Tamanjot Kaur Malhotra,
Prabha Lama,
Nimisha Gairola,
Vaidehi Uniyal,
- Research Scholar Graphic Era (Deemed to be University), Dehradun Uttarakhand India
- Head of Department Graphic Era (Deemed to be University), Dehradun Uttarakhand India
- Research Scholar Graphic Era (Deemed to be University), Dehradun Uttarakhand India
- Research Scholar Graphic Era (Deemed to be University), Dehradun Uttarakhand India
Abstract
This paper explores about how women has been challenging ideology that has its roots embedded since a long time. The portrayal of women in movies has now changed the perspective and resulting in shaping mindset of people towards women. This paper examines women centric movies which put greater impact in Indian society and also deals with this rapidly changing role of women in Indian cinema. The roles played by the women in movies are based on the concept of male director’s ideas of what roles women going to play. One can analyze the innovative roles that are penned down for women these days. With the span of time women have reached a platform where they have been dominated for decades and hence now have rejuvenated their internal strength to give a tougher competition to their male counterparts. One of the biggest film industries in the world, Bollywood, has played a vital role in the creation and promotion of Indian culture and values. However, despite its reach and influence, Bollywood has long been criticized for perpetuating and reinforcing patriarchal norms, reinforcing stereotypes of women as weak and vulnerable. The objectification and commodification of women in Bollywood films have contributed to a broader cultural context in which women are marginalized, oppressed, and silenced. This study critically examines the representation of women in Bollywood films, with a focus on the ways in which these portrayals perpetuate and challenge patriarchal ideologies. The study’s findings highlight the ways in which Bollywood films perpetuate a range of patriarchal attitudes and stereotypes, including the objectification and commodification of women’s bodies, the normalization of violence against women, and the marginalization of women’s experiences and perspectives.
Keywords: Indian cinema, bollywood, patriarchal ideologies, movies, women representation
References
- Chakravorty N, Bera S. Portrayal and Perception of Male Chauvinism and Gender Superiority in Hindi Cinema: A Case Study of the Film ‘Animal’. Journal of Communication and Management. 2024 Mar 22;3(01):83-91.
- Tannvi T, Narayana S. The challenge of gender stereotyping in Indian courts. Cogent Social Sciences. 2022 Dec 31;8(1):2116815.
- Sinha S. Vernacular masculinity and politics of space in contemporary Bollywood cinema. Studies in South Asian Film & Media. 2013 Oct 1;5(2):131-45.
- Dasgupta RK. The visual representation of queer Bollywood: Mistaken identities and misreadings in Dostana. Journal of Arts Writing by Students. 2015 Jan 1;1(1):91-101.
- Iyer JB, Das S. Leveraging history to invoke nationalism: from the annals of history to social engineering of present and future in Hindi cinema. National Identities. 2024 Jul 26:1-20.
- Bhattacharya R. The changing dynamics of Indian nationalism in contemporary Hindi movies. National Identities. 2024 Jul 11:1-20.
- Rao S. “I need an Indian touch”: Glocalization and Bollywood films. Journal of International and Intercultural communication. 2010 Feb 1;3(1):1-9.
- Rao M. Waif to Warrior—Kangana Ranaut. Stardom in Contemporary Hindi Cinema: Celebrity and Fame in Globalized Times. 2020:215-28.
- Ahad W, Koç Akgül S. Female body, femininity and authority in Bollywood: The “new” woman in Dangal and Queen. Asian Journal of Women’s Studies. 2020 Jan 2;26(1):3-21.
- Pal P, Karmakar G. (In) visibility, Mediated, and Sporting Perceptions: Bollywood, Biopics, and the Epistemic Turn in Mary Kom. Visual Anthropology. 2023 May 27;36(3):249-79.
- Chaudhuri SK. Feminist Historical Desire and the Politics of Biopic Adaptations: Review of Manikarnika: The Queen of Jhansi. Neo-Victorian Studies. 2019;12(1):181-9.
Volume | |
Received | July 31, 2024 |
Accepted | August 5, 2024 |
Published | August 23, 2024 |