Thrissur: Akhil Bharatiya Vidyarthi Parishad (ABVP) workers on Thursday shouted slogans at `VIBGYOR,’ a festival of short films and documentaries being held here by Chetana Media Institute, run by the Congregation of Mary Immaculate (CMI), in protest against the screening of a music video, `Vandemataram — A Shit Version,’ and the film, `Godhra Tak.’
[Additional inputs — THis is not the first time that rights of films screening has been disrupted A meeting at Trivandrum Hotel to discuss the film "Water" by Deepa Mehta was attacked by RSS and Shiva Sena disrupting the meeting and although all the culprits were shown on Tv during the attack no arrests were made — Anand Patwardhan’s film IN THE NAME OF GOD also came under ban in Kerala
Here are some excerpts from an interview with Anand Patwardhan over the IN THE NAME OF GOD film that was banned in Kerala
Anand Patwardhan says on the suject
"I should also explain that my 11-year-old film In the Name of God was stopped in one district in Kerala. Congress rules the state and there is a strong left opposition but a collector or administrator issued a ban order and stopped screenings because Hindu rightwing elements said screenings would cause a law and order problem in the district. The local administrator banned it for 15 days and then extended the ban for another 15 days. This film has a universal certificate, was shown on television about seven years ago and won a national award.
Luckily in Kerala the secular movement is very strong and thousands marched and demonstrated on two or three occasions. There was street theatre and some illegal “protest” screenings, so there was a huge movement building up in the defence of the right to show the film. Finally the ban order had to be lifted by the local administrator so people’s pressure succeeded in overturning the ban order. "
In the Name of God Anand Patwardhan (India, 1992)
(Ram ke Naam). In December 1992, contending that the sixteenth-century Babri Mosque in Ayodhya was built on the birth site of the god Ram, Hindu militants tore it down, setting into motion a chain reaction that claimed thousands of lives. In the Name of God, completed a year before this epochal event, lays bare the mechanics by which religion was politicized.
A sharp-eyed Patwardhan records the march to Ayodhya, fronted by a politician in a Toyota done up like Ram’s chariot, and conducts interviews that are alternately comic (a self-important ideologue turns out to be drunk) and horrifying (a man endorses Gandhi’s assassination). We watch as young men converge into an avenging mob who claim they know the exact location of Ram’s birthplace but, when questioned, have no idea in which century he was born. The film’s moral center is a Hindu priest in Ayodhya, who points out that the nationalists are “playing a political game.” The priest was subsequently murdered; as of this writing, the site of the former mosque remains unused. – Juliet Clark