<p>The abolition of the Film Certification Appellate Tribunal (FCAT) has upset Kannada filmmakers.</p>.<p>Filmmakers who want to contest certificates (such as A, UA) issued by Board of Film Certification will now have to approach the High Court. Earlier, they could appeal to FCAT.</p>.<p>For Nagathihalli Chandrashekhar, director of such hit films as ‘Amrithadhare’ and ‘America America’, the decision again shows the ‘dictatorial attitude’ of the government. “It’s dangerous for democratic creative expression. The day is not far when the establishment will demand to see scripts even before films are made,” he says.</p>.<p>The courts are already burdened with a huge backlog and will accord no priority for film cases. The Modi government is afraid of creative minds, Chandrashekhar alleges. </p>.<p>Ace filmmaker Rajendra Singh Babu says even the existence of the film certification board is debatable.<br />“Why such a board only for films when there is nothing for web series, television or books? It’s better if the CBFC itself is abolished,” he says.</p>.<p>Director Mansore favours continuation of FCAT. “The disputes between filmmakers and CBFC would have been sorted out within two months. The FCAT had members with a background in art and culture. Judges and advocates may not have any knowledge about film aesthetics,” he argues.</p>.<p>Award-winning director P Sheshadri says FCAT should continue. “If a filmmaker is forced to approach the courts, his film will have lost relevance by the time a verdict is out,” he says. </p>.<p>Making producers approach the court for everything is not right, says writer-filmmaker Baragur Ramachandrappa. “The system should have a provision for review petitions. The FCAT ensured quick justice for filmmakers,” he says. </p>.<p>Filmmaker and Kannada Development Authority chairperson T S Nagabharana says FCAT made no sense. “Do we need four members, an office and staff to take a call on just three films a year?” he says. </p>.<p>Karnataka Chalanachitra Academy chairperson Suneel Puranik echoed his views. “FCAT is an unnecessary burden on the government. It’s a sheer waste of time and money,” he says. </p>.<p><strong>Only 3-4 went in appeal in a year </strong></p>.<p>On April 4, the government promulgated The Tribunals Reforms (Rationalisation and Conditions of Service) Ordinance.</p>.<p>As a result, producers aggrieved by the decisions of the Central Board of Film Certification will have to approach the High Court.</p>.<p>The Film Certification Appellate Tribunal (FCAT) was a statutory body constituted under the Cinematograph Act of 1952 with its head office in Delhi.</p>.<p>It had a chairperson and four members, and the government says only three or four films were going to them in a year for adjudication. </p>
<p>The abolition of the Film Certification Appellate Tribunal (FCAT) has upset Kannada filmmakers.</p>.<p>Filmmakers who want to contest certificates (such as A, UA) issued by Board of Film Certification will now have to approach the High Court. Earlier, they could appeal to FCAT.</p>.<p>For Nagathihalli Chandrashekhar, director of such hit films as ‘Amrithadhare’ and ‘America America’, the decision again shows the ‘dictatorial attitude’ of the government. “It’s dangerous for democratic creative expression. The day is not far when the establishment will demand to see scripts even before films are made,” he says.</p>.<p>The courts are already burdened with a huge backlog and will accord no priority for film cases. The Modi government is afraid of creative minds, Chandrashekhar alleges. </p>.<p>Ace filmmaker Rajendra Singh Babu says even the existence of the film certification board is debatable.<br />“Why such a board only for films when there is nothing for web series, television or books? It’s better if the CBFC itself is abolished,” he says.</p>.<p>Director Mansore favours continuation of FCAT. “The disputes between filmmakers and CBFC would have been sorted out within two months. The FCAT had members with a background in art and culture. Judges and advocates may not have any knowledge about film aesthetics,” he argues.</p>.<p>Award-winning director P Sheshadri says FCAT should continue. “If a filmmaker is forced to approach the courts, his film will have lost relevance by the time a verdict is out,” he says. </p>.<p>Making producers approach the court for everything is not right, says writer-filmmaker Baragur Ramachandrappa. “The system should have a provision for review petitions. The FCAT ensured quick justice for filmmakers,” he says. </p>.<p>Filmmaker and Kannada Development Authority chairperson T S Nagabharana says FCAT made no sense. “Do we need four members, an office and staff to take a call on just three films a year?” he says. </p>.<p>Karnataka Chalanachitra Academy chairperson Suneel Puranik echoed his views. “FCAT is an unnecessary burden on the government. It’s a sheer waste of time and money,” he says. </p>.<p><strong>Only 3-4 went in appeal in a year </strong></p>.<p>On April 4, the government promulgated The Tribunals Reforms (Rationalisation and Conditions of Service) Ordinance.</p>.<p>As a result, producers aggrieved by the decisions of the Central Board of Film Certification will have to approach the High Court.</p>.<p>The Film Certification Appellate Tribunal (FCAT) was a statutory body constituted under the Cinematograph Act of 1952 with its head office in Delhi.</p>.<p>It had a chairperson and four members, and the government says only three or four films were going to them in a year for adjudication. </p>