Role Name Affiliation Principal Investigator Prof. Sumita Parmar Allahabad University, Allahabad Paper Coordinator Prof. Sisir Basu Banaras Hindu University, Varanasi Content Writer/Author (CW) Vinit Kumar Gupta Banaras Hindu University, Varanasi Content Reviewer (CR) Prof Sisir Basu Banaras Hindu University, Varanasi Language Editor (LE) (B) Description of Module

Items Description of Module Subject Name Women’s Studies Paper Name Women, Media & Films Module Name/ Title Changing Perspective of society towards women

in films Module ID Course – 10, Module - 36 Pre-requisites The reader is expected to know the changing

perspective of women in Hindi commercial films and the previous scenario

Objectives To define & understand how the perspective is changing in society towards working women in films.

Keywords Bollywood, stereotypes, patriarchy, objectification

Changing perspective of society towards women in films 1. Objectives: In this module, you will be acquainted with the changing

perspective of society towards women in films particularly in the context of Indian cinema. After going through this module, you will be able to:-

• describe the relation between film, society and women; • analyse portrayal of women in earlier films; • describe how women are being portrayed in contemporary films; • ascertain the impact of contemporary films on society; and • to find out changing role of women portrayed in Bollywood films

1.1 Introduction Films are the mirror of society and these reflect what happens in society. At the same time, they impact the society in different ways. In different context, this impact can be both and positive. Just as films influence society, in the same way, the society influences the content of Bollywood cinema as well. Since inception, cinema and society has had a symbiotic relationship.

Films produced in India have depicted problems, issues and shortcomings in society in an effective manner. Several films have brought awareness among audiences about different issues of society. Since the film process began in India, patriarchy has been reflected in a prominent manner. In earlier films, women characters were portrayed as decorative, assertive, sympathetic and dependent on male characters. They were restricted in films only as an entertainer and a decor. The films, not only depicted women as marginalized and weak, they also institutionalised the patriarchal belief, perception and attitude in the psyche of the masses.

Interesting Fact Born in August 1915 in Badayun, Ismat Chughtai is a member of the pantheon of Urdu literature. Her radical prose, indomitable spirit and revolutionary ideas made her a voice for the voiceless in a deeply patriarchal society, confronting age-old taboos and prejudices without fear, an inspirational figure for generations. Her interventions in the various internecine conflicts of gender and class in the subcontinent are as valid today as when she wrote them; her writing took these complex debates from the realm of the abstract and made them accessible to the masses. She was not afraid to provoke, nor to stand up for her right to provoke. She was a progressive, but never an ideologue. She was an iconoclast who became an icon.1

1.2 The perspectives about women in films

As we have discussed already that Indian society is a patriarchal one, so we can see that women have always been subservient to men.

Films have always represented women in stereotyped ways. Films not only depict women in several fixed roles but they also build a negative perception towards women in masses. In Hindi cinema, women are often depicted as weak, marginalised, and an object of entertainment. Objectification of women has led them to becoming vulnerable in society. Films have depicted negative notions about women which seem to have infected the society.

1 http://kindlemag.in/100-years-of-hindi-cinema/

1.3 Depiction of women in films: Mostly in movies of 80s and 90s women were portrayed as marginalized and stigmatized figures in the society. They were represented as homemakers, sacrificing her dreams for the sake of societal norms and as entertainers singing, dancing and romancing with a hero. The portrayal of a protagonist sister’s character was limited to tying rakhi and getting kidnapped by antagonist. Widows were depicted as value laden and emotionless. They lived in isolation. The widows were portrayed as someone whose life was colourless and they had no right to be happy. In films, widows wore white sari only, however widows may not wear white sari in their day to day life.

1.4.1 Marginalized Generally in films, women were shown inferior to the hero. To show the masculinity of protagonist or antagonist, these female characters were depicted as subservient to the male characters. Hindi films show the characters of mothers, sisters, lovers and wives as vulnerable and the antagonists take revenge by kidnapping, murdering or molesting female characters.

In Indian films usually the story revolves around the hero. He is shown as sympathizing and protecting the female characters in films. Violence and harassment against them are complimentary in many films.

1.4.2 Weak In films, women were always depicted as weak and vulnerable. They were also depicted as someone who can’t be independent. Films like Dahej (1950), Dev (1970), Biwi Ho To Aisi (1988) Pati Parmeshwar depicted weak women. Women were shown to be loyal and obedient to their husbands. Through these films, patriarchal values have been institutionalized. In most of the films, depiction of daughters or sisters is limited to marriage, rakshabandhan, and kidnapping by villain. Rural women are always portrayed as poor urging lala for money. Also, they are depicted as illiterate and living in a hut or a mud house. Sexual exploitation of women characters by the antagonist form the plot of storyline as well. By and large, women characters are restricted to being an arm candy. Women are portrayed as feeble mortals, where as men are shown to be strong and macho.

1.4.3 Serving entertainment purpose

In Bollywood romancing, dancing, belle, cabaret and item songs are order of the day. Without item songs, no films are released. In the films of Bollywood, muscular heroes take the centre stage and heroines to be more glamorous and have appealing look. As films are made for the entertainment purpose of masses, the most susceptible component of entertainment in films are characters of heroines. They serve the purpose of entertainment for the audiences. Romancing with hero in park, mountain or lake is common in films. They have to dance with the hero in all kinds of locations. Item songs are very prominent in Bollywood. Almost all big budget or multi-starrer films have an item song. At times item songs become the criteria for the success of a film. Item songs and dances are often performed by a scantily clad female actor, whose character is not part of the film, but comes on the screen in a guest appearance. These are unwanted but necessary doses of entertainment. Who does not remember Mehbooba- Mehbooba item song from the film Sholey?.

Heroines have to be fair, beautiful, and sensual, irrespective of the kind of roles they have in films. They also have to entertain the audience with her body, figure, sensual action and behavior.

1.4.4 Objectification of Women

In Hindi cinema, there is a formula for making commercially hit films which nowadays is followed by almost every filmmaker. Woman characters have to be beautiful, irrespective of roles being played by them. These days item songs are necessary to make a film successful. Nowadays, the lyrics of many songs like Tu Cheej Badi Hai Mast Mast (Mohra), Munni Badnaam Hui (Dabang), and Shila Ki Jawani (Agnipath), contain words which demean women. After discussing about various instances, we can say that Indian cinema portrays women as a sex object and endorses the objectified male gaze. Ila patel in his research “Representation of Women in Mass Media”, says semiotic analysis of films shows that in cinema, women are represented as what they represent about themselves for men and not what they actually signify2.

1.5 Depiction of women in contemporary film:

In 1991, India opened its market through globalization and liberalization. After liberalization, Indian economy has changed drastically. With the help of technical advancement, the process of modernization has started. With the advancement of technology, attitude has changed both in cinema and society. Development gears towards change; with that depiction of women in films has also changed. Now women are getting space, time and strong characters to play in films. Women oriented films are being produced and directed by famous directors. This has led to the paradigm shift in depiction of women in films from entertainment to empowerment.

2 https://www.irma.ac.in/pdf/randp/1020_53632.pdf

1.5.1 Fighting for rights

Some sense of sensibility is entering Bollywood films. There are paradigm shift seen in contemporary films towards depiction of women in films. Now films are produced on women issues and their problems. In several films, they are portrayed as fighting for rights. Women characters are slowly and steadily becoming strong, independent and fighting for rights in society. Released in 2014, film Queen is one of the examples of a young and confident middle class girl in Delhi .Two days prior to her marriage; her fiancé refuses to marry her, because he wants to marry a girl who is confident and modern. He thinks that Rani is conservative and a traditional girl. She is shocked, but she moves on. She goes to Paris according to her pre booked honeymoon. There, she enjoyed her life and explored many things. After returning home, Vijay wants to get married to her but this time she dumps him. In this film, the character of Rani is depicted as having low confidence with simple background when she begins her life. But she evolves into a confident and courageous girl. Ultimately, she developed into a character of courage and dignity. No one killed Jessica, was released in 2011. The film is based on the murder case of model Jessica Lal in Delhi. Jessica was shot dead in a pub in Delhi by Manu Sharma who is a strong political leader’s son. Jessica got justice after a long battle fought in the court of law. No One Killed Jessica depicted two women characters who fought for justice for Jessica; Jessica’s sister and a journalist.

1.5.2 Portrayed in lead roles or characters:

Earlier, in Bollywood, female characters were generally depicted as submissive, passive and secondary but in changed scenarios, women characters are shown as strong and confident. They are playing lead roles in films. They are portrayed as main characters. Recently, many films were released, where women were depicted as the main characters like Piku, Tanu Weds Manu, Tanu Weds Manu Returns, Marykom, NH10, Bobby Jasoos, Gulab Gang, Dirty Picture, Kahani, Chak De and many more.

First let us discuss about the film, Piku, where Piku (character’s name) is the central character in the film. Piku (Dipika Padukone) is the daughter of an 80-year old Amitabh Bachchan, who is suffering from the problem of constipation. She is not getting married because she wants to take care of her father. The film also has famous star, Irrfan Khan. It shows the maturity of Bollywood that in the presence of two big actors, women character gets a lead role. Similarly, Tanu Weds Manu and Tanu Weds Manu Returns are solely based on female character called Tanu. In the film, she is shown breaking all the images and stereotypes related to an Indian girl. Character of Tanu is so loud and strong that she is not bothered to drink or smoke in front of her fiancé or lover even. In Kahani, Vidya Bagchi (Vidya Balan), a spy, is shown roaming around the streets of Kolkata in search of her husband’s killer. Inspite of her pregnancy, she is shown to be focused to her mission and searches the antagonist and kills him. Produced by Yashraj films, and directed by Shimit Amin, Chak De is a much celebrated movie in India. Chak De tells the story of an Indian women’s hockey team clinching the world cup by overcoming several odds. However king of Bollywood, Shahrukh Khan, plays the role of a coach named Kabir Khan, but the main characters happen to those fourteen girls who are the members of the hockey team. Against all odds, they win the world cup thanks to their zeal and enthusiasm to excel in their life.

1.5.3 Entering into male dominated profession as portrayed in films

Bollywood is now experimenting with films and subjects. Producers and directors are making films on unconventional theme and issues. They are not sticking to masala movies only. So woman characters are evolving into characters of strong, educated, self dependent women and playing roles in male dominated professions. In Revolver Rani, Kangana Ranaut’s character is of a gangster. Her character easily fights and guns down enemies. She has a large number of male associates and subordinates. She easily fires gun at her rivals.

In Kahani, Vidya Bagchi (Vidya Balan) acts in the role of a spy. The profession of a spy or an agent is largely dominated by males. It’s a good sign that Bollywood is casting women for these kinds of challenging roles. In another film, called Bobby Jasoos, Vidya Balan acts in a role of a detective. Rani Mukherjee acts in the role of a strict police officer in Mardani; dealing with drug mafia and human trafficking gangs. Earlier, women police were mainly used as decorative elements and shown to be subservient to the male protagonist.

In Patriarchal society like India, it’s not considered good for girls to take part in sports. When it comes to sports like boxing and hockey, it’s very hard to believe that women can take part in these sports. But situation is changing now in society and also in films. Films like Chak De and Marykom have shown the way to us.

In Indian politics, there are many women leaders. But in Bollywood, it’s rare to see a woman as a political leader. Contemporary cinema is showing the women’s characters as political leaders, such as Rajneeti and Gulab Gang.

1.5.4 Issue based film on women

There are many problems and issues related to women in India. Such as honor killing, female feticide, etc. Honor killing is basically the murder of a girl who marries a person outside her caste or community. Only for the sake of a so called honor of community or the family that the girl is annihilated. Killings are prominent in the northern part of the country, especially in Haryana and Uttar Pradesh. India is now facing the problem of sex ratio. Decreasing number of girl’s per 1000 boys is alarming. This is happening because of female foeticide. In the pursuit of male child, people are aborting their girl child in the womb. This has led to a grave consequence of decreasing number of girl in the country. Bollywood is not silent on this serious problem. There are many films made on this issue.

On the issue of honor killing a number of films have been made. Some of them are - Khap: A Story of Honor Killing, Aakrosh, Love Sex aur Dhokha, and recently released NH10. Matrubhumi: A nation without women was based on female foeticide. Though the purpose of the films is entertainment, through an effort is made to create awareness in audiences.

1.6 Future perspectives of women related films:

After economic liberalization, the Indian markets were opened to investment: this economic liberalization brought many positive things to India. It also brought technical advancement and social consciousness in the society. These three things - investment, technical advancement and social consciousness - created an environment in which films started raising women related issues. Industry doesn’t want to stick to masala movie formula only. They are experimenting with different subjects. The path for women oriented films in Bollywood is open now. Another technical advancement led to creation of a multi-screen from single screen. Multiplex gives producers space to release low budget films every week.

1.6.1 Women oriented films

The future of women oriented films is very bright. Directors and film producers are getting confidence that they can make film centered on women and it would be economically viable. This is the reason behind

3 http://blogs.tribune.com.pk/story/26843/nh10-a-much-needed-eye-opener-for-patriarchal-india/

Interesting Fact In the midst of increasing inter-cast marriages and prevailing women suppression, NH10 encourages India to plunge into liberalism and women empowerment. The movie is a superb attempt in addressing issues of violence and injustice amongst the sexes.3

release of so many films on women. These films are getting good responses from both the audiences and critics. A few months ago, two women centric films were released. One was Piku and another was Tanu Weds Manu Returns. Both the films got huge appreciations from audiences and critics. These are typical Bollywood commercial films in which women characters are central. It shows the maturity of both Bollywood industry and audience. Both have generated interest in making and viewing films on women. Earlier they were depicted as submissive, exploited and subservient to male characters. But in recent times, their characters are strong, confident and are fighting for their rights. These roles are defining the new and modern women of changing India. In Piku, the protagonist (Dipika Padukone) takes care of her ageing father. She works in a corporate office and takes care of him. She does not want to marry because she doesn’t want to leave him alone. Kangana Ranaut’s film Tanu Weds Manu Returns, which is the sequel of Tanu Weds Manu. Tanu is the central character in the film. Tanu (Kangana Ranaut) is shown breaking the stereotype images build by society related to Indian girl. She is a dominant character in film. She loves her freedom and enjoys her life.

1.6.2 Acceptance of films in society

At present, women oriented films are getting good response. From being confined to the role of a homemaker who depends on a male member, woman is now being shown as an independent individual. These kinds of characters and films are being accepted in society. Acceptability of such films is a very good sign for modern India. All the films which are mentioned above were socially and economically successful. In traditional Indian society, the role of Silk Smita (Vidya Balan) in Dirty Picture was portrayed as bold and sexy. Dirty Picture was a hit and received national awards. This shows how Indian cinema and society has gradually evolved from traditional and stereotyped to modern, liberal and democratic one.

1.6.3 Outcome of such films in business

In today’s time, film making is pure business. It needs huge investments, and investors or producers want profit from films. In these context, women oriented films are doing good business. None of the above mentioned films has failed in box office. If we talk about latest releases in Bollywood, Tanu Weds Manu Returns was declared as the first blockbuster of 2015. It has done a business of 144.30cr. Piku is another super hit movie of 2015. It earned 120 cr. Kahani and Dirty Picture had done a business of 100 cr and 120cr respectively. Films depicting the role of sports women, Chak De and Marykom, box office collection were 100cr and 107cr. Profit of English Vinglish and Queen were 90cr and 58cr respectively.

Did you Know? Mary Kom is the only woman boxer to have won a medal in each one of the six world championships.

1.7 Let sum up:

From the last two decades, film making and film viewing has changed significantly. Now, Bollywood produces masala films and makes films related to social concern. In addition to entertainment and business, these films are creating social awareness among audiences.

Bollywood has become mature in its approach of portrayal of women in films. The roles and characters of women are now central in films. Films are being made on various issues of women. We also discussed films made on various issues of women like empowerment, honor killing, female feticide and women in sports are depicting satisfactorily. Earlier in typical Bollywood masala films, women were depicted as weak and marginalized. But in changed scenario, women portrayal in films has become different. Now they are portraying as women fighting for causes and rights. Films like Tanu Weds Manu and Piku have broken the image of so called stereotyped Indian girl.

If we see the larger picture, it reflects the perspective of society towards women portrayed in films. In conclusion, we can say that there is a paradigm shift in the portrayal of women in films, from entertainment to empowerment. It clearly shows the approach and attitude of society and changing the reality in cinema also.