ISBN 978-81-925489-2-0 - ramniranjan jhunjhunwala college

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It is difficult to come to a uniform conclusion on the portrayal of celluloid women. Considering the fact that women in India are not a homogenous group – they belong to different religions, castes, class, socio-economic status and have different kinds of ambitions and desires as a result of which they lead different lives, it is improper to conclude that women on Indian silver screen have been portrayed in an identical manner. The portrayal of course has to be sensitive to the category to which they belong. For eg: An urban middle class woman’s story would be entirely different from that of a woman in a village. Films thus have to be responsive towards the context in which they locate women characters. Women characters should possess agency to dismantle the existing power structures as well as be able to negotiate their own position within this structure. It is time that cinema seeks a redefinition of women as objects of male gaze. Women’s experiences and dilemmas as points of narration are the need of the hour. Going beyond the stereotypes will do a great help to the cause of women in Indian society. Cinema has to create a separate and independent space for Indian women to help them realise their dreams. Cinema’s only end is not to entertain. It must begin a quest for social change through entertainment. References i Joseph, A., & Sharma, K. (1994). Whose News? The Media and Women‟s Issues (pp. 21). New Delhi, Sage Publications. iiGokulsing, K.M., &Dissanayake, W. (1998). Indian Popular Cinema: A narrative of cultural change. (pp. 88). U.K., Trentham Books Limited. iii Jain, J., &Rai, S. (2009). Films and Feminism: Essays in Indian Cinema. (pp. 10). Jaipur, Rawat Publications. iv Cinema and the Mirror. Retrieved March 14, 2012 from http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Psychoanalysis-CINEMA-AND- THE-MIRROR.html v Bollywood's 'homely' heroines. Retrieved March 3, 2012 from http://www.indiatogether.org/2003/sep/womheroines.htm vi Role of Women in Indian Cinema. Retrieved March 5, 2012 from http://oorvazifilmeducation.wordpress.com/2010/10/08/interview-with-shoma-chatterji-role-of-women-inindian-cinema/ vii Datta, S. (2000). Globalization and Representations of Women in Indian Cinema. Social Scientist, Vol. 28, No. 3/4, (March. – Apr., 2000), pp 71-82 Retrieved March 5, 2012 from www.jstor.org/stable/351<strong>81</strong>91?origin=JSTOR-pdf 141
A long journey --- Women in Indian cinema I. Banerjee, V.E.S. College of A.S.C. Cinema has always been a mirror of the image, ethos, scenario and ideology of any society at a given point of time. To project this reflection, the media changes from costumes to music to items of luxury to movie sets etc; but the most important medium is characters. Characters are the pivots around which the entire movie revolves producing an illusion of reality and presenting a faithful picture of existing social trends. The mind-set, thinking, apprehensions or the prejudices of the characters were the same as those that the general public would readily accept. The same theory can be applied to the portrayal of female characters as well.To start with, women who chose the then unconventional profession of acting were looked down upon as prostitutes or women who were “easily available.” Although, later movies like Mother India were made in which Nargis Dutt played a more challenging and substantial role, the basis of the portrayal remained the same. The ideal woman was depicted as very pretty , submissive and shy, dependent and fragile, usually clad in a sari, whereas at the other extreme was her antithesis , the brazen , smoking , drinking, pouting & scantily clad vamps of Hindi cinema who would try to get the leading man by , as they say , literally, hook or by crook . Women who dressed in a style more influenced by the West were usually considered to be morally degenerated. If we look at the 1940s and ’50s, the favourite vamps of that era, Cuckoo would be characterized as a cabaret dancer, who held a cigarette in one hand and a glass of liquor in the other; then came the era of such actresses as Nadira, Sheila Ramani, Shashikala, Helen and others who either went the Cuckoo way of dressing up in revealing western clothes (Nadira in Shree 420) or in usual sarees or Indian clothes (Shashikala in Aarti). What was important was they were rebels in their own ways who often defied accepted social norms, and went against the existing socially prescribed pattern of behavior and values to achieve their goals. In the late 60s Bindu, Aruna Irani, Laxmi Chayya, Faryal took over from where their predecessors left and were commonly seen to be smoking and drinking generally on screen and sometimes even off screen. These so called vamp women would show much liberation in the form of engaging in pre-marital sex onscreen, projecting an adulterous character, be self centered and cunning and most importantly self reliant specially for their financial needs, unlike the main female protagonist, who would be the exact opposite of all this. It is interesting to note that even in the 50s when leading ladies had little to do other than melodrama and look pretty and vulnerable, there were some avante garde film makers like Bimal Roy, Meheboob Khan, K. Asif and a few others who were not afraid to experiment with very strong leading female characters in their story line ; such movies as Bandini , Sujata , Mother India, Mughal-E-Azam and Anpadh are glowing tributes to their efforts at digressing from the beaten track and creating history , both in the world of cinematic artistry as well as at the box office. Filmy vamps projected an image of such women characters who had questionable sense of morality, though when a male actor did the same onscreen he was seen as an adorable idolized macho god. The conventional heroines, on the other hand would never dare to do so, as they were expected to be docile, shy and dependent women because these were the virtues of a stereo typical “well-cultured” Indian woman. This is one of the reasons why many eyebrows were raised when Sadhana , Nutan and Sharmila Tagore became the first leading ladies to wear bikinis in movies like Waqt ,1965, An Evening in Paris in 1967, and also when Zeenat Aman kissed on screen in the movie Heera Panna. In the 70s and 80s, women started to be taken a little more seriously which was reflected in a few women-centric movies like Umrao Jaan and Paakizah. In the ’90s their roles were beginning to change drastically—they became more substantial. Being a leading lady on screen became much more than just playing eye candy and dancing around trees and look glamourous. 142
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ICSSR SPONSORED NATIONAL SEMINAR ON
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Contents Preface 4 Introduction t
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Introduction to the theme of the Se
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Message from the Principal Greeting
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Fore word When Dadasaheb Phalke, th
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‘THE APU LEGACY’ - UNFOLDING SA
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emotional pain due to her son’s a
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holding a musical instrument and wi
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Plot: Set in 17th century Dehu, Mah
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was at its peak frenzy in the state
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"Sant Dnyaneshwara"- a landmark in
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This film starts with socio-philoso
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throughout the film “Saint Dnyane
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1913-1931 More than indigenous prod
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Conclusion Regardless, cinema came
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its stunts and action, but the real
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avenges her husband’s killing by
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The Protagonist: As mentioned above
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Its Relevance: It has been 76 years
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दलित-मुक्तत च
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अश्िेतों को ब
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philosophic insights of its own (Ca
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landscapes and figures and human fo
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Scottish poet James Beattie is beli
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loud expressions bring Bibhatsa, Ha
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imagined gives new meanings to ever
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Naya Daur(1957), Ram Mukherjee’s
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ethinization of citizenship (genera
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In Bombay the erotic desire of the
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Kaha Tha (1960), Amar Jeet Shukla
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A film like Pinjar brings out the c
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contemporary reality to construct a
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presented as natural eventualities
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Bengalis from former East Pakistan
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Preckel, Claudia. “ Millions of D
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- 1934, of these Kaala Nag even cau
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the evil of child marriages. The Te
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Queer Vision: Portrayal of The Quee
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has a wrong impression that long ti
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due to her inability to communicate
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Valmiki, Amita (2011). ‘Homosexua
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off his own so-called efficiency an
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The film raises some very crucial q
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All the films take the audience out
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as a community. The cricket team is
Page 92 and 93: References: Evans Christopher H. an
Page 94 and 95: Time bound and rigid format -The ed
Page 96 and 97: Marathi Cinema-Contribution, Credit
Page 98 and 99: 6. The sixth influence was that of
Page 100 and 101: 7. Acceptance for innovative themes
Page 102 and 103: of the industry in which people wan
Page 104 and 105: 8. Number of Marathi channels:- Mar
Page 106 and 107: on the Marathi stars. This threat i
Page 108 and 109: films have explored bold subjects w
Page 110 and 111: c. Contribution to employment gener
Page 112 and 113: venture funds: Cinema Capital Ventu
Page 114 and 115: Money Insurance Workmen Insurance A
Page 116 and 117: Cinema and sports Yatin Rane, Sport
Page 118 and 119: somewhat like the national song as
Page 120 and 121: Two films Dharkan in 1972 and Kudra
Page 122 and 123: Sanjana's last past life is (in Chi
Page 124 and 125: Report of Thirty-Five New Cases'. v
Page 126 and 127: Sometimes a film illustrates a phil
Page 128 and 129: REEL & REAL TOURISM Shashi A Mishra
Page 130 and 131: every human for new experiences, an
Page 132 and 133: POSITION OF WOMEN IN INDIAN CINEMA
Page 134 and 135: women is to give sexual pleasure to
Page 136 and 137: een uni-dimensional characters, who
Page 138 and 139: typecast that was being perpetuated
Page 140 and 141: Anil Kapoor, who shelters her after
Page 144 and 145: One of the best examples of this wa
Page 146 and 147: woman. Women, rather than being dep
Page 148 and 149: with violence is problematic becaus
Page 150 and 151: The notion of the nation in this fi
Page 152 and 153: The new century ushered in signific
Page 154 and 155: Gulzar, G. Nihalani, & S. Chatterje
Page 156 and 157: Secondary survey was done from the
Page 158 and 159: ut Shamshad Begum continued to be a
Page 160 and 161: andheri) with the sample responded
Page 162 and 163: Choice of music prefer by the sampl
Page 164 and 165: Table No.05 Awareness in youth Resp
Page 166 and 167: Thinking of youth for Begum been a
Page 168 and 169: lfeedback@thehindu.co.in) ManoharIy
Page 170 and 171: Fashion (2008) This film was pivota
Page 172 and 173: the women folk and above all the fi
Page 174 and 175: political values of people of this
Page 176 and 177: which is a good place to be. But do
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Page 180 and 181: The existential themes in South Ind
Page 182 and 183: een given false promises by politic
Page 184 and 185: own savior”. Change is indeed won
Page 186 and 187: paihlyaavaihlyaa ‘raYT/pataI sauv
Page 188 and 189: techniques have appeared in Marathi
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advancements, nostalgia as a blanke
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. क एक . ' क ' (१९५
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'(२००३) क - क . क क
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' '(१९७०) क , क ' ' ' '
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jagah na hao. yah BaartIya samaaja
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Baavanaa¸ saba kuC gaayaba hO.vast
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only the professional film maker, t
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Marathi Cinema received critical ac
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DR. JABBAR PATEL VARSHA USGAONKA R
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SOLUTIONS:- A) Budget of Marathi fi
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ISBN 978-81-925489-2-0 - ramniranjan jhunjhunwala college

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