6 November Wednesday, 4:00 PM - 6:00 PM | Auditorium A-13, Academic Block, LUMS
On Wednesday, November 6, 2024, Gurmani Centre for Languages and Literature hosted a session titled “100 Years of Lahore Cinema,” featuring Iftikhar Dadi, a renowned artist and scholar specializing in modern and contemporary art. In his insightful talk, Dadi explored the crucial role of commercial cinema in bridging social, ethnic, and sectarian divides, and examined how Lahore’s cinema has shaped shared experiences of modernity and identity.
Dadi delved into the concept of the “Lahore Effect,” introduced by scholar Rajadhyaksha during the Lahore Biennale 01 in 2018. He explained how Lahore’s cinematic legacy transcends linguistic, national, and regional boundaries, influencing South Asian cinema at large. Drawing on Lahore’s rich cultural and artistic heritage, Dadi illustrated how the city’s cinema blends elements from Hindu mythology, Islamic legends, Urdu literature, Sufi thought, and global cinema, creating a unique hybrid form that resonates with diverse audiences across the subcontinent.
Dadi’s presentation also analyzed the iconic Anarkali theme, showing how it has been repeatedly reimagined in both Lahore and Bombay cinema. He explored how Bombay’s lavish production, Mughal-e-Azam, is deeply intertwined with the mythmaking surrounding Anarkali. He further explored Khawaja Khurshid Anwar’s film Ghoonghat, explaining the lyrical romanticism that characterizes Lahore’s cinema.
Dadi also provided a critical examination of the cultural politics during the Ayub Khan era, noting how the elite liberal values of the time developed a sense of institutional coherence and stability. This political climate, he explained, allowed commercial filmmakers and cultural workers to position themselves more freely within Pakistan’s social and political landscape.
One of the most significant points raised during the talk was the ongoing absence of a national archive for Pakistani cinema, particularly the vast body of films produced in multiple languages across Karachi, Lahore, and Dhaka. Dadi highlighted the liminal status of Pakistani cinema in official cultural policies, contrasting it with India and Bangladesh, where impressive efforts have been made to establish national film archives, providing scholars and researchers with stable access to invaluable cinematic resources.
The event offered rich insights into the cultural and historical significance of Lahore’s cinema and its ongoing impact on the broader South Asian film industry.
