“Reliance’s Big cinema had backed out as sponsors of MAMI as it was going through a massive financial crunch and there were rumours that it might shut down. ... From down-to-earth, genuine filmmakers like Shyam Benegal, the festival now was in the hands of corporates, critics, powerful people’s wives and their admirers. This was the year when MAMI officially transformed from a cinema lovers’ festival to a corporate club festival. I learnt this when I reached Chandan cinema with Pallavi for the closing award ceremony. We were official nominees, yet we were asked to sit in a corner seat in the tenth or twelfth row whereas the front rows were all occupied by commercial stars, star wives, their friends and people who are inconsequential to indie cinema. I was officially nominated; my wife Pallavi, besides being a senior actor is a national award winner and has been on the jury of the national awards, but nobody was ready to recognize those who did not make great press.”

— Vivek Agnihotri

Urban Naxals (2018)

Adopted from Wikiquote. Last update June 3, 2021. History

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Vivek Agnihotri 17

director 1973

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“The statement is made with certainty: a festival that does not get its life from worship, even though the connection in human consciousness be ever so small, is not to be found. To be sure, since the French Revolution, people have tried over and over to create artificial festivals without any connection with religious worship, or even against such worship, such as the "Brutus Festival" or "Labor Day," but they all demonstrate, through the forced and narrow character of their festivity, what religious worship provides to a festival. […] Clearer than the light of day is the difference between the living, rooted trees of genuine cultic festival and our artificial festivals that resemble those "maypoles," cut at the roots, and carted here and there, to be planted for some definite purpose. Of course we may have to prepare ourselves for the possibility that we are only at the dawn of an age of artificial festivals. Were we [in Germany] prepared for the possibility that the official forces, and especially the bearers of political power, would artificially create the appearance of the festive with so huge an expense in external arrangements? And that this seductive, scarcely delectable appearance of artificial "holidays" would be so totally lacking in the essential quality, that true and ultimate harmony with the world? And that such holidays would in fact depend on the suppression of that harmony and derive their dangerous seduction from that very fact?”

Josef Pieper (1904–1997) German philosopher

In the three rhetorical questions that end this quote, Pieper alludes to the Nazis' elaborately stage-managed "festivals", in particular the Nuremberg Rally, the subject of Leni Riefenstahl's classic propaganda documentary, Triumph of the Will.
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14m15s https://www.youtube.com/watch?v=eazIth4orfM#t=14m15s
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Source: Leisure, the Basis of Culture (1948), Leisure, the Basis of Culture, pp. 50–51

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Vivek Agnihotri 17

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