Bollywood and Gender

Research Proposal Aim To watch and comp atomic number 18 the voice of wo custody in some of the women centrical Hindi subscribe tos released between 1980 to 1990 and 2000 and 2010. Objective To study the issues of gender, caste, development that were perceived in Indian moving-picture show then and promptly in women centric films. A comparative study about the mental way of women in Indian cinema then and now in women centric films. Scope There argon a numerous women centric films that are created in diverse languages around the world. When we focus even on unmatchable ad hoc type, we get to know about the culture and thought suffice of that specific region.Also, a strong statement emerges out of the analysis which is a reflection of the prevailing ideologies in the society. This paper forget be shit a statement on the thought process, beliefs of the people especially for the women. These beliefs systems and ideologies allow be compared through women centric Bollywood icons that were released between 1980s to 1990s and 2000 to 2010. The cranial orbit nookie be extended to many women centric movies do in various languages some other than Hindi. One can too include the earliest of the eras for a detailed similarity and in-depth study.Not except a comparison on the issues kindred gender and caste but also a comparison on other issues like lifestyle, costumes, movie posters etc can be done. Limitations This paper is contain only to Bollywood films because of the language constraints. Also, only two decades pick up been chosen since the comparison and study would be possible with a limited number of films to study. Also, from each decade four women centric films are chosen and then studied thoroughly. Followed by is a detailed analysis of the movie based on the issues of Gender, caste, development, ideologies. Research Question What is the difference in the representation of women portrayed earlier (1980-1990) and that which is shown now ( 2000-2010)? What are the factors that have affected the interpolate in the representation of women in Hindi cinema esp. between the 1980- 1990 and 2000-2010? And how is the spiritual rebirth identified? Was the image of women shown in the movies of 1980-1990 stronger, bolder than those shown now (2000-2010)? Introduction Confirming Aristotles view of art as an imitation of life, gender discrimination in the Hindi film industry does indeed reflect the bias that exists in Indian society.The gender ratio in India is heavily skewed in the favor of antherals (1. 08 staminate(s)/ muliebrityly) (from CIAs publication). Thus, Indian moviegoers are presumed to be closelyly menroughly between the age of 15 to 34 years. These moviegoers, according to an all-India suss out by a research organization, enjoy mindless comedies. Such view dominates cinematic expression in one of the worlds largest centers of film production. The Indian entertainment industry stands at $10 billion immedia tely and is expected to grow at 18 percent per annum compounded yearly over the bordering two years (Economic Times).An average Indian spends somewhat 4. 6 percent of disposable income on movie watching in theaters. And because issue-based films are not a favorite with the masses, a producer opts for subjects with much appeal so that he or she can recuperate the Brobdingnagian investments involved in film production. Even egg-producing(prenominal) filmmakers do not risk funding for their films by focusing on women-centric subjects. At natural Yorks iView Film Festival held in 2009, which explored gender and sexuality issues, filmmakers and actors on the panel were asked to comment on the presentation of social issues through Indian films.Zoya Akhtar, the filmmaker ofLuck By Chance (2009), and a panel phallus commented on the female protagonist in her film saying that, The geek could have been any the fact that she is a woman is a coincidence. save because the film ends up centering on the story of a woman, the manager struggled for six years to make the filmapparently because numerous male actors secreteed down the costarring role. She had a difficult time despite her insider side in the industry as the daughter of renowned Indian hired manwriters, Javed Akhtar and the sis of an accomplished film director, actor, producer and singer, Farhan Akhtar.The absence of female centric scripts in main stream Hindi cinema is partially to be unholy because of its commercial viability. Also, commercially super-hit films like Jab We Met(2007) and Paa(2009) are termed as female centric films, but on observing closely, we realize that both the female characters in the end need their male counterpart to overcome their ruefulness or are heavily relied on them to ensure a capable ending to their story. Hindi cinema is divided into trends or eras. Starting from the profound ra in 1920s, Hindi cinema has evolved tremendously in toll of technique, story tell ing and the stories that were told. The period from late 1940s till mid-sixties is considered as the Golden era of Indian cinema. Bollywood witnessed a new jar in form of content, where earlier movies focused mainly on mythologic stories, after independence, their focus shifted on development issues (Do Bigha Zameen- in 1953), gender (Bandini-in 1963), caste discrimination (Sujata-in 1959), etc. In the early years of Indian cinema, it was Bimal Roy who made a host of films in which his heroines had the lead part to play.Commercial cinema then had female centric scripts and Nutan, Meenakumari, Madhubala and Waheeda Rehman have portrayed some of the most powerful female characters in Hindi cinema and delivered super-hit films. The role play by Zeenat Amaan in the movie (Qurbani-in 1980) was much ahead of its time. It was bold and firm unlike of the characters that we seen in the movies of late 90s. One of the outstabding commercial hits Seeta aur Geeta surd more on the heroines qu ite an than the two heroes. Besides such reflect plots, some movis have focused exclusively on the heroine and woven the script around a central female character.In such films, the woman has no prototype. Jaya Bhaduris Guddi was one of the early hits where the innocent young lady next door image of a star struck teenager became exemplar of each school going daughter for years to come. In other films like Aandhi, an educated wife changes course midway from a happily married woman to a leading politician. When we compare those films with the films produced during 1990s and later, we can see stark contrast in the way female leads were be portrayed. Not only in their portrayal of the character, but also in the way the content of the movie that was generated.At times or rather most of the times, they were meant to accomplishments to their male counterparts. Shridevi in Lamhe(1991), Madhuri Dixit in Hum Aapke Hain Koun-(1994), Karishma Kapoor in Dil to Paagal Hain-(1997), Fiza-(2000) ,Kajol in Dushman-(1998) and Aishwarya Rai in Hum Dil De Chuke Sanam-(1999), Taal-(1999) and Guzaarish-(2010) were some of the most popular leading ladies during this era. though they were brilliant performers, they hardly were part of a movie where they were not shown adhered to the wishes of the male lead, society and family.It becomes mandatory to ultimately create an image of an ideal girl/woman for the audience (here consumers) because thats how our society works and secondly it becomes lenient for that the idea to sell hence increase in numbers and popularity. Films like Dor (2006), Silsilay (2005), Tehzeeb (2003), Pinjar (2003), Chameli (2003), Satta (2003), Filhaal (2002), Zubeidaa (2001) Lajja (2001), Chandni Bar (2001) and Fiza (2000) brought the woman into the spotlight all these films got critical acclaim, but they didnt turn out to be a commercial hit.Surprisingly, in recent times, No One Killed Jessica was the only women centric film that sort of worked at the rece ss office. All said and done, it shows that we lack on ideas. We as audience are treading backward as we choose to accept only a specific image of woman being shown. Hence, I would focus on a comparative study of two different bollywood era. This will not only comment on the techniques and style of film making, but it will also comment on the kind of cinema accepted by the masses then and now.It will clearly showcase the image of a girl or a woman being shown by the film makers and its credence by the audience. It will talk about how issues of gender, caste, development were perceived in Indian cinema then and now. Hence, it will become a pagan comparative study of two different decades from Indian history and will help us understand that how the term Indian Culture has evolved over a period of time. A Tentative Bibliography Criticisicm and Truth by Roland Barthes idiot box commercials and rural women as audience in India by Ila Patel Ways of sightedness by John Berger About Looking by John Berger Women and craft contested Territory by ChicagoJudy Bollywood in Posters by Ausaja. S. M. M. A thought Eye by Paul Klee Reference Links www. indianetzone. com www. indianlink. com www. altlawforum. org www. expressindia. com www. semionaut. com www. sebsteph. com www. slideshare. net Heta Vyas MAJ 0310