Representation of Woman in Cinema
The identity of a person is fluid and constituted by ideologies stemming from many apparatuses. One such apparatus is cinema. Ideologies emanating from it subsume us consciously or unconsciously. This assignment will foreground the role of cinema in the construction of female, feminine and feminist.
Since the start of cinema in 1896, the roles men and women play in films have been subjected to a continuous evaluation, largely due to their widely acknowledged and felt influence on our modes of living. The stereotypical representation of women has been displayed in cinema for many decades. The representation, either it is through cinema or through texts, takes into account a wide variety of cultural phenomena, philosophical perspectives, and ideological apparatuses which try to chain the identity of a particular person in fetters. Griselda Pollock argues that we should not remain content only with the cultural representations of gender as images of women. She rejects the imagery of gender and cultural stereotyping because it fails to explain the failure of inversion or reversal of accepted imagery. This is not only because the representation of women is linked to a broader chain, or system, of signification. It also occurs because representation is linked to a historically constituted reality. To put it simply, we can understand why female models ought to be more persuasive to male customers than vice versa only if we take into account, a prior commodification of a woman’s body. In the era of 1970’s and 80’s as it has continued since the start of cinema, the roles of women in the Indian films were serving basically to men’s desires. By supporting this argument Lopa Bhattarchya says in her essay “The Changing Face of Women in Indian Cinema” that the 70’s, 80’s and 90’s... [continues]
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