Female Representation in Hindi Mainstream Cinema

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  • Topic: Film, Cinema of India, National Film Awards
  • Pages : 6 (2200 words )
  • Download(s) : 731
  • Published : January 15, 2013
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STATEMENT TO THE PROBLEM

Cinema is meant and believed to entertain, to take the viewer to a world that is starkly different from the real one, a world which provides escape from the daily grind of life. Cinema is a popular media of mass consumption which plays a key role in moulding opinions, constructing images and reinforcing dominant cultural values. Hindi cinema has been a major point of reference for Indian culture in this century. It has shaped and expressed the changing scenarios of modern India to an extent that no preceding art form could ever achieve. It has influenced the way in which people perceive various aspects of their own lives. This paper deals with the representation of female in hindi mainstream cinema. There has been an attempt to examine the relationship between women and popular Hindi cinema. While cinema in India is in itself a diverse strand of expression incorporating mainstream cinema which holds popular appeal, art/parallel cinema that engages with social issues, middle cinema and regional language cinema. The explorations in this paper are limited to mainstream/popular Hindi cinema better known as ‘Bollywood’ because such cinema is seen to exercise widespread influence over people and enjoys mass appeal. Popular cinema and culture derive from each other. Films are believed to be the opium of the Indian masses as people rely on this medium to help them escape to a world of fantasy. In a very explicit way, cinema has shaped the cultural, social and political values of people of this country. While, the other forms of cinema are also important when it comes to the representation of women, restricting to popular cinema is the core concern.

SIGNIFICANCE OF THE STUDY

It is deemed appropriate to examine this issue because women are a major chunk of the country’s population and hence their portrayal on screen is crucial in determining the furtherance of already existing stereotypes in the society. There has been a drastic change in the way females are represented in films from 80’s to the films made now. However there has not been much of research work done on this angle. Women are also major consumers of mass media and thus the way they are represented in media coverage is a major concern for the discipline. Several international forums have recognized the ramifications of such a transformed media environment on women’s access to media, their role in the media structure and the presentation of their perspective in media coverage.

OBJECTIVE
To know what is the relevance of women character in Hindi commercial cinema

METHODOLOGY
RESEARCH DESIGN: The research design is qualitative in nature. APPROACH TO RESEARCH: The approach that we have taken for our research topic is QUALITATIVE APPROACH that is we have collected information from various sources that would meet the needs of the concerned topic. The research is qualitative because it is subjective and social. It shows the human behaviour and psychology. The research is dynamic in nature, it involves discovery, is value bound and holistic. The research is carried out in natural settings and has the insider’s view. SAMPLING SIZE: The era that we have taken in account is 2000-2012 and the number of samples we have taken is four. Two directors and two actors. SAMPLING TECHNIQUE: The female oriented film-makers that we are focussing on are: •MADHUR BHANDARKAR where we have taken his film FASHION into account. •NAGESH KUKUNOOR where we have taken his film DOR into account. The actors we are focussing upon are:

VIDYA BALAN
KONKONA SEN
DATA TYPES DESCRIPTION: The data type that we have collected is the second hand information which has been collected from various sources.

DIRECTORS OF FEMALE ORIENTED FILMS

Madhur Bhandarkar (born August 26, 1968) is a National Award-winning Indian film director, script writer, and producer. He is best known for his films such as Chandni Bar (2001), Page 3 (2005), Traffic Signal...
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