An Analysis Of Pakistan’s Film Culture Industry From The Perspective Of "Glocalization"

In the 1990 s,Roland Robertson,a sociologist,is credited with popularizing the term "glocalization" in the field of social sciences,which refers to the adaptation of global products and services to local markets.In the context of the film industry,this means adapting films to make them more appealing and understandable to local audiences incorporating elements of local culture and language into the films.By glocalizing films,filmmakers can create a connection between the global and the local,making their work more relatable and resonant with audiences.The phenomenon of glocalization has garnered significant attention from an array of stakeholders,such as social researchers,theorists,policymakers,and filmmakers,resulting in the development of the glocalization theory.By analyzing the particulars and contours of the circulation and viewing of films among audiences in Pakistan,this study repositions Pakistan in the glocalization scene and contributes new knowledge,perspectives,and understandings about cultural consumption along with Pakistan’s glocal power and its relations with the local audience.The film industry in Pakistan has a history dating back over 90 years,including films produced before the country’s independence from Colonial India in 1947.The industry has undergone numerous transformations and challenges,reflecting the complex social,political,and economic dynamics of the country and the region.However,it cannot invoke and obtain the national and international audience as it should.It faces several challenges of survival and progress in a world shaken by several crises,including inadequate cultural policies,insufficient governmental assistance,religious extremism,political ambiguity,terrorism,and pandemics.However,the industry has also witnessed the emergence of new and remarkable opportunities,such as the rise of digital platforms and the growing demand for local content.This study aims to investigate the challenges and opportunities faced by the Pakistani film industry,with a particular focus on the factors that have hindered its progress and the strategies that can be adopted to overcome them.In addition,this research systematically delves into the intricate interplay between global,local,and religious elements in the content,as perceived by the Pakistani audience residing in the secondlargest Muslim-populated country in the world.The study also suggests how the Pakistani film and entertainment industry should focus on meeting current trends and producing quality content for their audience focusing on glocalization.This study employed a literature research method to analyze the chronological development of the Pakistani film industry,as well as the impact of glocalization on Pakistani cinema and its relationship with Hollywood,Bollywood,main Islamic countries,and China.A mixed-method approach was utilized for film audience research,which included a self-reported questionnaire to gather primary data from the target population regarding their experience,perception,and speculation about national and international cinema.Due to the pandemic,lack of financial resources,travel restrictions,and time limitations,the questionnaire was completed by 633 participants(43% female),primarily belonging to the Millennial and Gen Z generations(96%).Furthermore,over three-quarters of the participants reported having more than ten years of cinemagoing experience.The present thesis is framed within a seven-chapter research framework,which aims to thoroughly analyze each research problem addressed.Following the introductory section,each chapter is structured to cover a distinct aspect of the problem logically and coherently.Through this approach,the thesis presents a comprehensive and nuanced understanding of the research problem,informed by rigorous academic inquiry and analysis.The preliminary chapter provides a comprehensive analysis of the historical trajectory of the Pakistani cinema industry,encompassing the pre-partition,postindependence,and post-pandemic eras.The chapter primarily centers on four distinct periods,namely the golden era of Pakistani cinema,the declining era,the emergence of the new wave of Pakistani cinema,and the present situation after the disruptive impact of COVID-19.The second chapter commences with an introduction to glocalization theory,followed by a detailed analysis of its various types.Furthermore,the chapter examines the elements of glocalization that are applicable to the Pakistani film industry while also elucidating the influence of this phenomenon on the country’s cinema.The third chapter mainly focuses on the impact of Hollywood on Pakistani cinema.This chapter provides a comprehensive analysis of the reasons why American films have a significant impact on Pakistani cinema.Additionally,the chapter delineates the advantages and disadvantages of Hollywood’s influence on Pakistani film and culture.The Indian film industry,commonly called Bollywood,has garnered widespread domestic and international popularity.The fourth chapter of this study examines the influence of Indian cinema on Pakistani films,with a specific focus on the factors contributing to the strong influence of Indian films on the Pakistani film industry and audiences,and elucidates on the reasons behind the considerable acceptance of Indian films among Pakistani viewers.The fifth chapter of this study delves into the Pakistani film industry,situating it within the broader context of cultural industries in Islamic countries.The chapter succinctly explicates the reasons underlying Muslim cinema’s significance and challenges.Additionally,this chapter examines the potential for growth in the cinematic landscapes of Turkey,Iran,and Egypt.In Chapter 6,the study examines the phenomenon of glocalization and reciprocal learning in the cultural film industries of China and Pakistan.In addition,it analyzes the reasons behind the lack of acceptance of Chinese films in Pakistan,including factors such as cultural differences and linguistic barriers.It suggests possible strategies to enhance mutual appreciation and collaboration between the two countries’ film industries.Chapter 7 of this study presents a quantitative analysis of Pakistan’s film cultural industry,focusing on the impact of "glocalization." Through audience research,various aspects were analyzed,including audience demographics,film-watching habits,the impact of religion,film genres,reasons for watching films,Pak-China collaboration under CPEC,and preferences for Pakistani,glocal,and Islamic touches in films.Data shows that 2022 was a fantastic year for Pakistani cinema,and Pakistan stands among the 30 top countries worldwide.The findings reveal that people’s cinema-going and radio-listening habits are significantly decreased.More than two-thirds of the audience has information about new and old Pakistani films.Social media is the primary source of information about new releases.About 65% of the participants watch movies on free online platforms.The majority of the respondents prefer foreign films with English subtitles.More than ? of the audience suggest the ticket should be less than Rs.600.Comedy,romantic,suspense,and historical are the Pakistani audience’s four favorite genres.Most Pakistanis are pro-China and believe that Pakistan benefits from China’s initiatives on cultural exchange.The study shows that integrating Pakistani cultural elements,global elements and Islamic themes into films within the framework of global localization is the key factor in enhancing the appeal of Pakistani films.Although entertainment is considered to be the main motivation for movie-watching,differences make the film industry unique in the context of global localization.Whereas Hollywood films rely on novelty and visual effects,Indian films have similar cultural references and themes,while action and kung fu are central to Chinese films’ appeal to audiences.Statistics show that Pakistani film audiences are attracted to films that contain unique elements of Pakistani culture while also having global implications.Therefore,integrating domestic and foreign elements is essential for Pakistani films to embark on the road to success.