywood Films in 1990s ( Chatterjee, 2003 )

During the late eightiess and early 1990s, the pendulum swung back toward family-centric romantic musicals with the success of such movies as Qayamat Se Qayamat Tak ( 1988 ) , Maine Pyar Kiya ( 1989 ) , Hum Aapke Hain Kaun ( 1994 ) and Dilwale Dulhania Le Jaingay ( 1995 ) , doing stars out of a new coevals of histrions ( such as Aamir Khan, Salman Khan and Shahrukh Khan ) and actresses ( such as Sridevi, Madhuri Dixit, Juhi Chawla and Kajol ) . In that point of clip, action and comedy movies were besides successful, with histrions like Govinda and Akshay Kumar and actresses such as Raveena Tandon and Karisma Kapoor looking in movies of this genre.

Furthermore, this decennary marked the entry of new performing artists in art house and independent movies, some of which succeeded commercially, the most influential illustration being Satya ( 1998 ) , directed by Ram Gopal Varma and written by Anurag Kashyap. The critical and commercial success of Satya led to the outgrowth of a distinguishable genre known as Mumbai noir, urban movies reflecting societal jobs in the metropolis of Mumbai. This led to a revival of Parallel Cinema by the terminal of the decennary. These movies frequently featured histrions like Nana Patekar, Manoj Bajpai, Manisha Koirala, Tabu and Urmila Matondkar, whose public presentations were normally critically approved.

“ In the last decennary of the twentieth century, popular Hindi Cinema grew well in stature, manner and range. It was a period of originative and commercial activity that was as frantic and eventful as any other in the annals of filmmaking in Mumbai.

The undermentioned two factors marked the decennary of 90s

Advent of a fresh strain of managers eager to update and upgrade Bollywood. They are ready to encompass planetary influences and established their certificates as exceeding craftsman

Procedure of corporisation of movie production

With authorities officially allowing industry position to filmmaking, clip edge movie undertakings, nationalized Bankss expressing a just grade of involvement in support, professionally handled a few large streamer ventures having insurance screen, the Mumbai movie industry was on the threshold of the welcome new morning.

Hindi blockbusters began to go instead good across geographical boundary lines. Big budget extravaganza shooting largely on picturesque foreign locations has begun to bomb with alarming regularity. Aggressive abroad Selling of Hindi movies in 1990s sprang possibly as a rebellion against Hollywood ‘s move to infiltrate the Indian market with dubbed prints.

1990s was the age of the “ interior decorator ” film-a carefully packaged and branded merchandise in which every small ocular and physical item ; from the constituents that make up the background to the garb and accoutrements of the stars, is of extreme importance.

In the consumerist times that we lived in, these movies looked like life style and manner statements than mere narratives. The accent on nutrient, sleek autos, and body-hugging interior decorator costumes was a calculated gambit to wheedle and stir up their latent phantasies about high life The most successful movies of the last decennary of the twentieth century and in the first two old ages of the twenty-first century were those that reflected the concerns of a quickly altering society fighting to accommodate its antique traditions and rites with the life style alterations brought about by rapid globalisation.

In fact, 1990s was a decennary with immense contradictions. Even as music, love affair and a grade of pragmatism made a triumphal return to mainstream film after an full decennary of action-oriented, fantasy loaded amusement, onscreen force became more repetitive and more in writing than of all time before. Though traditional household values and cultural orthodoxy had been the dominant mantra, Hindi movies with the emphasis on foreign venues and aggressively chiselled textures, luxuriated in the enticements of Westernization. In short, Mumbai movies were in the throes of a dramatic alteration that made the past decennary one of the most memorable periods that popular Hindi film has of all time witnessed ( Chatterjee, 2003 ) . ”

“ Indian films grew more popular in Pakistan in the decennary due to their easy, free and inordinate exhibition on Satellite channels. “ Satellite dish ” arrived in the early 90 ‘s in Pakistan and people were bedazzled by Zee, Star Plus, Sony, B4U and MTV India. With so many picks, household members gathered round their Television sets, even during meal times and sitting room treatments revolved around the Indian soaps and movies. Unsuspectingly Pakistanis have begun to emulate the apparels, the linguistic communication and the life style they project. Whether like to acknowledge it or non, the length and manners of our kurtas and bloomerss fluctuate with what Kareena, Rani or some soap actress was seen have oning ( even our seamsters are familiar with Bollywood tendencies ) . The construct of household amusement has undergone a extremist alteration as a consequence of the Indian electronic media during the last decennary. We are no longer easy offended by actresses tittuping about in uncovering outfits and their implicative duologues and dance moves. ” ( Mahmood, 2004 )

Pakistani viewing audiences welcomed the new romantic household sagas uniting modern, westernized life manners with sub-continent traditional value system as a moving ridge of fresh air. The fad for Bollywood flicks besides heightened due to the absence of active/functional local movie industry. Influenced by the Indian hits of the decennary, the immature coevals of Pakistan started following interior decorator apparels, foreign culinary art and international trade names as a manner statement while they idolize Indian movie stars as their icons.

Status of Pakistani Film Industry in 1990s ( Cinema of Pakistan, 2010 )

At the start of the 1990s, Pakistan ‘s movie industry was gripped with certain day of reckoning. Of the several studios merely 11 were operational in the ’70s and ’80s bring forthing about 100 movies yearly. This figure would take down farther as studio went towards bring forthing short-plays and telecasting commercials and allow the industry astray in the aftermath of overseas telegram telecasting. By the early ’90s, the one-year end product dropped to around 40 movies, all produced by a individual studio. Other productions would be independent of any studio normally financed by the film makers themselves.

The local industry succeeded to derive audience attending nevertheless in the mid and late1990s. With Syed Noor ‘s Jeeva and Samina Peerzada ‘s Inteha, it seemed the film of Pakistan was headed towards a much needed resurgence but naught attending recorded at the box-office for ulterior ventures ushered a complete and arrant prostration of the industry. Noteworthy productions of the clip include Deewane Tere Pyar Ke, Mujhe Chand Chahiye, Sangam, Tere Pyar Mein, and Ghar Kab Aao Gay, which tried hard to acquire off from the formulaic and violent story-lines but were non accepted to the full amongst the lower in-between category film audience.

Controversy raged over the cinematography of Jinnah in the late ninetiess, a movie produced by Akbar Salahuddin Ahmed and directed by Jamil Dehlavi. Expostulations were raised over the pick of histrion Christopher Lee as the supporter picturing Muhammad Ali Jinnah and inclusion of Indian Shashi Kapoor as archangel Gabriel in the dramatis personae combined with the experimental nature of the book. Of all the contentions and rumor, the movie proved a point that Indian and Pakistani film makers and histrions can join forces together on any such cinematic ventures without the prohibition being lifted. Later old ages would see more histrions travel in and across the boundary line on farther cross-border ventures.

Late ’80s had seen the decease of Waheed Murad and towards 1989, Anjuman got married to Mobeen Malik, discontinuing from playback sign language and eventually Sultan Rahi was murdered in 1996. The already staggering industry lost viewership non merely for its Urdu but Punjabi movies following Rahi ‘s decease. Director Sangeeta attended to her household life and Nazrul Islam died during the clip. The industry was pronounced dead by the start of the new millenary. Syed Noor depressed at the sudden diminution of film gathered investors for what was considered the lone Pakistani movie to hold survived this pandemonium. The twelvemonth 1998 saw the release of Noor ‘s Choorian, a Punjabi movie that grossed 180 million rupees.

Decline of Cinema Theatres

Since 1995, the authorities of Pakistan had kept a close oculus on the lessening of film halls and theaters in the state. The state boasted 750A film theaters in 1990 ( even more before so ) , but that figure had declined to 175 by 2002. The staying film are reported to be in really hapless status, and in despairing demand of attending ( Cinema of Pakistan, 2010 ) .


In this scenario, five films from the decennary of 1990s were sampled and content analyzed to analyze the effects of popular Indian films on offense scene & A ; force tendencies in Pakistani society.

For the decennary of 1990s, five films that were studied included:

Top Earners 1990-1999 ( Figures in Indian Rs )




Net Gross

Adjusted Net Gross



Hum Aapke Hain Kaun




All Time Blockbuster


Dilwale Dulhania Le Jaingay




All Time Blockbuster


Raja Hindustani




All Time Blockbuster


Kuch Kuch Hota Hai




All Time Blockbuster


Boundary line





The films were selected from one of India ‘s reliable movie web site & lt ; & gt ; as it is the lone web site that provides a comprehensive record of top grosser films decennary wise. Several other web sites are besides referred to corroborate the choice such as

Box office hits and floating-point operations of the twelvemonth.

Results__ Part One: Contented Analysis of Movies

The Scopess and the graduated tables of force in the fictional universe of movies during 90s ( 1990-99 ) are detailed in tabular arraies # 1, 2 & A ; 3.

% F stands for the extent to which force occurs at all in the movies sampled. The figure of violent incidents in each movie is shown in the 3rd Column in Table # 1

Harmonizing to it the five top grossing movies of the 90s contain

A sum of 62 violent Acts of the Apostless including

24 verbal

03 physical

35 Acts of the Apostless of both physical and verbal force

doing an norm of 12.4 Acts of the Apostless per movie

When analyzed in item, the five movies seem distinct in their force class as evident from the 4th column in the tabular array

Border was rated as the most violent film with the highest figure of 22 violent Acts of the Apostless including 9 verbal, 1 physical and 12 Acts of the Apostless of both verbal & A ; physical force.

Raja Hindustani ranks 2nd with 20 violent Acts of the Apostless including 7 verbal, 1 physical and 12 multiple ( verbal plus physical ) Acts of the Apostless of force

Dilwale Dulhania Lai Jaingay depicts 08 Acts of the Apostless of force including 3 verbal 1 physical and 4 multiple force scenes.

Hap Aapke Hai Kaun and Kuch Kuch Hota Hai with 06 Acts of the Apostless of force each including 3 verbal and 3 multiple force scenes in the first and 2 verbal & A ; 4 multiple force scenes in the 2nd base 4th

Current survey that calculates verbal and symbolic force besides physical force found that it amounted to 38.70 % of all incidents coded. Physical force constituted merely 4.83 % of all incidents. While multiple, physical with verbal force still dominated the screen accounting for 56.45 % of all incidents.

Duration of Violence ; Col. 5 Overall continuance of force for the 62 violent incidents amounted to 3 hours 2 proceedingss that translate into an norm of 3.2 incidents per hr of movie and 12.4 incidents per movie. Overall 15.75 % per centum of all movie hours contain force

Treatment of Violence: It is the intervention of force instead than the frequence that represents the strength with which it is portrayed on screen and influences its viewing audiences. It is the really factor that categorizes a film as violent or non-violent and mentioned in 6th column of Table 1

Border contained 12 violent scenes depicted diagrammatically with gory inside informations, bloodshed in battlegrounds, shouting, background music and injury to victims, therefore, is rated as more violent film than Raja Hindustani that includes merely five such scenes.

DDLJ had merely one Graphic force scene while Hum Aapke Hain Kaun & A ; Kuch Kuch Hota Hai contained no act of in writing force and were identified as romantic household films compared to the first two centrally violent action romantics.

So, on the whole, out of 62 violent Acts of the Apostless, merely 18 Acts of the Apostless 29.03 % were regarded as diagrammatically depicted in the five movies while 44 Acts of the Apostless 70.96 % were treated non-graphically.

Casualties highlighted in Column 7: There were in all 29 hurts and 22 deceases

Besides there were five ( 05 ) incidents of slaughter representing 6.49 % of all violent incidents. Therefore 37.6 % characters got injured while 28.5 % characters killed in all.

Means represent ways & A ; arms that were used in violent incidents in movies: Several agencies were used in violent incidents at the same time. Verbal agencies were used 24 times entirely and 33 times with other agencies. Manual agencies were largely used with other agencies i.e. 27 times than entirely 1 clip. Firearms were barely used entirely 2 times than with other arms 17 times while we found the usage of multiple agencies 35 times during the span of these sampled films. Chemical and Nuclear arms were non found in any of the incidents. In short, movies in the decennary of 90s exhibited assorted types of arms from verbal cheering, symbolic menaces & A ; abuses to physical force and unfastened usage of pieces.

Table # 2 is used to stand for human ecology of the population of the fictional universe of films.

Gender representation in Films is mentioned in Column 2: The fictional universe of movies in Indo-Pak is throughout dominated by male characters, which outnumbered female functions by about a ratio of 1.4 to 1 in the movies of 90s. In the sampled movies, out of the 77 major characters coded, the 45male functions ( 43 grownups & A ; 2 kids ) accounted for 58.44 % as against 32 characters ( 31 grownups & A ; 1 female kid ) or 41.55 % of the major functions for the females. Thus the females were markedly underrepresented in the Hindi universe of film.

Percentage of Violent & A ; Victim Characters ; column 3: The per centum of major characters involved in force seems to be rather outstanding though non every bit much as found in other decennaries. For illustration ; 52 out of 77 ( i.e. 67.53 % ) of major characters had some engagement in force either as Violent, 7 ( 9.09 % ) , Victims, 16 ( 20.77 % ) and/or both, 29 ( 37.66 % ) .While 32.46 per centum characters had impersonal functions and were non involved in force at all.

Most of the violent characters were work forces ( 71 % ) than adult females ( 29 % ) . Womans were frequently depicted as victim, 10 ( 62.5 % ) than work forces, 6 ( 37.5 % ) . Furthermore, bulk of the characters depicted both violent every bit good as victims were work forces 26 ( 90 % ) than adult females ( 10 % ) .

Percentage of Killers & A ; Killed ; Column 4: In footings of strength excessively, force was rather permeant among the characters because 16 ( 20.77 % ) of them had some engagement in deadly force either as slayers 3 ( 3.89 % ) , killed 6 ( 7.79 ) or both 7 ( 9.09 % ) . 100 per centum of them were male.

Age Range ; Column 5: Age-wise characters were divided into four cells in order to analyze the word picture of assorted age groups in gesture images. The age distribution of the 77 major characters in focal point is as follows: 5 characters ( 6.4 % ) represented adolescents ( 0-19 ) & A ; there was no representation of aged ( 60 & A ; above ) . The extremely representative age scope was middle-aged ( 30 to 59 ) that contained 43, ( 55.8 % ) of the characters. While 26, ( 33.76 % ) belonged to the age group runing between 20- 29 normally represents young person. Of all the age groups, young person and middle aged characters were more violent with the bush leagues & A ; adolescents being the least violent. The most likely victims of the force were bush leagues, adolescents and adult females.

Socio-Economic Background ; Column 6: Socio-economic position of 9 % characters was non known. From the remainder of the 90.9 % characters, 30 % belonged to the upper category with another 38 % represented the in-between category. In contrast to the demographic world of the factual universe, the lower category had the lowest on screen representation and constituted merely 23 % of the movie population.

Portrayal of Major Fictional characters as Violent or Victim ; Column 7

Portrayal of characters is considered an of import factor as it determines the influence of these characters on viewing audiences. Largely violent characters were depicted as scoundrels ( 4 instances ) than hero ( 1 instance merely ) while in 2 instances managers had a impersonal attack towards them. Victims were sometimes depicted as Hero ( 5 instances ) , ne’er scoundrel and frequently ( 11 instance ) received impersonal intervention in the movies of 90s.While, most of the clip movies highlighted culprits of force turned violent due to societal unfairness and therefore depicted as heroes ( 16 instances ) , sometimes scoundrels ( 9 instances ) while 4 of them received impersonal intervention despite engagement in force both every bit violent every bit good as victim.

Findingss in Table 3 reflected that force was non the cardinal subject of the films during the decennary of 90s though it ‘s present one manner or the other.

Type and Genre of Films as represented in 3rd & A ; 4th columns of the tabular array suggested that one ( 20 % ) out of five films ( Border ) was centrally violent action escapade about warfare, while remainder of the four films ( 80 % ) was romantic household flicks, two of them, DDLJ & A ; Raja Hindustani ( 40 % ) were by the way violent and the other two Hum Aapke Hain Kaun & A ; Kuch Kuch Hota Hai ( 40 % ) were non-violent.

Habitat in 5th column: Two films HAHK & A ; Raja Hindustani ( 40 % ) portrayed Urban & A ; Suburban habitat as they depicted a narrative affecting taking couple from the two venues. On the other manus, DDLG ( 20 % ) presented Rural & A ; Urban mix as half of the movie was shot in US while remainder of the half in rural Punjab. KKHH ( 20 % ) depicted pure urban civilization while Border ( 20 % ) was based in rural & A ; suburban background.

Treatment of Violence ; 6th column: Sing the intervention of force, merely one film, Border ( 20 % of the sample ) contained in writing, gory and elaborate word picture of force while the remainder of the four Hum Aapke Hain Kaun, DDLJ, Raja Hindustani & A ; Kuch Kuch Hota Hai ( 80 % of the sample ) had non in writing, elusive and doubting intervention of force.

Approach towards Violence ; 7th column: Overall force was dramatized and even glamorized in three films ( 60 % ) i.e. Raja Hindustani, Kuch Kuch Hota Hai and Border. The later besides justified force in war in the name of nationalism. While merely one film DDLJ ( 20 % ) condemned it. HAHK ( 20 % ) had instead equivocal attack towards it.

Destiny of Violent Characters shown in column 8: Violent characters were portrayed as heroes in Border, Raja Hindustani and Kuch Kuch Hota Hai ( 60 % ) but were non found to be rewarded or appreciated for their violent workss in any instance. On the contrary, in all the three films they were shown to endure. While remainder of the two films viz. , DDLJ & A ; HAHK were non-violent and had an equivocal attack, therefore their characters were neither rewarded nor punished for any of their violent Acts of the Apostless even if involved.

Part Two: Contented Analysis of Newspapers

The current survey evaluates the possible societal impact of onscreen force by analysing offense intelligence narratives of the same period. Therefore, the 2nd portion of the survey includes the treatment of the tabular arraies incorporating day of the month gathered on the footing of the content analysis of newspapers as a mirror to society. In order to analyze the prevalence of violent, offense narratives in mainstream Urdu Press, a month ‘s Jang ( 1st to 31st December 1996 issues ) newspapers were content analyzed as a representative sample and their consequences were shown in table 4.

Harmonizing to the findings in 30 yearss newspaper ( Jang was non printed on 26th December due to public vacation ) .

Prevalence & A ; Category of Violence ; Col 2 & A ; 3 in the tabular array reflected that:

370 violent offense narratives were reported in the month of Dec. 1996 with an norm of 12.33 narratives per issue

Class wise merely 33 ( 8.9 % ) incidents of pure verbal and symbolic force were covered

compared to 164 ( 44 % ) incidents of Physical force and

172 ( 46 % ) incidents of multiple verbal & A ; physical force

Coverage of Violence narratives as represented in Column 4 showed that 20705 centimeter in 285 intelligence pages out of 115, 710 centimeter had the offense narratives, therefore 17.8 per centum of the newspaper content was based on offense narratives in Jang issues of Dec. 1996.

Furthermore the Treatment of Violence in the News points was identified as it was apparent from Column 5:

129 ( 35 % ) narratives were reported diagrammatically, covering in item largely with dual, ternary and sometimes even four and five column headers including images, boxes or/and sensational phrases and adjectives.

On the contrary, 242 ( 65 % ) intelligence points received non-graphic, elusive or doubting intervention

Number of Casualties ; Column 6 reflected that in the journalistic universe of offense, 346 ( 9 % ) people were reportedly injured while 220 ( 5.8 % ) lost their lives in a month.

To find the type of force, frequence of assorted agencies used in offenses were identified in Column 7.

As per the tendency of the decennary, manual agencies ( non-traditional weaponries that required physical force ) were widely used ( 224 times ) followed by

the inordinate usage of fire-arms consumed around 168 times,

verbal means, 144 times and

chemical arms, merely 12 times

multiple arms ( two or more agencies ) were used in around 158 instances,

while in 18 instances agencies of force were merely unknown..

The current research besides highlighted the personality profile of the chief characters involved in offenses and force as evident from intelligence studies. The analysis is critical to enter the geographics, human ecology and thematic construction of the existent life force in order to detect if it has any connexion to the demographic construction of films characters studied at the same time.

The human ecology of the factual universe of force is represented in Table 5.

Numerically, work forces clearly outnumbered adult female as major characters in violent narratives.

Number and Gender of Major Fictional characters involved in Crime News ; Column 2 & A ; 3:

Out of the population of 3729, around 3333 ( 89 % ) characters were male, 105 ( 2.8 % ) were

female while 291 ( 7.8 % ) were unidentified.

Percentage of Major Fictional characters involved in Violence: The nose count of the character involved reflected that 3123 out of 3729 ( 83.74 % ) people had some engagement in force either as Violent 2049 ( 54.9 % ) , Victims 653 ( 17.5 % ) and/or both 421 ( 11.2 % ) as evident from column 4

Work forces were largely reported as violent 2030 ( 99.07 % ) than adult females, 11 ( 0.53 % )

While some violent characters remained unidentified, 8 ( 0.39 % )

Victims once more had a big bulk of males, 490 ( 75 % ) than females 81 ( 12.4 % ) and in many instances, around 82 ( 12.5 % ) , victims ‘ gender was unidentified

There were about 421 ( 11.2 % ) characters who were identified both violent every bit good as victim in offense narratives. 214 ( 50.8 % ) of them were males, 7, ( 1.6 % ) females while 200, ( 47.5 % ) were unidentified every bit far as gender was concerned.

In footings of strength excessively, characters seemed rather violent as apparent from column 5:

1724 ( 46.23 % ) of characters had some engagement in deadly force either as Killers 1493 ( 40.03 % ) including 1487 ( 99.59 % ) males and 6 females ( 0.40 % )

Killed 217 ( 5.8 % ) consisting 183 ( 84.33 % ) males, 30 females ( 13.8 % ) & A ; 4 ( 1.8 % ) unidentified.

Peoples who were recognized as both slayers & A ; killed estimated 14 ( 0.37 % ) characters including 12 ( 85.7 % ) work forces and 2 ( 14.28 % ) adult females.

Most new narratives did n’t highlight Age and Social Status of felons, as they were absolutely unidentified. However, victims ‘ gender, age and position were seldom mentioned as reflected in column 6

As per computations, entire 57 ( 1.82 % ) including 1 violent & A ; 55victims were reportedly minor while 1 was recognized as both violent and victim at the same time

Around 24 ( 0.76 % ) characters including 18 victims, 3 violent and 3 victim plus violent aged between 20-29,

Entire 23 ( 0.73 % ) including 21victims, 1 violent and 1 violent turned victim elderly between 30-39 while

7 ( 0.22 % ) including 6 victims and 1violent were over 60

So overall, age of merely 2.97 % characters was known

In most studies, it ‘s impossible to happen out anything about characters ‘ Social Background. However a few incidents reflected upon the position of the individuals involved as mentioned in column 7

Harmonizing to the survey, 33 characters ( 1.05 % ) consist of 21 victims, 7 violent and 5 violent plus victim belonged to upper category,

12 ( 0.38 ) to middle category including 2 violent, 9 victim and 1 both

60 people ( 1.92 % ) involved represented lower category with 45 victims, 5 violent and 10 violent plus victim on the whole.

Overall background of 2.81 % characters could be identified

Portrayal of Fictional characters: Newspapers can make or falsify anyone ‘s image in public through its Hagiographas. It ‘s in evident from column 8 of table 5

Largely culprits of force were portrayed as scoundrel such as 237 characters that constituted 11.56 % of the violent population.

On the contrary 19 ( 0.92 % ) of them were depicted as heroes while105 ( 5.1 % of them ) remained unidentified

Most of the victims around 258 ( 39.5 % ) remained unidentified, sometimes depicted as heroes, 92 ( 14.08 % ) while really seldom they were depicted as scoundrel 9 ( 1.37 % )

3 ( 0.71 % ) of both the violent every bit good as victim depicted as hero while 7 ( 1.66 % ) of them were depicted as scoundrels.

Table 6 mapped and compared the force profiles of the sampled Hindi movies and the sampled newspapers in the decennary of 1990s

Size of the Sample: The five top grossing movies of the decennary of 1990s incorporating about 19 hours 17 proceedingss continuance and 30 newspapers consisting 285 intelligence pages of 115710 sq m were sampled to stand for fictional universe of Indian films and factual universe of Pakistani newspapers severally.

Percentage of Violence in Sample As per the computations shown in row 4, 3 hours 2 proceedingss i.e. 15.75 % of the movie hours contained force picturing 62 violent incidents on the whole as against to 370 force narratives in a month ‘s newspaper busying 20705 sq m infinite i.e. 17.89 % per centum of the newspaper coverage. Apparently figure of violent narratives in newspapers seemed much higher than the violent sequence in movies, but sing the different size of the two samples ( 5 movies vs. 30 newspapers ) , it is merely 2 % more. However, overall the per centum of force came out much lower than the other decennaries and popular belief, both in newspapers every bit good as movies.

Frequency of Violence: However, R or Rate that represents the frequence of violent actions/ incidents in units upholds the tendencies with higher rate of force per all movies and per all hours for the Indian film. Row 5 comparisons, for e.g. 12.4 violent scenes per movie and row 6, 3 Acts of the Apostless per hr for the Indian films which are normally 3 hours long with the corresponding rate figures of 12.3 violent narratives per paper and 1.29 violent narratives per page with an mean 9.5 intelligence pages per issue.

Percentage of Violent & A ; Victim Characters: Row 7 represents a higher per centum of newspapers ‘ existent life characters were involved in force as compared to films ‘ fictional characters i.e. out of 3729, around 3123 or 83.7 % of all major characters in intelligence narratives had some engagement in force as compared to 52 out of 77 or 67.5 % of existent characters in the new narratives.

Furthermore, around 54.9 % of them were portrayed as violent, 17.5 % depicted as victim and 11 % as both violent and victim in the intelligence narratives. While in gesture images, merely 9 % were portrayed as violent, 20.7 % as victim and merely 37.6 % as both violent every bit good as victim at the same time.

Percentage of Killers & A ; Killed: Equally far as the strength was concerned, onscreen force was non that insidious. As the Row 8 shows, movies depicted merely 20.7 % per centum of the characters were involved in fatal force either as slayers 3.8 % , killed 7.7 % and both slayer every bit good as killed 9.09 % . On the other manus, in intelligence narratives 46 % characters were involved in fatal force, 40 % as slayers, 5.8 % as killed and barely 0.37 % as both killer & A ; killed.

Indexs of Violence ; Violence Index: With the higher plan mark 47 and lower character score 88 for the gesture pictures in comparing to newspapers 45 and 130 severally, we ended up with an obviously higher Violence Index i.e.175 for the factual universe of newspaper in comparing to 135 in the fictional universe of Indian films.

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