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Portrayal	of	Women	in	
Mainstream	&	Art	Cinema	
Course:	Gender	and	Media	
Chapter:	7&8	
Jagri>	Shankar	
Gender	And	Media	
Dept.	of	Women’s	Studies,	Goa	University
Outline	
•  History	of	Mainstream	Hindi	Cinema	
•  Analysis	of	Women-Centric	Hindi	Films	
•  Mainstream	vs.	Alterna>ve	Cinema
Importance	of	Indian	Cinema	
•  Indian	films	are	screened	in	100+	countries		
•  Watched	by	nearly	4	billion	people	worldwide	
•  Indian	film	industry	produces	1000+	films	each	
year	in	more	than	20	languages	(Hollywood	
less	than	400	films	per	year)	
•  90%	of	revenue	from	non-English	films
Brief	history	of	Bollywood		
•  The	first	Bollywood	film	Raja	Harishchandra	
(1913),	directed	by	Dadasaheb	Phalke	(silent)	
•  First	film	with	sound	Alam	Ara	(1931)	
•  First	colored	film	was	Kisan	Kanya	(1937)	
•  Setback	in	1940s	(WWII,	Par>>on	&	violence)	
•  1950s	commercial	films	with	songs,	music,	
drama
1930s-1940s
1950s
1960s
1970s
1980s
1990s
2000s
Do	you	think	women’s	roles	in	Hindi	
movies	are	changing?	Give	example.	
If	yes,	is	the	change	posi>ve	or	
nega>ve?
Golden	Era	of	Bollywood	
•  1950s	to	late	1970s		
•  Rural	India,	vibrant	tradi>ons,	rela>onships,	
norms	and	ethics	of	Indian	society,	issue	of	
poverty,	socialist	ideas,	social	evils,	etc.	
•  Male	lead,	but	women	were	given	considerable	
roles	and	space		
•  Melodious	songs	
Kaagaz	Ke	Phool,	Mother	India,	Pakeezah,	Half	Ticket,	
Padosan
Bollywood	Heroines	1980s		
•  1980s	was	an	ac>on	era	
•  Heroines	lost	their	strength	and	space	to	the	
hero	
•  Heroines	reduced	to	being	a	glamorous	
component	of	the	films,	dancing	around	trees,	
being	kidnapped,	raped	or	killed	
•  Rape	scenes	were	long	&	glorified,	male	gaze	
took	over	
•  Few	excep>ons	included	actresses	like	Shri	Devi		
(Himmatwala)	‘Is	Sridevi	a	hero?’	(Show>me,	Sep	I987)
•  Films	were	shifed	towards	an	urban	segng	
•  Heroines	were	shown	liberal,	literate,	wearing	
fashionable	clothes,	with	a	set	upper	limit	(Mohra)	
•  Films	were	male-centric,	heroines’	existence	was	to	
add	glamour	&	masala	
•  The	more	India	became	global	the	more	Bollywood	
films	regressed	
•  Post-liberaliza>on	1990s,	brought	western	influence,	
technology,	&	technique	
…and	a	desire	to	hold	our	‘Indian-ness’,	and	women’s	
roles	started	to	reduce	to	decora>ons	&	homemakers,	
bearer	of	‘Tradi>onal	Indian	Values’	&	‘Sanskri>’.	
Bollywood	Heroines	1990s
Super	hit	of	late	1990s	
•  Love	above	All,	
Career	at	the	Bomom	
•  Find	a	life	partner	&	
keep	him	
•  Ambi>ous	women’s	
portrayal	not	in	good	
light	(Biwi	no.1)
What’s	women’s	Iden>ty?
Changing	Roles	of		Vamps	
•  Moral	vs.	Immoral	
•  Dichotomy	of	heroine	
&	vamp	slowly	
disappeared	
•  The	heroines	started	to		
dressed	boldly	and	
provoca>vely	as	the	
bad	girl	of	old	>mes
All	in	one-	Have	a	Glamorous	Girl-friend	&	
a	Sanskari	Bahu
Name	the	movies	related	to:	
1.  Patriarchy/	Strong	male	lead	
2.  Ideal	Woman/Ideal	Mother	
3.  Indian	values	
4.  Extra-ordinary	love	story	
5.  Love	Triangle	
6.  Extra-marital	affair	
7.  Size	zero		
8.  Robbery/	Gangsters/	
9.  Heroic	act	of	hero	saving	heroine
Name	the	movies	related	to:	
1.  Domes>c	violence	
2.  Dowry	death	
3.  Rape	&	Jus>ce	to	vic>m	
4.  Sexual	abuse	
5.  Sexual	harassment	at	workplace	
6.  Acid	amack	
7.  Self-esteem	of	women	
8.  Trashing	thin	body	image	of	girls	
9.  Female	sexuality
Summary	of	Mainstream	Bollywood
Do	we	need	to	create	a	parallel	
Bollywood	for	women	?	
Because	in	the	current	Bollywood	women	are	
under-represented	and	misrepresented.
Gender	is	indeed	contested	and	that	because	of	this	there	can	be	
no	closure	on	gendered	categories.	Gender	is	bemer	understood	
as	processual	because	persons	are	constantly	engaged	in	making,	
re-making,	nego>a>ng	and	in	some	cases	challenging	their	
gendered	iden>>es	along	with	all	other	social	iden>>es	such	as	
class	and	caste	(Butler	1993).	
Perceiving	Indian	women	as	ideologically	
‘fixed’	within	pure	and	homogenous	
categories	of	mother	and	wife	severely	
compromises	women’s	status	as	complex	
subjects-	Macdonald	A.	(2009)
•  The	Parallel	Cinema:	Serious	and	ar>s>c	in	its	
representa>on,	mainly	amrac>ng	the	elites	
•  Middle	cinema:	Cross	between	the	
commercial	and	parallel	cinema,	meant	for	
the	masses.
Parallel	Cinema/Middle	Cinema
Comparison	
Mainstream	Cinema 		
1.  Utopian/Ideal	world	
2.  Limited	Subjects 		
3.  One	point	of	view	
4.  Establish	Stereotype	
5.  Female	Sexuality	is	a	
taboo	
Parallel	Cinema	
1.  Real	world	
2.  A	wider	subject	range	
3.  Contradic>ons	&	mul>ple	
views	
4.  Challenge	stereotype,	show	
mul>plicity	of	the	real	life	
5.  Female	sexuality	is	addressed
Analysis	of	Women-centric	Hindi	films	
•  ‘Real	women	&	men’	&	their	life	situa>ons		
•  Women	characters	possess	agency	to	break	
the	exis>ng	power	structures,	and	nego>ate	
their	own	posi>on	within	the	structure	
•  Women	not	presented	as	objects	of	male	gaze	
•  Cinema’s	aim	is	not	to	entertain	a	par>cular	
class	of	society,	rather	it		a	quest	for	social	
change	through	entertainment
Few	Parallel	Films	
1983	 Arth	 Mahesh	Bham	 Extra-marital	affair	
and	unfaithful	
spouse	
1995	 Bandit	Queen	 Shekhar	Kapur	 Rape,	Sexual	abuse,	
Caste	system,	Child	
marriage	
1998	 Fire	 Deepa	Mehta	 Homosexuality,	
infidelity	and	
infer>lity		
2001	 Daman	 Kalpana	Lazmi	 Domes>c	&marital	
violence	
2005	 Water	 Deepa	Mehta	
	
Widow	pros>tu>on,	
child	marriage	and	
widowhood
Biwi	No.	1	Vs.	Arth	
•  Category	
•  Subject	&	its	treatment	
•  Portrayal	of	Female	lead		
•  Portrayal	of	the	Male	lead	
•  Portrayal	of	the	‘Other	Woman’	
•  Stereotypes	
•  Symbols	
•  Male	Gaze	
•  Women’s	agency	
Compare	these	two	movies	based	on	the	
criteria	given	below:
Discuss	
Do	you	favor	‘real’	or	‘imaginary’	portrayal	of	
women	&	men	in	films?
“Films	should	entertain,	take	the	
common	man	far	from	reality,	to	an	
extra-ordinary	imagined	world,	where	
he	can	relax	and	forget	his	worries”	
Discuss
Then	what	about	‘her’?
References	
•  Agarwal,	Ruchi	(2014),	“Changing	Roles	of	Women	in	Indian	
Cinema”,	Silpakorn	University	Journal	of	Social	Sciences,	
HumaniCes,	and	Arts	Vol.14(2)	:	117-132	
•  Bagchi,	Amitabha.	(1996).	Women	in	Indian	Cinema.	Retrieved	from	
hmp://www.cs.jhu.edu/~bagchi/women.html	
•  Sarkar,	Srijita	(2012),	"An	analysis	of	Hindi	women-centric	films	in	
India.”		Electronic	eses	and	DissertaCons.		
•  Tere	S.	Nidhi	(2012),	“Gender	reflec>ons	in	mainstream	hindi	
cinema”,	Global	Media	Journal	–	Indian	Edi>on	Vol.	3/No.1		
•  Ahmed,	S.	Akbar	(1992).	‘Bombay	Films:	The	Cinema	as	Metaphor	
for	Indian	Society	and	Poli>cs’.	Modern	Asian	Studies	26,	2	(I992)	
•  Laura	Mulvey	(1988),	‘Visual	Pleasure	and	Narra>ve	Cinema’.	In	
Constance	Penley	(ed),	Feminism	and	Film	Theory,	New	York:	
Routledge
•  Burra,	R.	(ed.)	(1981).	‘Film	India:	Looking	Back	
1896-1960’.	The	Directorate	of	Film	Fes>vals,	
New	Delhi.		
•  Interview	with	Shoma	Chamerji-	Role	of	Women	
in	Indian	Cinema,	October	8,	2010.	Source:	
hmps://oorvazifilmeduca>on.wordpress.com/2010/10/08/
interview-with-shoma-chamerji-role-of-women-in-indian-cinema/
#comments	
•  Ghosh	R.	Arup,	“Post-Colonial	Feminist	Theory	
and	Film,	Source:	hmp://www.angelfire.com/ar/
view/2.html
Thank	you!

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