Paper- 15 Parallel Cinema and Commercial Cinema

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Topic: Parallel Cinema and Commercial Cinema

Prepared by: Komal Shahedapuri

            
Roll No: 13

Paper: 15 Mass Communication and Media Studies

M.A (English):  Sem -4

Enrollment No: 2069108420170027

Batch: 2016-18

Email:  komaltara1311@gmail.com

Submitted to:  Smt .S. B Gardi, Department of English,                                                        MK Bhavnagar University.

Preface

   Cinema is a medium that does reflect the true mood of the society and also that changing reality. Films mean the particular movies that we see with all the elements they contain and cinema means the some of the means made possible only by film technology which distinguish cinema. The Cinema of India consists of films produced in the nation of India Cinema is immensely popular in India, with as many as 1,600 films produced in various languages every year. Indian cinema produces more films watched by more people than any other country; in 2011, over 3.5 billion tickets were sold across the globe, 900,000 more than Hollywood. (Cinema Of India)

     What is a Cinema?

        Cinema is a reflection of society, both present and past.

        Cinema is a form of communication.

        Cinema is a powerful vehicle for culture, education, leisure and    propaganda

                                          

                                     

Cinema is a good medium for entertainment. Cinema is no doubt one of the wonders of the present age. Cinema is a film/ a story recorded as set of moving pictures to be shown on screen of a theatre house and television. It is a channel of expression and communication. The cinemas one of the most important inventions of modern science. Cinema exercises a great influence upon the popular mind. A popular movie, when shown in the T.V., can be as large crowd-puller.  (Mishra)

Advantages of Cinema

Earning source for many

Encourages Artists

Refreshment

Entertainment

Exposure to Excellent Art Work

Educative value of Cinema

Truly speaking, cinema can even turn an illiterate person into a man of knowledge and experience. (Mishra)

As a single coin has two sides, there are also disadvantages of the cinema

In most cases ethical values are thrown to the wind, and tinsel glamour and immoral ways are made highly attracting and charming. Taking the glamorous cinema world as real, many lose whatever they have by trying to copy such a world.

Instead of stressing hard work, honesty, and perseverance cinema creates an unhealthy attitude by emphasizing on luxury and comfort.

Dirty and obscene songs, dances, and scenes put too much pressure on the minds of the adolescents and break their moral restraints at ease. (Mishra)

Art / Parallel Cinema

           The Art Cinema is more realistic and relevant as the needs of people and society. This form is not very popular. It is also called ‘parallel cinema’. The Parallel Cinema movement began to take shape from the late 1940s to the 1960s, by pioneers such as Satyajit Ray, Ritwik Ghatak, Bimal Roy, Mrinal Sen, Tapan Sinha, Khwaja Ahmad Abbas, Chetan Anand, Guru Dutt and V. Shantaram. This period is considered part of the 'Golden Age' of Indian cinema. Satyajit Ray is recognized as one of the greatest filmmakers of the 20th century. (Cinema Of India)

         Art or parallel cinema that engages with social issues like migration from village to city because of Industrialization and how people are suffering because of poverty and problems of land. The Parallel Cinema concentrates on contemporary socio-political problems of the country. These films are made for the elite audiences and they are expected to change their thought processes. Mostly, there are no idols or stars in the art movie. There are only ideas that shake the minds of the viewer. Examples of Parallel Cinema in India are - Do Bhiga Zamin, Pather Panchali, Salam Bombay, Sati, Welcome to Sajjanpur, Chandni Baar, Lakshmi, Ishanou, Leibaklei etc laying the foundations for Indian neo-realism and the Indian New Wave. (Singh)

                                      

Mainstream / Commercial Cinema

          Mainstream Cinema is also known as Commercial cinema or Popular cinema and concentrates on the entertainment needs of the masses. Mainstream or popular Hindi cinema is also better known as "Bollywood" because such cinema is seen to exercise widespread influence over people and enjoys mass appeal. Popular cinema and culture derive from each other. Films are believed to be the opium of the Indian masses as people rely on this medium to help them escape to a world of fantasy. In a bid to reach the masses, mainstream cinema has become melodramatic and rhetorical. (Singh)

Satyajit Ray v/s Karan Johar (Representation of India)

     Both directors are different from each other, Satyajit Ray has representing the poor/real India where he has discussed the social and political problems of the time and how people are suffering where landlords are take advantages of  poor people and harassed them. His movies are rooted in reality and warranted a discourse over things that matter. They touched various topics that are gnawing at the social fabric of our country and still managed to entertain a wide variety of audiences. Satyajit Ray's Pather Panchali is widely considered the best movie ever made in cinema history. It's still shown in film-schools to help amateur filmmakers learn the ropes of film-making and the art of story-telling. (Mukherjee)

In Pather Panchali, he has presented the poverty and its setting is in the village Nischindipur, rural Bengal which gives the real image that India is like that. After brilliance of Pather Panchali, let's not forget the other movies of the Apu trilogy. Apur Sansar is one of the greatest movies of Indian cinema history and can be seen as a pioneer of parallel cinema in India. Also, who can forget little Apu’s love for his sister Durga and later for the young 16-year-old Sharmila Tagore in Apur Sansar. (Mukherjee)

On the other hand, the way in which Karan Johar presented India as rich country in most of his films where people are rich and it’s easy for them go to foreign country and enjoy their life which is not the life of all people in India. Romance and enjoyment are main important elements of Karan Johar’s films to entertain people and in most of his movie setting is foreign country rather than India which gives the wrong image about India to the outsiders who don’t know anything about our country. In Ae Dil Hai Mushkil, we find that the setting is of the foreign country as film starts in London than in Paris and its story revolves around romance and break ups of hero and heroine, no any serious issues or problems of society as well as young people are presented in this which decreases the artistic value of cinema. In Parallel cinema, we find that artistically which better camera work presented the problems and issues of society in a serious way as identity of Gay and their problems in Bomgay (Riyad Wadia) presented artistically and in serious way while in Bombay Talkies the portrayal of gay identity becomes silly and funny by its representation entertaining way which make it masala kind of film with songs, romance and entertainment

We can divide cinema into two types

1) Dominant cinema
2) Counter cinema

Dominant cinema has been made for entertainment purpose. Basically the cinema is medium of entertainment which is based on fiction and gives aesthetic pleasure to the audience which is prime aim of any work of art. The things used to represent with the glamorization and more than real. Popular cinema can be considered as a dominant cinema. Counter cinema is also entertaining the audience but it has real story. It is based on reality which may be fails to entertain the audience but the cinema has more than entertainment. The things used to represent with the nude reality about the society and real problems of the people as in film ‘Fire’, very openly represented taboo subject of lesbian identity and give them voice for their rights and choices which is part of society. Art cinema or parallel cinema can be considered as a counter cinema. (Sojitra)

Parallel film sought to create some kind of insight into Indian life by capturing the experiences and contradictions of a society in transition by converging on small sections of Indian reality but explore their complex layers of meaning. In particular a new type of woman is ascended which is contrasted strongly (about Fire movie) with the dreamy traditional heroines of popular film as she was placed in many different contexts, confronting a multiplicity of social problems in which all areas of Indian social life were unprotected, inspected and interrogated. (Halder)

Cinema used to describe every descent things and if it is not that than it will be cover up by glamour. Most of time the bright part of country has been shown more brighten in the cinema. But the parallel cinema has focus upon the dark and the grey part of country. The thing which may provide entertainment and it gives feeling of relief or the reality will disturb the mind. Those who have money and power have been never at the side of victims may they never feel that so it was always voidable part of them and without feeling of such a pain one may not understand. In parallel cinema, camera watched the things from both side and then audience can decide or give the judgment. Parallel cinema has been focused on the small corner of the India it maybe corner of a small village of Gujarat or the corner of Calcutta. Parallel cinema in India was produced after the Independence. After the exploitation of 200 years how the Indian looks is described in the most of the parallel cinema. Not the people are exploited by British but now their own people have started to rule and again poor become worst. (Sojitra)

Mainstream cinema based on the demands of the audience’s entertainment and making money out of it rather to focus on the artistic value of cinema. It sometimes only glamorizes the shallow image of the society rather to go deep into roots of those issues and the problems. On the other side, it has given great contribution in connecting entire Country. All mainstream films are not same; some of them have deep insight into portraying the real situations.

Conclusion

Thus, both types of the cinemas have their different strategies according to the time and demands of the audience. We can’t say that Parallel cinema is better than mainstream cinema because it changes with the time and taste of the audience.

Works Cited

"Cinema Of India." wikipedia. <https://en.wikipedia.org/wiki/Cinema_of_India>.

Halder, Dr. Debjani. "Genre of Gaze: Mainstream vs Parallel Indian Film." International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) (2016).

Mishra, Pooja. "Essay on Uses and Abuses of Cinema." 23 September 2014. ImportantIndia. 3 April 2018 <https://www.importantindia.com/14375/essay-on-uses-and-abuses-of-cinema/>.

Mukherjee, Supriyo. "Satyajit Ray Is One Of India’s Greatest Directors But He’s Influenced World Cinema Too." 23 April 2017. ScoopWhoop. 5 April 2018 <https://www.scoopwhoop.com/satyajit-rays-stellar-contribution-to-world-cinema/#.66ur327wf>.

Singh, Naorem Mohen. "Explain the difference between Mainstream and Parallel Cinema. ." 2013 September 13. Blogger. 3 April 2018 <http://ugcnet-masscom.blogspot.in/2013/09/explain-difference-between-mainstream.html>.

Sojitra, Ami. "Art Cinema and Popular Cinema." 3 April 2017. Blogger. 4 April 2018 <http://amisojitra2015-2017.blogspot.in/2017/04/>.

 

Paper- 14 Concept of 'We' and 'Other' in Waiting for Barbarians with reference of Orientalism

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Topic: Concept of 'We' and 'Other' in Waiting for Barbarians with reference of Orientalism

Prepared by: Komal Shahedapuri

            
Roll No: 13

Paper: 14 African Literature

M.A (English):  Sem -4

Enrollment No: 2069108420170027

Batch: 2016-18

Email:   komaltara1311@gmail.com

Submitted to:  Smt .S. B Gardi, Department of English,                                                                MK Bhavnagar University.

Preface

          African Literature is history of Slavery, oppression or suppression, violence and humiliations of their life. This literature is not for Entertainment, not for Aesthetic delight but such literature disturb the mind leads to think about Humanity and so many other things. This literature is not written with Out of Compassion but it is written out of Disgustful life which is experienced by writers themselves. (Joshi)

‘Waiting For the Barbarians’, a novel written by John Maxwell Coetzee in 1980, set in an unknown empire. Coetzee is a South African novelist, essayist, linguist, translator and recipient of the 2003 Nobel Prize in Literature. In this novel, ''Waiting for the Barbarians,'' Mr. Coetzee has found a narrative strategy for controlling the tension between subject and author. This novel deals with the theme of torture by members of Third Bureau on the people of unspecific town only because of the prophecy that Barbarians are going to attack, Third Bureau members physically and mentally torture people of the  town.

Concept of ‘We’ and ‘Other’

   

                  

One's identity (Nomads) and existence depends on ‘Other’ people of unknown empire. Novel raises the question of conflict between civilization and Barbadians. But who decides who is civilized and who are Barbarians? The Barbarians represents a kind of outside threat which seek to trample on the security and safety of the people of the empire. There is also the reflection of power relation between Civilized and Barbarians means White and Blacks. Anxiety and fear remains from the beginning of the novel until the end of it. (Joshi)

Empire

Empire is abstract, placeless and timeless but power operates on the innocent nomads of that town. Empire constantly living under the threat that Barbarians will attack over empire, only because of that illusion members of Third Bureau torturing Nomads of that town physically as well as psychologically. To whom we consider as Barbarians?, to those who are different from us or not part of us or an outsiders. We just used to say they are different then us and we behave with them in a different way that create the identity of ‘Other’ and we automatically create our identity as ‘We’ which discriminate people on the different grounds. Colonel Joll represents ‘WE’ that tortures Old man and Young Boy who are the representative of ‘Other’. ‘Other’ represents mute and voiceless that never raise voice against the power of the empire (We). There are many people who are considered as the Other who don’t have power to do anything as Barbarian Girl who seduced by the magistrate who sympathizes and rule over her but she can’t raise her voice against authority/Power.

Borders

Borders are defended and attacked, questioned and crossed, made   to stand for what is within and what is without. The concept of 'we' and 'They' depends on thinking capacity and ability to define the things. Borders are great demarcation of fatal dichotomy that has guided all of human history, the differentiation of We and Other. As border between India and Pakistan has creates so many differences because of which wars/battles took place.     India has made many writers as Others by giving them exile because they wrote something negative/real about their own country When` people considered the country is as our or as a part of empire, settlements and have some conscious feeling with the place they define themselves as 'We' putting themselves as in center. And when Native people define outsider as visitors putting them out of center means in margin, they become 'Other' or 'They' for them. (Joshi)

In this context, we can put Oriental thinking of West that sees Middle East country as the Orient which creates the sense of ‘We’ in the mind of Western countries."Orientalism” is 1978 book by Edward Said, is a way of seeing that imagines, emphasizes, exaggerates and distorts differences of Arab peoples and cultures as compared to that of Europe and the U.S. It often involves seeing Arab culture as exotic, backward, uncivilized, and at times dangerous. Edward W. Said, in his groundbreaking book, Orientalism, defined it as the acceptance in the West of “the basic distinction between East and West.  In Said’s analysis, the West essentializes these societies as static, uncivilized and undeveloped. (Orientalism)

Expansion and Elimination

The novel is about the Empire that must be expanding at any cost either by transforming Other or wiping it from the face of the earth. In this novel, Nameless narrator governing the unknown empire which expands by removing nomads or barbarians from that town. Empire (We) seeks to eliminate the Otherness upon which their own existence depends, they believe that ‘Others’ are their enemies. The empire exists only in relation to Barbarians. If Barbarians exist or 'Other' are there then Empire gain power to rule over them.  Existence of the empire is depended on the existence of barbarians. If barbarians are not existed then who know that empire is powerful or who say that empire has the whole power control. It means. If barbarians are existed then and then empire will be existed in the world. (Bhatt) 

Torture and Brutality

Torture has exerted a dark fascination on Coetzee and many other South African authors. Coetzee suggests, ‘The true challenge is how not to play the game by the rules of the state, how to establish one's own authority, how to imagine torture and death on one's own terms’. It is about the impact of the torture chamber on the life of a man of conscience". This man of conscience, known only as the Magistrate, is the chief administrator of a small village on the frontier between the civilization of the Empire and the wastelands inhabited by the nomadic Barbarians. As Joll interrogates and tortures Barbarian prisoners, the Magistrate becomes increasingly sympathetic toward the victims. When the Colonel leaves the outpost, the Magistrate takes a Barbarian woman, crippled as a result of her torture, into his house and bed. Coetzee's references to contemporary literary theory suggest the authorial impotency of the novelist who attempts to write about torture, oppression, and-in his particular case-South Africa. The Magistrate's storytelling thus represents Coetzee's own way of solving the first moral dilemma of the author writing about torture. The narrator also comments on the specific technique to be employed when the Magistrate tells Joll, 'They [the tiles] form an allegory. They can be read in many orders. Further, each single slip can be read in many ways. Together they can be read as a domestic journal, or they can be read as a plan of war, or they can be turned on their sides and read as a history of the last years of the Empire-the old Empire, I mean' " (112) (Van Zanten and M)

By this torture on nomads as well as on the Magistrate later on make them Other. Even Magistrate had lots of torture that his life became like the dog because he save Barbarian girl from the torture but Magistrate himself has created feelings of Otherness for the Barbarian girl by seduced her which create women as Other.

Magistrate’s view as a part of ‘We’

Magistrate has different view about torture and the process of interrogating to Nomads giving them pain as he says. ‘I ought never to have taken my lantern to see what was going on in the hut by the granary’. He has dual personality as on one side he sympathizes with Nomads but can’t do anything to save them from the tortures on the other side he has seduced barbarian girl and rule over her as he has authority. He says, ‘It has no escaped me that an interrogator can wear two masks, speak with two voices, one harsh, one seductive’.

Instruments for giving pain

Joll tortured the Barbarian girl and her father by extension, from his we can say that ‘WE’(Joll) did wrong to Others, ’WE’ used instruments of pain that is on the body as Magistrate on the barbarian girl as torture to voiceless/ mute and her body he objectified her body, Bodies were cutting into it probing to get the truth out of his victims. Examples, the puncture marks on the boy’s stomach and legs shows their brutality and there is caterpillarish scars near the barbarian girl’s eye that reflects their ways of interrogating and investigating on the Nomads. It seems that real barbarians were ‘We’ not the ‘Others’. This is considered as Crime towards humanity where humans can’t understand other humans and their problems or situation of life and in spite of help them they more torture hem that they are the ‘Others’ or inferiors to them.

Thus, the concept of ‘We’ and ‘Other’ is deeply interpreted and practiced in this novel by the members of the Third Bureau on the Nomads people only because of the Prophecy.  

Works Cited

Bhatt, Urvi. "Concept of 'We' and 'Other' as shown in the Waiting For The Barbrians." slideshare. <https://www.slideshare.net/bhatturvi/31-urvi-bhatt-waiting-for-the-barbarian-ppt>.

Joshi, Bhumi. "Existentialism in the novel "Waiting For the Barbarians" ." 31 March 2016. Blogger. 3 April 2018 <http://bhumijoshi2014-16.blogspot.in/2016/03/existentialism-in-novel-waiting-for.html>.

"Orientalism." Wikipedia. 3 April 2018 <https://en.wikipedia.org/wiki/Orientalism>.

Van Zanten, Susan Gallaghe and J Coetzee M. "Torture and the Novel: J. M. Coetzee's "Waiting for the Barbarians"." JSTOR (1988): 277-285.

Paper- 13 One Night @ Call Center as a Self-Help Book and The White Tiger as criticism of Self help culture

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Topic : One Night @ Call Center as a Self-Help Book and The White Tiger as criticism of Self help culture

Prepared by    : Komal Shahedapuri

Roll No   : 13

Paper- 13 New Literature

M.A (English):  Sem -4

Enrollment No: 2069108420170027

Batch    :  2016-18
Email     : komaltara1311@gmail.com
Submitted to   :  Smt .S. B Gardi, Department of  English,                                  MK Bhavnagar University.

Introduction

A self-help book is one that is written with the intention to instruct its readers on solving personal problems. The book take their name from Self-Help, an 1859 best-seller by Samuel Smiles, but are also known and classified under "self-improvement", a term that is a modernized version of self-help. Self-help books moved from a niche position to being a postmodern cultural phenomenon in the late twentieth century. For better or worse, it is clear that self-help books have had 'a very important role in developing social concepts of disease in the twentieth century', and that they 'disseminate these concepts through the general public so that ordinary people acquire a language for describing some of the complex and ineffable features of emotional and behavioral life' (Self-help book

Self-help books are only as useful as they are relevant to your problem or goal.  So, if you need general help/understanding what's wrong in your life situation or deciding what it is you really want to accomplish, talking to a licensed mental health professional recommended to you by someone you respect is usually the best place to start. (Buckley)

Self help books are the celebration of the disease and cure it easily. It is like the instructional literature that gives instruction to the people to be better and succeed in life.

History of Self-Help books

Self-help has been around for thousands of years, and it has been loved and hated for just as long. The earliest progenitor of self-help books was an Ancient Egyptian genre called “Sebayt” an instructional literature on life (“Sebayt” means “teaching”). A letter of advice from father to son, The Maxims of Ptahotep, written circa 2800 B.C., advocated moral behavior and self-control. Ancient Greek texts offered meditations, aphorisms, and maxims on the best ways to live. (Lamb-Shapiro)

Characteristics of Self help book

•  Self help book is considered as Popular Psychology such as romantic relations or human mind/behavior, it is easy to read and provide some kind of encouragement and motivation to live life in a better way. There are many self help books available in the market like ‘How to stop worrying and start living’ by  Dale Carnegie, The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change By Stephen R. Covey, The Last Lecture By Randy Pausch, The Prophet By Kahlil Gibran and many more.

• Self-help books typically advertise themselves as being able to increase self-awareness and performance, including satisfaction with one's life. They often say that they can help you achieve this more quickly than with conventional therapies.

•  In the self-help book story about problems of the life and how they live in their life. Writer use characters who suffer in their life. Characters sharing experience and enables them to give each other support. In these books we find that writer present the real life situation of the people. (Solanki, 2015)

Now in this 21^st century, many literatures are giving this self help features or reflecting its culture. Actually, all types of literature has power to teach or change but it’s depends on the understanding of the people that they can’t get true message that literature really want to provide.

One Night @ the Call Center as a self help book

Chetan Bhagat has written this novel about the problems of six young Indian middle class call center workers and how they psychologically suffering from exploitation of the corporate world, bossism and their personal anxiety of different broken relations. He wrote on the contemp orary issues relating to the young people and gives them solutions and way to come out of that problems that we can see in the scene of God’s call.

Chetan Bhagat has written very interesting Prologue and Epilogue with acknowledgement in the beginning of his novel where he has given the self-evaluation exercise where he asked reader three questions and give space to write answers which allows readers to look inside them and think about themselves. Such thing give thought provoking insight to the readers’ mind and self evaluation must be done. 

               

In above image, you can see that which three questions asked by writer as a part of self evaluation on the side of the readers where he asked questions that 1. What you fear ? 2.

What you make angry ? & 3.One thing that you don't like about yourself ?, these questions will test the readers that what are they knowing about their owmself'

Phone Call from God (God’s message/ inner call)

This episode of God’s message to six young call center workers on how to get success in life is the climax of the novel when they are just returning from nightclub and because of Vroom’s drunkard state, car trapped and hanged at construction site where they can’t get network to ask for help and suddenly God’s call came, maybe it is real or only technique Deux ex Machina that is used there. He speaks to all of them and gives them suggestions to improve their life.

God’s message: God first ask everyone about their life and everyone has their own personal problems. God give advice to them that ‘nothing depends on me or on destiny; it’s only your Karma’ and also said that ‘I always with you but you all ignore me, you all ignore your inner Voice’, this suggest that we need to listen our self/our inner voice, don’t listen anyone. God said them that ‘many times you all can’t get my voice because of modern busy life of networks’,God’s call consider as Inner call that everyone should listen carefully. God suggests four important features to be successful in life.

1) Bit of Imagination that every human have

2) Intellectuality

3) Self-confidence

4) Too painful – Failure (is key to success)

‘One should experience it, feel it and taste it and then there is nothing which make you afraid’

This message inspires all six call center workers as well as many other young people who are facing same problems in life, they encourage and motivate from this advice which is self help feature of this novel. We can say that Privilege of health over disease is subverted in this novel. After that, God also advises them on how to get their vehicle out of the construction site. The conversation with God motivates the group to such an extent that they get ready to face their problems with utmost determination and motivation. Meanwhile Vroom and Shyam hatch up a plan to throw Bakshi out of the call center and prevent the closing of Connections call center, whose employees are to be downsized radically. When they emerge out of danger, they have clear-cut goals in their mind. On returning to the Call Center, they carry out their plans with dexterity.

In epilogue, we see one line like:

             

 ‘It is true thought; we all have a dark side – something we don’t like about ourselves, something that makes us angry and something we want to change about ourselves. The difference is how we choose to face it.’ Here Chetan Bhagat connects to us with all character, and says that how we handle these types of situation in our life, that depends on our self not on destiny or god but we are maker of our own self.

The White Tiger as a criticism of self help culture

Balram’s journey to be “rags to riches,” transforming from a village tea shop boy into a Bangalore entrepreneur“rags to riches,” transforming from a village tea shop boy into a Bangalore entrepreneur which introduce new morality (Amoral) where the way of Balram to get success in like is not true as compare to the way of Shyam and Vroom’s way to get success by their own hard work. Balram is not a class warrior, and his claims on the truth are thin. Balram only escapes the poverty of the Darkness and the corruption of the Light by killing his boss, stealing his money and identity, and becoming a “self-taught entrepreneur,” a narrative which not only moves him outside of the halo of reliability but also transforms him into the very object of his critique. Betty Joseph sees the appropriative maneuver of speaking through the poor as a part of the novel’s “neoliberal allegory”: “Adiga brilliantly satirizes neoliberalism through ventriloquism. When the White Tiger is the mouthpiece, we hear neoliberal entrepreneurial shibboleths as criminality”. (Shingavi, 2014)

This critique of liberal humanism is isomorphic with twenty-first-century ideologies of India’s economic liberalization and antagonistic to the caste based system of reservations for public sector jobs. It bears underlining that this ideology is doubly self-serving: the rich maintain their wealth in India only by cleverly erasing traces of their own criminal corruption. The politics of the novel turn on whether Balram’s murder of his boss is justifiable, whether the novel gives a bleak enough picture of poverty to make the murder not only moral but also necessary. But if the novel spends most of its time worried about the dead boss, it intentionally leaves the murder of Balram’s family (itself a kind of caste atrocity) off-stage. And even though Balram uses the implicit threat against his family to steel his rage against his employer, he needs his family to die so that he can escape the quicksand of caste. As a result, becoming an entrepreneur in the context of the novel requires two symbolically dense murders: the murder of the employer (and therefore murder of the self-as-laborer) and the murder of the family (murder of the caste-bound self). (Shingavi, 2014)

Blaral’s family murdered because Balram killed his old master, a crime he talks about in the beginning of his narrative in a boastful and self-congratulatory tone:

‘Calling myself Bangalore’s least known success story isn’t entirely true, I confess. About three years ago, when I became, briefly, a person of national importance owing to an act of entrepreneurship, a poster with my face on it found its way to every post office, railway station, and police station in this country’ (Adiga 11).

Balram talks about his wanted poster for killing his master. That is his first “act of entrepreneurship.” His confession of his crime comes early in his narrative, not in a regretful, somber register, but in a cheerful tone. (Haitham, 2013)

In recent decades, virtual cults have evolved around entrepreneurs especially in technology related fields that hail them not only as components of economic systems, but as champions of social change and self-liberating breakers of the status quo. The White Tiger depicts a de-glorified entrepreneur, a crude version of the international entrepreneur who is still in a position where he can stain his hands with the blood of a victim he can see eye-to-eye. Balram Halawi is not a bad entrepreneur: he is just an entrepreneur. He is anyone who makes it and keeps everyone else down; for entrepreneurship is a tool the system uses to renew itself. (Haitham, 2013)

                  

Conclusion

Thus, there is vast difference in both books where the journey of Shyam & Vroom and Balram to be successful in life, in first book there is self help features which motivates Indian youth to listen their inner voice and find their own true way to get success in life by their work hard which proves it as self help book while other text criticize the self help culture that what readers will learn from the Balram’s journey to became entrepreneur where he killed his boss to be rich or successful entrepreneur which somehow gives the real image of India. This book diverts people in wrong way which is not true as a self help book.

Works Cited

Buckley, Elizabeth. "Dr. Buckley's Self-Help Book Blog." typepad.com. <http://selfhelpbookblog.typepad.com/self-help-book-blog/>.

Haitham, Hind. "Discourse of Entrepreneurship in The White Tiger." (2013).

Lamb-Shapiro, Jessica. "A Short History of Self-Help, The World’s Bestselling Genre." Publishing Perspective. <https://publishingperspectives.com/2013/11/a-short-history-of-self-help-the-worlds-bestselling-genre/>.

"Self-help book." Wikipedia. <https://en.wikipedia.org/wiki/Self-help_book>.

Shingavi, Snehal. "Capitalism, Caste, and Con-Games in Aravind Adiga’s The White Tiger." 9 (2014).

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