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The Asian Media & Mass Communication Conference 2010 Osaka, Japan production of quality movies” (2005). However, MAAP blames AAP for supporting the “import of Indian films” that it denies (Samdani, 2005). As denials lack solutions, PFPA enters a direct clash with PCOA and PFEA over the issue of the import of Indian films. As stated in “cinema on the road,” the PFPA believes in the effectiveness of their three-point-formula for the revival of national cinema: the government support, the inherent strength that lies in Pakistani producers [for] making quality films, and a ban on the import of Indian films (2006). The PCOA rejects this formula, partially supporting PFPA for “the lack of government support in battling with the forces responsible for the continuing decline in investment, production, and exhibition of films” (Ramzi, 2007). According to Ramzi, the quality of Pakistani films has become so poor that “even on the first day, first show, no one comes to the cinema” (2004c). Apparently, the PFPA’s display of eligibility for a ban on Indian films pairs with ineligibility to meet the cinema needs. Therefore, the importers, distributors, exhibitors, and cinema owners counter PFPA’s three-point-formula for the revival of the industry with their own three-point-formula for the survival of cinemas: foreign film imports, ban on piracy, and the establishment of multiplex cinemas for smaller audience. The validity of the two three-point-formulas depends on the revival of film, which is bound to the survival of the cinemas/multiplexes. The multiplex cinema owners and exhibitors aim at attracting home audience by screening fresh Bollywood movies if only the government can control the availability of pirated DVDs. According to cinema owners, the movie-going culture is dying in Pakistan as the local industry cannot meet its needs; the industry faces a whole generation of lost cinema goers; it shall screen foreign films to retain young audience who enjoys films; thus, piracy shall be controlled for the purpose of legally importing fresh releases in English and Hindi to reattract audiences to cinemas (F. Jawaid & Jawaid, 2009). It’s an audience who is eminently displaying a right to watch pirated films on DVDs, a factor which has changed the dynamics of the current market and audience taste over the last three decades. CONCLUSION The decades of film piracy have facilitated the decline of the cinema goers, and the industry. This offence is occurring under the nose of law enforcement agencies and the authorities. The government plays negligent and PEMRA does not want to crack down on the situation even for the sake of good local films that lose business at box office. The crisis reflects buildings’ survival and cinema’s revival issues, highlighting the fate of a dying industry from the two extremes. The screening of Indian movies and clamping down on piracy appear as solutions for the revival of film viewership to exhibitors, but not to filmmakers. As the banning of Indian films has not benefitted Pakistani film industry, Pakistan shall consider testing the viability of the exhibitors’ solution to revive film viewership. The audience return to cinemas conforms to the survival of the buildings, but not to the revival of the industry. Critics say “the Pakistani cinema industry is at zero” and the screening of foreign films “on the big screen doesn’t mean that the ... industry is revitalizing and drawing in big bucks” (F. Jawaid & Jawaid, 2009). In view of the prevalent situation, the government and the law enforcement agencies shall make decisions in 41
The Asian Media & Mass Communication Conference 2010 Osaka, Japan favor of the viewer and the industry by legally importing and exporting transnational film, both commercial and parallel. It shall pay serious attention to controlling film piracy and making films that negotiate its post-9/11 image before the international community. It shall invest in Pakistani film industry, film education and hands-on training. It shall provide basic infrastructure and financial support for filmmaking, and discontinue neglecting cinema as an industry. 42
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