From Text to Screen: Cultural Memory and
the Reconfiguration of Character and Ideology in Contemporary Televisual
Adaptations of the Mahabharata
Dr. Sonali Ganguly
Independent Researcher
Jyoti Vihar, Burla, Sambalpur
Odisha, India
Abstract: The sustained
popularity of contemporary televisual adaptations of the Mahabharata has significantly
influenced the way audience encounter the epic. These adaptations influence not
only the perceptions of epic characters, but also the way this generation engages
with intricate ideological dichotomies such as paap-punya, prem-moh, and dharma-adharma.
The current paper studies the interconnected relationship between cinema and
culture. The primary focus of the paper is on how on-screen adaptations of the Mahabharata open up possibilities for
multiple guided interpretations and thoughtful reflections over the ideologies
and philosophy of life. Although cinematic representation of the epic retains
many traditional elements, it simultaneously responds proactively to the
demands of viewership and narrative engagement. It aims at reproducing the
versions of the epic that resonate with contemporary sensibilities. This paper
studies selected adaptations, with particular attention to the evolving
projection of Karna through centralization and emotional framing that
transforms a morally complex figure into a heroic persona. This approach
further invites a strong audience alignment and reshapes perception of heroism,
justice and morality. The paper argues
that these tele-retellings do not merely reflect age-old traditions and
cultural values. They re-interpret the epic in response to contemporary
expectations, reshape ethical frameworks and influence modern consciousness
through dramatization, selective emphasis, and contribute to the contemporary
reimagining of mythological narratives.
Keywords: adaptation, character reframing, televisual narratives,
cultural memory, reception
Introduction
Cinema and culture have always shared an interconnected
relationship, consistently influencing, mirroring, reflecting and redefining
each other. Cinema draws upon cultural perspectives through its narratives,
values, belief system and transforms them into visual and emotive experience.
In the Indian context, this reciprocal relationship became significantly
visible during the Doordarshan era, when broadcast narratives entered
domestic spaces and became part of everyday cultural experience. Cinematic
representations do not merely portray historical or mythological realities; but
also create lasting impressions on viewers through performance, dialogue, and
emotion. Over time, cinema has not only reflected culture but has redefined and
recreated culture. This dynamic shift was evident through the adaptations of
the great epic, the Mahabharata.
Contemporary adaptations have transformed the epic from a
sacred literary text into a widely circulated cultural archive, reflecting the
complexities of human life through questions of Dharma, loyalty, morality,
Karma, ambition, desire and destiny. These adaptations further attempted to
address ethical uncertainties and ideological tensions that remained suppressed
for ages may be out of religious respect or fear. The contemporary reception of
the Mahabharata is mediated through these adaptations, highlighting a
sharp distinction between textual tradition and visual culture, even though
both continue to compliment and influence each other.
Existing studies have theoretically established the
implications of such adaptations. This paper intends to study the way cinema
responds to socio-cultural, ideological changes over time. Cinematic
representations of the Mahabharata had attempted to highlight the
complex ideologies that remained abstract or untouched for long. Rather than
treating these adaptations as deviations from the textual tradition, this paper
approaches them as an act of reinterpretation that bridges the gap of cultural,
ethical, and ideological understanding between the epic tradition and its
contemporary audience.
This paper examines the significant role of televisual
adaptations play in reinterpreting epics and nurturing specific modes of
perception, which influence the reception of both mythic narratives and their
televised adaptations in contemporary culture. Given the enduring relationship
between cinema and culture, the central question that demands attention is
whether audience expectations and the existing belief system guides the choice
of film makers, or the on-screen portrayal of epic characters gradually shapes
the beliefs of the viewers. In this context, the paper undertakes a detailed
study of selected on-screen adaptations of the great epic, the Mahabharata,
titled B.R. Chopra’s Mahabharata, aired on Doordarshan in 1988, Mahabharata
produced by Swastik Productions in 2013, Suryaputra Karna produced by
Swastik production in 2015, and Radha Krishna by Swastik Production in
2018. The selection is made on the basis of their commercial success and wide
reception. The discussion would emphasize on the representational strategies
employed in these adaptations, the factors influencing the choice, the impact
of the reinterpretation of ideologies and reconfiguration of epic characters on
the formation of cultural memory, with attention to the reconfiguration of
Karna as a case study.
Literature Review
The recent escalation in the production and commercial
success has generated scholarly interest in the retellings or on-screen
adaptations of epic narratives. These adaptations attempted to reinterpret
complex philosophy and characterization inherent in epics across shifting
socio-cultural and technological context. With the expansion of media, epics
like Mahabharata no longer remained confined solely as a literary or sacred
text, but are viewed as mediated cultural narratives shaped through
reconfiguration of characters and wider reception. This transition of epics
from textual engagement to audiovisual consumption has prompted scholars to
critically reflect on adaptation, representation, commercialization and
formation of cultural memory.
The study of adaptation has moved beyond fidelity to
original text and has turned into a creative and interpretive process
influenced by medium, context, and target audience. In A Theory of
Adaptation (2006), Linda Hutcheon perceived adaptations as an independent
act of reinterpretation that derives meaning through transformation and
recontextualization (Hutcheon 7-8). It further demands to take into
consideration the industrial, ideological and cultural context in which
adaptation is created (Naremore 1-16). These approaches seem relevant while
examining on-screen adaptations of Mahabharata as the transition from text to
screen involves shifts in narrative focus, character projection, reinterpretation
of events and their implications along with taking into consideration the
audience response.
The significant contribution of media to reshape
collective understanding and perspective building can be further explored
through theories of cultural memory. Cultural memory is conceptualized as a
socially mediated process which assists communities in preserving and
reconstructing shared meanings of the past (Assmann 36-40). Media stabilizes
and disseminates cultural narratives effectively by using repeated
representation for forming mediated memory (Erll 113-15). Recurring visual
depictions, in the context of mythological narratives, progressively gain the
legitimacy of authenticity, especially for the audience whose interaction with
the concerned epic is predominantly audiovisual rather than textual.
While examining Indian television, the ideological and
commercial dimensions of on-screen projection of mythologies demand attention.
Scholars have linked Mahabharata broadcast on Doordarshan with nation building
and cultural consolidation. Mythological series like Ramayana and Mahabharata
turned television into a ‘sacralized domestic space’ where religious stories
were incorporated into everyday cultural consumption (A. Mitra 83-85). These
visual adaptations of epics balance amusement, devotion and commercial
spectacle (Dwyer 52-56). The commercial aspect governing television shows also
complicates the process of representation, irrespective of myth or ordinary
story. In most of the Indian television shows characterization, narrative
selection and representation are mostly influenced by audience analytics, TRP
driven programming and emotional accessibility (Kohli Khandekar 145-148).
Consequently, mythological and historical adaptations appear similar to other
ordinary stories in their approach, emphasizing dramatic intensity, emotional
alignment, and visually heightened storytelling in order to retain audience’s
interest. It is interesting to note that addition of sub plot to the main plot
and use of cliffhangers serve the purpose effectively. These trends are
noticeable in almost all contemporary mythological adaptations like Mahabharata
(by Swastik Production, 2013), Suryapurta Karna (2015), Radha Krishna
(2018), Namah (2019), Karn Sangini (2019) and many more. It is interesting to observe continuous
transformation in character portrayal of epic characters through different
cultural interpretations (Harlan 4-7). For instance, the character of Kunti
appears different in B.R. Chopra’s Mahabharat, Swastik Production’s Radha
Krishna and Suryaputra Karna. Characterization of Radha (Karna’s
adoptive Mother) in Mahabharata is in complete contrast with the one
projected in Karnsangini. We see the same with Draupadi. In one series,
audience are informed about Mahadeva’s boon to Draupadi of getting 5 qualities
in the form of 5 husbands in her next birth and she accepts her destiny,
whereas in contemporary series, audience see her emotional turmoil, the logical
explanation behind accepting 5 brothers as husbands. These representations add
meaning to the way display of philosophical ideas relate to human life and get
disseminated across culture (Hall 15-19).
Another reason behind the contemporary adaptations focusing on emotional
personalization is to attract viewership. In this process epic characters often
get reshaped while resonating with contemporary sensibilities (Sharma 97-101).
The presentation of Draupadi’s dilemma and her perception of the scenarios in Mahabharata
added strength to the later Mahabharata series as it reflected her
character not as weak rather an embodiment of patience and power that became a
medium for transformation of the entire Aryavarta. It is equally important to
note that this meaning making and shifting cultural memory demands consistent
frequency. Frequent reworks on traditional narratives are needed to keep pace
with the contemporary ideological concerns (Prasad 34-38).
The existing scholarship has explored the
representational techniques used in the adaptation of mythological stories and
epics while pinpointing the cultural and commercial factors that influence
these reinterpretations and their broader implications. However, the
contemporary adaptations showcase significant transformations in narrative
structure, character portrayal and the projection of the socio-political
conditions of the time. Hence, this paper intends to study how contemporary
adaptations of Mahabharata do not simply replicate a sacred narrative
for cultural preservation but contribute to the reconstruction of social
consciousness, reinterpretation of abstract philosophical ideologies, reshaping
moral perception and mediated cultural memory. The present study argues that
contemporary adaptations deliberately make use of representational strategies
like centralizing characters, emotional framing, narrative expansion to
recalibrate epic ideology, redefine the ways in which the Mahabharata is
perceived, interpreted, understood, and remembered within modern cultural
context. The current study focuses on the evolving representation of Karna, one
of the rising influential epic characters as our case study to examine the
transformative potential inherent in contemporary visual adaptations.
Reconfiguring Karna: From Marginal Complexity to Moral
Centrality
The Mahabharata significantly projects the
complexities of human life through various characters. They appear constantly
performing their karma, and sometimes moving helplessly between virtue
and flaw. Among several powerful characters, one most prominent and influential
character is Karna, the Son of God Sun and Devi Kunti. He is mostly remembered
as a formidable warrior, whose life revolved around two extremities: consistent
struggle for self-recognition and societal acceptance, and his loyalty and
commitment towards Duryadhan, the prince of the Kuru clan. Karna is often
projected as an epitome of friendship and generosity. In one hand, his digvijaya
and danveer nature earned him an honourable stature and on the other
hand, his allegiance to Duryodhan made him misalign with Dharma, placing
him in moments of religious crisis. His character is the perfect reflection of
a theoretical believer, making him one of the most debated characters in the
epic. The enduring complexity of his character lies in the gap between
understanding and performing Dharma. At several moments in the
narrative, Karna is seen caught up between personal virtue and ideological
alignment, making him a knower, not the keeper of Dharma. The emotional
and philosophical layers in his character make it complex and open for multiple
interpretations, generating different perspectives.
The textual version of the Mahabharata neither emphasizes
nor entirely condemns Karna. He remains as a figure who was only marked by
contradiction and moral ambiguity. He became part of all ethically troubling
actions of Duryodhan, serving as an instrument of Duryodhan’s political
ambition resulting in the devastating war of Kurukshetra. However, contemporary
screen adaptations have made noticeable reconfiguration of Karna’s character,
which not only influenced the perspective of the onlookers but also
foregrounded him from a marginalized character to a central figure of the epic.
This character transformation can be seen more effectively in two screen
adaptations of one episode from Mahabharata: Draupadi’s humiliation in the
royal court.
In B.R. Chopra’s Mahabharat, screened in 1988,
Karna is shown in strong alliance with Duryodhan. There are instances where
during Draupadi’s Vastraharan in the royal court, Karna was the one who
addresses Draupadi as Veshya (a prostitute) and suggests Duryodhan to
disrobe her. The makers didn’t make any attempt to soften his role or character
in this scene and clearly projected his participation in one of the most
ethically disturbing events of the epic. Whereas in Swastik Production’s Suryapurta
Karna, screened in 2015, his character has been held in higher esteem. In
the same episode of Draupadi’s humiliation, they showed Karna raising his voice
against Duryodhan’s misconduct. He even addresses Draupadi as the Kulavadhu
and tries to stop his friend from disrobing her. He is projected as a noble
figure. This reinterpretation changes the ethical weight of the scene, and
Karna from an evil alliance turns to a heroic stature.
In the earlier screen adaptation, his projection was just
as Duryodhan’s friend who always stood by his side without raising his voice
ever, even though he knew in many stances his friend was wrong. But in Suryapurta
Karna, being the chief protagonist, Karna is projected as a tragic hero,
whose life has been a bed of thorns. His life is shown revolving around his
struggle for social recognition and upliftment of his entire clan. Through
centralization of Karna within the narrative structure and overemphasizing his
struggle, the makers attempted to highlight his humiliation on the basis of
birth and caste and justify his alliance with Duryodhan as a sense of gratitude
for giving him social recognition, and his courage, the deserving position as
the ruler of Anga Pradesh. It further shows that his association with Duryodhan
had a better inherent cause, i.e. the upliftment of the outcastes in Hastinapur
and fight for change in the societal structure. The adaptation reframed the
character of Karna and justified all his choices, focusing on his intentions
behind supporting Duryodhan which was not personal gain, instead the desire for
structural change in caste hierarchy within Hastinapur. The use of emotional
framing consistently engages the audience to resonate with the current day
scenario and personally relate to the humiliations imposed on him on the basis
of caste. By repeatedly emphasizing on selective events, Karna’s pain, dignity
and emotional isolation brings him to the center, showcases him as a tragic
hero, and overshadows his tragic moral fall.
Such interpretations that project Karna as a noble
figure, victim of social injustice, not only modify an episode from the epic,
transform a character, but significantly reshapes the broader perception. The
narrative aligns closely with the contemporary expectations of heroism. Such
adaptations highlight the extent to which representation of episodes and
characters are shaped by the audience expectation and interpretive choice.
These on-screen adaptations often used intensified emotional framing through
extended dialogues, dramatized sequences to heighten affective environment that
invites audience to empathetically connect to the protagonist, discarding the
early existing memory and perception of the same character.
One such episode that received viewer’s attention is
Karna’s death. In B.R. Chopra’s Mahabharata, Karna’s death was instant.
It shows Karna being beheaded by Arjuna’s Anjali Astra, leaving no space for
emotional outburst. The makers left no space for dramatic monologue by Kunti,
expressing her remorseful grief or reflection over the death of a warrior. It
shows the level of importance showered on the characters. Karna’s death
receives no attention as that of Abhimanyu, Dronacharya and Vishma. His is
treated as the result of his wrong choice and inevitable as a response to his
chosen karma. It aims to showcase that if the action and dedication remain for
an evil cause; all good and divinely blessed qualities even remain shadowed and
forgotten in front of bad Karma. Even the revelation of the truth regarding
his birth comes later at the time of performing the last rites for departed
souls. The show projected mother Kunti in her calm and composed self, where she
never rushed to the battlefield to cry over her elder son’s death. Kunti’s
grief remained within the larger framework of duty and consequences. The
emphasis was more on accepting the inevitable with calm without any dramatic
expression of pain through mourning.
Whereas the Mahabharata series by Swastik
productions have different level of commercial impact on this scene. Kunti and
Karna are seen exchanging dialogues even after the arrow being stuck in Karna’s
throat, which is highly dramatized representation of the emotional turmoil of
Kunti and guilt of the Pandavas. The long monologue by Kunti followed by a
lullaby keeps Karna alive in pain. The revelation of the truth, confrontation
with her Pandava sons, she being accused by Radha, and Karna consoling her;
these series of events take place in front of Karna whose throat is stuck with
a sharp arrow. The scene allows the makers to intensify the guilt of Arjuna and
Pandavas for humiliating Karna so far, and this definitely increases the
emotional trauma and demands empathy for Karna. The attention here shifted from
Dharma, fate, karma to emotional resolution. Kunti finally breaks
through the constraints of dignity and societal criticism and her motherhood
wins over her fear, seeing her son at death bed. The revelation of the truth at his point,
presence of Radha (Karna’s adaptive mother), acquisitions and questioning eyes
at Kunti serves as poetic justice, satisfying the viewers. They resonate with
Karna’s sacrifices that deserve to be highlighted and honoured at least before
his death.
Following a similar tendency, in Suryapurta Karna,
additional elements are added to elevate Karna’s character. The appearance of
his Guru, Parasuram in the Kurukshetra at the moment of Karna’s death heightens
the emotion of the scene. Parashuram is shown folding hands in front of Karna
in respect, praising his valour, which feels unreal but still satisfying to the
viewers. The episode shifts attention from Karna’s participation in moral
conflict, his choice of adharma, to a heroic ending marked by sacrifice,
honesty and dignity. It builds up a different image of Karna, from a neutral
friend of Duryodhan, these adaptations turn him to an admirable tragic hero,
who deserves to be remembered with respect, not discern, encouraging viewers to
perceive Karna as a misunderstood hapless protagonist, a true warrior and hero
of the epic Mahabharata.
Influence on Audience Perception and the Formation of
Perspective
The reconfiguration of characters and reinterpretation of
philosophical ideologies in contemporary televised adaptations of the Mahabharata
move beyond mere narrative variation and guide viewers in perceiving and
interpreting the epic’s ethical framework. Through consistent and repetitive
projection of ideas, these adaptations condition the viewer’s response towards
an interpretive direction. As over emphasizing Karna’s struggle and humiliation
transforms viewer’s judgement and moral alignment, earning sympathy, and honour
for his heroic stature. This reframing is equally visible in Radha Krishna
series, where Radha’s presence is deliberately retained even during the Mahabharata
episodes, where details of the war are communicated through conversation
between Krishna and Radha. Furthermore,
it affirms the idea of eternal love that allows Radha’s spiritual presence with
Krishna even after their physical separation. This reinterpretation strengthens
the conception of eternal love. A similar process of reconfiguration can be
observed in the projection of Draupadi in the Mahabharata. Her marriage to the five brothers remains one
of the most debated and sensitive episodes.
In B.R. Chopra Mahabharata, the episode is handled
with a sense of quiet inevitability. Draupadi appears composed, and sensible,
as though she is already aware of and prepared to accept her destiny. The
adaptation employs religious legitimization to frame and justify polyandrous
marriage. In contrast, later adaptations by Swastik production modified the
episode and made it logically more appealing by raising questions relating to
societal structure, Dharma, Sin, other possible alternatives with their
implications followed by Draupadi’s decision to marry five of them. The
narrative minimizes divine inevitability and foregrounded Draupadi’s
intellectual agency. She was projected as an independent entity and others were
shown respecting her dignity. Contemporary viewers admired this independent and
logical representation of her dilemma.
In Radha Krishna, this episode undergoes yet
another reinterpretation where Kunti’s characterization is reinterpreted. The
adaptationreflects a more conscious role for Kunti, who appears aware of the
implications of her instruction, presenting the marriage as a deliberate means
of preserving unity among the brothers. This version places emphasis on
intention and strategy, recasting the event as a calculated and purposeful act
rather than an unintended consequence or purely divine ordinance. Kunti’s fear
and anxieties are rationalized through monologue. It was not a selfish sadistic
revenge against her daughter-in-law, but a calculative act of empowering her
the authority and responsibility to keep her sons united forever. Whereas other
popular versions project Kunti’s unintentional mistake. This reinterpretation
makes it logically justifying that Yagyaseni had to be connected
directly to all the five brother in some way to have a similar and equal
reaction among them for her disrespect. It logically aligns with the narrative.
These depictions contribute to the regulation of viewer’s
perspectives. The viewers are guided toward a specific interpretive stance
through consistent foregrounding of certain traits that overshadow other
aspects. Although audience responses may appear neutral and instinctive, but
they are often result of over emphasizing and structural frequency. These new
adaptations also succeeded in highlighting the rigid social structure bound
with framed law of the time that dominated the lives and actions, further
dictating the consequences of violating them. Overtime, these impressions can
solidify into deeper comprehensive understanding and logical interpretation of
the events for the viewers who rely on the visual adaptations to connect with
the epic. These shifts may not fundamentally alter the core narrative and do
not affect the meaning to a larger extent, rather reorganize the ways meaning
is interpreted and received by the target audience.
Conclusion
The transition of the Mahabharata from text to
screen is morethan a shift in medium; it is a transformation in the ways
meaning is produced, disseminated, and received. This study has demonstrated that televised
adaptations do not simply reproduce the epic, but they actively shape contemporary
understandings and interpretations of the epic. By foregrounding selective
empathy, emotional amplification, and character-centric storytelling, these
televisual narratives encourage modes of interpretation and contribute to the
formation of mediated cultural memory. This paper situates cinema not merely as
a reflective medium but as a powerful agent in the production and sustaining
effect of cultural meaning.
Rather than perceiving these adaptations through the lens
of fidelity or deviation, this paper has suggested for understanding them as
interpretive acts situated within specific cultural, aesthetic, and commercial
contexts. The question, therefore, is not whether these representations are
“true” or “authentic,” but how they participate in the ongoing negotiation of
meaning, and what forms of perspectives they enable or limit. In engaging with
these questions, the study emphasizes the importanceof remaining attentive to
the ongoing impact of visual media on the reception of epic traditions, shaping
not only what is remembered but how it is interpreted.
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