Journal of ISOSS

2021 Vol. 7(2), 219-233

DECLINE OF PAKISTANI FILM INDUSTRY

Muhammad Tariq§, Muhammad Jawed Aslam1, Shafaq Manzoor2

Abdul Wajid Khan3 and Shema Bukhari4
1
2HOD Mass Communication, Superior University, [email protected]
3The Islamia University of Bhawalpur, [email protected]
Chairman Department of Media Studies, The Islamia University of Bhawalpur,
4
[email protected]
Dean of Department of Communication and Multimedia. University College of
Bahrain. Bahrain, [email protected]
§
Corresponding author Email: [email protected]

ABSTRACT
The Aims of this Research study is to understand the main reasons for the decline of
the film in Pakistan, as well as suggestions for improving the standard of the film culture
and industry in the country. So, with a quantitative survey, data were accumulated
through a random. The results of the research showed that most people in Pakistan, watch
Indian movies regularly, with the love of action movies and love stories. Although during
pandemic these are watched at home. The study discovers that the reasons for the decline
of the Pakistani films and industry, is the shortage of a good stories and script writers,
modern technical equipment, and the quality of the business. The lack of professional
directors, bad music and lyrics, unprofessional actors, TV shows, Indian films, political
instability, ineffective film industry, and unrepresentativeness of the Pakistani society.
The results of the study were in line with the objectives, hypotheses, and assumptions
which are based on the use and gratification theory. Pakistani film industry is unable to
satisfy the audience needs. Drastic measures are required to fulfill cultural and social
experience of the masses.

KEYWORDS
Challenges, Causes, Use and Gratification theory, Problems, Film industry, Pakistan.

INTRODUCTION
In modern society cinema is considered as the most influential art form having huge
impact on the audience. Cinema with its variety of constituent elements like music,
visuals, action, storytelling, dialogues and script; has appealing attraction for viewers.
The image created through cinema has long lasting effects on general audience. With the
passage of time along with development of other parts of the entertainment industry;
cinema has also undergone rapid technological and developmental changes. It has
acquired a significant place in contemporary society serving as a mirror of the social,
cultural, political, historical, economical and sociological structure of the society. Cinema
has survived from being a social taboo to socially accepted and acknowledged
representation of dynamic society. In every film a certain protagonist is seen to be
©2021 Journal of ISOSS 219
220 Decline of Pakistani Film Industry

fighting a particular perceived evil. Thus, promotion of goodness is prevalent part in

cinema (Mahmood, 2013).
Recently, Pakistani media has extended its scope and content. It has started vocalizing
about human rights and pressuring government to focus on various such issues. General
public is gradually accepting such social issues and taboos need vocalization and
reconsider their place in society and also to take an active part in resolving their own and
other societal problems. Therefore, we can say that the mass media perform a very
effective role in the education, training, supervision and support of the public.
Along with other entertaining sources cinema has been widely serving the purpose of
education for very long. Cinema in general have strong impact on individuals in general
and the society in particular. It is very important source of joining people from various
cultures and societies all across the globe. It also familiarizes different social members
with one another.
In any society films serve to provide an image or narrative that is well suited to the
general anticipations of the individuals about society, as well as the way people behave in
a certain social, professional, political, and academic atmosphere. Therefore, cinema has
attained power to formulate certain meaning within the social context along with the
defining “realities” about the social life. (Nascimento, 2019).
In fact, it has been a positive and constructive role in the cinema, it would be to
participate in any society, and it has to be a great game, to be effective, and it helps
people to understand the gravity of the situation, in each and every area of your life. This
is a productive starring role on the part of the government, and it has a prolonged history.
But, in the course of the film, and we will deal with the various difficulties and problems
in the study of the problems of the society.
Cinema education encompasses a wide range of disciplines, including history,
writing, art, drawing, and any other activities that contribute to a film practitioner's vision
and aesthetics, as well as technical proficiency. In Pakistan, however, cinema courses are
offered as an alternate or optional topic in most business institutions. This study might be
used to start teaching and training in several cinema disciplines [Bilal, (2015) and Ansari
(2015)].
A film is not a visual treat for the consumers rather a reflection of social and cultural
values. In developing countries like Pakistan role of cinema becomes more crucial to
fight certain social taboos and cultural constraints. Unfortunately, Pakistani cinema could
not make much progress. Certain factors are playing its part to the downfall of the
country’s cinema industry. Therefore, this study explores the causes behind the decline of
cinema in Pakistan. Keeping in view the importance of film and cinema this study
focuses to explore the hurdles Pakistani cinema is facing to stand side by side the
international film industries.

LITERATURE REVIEW
Nowadays cinema has moved into a new phase of growth as a stable form of mass
media. The demands of the World War II, a " medium-tries, such as in a different period,
and it appeared as her special abilities. Later on, both inside and outside of the movie
Muhammad Tariq et al. 221

business, and increase the sense that the movies play a vital role to perform in society,
and the screen flexibility, which is very important in the light of what the program can do
this "movie". However, he thinks it's his responsibility, as the film industry's leaders have
repeatedly and openly acknowledged. In addition, there are a lot of organizations across
the industry, and all of them are sensitive to the projected image of the characters as they
are, or their concerns. Due to the economic requirement of a ground receiver, enterprises
have been compelled to appease everyone.
Wolcott Gibbs stated as much in the November 17th, 1945 issue of the Saturday,
“movies are an astounding parody of life devoted to society in which anything is
physically and materially possible, including perfect happiness, to a race of people who
operate intellectually to the level of the New York Daily News, morally on that of Day-
ton, Tennessee, and politically and economically in a total vacuum”. Some of the
examples of the questionable decisions of courts found in the cinema, at the Institute for
Propaganda Analysis is a study that was carried out in 1938: to be A successful climax of
the story, it would explain most of the protagonist and leading actress dilemma. The
arrest of the criminals and the crime issue problems will be resolved. “War and the
preparation for war are exhilarating experiences”., epic and glamour of the look. It's a
good life, it is your money-the harvest of life, presented in a luxury, nice houses, cars,
evening, dress, luxury, and thank you very much."
Both Indian and Pakistani cinemas share a shared filmmaking culture. Before
Partition, Bombay was the largest film production center in the Indian subcontinent.
Lahore and Karachi, on the other hand, opened to attract shareholders, film producer, and
others to this area a few years after Partition. Initially, the art of cinema in Pakistan was
dominated by a shared set of traditions. Differences in id began to emerge gradually.
In this study, it is not the purpose of evaluating and examining the differences
between the Pakistani and Indian films. However, Pakistan's state newspapers, and some
of the movie magazines, and have been trying to evaluate it with the Indian and Pakistani
films. However, this evaluation is not to be included in the scope of this study, and,
therefore, it will not be able to be described in the literature.
However, there are some individual attempts underway in Pakistan to enhance cinema
studies. Two works must be mentioned here: “Yaseen Goreeja's Diamond Jubilee Film
Directory” and “Mushtaq Gazder's Pakistani Cinema: A History (1947-1997)”. Mushthaq
Gazder presents an in-depth history of Pakistani cinema in the first 50 years after
Partition. By contrast, Goreeja encompasses a century of Indian cinema. Munir. S (2003)
was done a survey on “Depiction of White and Colored women in Disney’s animated
movies”. Hasnie. S (2002) was conducting a research on the “effect of violence in films on
teenagers' behavior” to her credit. “Muhammad Ayyub Khan (2001)” has done a research
“Comparison of Indian and Pakistan Movies -- Themes and Techniques”.
Ali, A (2011), “The representation of women in Pakistani feature films, both Urdu
and Punjabi,” he said in his study paper on the subject. “Among the top ten film-
producing countries in the world”, Pakistan is one of the most notable. Since 1947, it has
been actively involved in the production of films. Almost from the beginning, Pakistani
film had to fight with intense rivalry from Indian cinema. There were two rationales
behind this: To begin with, there was a language barrier to overcome. The terminology
222 Decline of Pakistani Film Industry

used in Indian cinema was similar to the vocabulary used in cinema on this side of the
border, and vice versa. Second, during the partition of India and Pakistan, 75 percent of
individuals engaged in the film industry in Pakistan migrated to India. The extraordinary
efforts of a few individuals, including “Madam Noor Jehan, Shaukat Hussain Rizvi, W. Z.
Ahmad, Agha G. A Gul, Jagdish Anand, and Sibtain Fazli”, ensured that Pakistani cinema
stood up to the Bombay challenge and remained “neck-and-neck with Hindi cinema in
terms of quality and popularity for decades to follow”. As of 2003, India has surpassed
the United States as the world's leading film producer, with more than 1,000 films
produced each year.
Bollywood film is popular practically everywhere in the world, whether in the USA,
Middle East, Europe, Africa, or Asia. Now, Bollywood films are being released
concurrently in Dubai, Los Angeles, Sydney, London and Bombay. Hollywood has
already expressed an interest in working with Indian filmmakers. Hollywood seeks to
increase its piece of the Indian cinema bonanza by bringing together actors from both
sectors. Having said all of this, the Indian film industry has established itself as a force to
be calculated with in the global entertainments field. More side, in our zone of the world,
“Pakistani cinema has been slowly deteriorating since the 1980s”, with the situation
spiraling out of control over the last four decades.
Number of films produced each years has decreased from over “100 in the 1970s to
25 to 40” in recent years (“Urdu, Punjabi and Pashto films”). Nowadays, ordinary
Pakistani movie overheads between 0.9 and 10 million Pakistani rupees, and sadly, the
producer of a film barely makes a profit in the current climate. However, an average
Indian film costs between 80 and 100 million rupees, whereas films starring major
performers cost between 150 and 250 million. They even crossed the 500-million-rupee
barrier (Devdas 2002). India's rivalry is overwhelming. The budget allotted to a Pakistani
filmmaker for a whole film is used by Indian film makers to shoot a single song.
Lollywood, as the industry located in Lahore is known, continues to create films. In any
case, it is not enough to sustain the business in the face of competition from good quality-
produced action pictures from elsewhere in the region.
Bilal (2015) Says because of the 'new media revolution,' the Pakistani film industry
has shifted to digital in terms of technology as well as production and distribution
networks. For the great majority of Pakistanis, having internet and mobile phone
connectivity is a must-have modern convenience. Media Action Policy Briefing from the
BBC says new forms of communication such as social and mobile media are
progressively undermining conventional media's ability to set an agenda in Pakistan.
During this era, Indian films have been constantly screened in Pakistani cinema for
more than four years. Almost all Hindi and Western films arrive at this time on DVD
within days of their theatrical release. These films are less costly to buy than Pakistani
films, as the latter are protected by copyright. Nonetheless, some individuals argue that it
is not merely competition; digital television has suffocated “Cinema in Pakistan”. They
believe that “Lollywood's” low production standards, equation-based storylines, and
proclivity for unnecessary viciousness and profanity are responsible for driving filmgoers
away. In recent years, the Indian film business has grown significantly as a result of the
country's tight copyright regulations and also as a result of its association with
Muhammad Tariq et al. 223

international gatherings for the protection of protected innovation rights. Previously,

feature rights to Bollywood films were sold to Pakistan's underground movie tycoons for
between Rupees 0.4 and 0.8 million, depending on the film's star rating. They now
receive a great lot more by broadcasting in the district via satellite stations. The new films
are actively promoted, resulting in an increase in revenue in the film corridors. While
Bollywood producers may not receive everything directly from Pakistan, it has had a
significant impact on the traditionally over-secured film industry in this country.

OBJECTIVE OF STUDY
Current study work is structured to investigate the following points.
• To determine the reasons for Pakistan's film industry's decline.
• To find out how public feels about film industry decline in the country.

HYPOTHESES
H1: People are less likely to go to the movies because of the poor quality of film
production.

RESEARCH QUESTIONS
This study addresses the following research concerns regarding the death of Pakistan's
film industry.
• What are the primary reasons for the film industry's downfall in Pakistan?
• Can we argue that the film business has been influenced by the availability of
satellite/cable/TV/DVD?
•
RESEARCH METHODOLOGY
Under the realm of “Uses and Gratifications theory” quantitative methodology has
been used to conduct this research.

SURVEY RESEARCH METHOD

In the present research data has been collected from 4 provinces of Pakistan
(Baluchistan, Khyber Pakhtunkhwa, Punjab and Sindh). For this purpose a questionnaire,
comprising of 20 closed ended questions, was sent to the target audience. Data was
acquired from Karachi, Quetta, Lahore, and Peshawar using a random sampling
technique. Due to the proportion of the population, data was obtained from 150
respondents in Lahore and Karachi, as well as 100 respondents in Peshawar and Quetta.
For the current study, a total of 500 respondents were chosen as a sample. SPSS
(Version-19) was employed to conduct quantitative data analysis in order to ensure the
study's conclusions were objective.

DATA ANALYSIS AND INTERPRETATION

The researcher used descriptive statistics to examine the data as follows:
224 Decline of Pakistani Film Industry

Table 1.1
Respondents' Demographic Character
S.No. Demographic Character Variable F %
Male 387 89.6
1 Gender Female 45 10.4
Total 432 100.0
<=27 136 31.5
28 - 35 157 36.3
2 Age
Above 139 32.2
Total 432 100.0
Married 272 63.0
3 Marital Status Unmarried 160 37.0
Total 432 100.0
<= 16000 147 34.0
16001 - 28000 139 32.2
28001+ 143 33.1
4 Income
Total 429 99.3
System 3 00.7
Total 432 100.0
Punjab 141 32.6
Sindh 130 30.1
5 Province KPK 84 19.4
Baluchistan 77 17.8
Total 432 100.0

Table 1.1 demographic character expresses of the respondents. There were 387 males
and 45 females among 432 respondents. The ratio between male and female is
approximately 9:1. The respondents possessing various age groups like =>27years, 28 –
35years and > 35 are 31.5%, 36.3% and 32.2%. among them 63% are married and 37%
are unmarried. These respondents belong to various provinces of Pakistan. These are
belonging to Punjab, Sindh, KPK and Baluchistan in different percentages 32.6%, 30.1%,
19.4% and 17.4%.
Muhammad Tariq et al. 225

Daily
28% 24% weekly
Monthly
Others

20% 28%

Figure 1.1: Respondents Division giving to the Films Viewership

Above, Figure 1.1 reveals that 24% of the total viewers watch films on a daily basis.
The viewers watching films on a weekly basis attain 28% and 20% of the viewers
watching films on a monthly basis. The rest of the viewers, who are 20%, watch
randomly depending upon their schedules, availability of money, mood, and insistent
friends or family members.

50.2
18.1 25
6.7

Pakistani Indian English others

Fig 1.2: Division of the Respondents’ Opinion regarding Type of Film Viewership

In Figure 1.2 comparison on films presented by various film industries. According to

this figure we can see that greater that half of the respondents like to watch the Indian
movies. These 50.2% viewers voted for Indian movies. Viewers liking Pakistani movies
are about 18.1%. One quarter of the total respondents feel good to watch English movies.
Rest of 6.7% are not specified to any kind of film industry. They just want to spend some
time with friends and availability of any promotion.

Others
11%
Love story
Comedy 33%
13%

Action
43%

Figure 1.3: Respondents Judgement Division about Types of Films

226 Decline of Pakistani Film Industry

In Figure 1.3 we can compare the viewer’s attitude towards topic of the film, either it
is an action movie, love story, comedy or containing any other theme of the movie. A
large number of the viewers ~ 43% love to watch action movies. The percentages of the
peoples who are in favor of love story and comedy films are 33% and 13% respectively.
Remaining 11% can watch any kind of theme to entertain themselves.

9% Cinema
6% 20% At home
At hotel
Others

65%

Figure 1.4: Respondents’ Opinion Division regarding Film Viewership Place

Figure 1.4 comprised of the comfortable zones for watching the films. Among them
65% like to watch films at their homes. This is because that they can save their time and
money as well. 20% of them want to watch movies at bigger screen i.e cinemas. Some
people like to watch movies at various hotels. The viewers who want to watch movies at
hotels are only 6%. Remaining 9% don’t bother the place. They are comfortable at any
site to watch the films.

5 With family
48
With friends
Alone
Others
192

187

Figure 1.5: Respondents’ Opinion Division regarding Film Viewership Partner

Above Figure 1.5 expresses respondent’s opinion about partnership in watching the
film. Around 45% of the respondents love to watch the movie alone. They don’t want to
share their privacy. Among them 43% wants to watch movie with their friends. They think
that friends can boost up the happiness and entertainment. Some of them like to enjoy the
movie with family members like parents, brothers, sisters and cousins etc. This type of
respondents is 11% among them. Only 1% of the respondents may feel comfortable with
friends, family members and even they don’t mind watching movie lonely.
Muhammad Tariq et al. 227

50

0
Very Good Satis Very Bad
good fied bad
Series1 3 5.1 16.2 44.9 30.8

Figure 1.6: Respondents’ Viewpoint Division towards Pakistani Films

In Figure 1.6 feedback of respondents towards standard and quality of Pakistani films
can be observed. The respondents who think that standard is very good are only 3%.
Among them 5.1% marked good standard and 16.2% are satisfied with their standard.
Among them 30.8% think that standard of Pakistani films is bad. The respondents whose
point of about Pakistani films standard is very bad are 44.9%. This large number of
unsatisfied respondents is due to the unavailability of novel stories and competency.

Table 1.2
Respondent's Division about Opinion on the
“Pre Production Process for the Decline of the Film Industry in Pakistan”

Lack of the Lack of Trend of

Good Story Writers Technical Facilities Same Films
Variable F % Variable F % Variable F %
Yes 292 67.6 Yes 357 82.6 Yes 366 84.7
No 77 17.8 No 35 8.1 No 25 5.8
To some To some To some
63 14.6 40 9.3 41 9.5
extend extend extend
Total 432 100 Total 432 100 Total 432 100

In Table 1.2, we give the distribution of respondents’ opinions on the pre-production

process about the “decline of the Pakistani film industry”. Three factors which are
discussed are the lack of good story writers, lack of technical facilities, and the trend of
the same film. The respondents who agree with these factors are 67.6%, 82.6% and
84.7%. The respondents who disagree with these factors are 17.8%, 8.1% and 5.8%. The
respondents who agree up to some extent with these factors are 14.6%, 9.3% and 9.5%.
228 Decline of Pakistani Film Industry

Table 1.3
Division of the Respondent’s Attitude to
“Production Process for Decline of Film Industry in Pakistan”
Sub-Standard Sub-Standard Exhibition of
Production Direction Indian Songs
Variable F % Variable F % Variable F %
Yes 378 87.5 Yes 332 76.9 Yes 253 58.6
No 31 7.2 No 53 12.3 No 151 35.0
To some To some To some
23 5.3 47 10.9 28 6.5
extend extend extend
Total 432 100 Total 432 100 Total 432 100

Table 1.3 shows the distribution of the respondents’ opinions on the production
process and the decline of the film industry in Pakistan. Three factors which are
discussed are substandard production, substandard direction, and substandard songs. The
respondents who agree with these factors are 87.5%, 76.9% and 58.6%. The respondents
who disagree with these factors are 7.2%, 12.3% and 35%. The respondents who agree to
some extent with these factors are 5.3%, 10.9%, and 6.5%.

Table 1.4
Division of the Respondent’s Opinion to
“Production Process Attitude about Decline of Film Industry in Pakistan”
Exhibition of Indian
Sub-Standard Music Sub-Standard Acting
Films
Variable F % Variable F % Variable F %
Yes 258 59.7 Yes 249 57.6 Yes 222 51.4
No 136 31.5 No 152 35.2 No 177 41.0
To some To some To some
38 8.8 31 7.2 33 7.6
extend extend extend
Total 432 100 Total 432 100 Total 432 100

Table 1.4 shows the distribution of the respondent’s judgement on the production
process about the “decline of the film industry in Pakistan”. Three factors which are
discussed are substandard music, substandard acting, and the exhibition of Indian movies.
The respondents who agree with these factors are 59.7%, 57.6% and 51.4%. The
respondents who disagree with these factors are 31.5%, 35.2% and 41%. The respondents
who agree to some extent with these factors are 8.8%, 7.2%, and 7.6%.
Muhammad Tariq et al. 229

Table 1.5
Distribution of the Respondents’
“Opinion to Socio-Political Factors Regarding Decline of Film Industry in Pakistan”
Represent Pakistani
Political Instability Effective for Society
Society
Variable F % Variable F % Variable F %
Yes 214 49.5 Yes 57 13.2 Yes 61 14.1
No 169 39.1 No 320 74.1 No 291 67.4
To some To some To some
49 11.3 55 12.7 80 18.5
extend extend extend
Total 432 100 Total 432 100 Total 432 100

In Table 1.5, the distribution of the respondents’ judgments for socio-political reasons
regarding the “decline of the film industry in Pakistan” is represented. Three factors
which are discussed are political insecurity, its effect on society, and the society of
Pakistan. The respondents who agree with these factors are 49.5%, 13.2% and 14.1%.
The respondents who disagree with these factors are 39.1%, 74.1% and 67.4%. The
respondents who agree up to some extent with these factors are 11.3%, 12.7% and 18.5%.

1% 1% Substandard
4%
7% Govt-policy
Film Producer
Indian Film
16% TV / DVD
English Film
Theater

60%
11%

Figure 1.7. Division of the Respondents’ Opinion about

Major Reasons of “Film Declination in Pakistan”

In Figure 1.6 respondents indicate the various reasons for the decline of film industry
in Pakistan. Majority of respondents (60%) are agreed to the point that major cause of
declination is substandard. Among them 11% blame that govt. policies are such that this
industry is not on priority. Almost 16% of them think that film producers are unable to
produce quality films and 7% and 1% blame that due to access of Indian and English
films respectively are responsible for the declination of films in Pakistan. Due to
availability of TV, DVD and theater peoples don’t want to go in cinemas. This reason is
attributed by 4% and 1% respondents respectively.
230 Decline of Pakistani Film Industry

Table 1.6
To test for An Association between Film type and Respondents' Ages,
Researchers Used Cross-Tabulation
Kind of Films
Age
Pakistani Indian English Other Total
<=27 16 84 29 7 136
28-35 23 74 55 5 157
36+ 39 59 24 17 139
Total 78 217 108 29 432

Table 1.6 show that film kind and respondent age are associated with each other via
cross-tabulation. Among 432 respondents the people liking Pakistani, Indian, English and
any other are 78, 217, 108 and 29. There are three categories of age i.e. <=27 years,
28-35 years and > 35 years. In category <=27 years among 136 respondents the people
thinking that suitable kinds of movies Pakistani, Indian, English and others are 16, 84,
29 and 7. In category 28-35 years among 157 respondents the people thinking that
suitable kinds of movies Pakistani, Indian, English and others are 23, 74, 55 and 5. In
category >35 years among 139 respondents the people thinking that suitable kinds of
movies Pakistani, Indian, English and others are 39, 59, 24 and 17.

Table 1.7
Cross Tabulation for the Relationship between the
Films Subject and the Respondents' Age’
Subject of Films
Age
Love-Story Actions Comedies Others Total
<=27 40 57 20 19 136
28-35 49 79 16 13 157
36+ 54 51 19 15 139
Total 143 187 55 47 432

Table 1.7 shows the Cross tabulation for the relationship between the movie's subject
and the respondents' age. Among 432 respondents the people liking love story, action,
comedy and other are 143, 187, 55 and 47. There are three categories of age i.e. <=27
years, 28-35 years and > 35 years. In category <=27 years among 136 respondents the
people thinking that suitable kinds of movies are love story, action, comedy and other are
40, 57, 20 and 19. In category 28-35 years among 157 respondents the people thinking
that suitable kinds of movies are love story, action, comedy and other are 49, 79, 16 and
13. In category >35 years among 139 respondents the people thinking that suitable kinds
of movies are love story, action, comedy and other are 54, 51, 19 and 15.
Muhammad Tariq et al. 231

Table 1.8
Cross Tabulation, the Relationship between the
Reasons for Decline & the Respondents' Age
Reasons of Decline
Age Sub Government Film Indian TV & English
Theaters Total
Standard Policy Producer Films DVD Films
<=27 88 11 21 7 7 0 2 136
28-35 95 18 21 19 0 2 2 157
36+ 77 18 29 3 12 0 0 139
Total 260 47 71 29 19 2 4 432

Table 1.8 shows the Cross tabulation for the relationship between the reasons for
decrease and the respondents' age. Among 432 respondents, those thinking that the
reasons are substandard, government policy, film production, Indian films, TV/DVD,
English films and theatre are 260, 47, 71, 29, 19, 2 and 4. There are three categories of
age, i.e., =27 years, 28-35 years, and > 35 years. In category =27 years, among 136
respondents, the people who think that the reasons are substandard, government policy,
film production, Indian films, TV/DVD, English films, and theatre are 88, 11, 21, 7, 7, 0,
and 2. Among 157 respondents, those thinking that the reasons are substandard,
government policy, film production, Indian films, TV/DVD, English films, and theatre
are 95, 18, 21, 19, 0, 2 and 2. Among 139 respondents, those thinking that the reasons are
substandard, government policy, film production, Indian films, TV/DVD, English films
and theatre are 77, 18, 29, 3, 12, 0 and 0.

FINDINGS AND DISCUSSION

Many researches have been written over the years describing to various reasons for
the decline and truly proposing solutions instead of its rebuilding, stressing on the fact
that if specific actions were not implemented, the Pakistani film industry would face
extinction. However, the majority of research concluded that the government's ignorance
is the primary cause and problem of the Pakistani film industry's failure.

CONCLUSION
It is concluded that there exist contradictory views among male and female population
in Pakistan with reference to their exposure to films in general and cinema in particular,
which is fairly significant. It particularly is for all intents and purposes believed that married
individuals literally have to basically spend their monthly income on household expenses
and it becomes really hard to manage expenses for entertainment purposes. The results of
the analysis reveal that the majority of the population in four major urban cities of Pakistan
prefer Indian films than generally Pakistani films or any other film industry. It is because
the culture and language portrayed in Indian movies essentially adhere Pakistani language
and culture. It further shows how for the most part, married individuals have to spend most
part of their monthly income on household expenses and it becomes very hard to literally
232 Decline of Pakistani Film Industry

manage for entertainment purposes, which actually is fairly significant. It is also revealed
that most of the viewers are inclined towards love stories, action and comedy in a subtle
way. It can for all intents and purposes be related as a mode of distraction from war on
terror in the country and kind of other strains of the definitely daily life in a pretty big way.
Similarly, majority of respondents particularly were really found to be watching movies at
home avoiding any company, which further shows how they prefer to save money. Easy
access to DVDs and cable television services as well law and order situation in Pakistan
actually serve as a key factor in stopping people to visit cinema so often, which literally
shows that similarly the majority of the respondents actually were literally found to mostly
be watching movies at home avoiding any company. According to the results of the survey,
the decline of Pakistan's film industry can be attributed to a number of factors, including
poor “pre-production, production, and post-production skills, poor direction, songs, and
music, a lack of good researchers and writers, a lack of literally advanced technical
equipment, and a proliferation of Indian films”. People who are engaged in media do so to
satisfy their emotional needs and to take part in socio-cultural enjoyment, according to the
"Uses and Gratification Theory", which is supported by the study's results.

RECOMMENDATIONS
• It is suggested that film producers and directors standardize the production process
and techniques in order to improve the standard of Pakistan film industry.
• It is proposed that directors enhance their directing skills in order to produce
effective films in comparison to India and provide glimpses of definitely Pakistani
culture, which specifically is fairly significant.
• It is also essential that writers must compose scripts based on real Pakistani society,
it’s difficulties and problems.

• It is suggested that lyricists create the lyrics in accordance with the film's scenario
and situation, as well as cultural limits in a subtle way.
• It is particularly suggested that filmmakers adopt new and advanced equipment in
order to boost Pakistan's film industry in a very major way.

REFERENCES
1. Ahsan, A. Naz Dr. (2005). Pakistan’s Film Industry, A Bird Eye View, Karachi,
The Journal of Mass Communication Karachi University, Vol. 3(4),
2. Ansari, H. 2015. Why Pakistan still doesn’t have a film school. The Express Tribune.
https://tribune.com.pk/story/824675/why-pakistan-still-doesnt-have-a-film-school
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