International Journal of Communication and Social Research Vol. 3, No.2: July-December 2015

Indian Cinema as a Catalyst for Women’s Empowerment Archna Katoch PhD1 Manish Sachan2 Monika3 Abstract

Cinema, being a mirror of society, has an exclusively persuasive ubiquity within human cul- ture. Films get to almost each and every alcove of our society and they seize potential of mass influence. Cinema is not just about song and dance but a medium that can be used for raising social awareness and concerns. Women’s empowerment and gender justice are most talked about issues in India, and filmmakers have not lagged behind and are incessantly reinforcing this concept with their stories on celluloid. Great films with robust female characters have also been made in , which concentrated on the fighting spirit of strong Indian women for their empowerment. This paper explores that cinema has immense power to sway but unless certain fundamental issues that affect gender equality are addressed, women’s empowerment will remain at the level of rhetoric.

Key words: Awareness, empowerment, gender justice, mass influence.

Introduction Cinema is a potent tool of socio-cul- cation in popularity and appeal. Similar tural dissemination, which can manifest to literature, cinema is actually the reflec- the strategic thinking of a nation just like tion of society and can influence the suc- media and theatre. Cinema is a way of cessive generations of society. Cinema mass communication, which not only en- plays a key role in depicting amazing per- tertains and enlightens but also brings so- sonalities who inspire us in more ways cial change. Cinema is a significant art than one (Pareek, 2015). form, languageand medium for inspira- Cinema or motion picture is the art of tion, source of popular entertainment and moving images; a visual medium that tells an influential method for educating citi- stories and exposes reality (Moura, 2010). zens. Films are basically cultural artifacts It is an integrated art form that uses produced by specific cultures and also con- elements from all other arts like literature, secutively affect them. Cinema is well photography, music etc. Films reach ahead of other media of mass communi- almost each and every alcove of our 1Asst. Professor, in the Department of Journalism and Creative writing at Central University of Himachal Pradesh, HP, India 2,3Research Scholars in the Department of Journalism and Creative Writing at Central University of Himachal Pradesh, HP, India 34 Indian Cinema as a Catalyst for Women’s... Archna Katoch PhD1, Manish Sachan2 and Monika3 society and they seize potential of mass combination of these three factors that influence. Cinema takes the viewer to a seems to enable women to take charge of world that is utterly different from the their lives and take advantage of new and existent one that is a virtual world, which previously unavailable choices (Graham, provides escape from the daily grind of 2008). life. Cinema is a popular dominant media At present, Indian women have come of mass consumption that plays a key role to be portrayed as independent individuals in molding opinions, constructing images in the Indian cinema and their identity has and to change the entire society. begun to carve out as singular individuals Cinema imparts education to the who do not need a man’s name and identity society creating awareness about women to survive and sustain in society (Iqbal, empowerment, their human rights and 2015). Also, plenty of great films with gender justice. Women empowerment is a strong woman characters have been made multidimensional social process that by filmmakers in Bollywood, which supports women in attaining control over focuses on the fighting spirit of strong their own lives, wholly participating in the Indian women for their empowerment. As processes and decisions that shape their a medium with the strongest influence on lives. Whether it is social, health, the Indian psyche, this research study education, economic, political fields or any explores, through these portrayals, how other development parameter, women of cinema has played an important role in India are still in very bad condition and promoting women’s empowerment continue to bear the brunt of societal through the years. oppressions, prejudices, violence etc.A First Indian Prime Minister, Jawaharlal society that is unable to respect, protect Nehru, once stated that cinema has become and nurture its women and children loses a powerful vehicle for culture, education, its moral moorings and runs adrift leisure and propaganda. India is the (Chatterjee, 2012). world’s largest producer of films. In a Positive representation of women developing country like India, where through cinema can bring social revolution percentage of people facing poverty, with entertainment, which in turn would unawareness and illiteracy is high, the do justice to women and their position in cinema has a major role to play. It contains the society. Individual empowerment immense potentiality to inform and through education is a key long-term educate this section of people, besides to strategy to change negative social and entertain. Cinema has played a significant cultural norms of a patriarchal, orthodox role by screening the literary works of and stereotypical society. Increased many distinguished personalities to knowledge, self-confidence, and produce social changes. awareness of gender justice are Along with the Hollywood and Chinese components of the empowerment process film industries, Indian cinema became a that are difficult to disentangle. It is the 35 International Journal of Communication and Social Research Vol. 3, No.2: July-December 2015 global enterprise in the 20th century. At the know. What they see from movies, they end of 2010, it was reported that in terms tend to act accordingly by means of of annual film output, India ranks first, learning and practicing. followed by Nollywood (cinema of Cinema for social change Nigeria), Hollywood and China. The Indian diasporas consists of millions of Movies and documentaries have been Indians overseas for which films are made used time and again to attack the social available both through mediums such as evils such as child marriage, sati, DVDs and by screening of films in their prohibitions of widow remarriage, and country of residence, wherever gender discrimination. Indian cinema has commercially feasible. Indian film seen a huge change since the early 1930s. industry accomplished overall revenues of The 1930s saw the emergence of three big $1.86 billion (Rs 93 billion) in 2011. This banners in Indian cinema- Prabhat, was projected to rise to $3 billion (Rs 150 Bombay Talkies and New Theatres. These billion) in 2016 (The Hollywood Reporter, banners showed the way in producing 2012). serious films with fascinating social themes meant for all classes of the Indian As a medium of mass communication, cinema. The first Indian talkie, AlamAra, cinema has played a significant role in was released on March 14, 1931 and nation building. With its extensive reach, directed by ArdeshirIrani. It was the first cinema is amongst the most effective Indian film with sound. A number of films portrayers of the evolution of a country and during this period made a strong plea the transformation of its society. The against social discrimination. growing of a nation-state into a national society is reflected through its cinema. From 1940s to 1960s, cinema came to Cinema becomes a dominant medium, be viewed as an instrument of cultural particularly for those societies, which are revival. It was from the post-independence empowered to select their destiny and period that Indian cinema began to appear discuss their strategic choices (Kumar, as an agent of social change. Some of the 2013). most critically acclaimed Indian films of all time were produced during this period. Cinema communicates ideas and In 1980s, actresses like SmitaPatil, psychologically moves people. Cinema ShabanaAzmi and Deepti Naval made a stirs them, makes them feel alive, and mark by fearlessly accepting inspires them. Movies are frequently unconventional roles. By the late 1990s, shown in narrative way and thus acquire India had overtaken Japan and America as an aura of believability. These contain the producer of the largest number of significant messages to get rid of all the feature films per year (800-1,000) and with evils of society and strengthen social an annual audience of over 3 billion at norms or values. All human beings learn home and millions more overseas, it can by seeing and imitating. Their actions are also claim to be the most popular (Stafford, based on what they learn and what they 2006). 36 Indian Cinema as a Catalyst for Women’s... Archna Katoch , Manish Sachan and Monika Representation of women in Filmmaker Subhash Ghai produced and Bollywood cinema directed a film titled Kaanchi: The Women’s empowerment is a big Unbreakable (2014), based on a girl who concern in India and everyone is dares to battle against corruption. Kaanchi contributing for this cause. Moreover, is a story of the internal power of a woman filmmakers have tried their best by who represents over one million reinforcing the concept with their stories suppressed youth against injustice in the on celluloid. Most of the films objectify country.It is also the story of an innocent women, but there are some excellent films, rural beauty and her brawl against power. which revolve around the lives of strong Indo-Canadian director Keshav women and their importance in the society. Panneiry, who made headlines for showing These films give a message that women actress MallikaSherawat the door, is also are not just limited to the bedroom and the working on a film titled A Little Heaven kitchen but they reveal the essence of In Me. It focuses on the fighting spirit of women empowerment. Indian women. Produced by Purnima The latest example of the trend is the Mead, A Little Heaven In Me is about a super-hit film Queen (2014) starring woman, who makes an exceptional KanganaRanaut with a message that journey from being a small town girl in marriage is not the ‘be all and end all’ of Rajasthan to becoming the best writer in life, and a strong and independent woman the world. can also live joyfully. Mardaani, Rani Madhuri Dixit played as a leader of a Mukherji’s 2014 crime thriller hit female vigilante group in her film Gulaab film,directed by PradeepSarkar, is a fine Gang (2014), which is based on a real life example of brave feminism, which deals story. Madhuri Dixit plays the fearless with the subject of girl trafficking, carries Rajjo, who is a crusader for women’s a message on women’s empowerment and rights while Juhi acted as Sumitra Devi, a self-reliance. The movie confirms that a devious and ruthless politician. woman should not be considered a sex toy When DadasahebPhalke, known as the because when the need arises to fight for ‘Father of Indian Cinema, released his her own dignity, she can make even the Raja Harischandra in 1913, women used strongest of men bite the dust. to shun movies and it was left to male “The film industry has seen a good artists to play female characters. Times response from women oriented stories. changed by the 1930s and Devika Rani, Now after films like Queen, The Dirty Zubeidaa, Mehtab, Shobhana Samarth, all Picture and Kahaani, these films are being women from flourishing families, entered given very big platforms and they have the movie business and transformed the been considered the mainstream cinema” face of Indian cinema by redefining the (Ranaut, 2015). Soon KanganaRanaut will importance of women in films. They were be next seen in KattiBatti. followed by Suraiya, MeenaKumari,

37 International Journal of Communication and Social Research Vol. 3, No.2: July-December 2015 Madhubala and Waheeda Rehman, stars star Sridevi’s comeback film, focusing on who brought about a sea change in a housewife and her struggle with the attitudes as leading ladies. ‘Achhut English language in the United States. The Kanya’, ‘Jeevan Prabhat’, ‘Nirmala’, actress acted as a housewife who masters ‘Alam Ara’, ‘Zarina’, ‘Chitralekha’, and the English language after being ridiculed ‘Parineeta’ are some of the movies with by her husband and daughter. If her woman-centric themes of that era. It was character mirrored the woes of women not trouble-free to find a strong foothold who are not fluent in English, it also in a male-dominated and patriarchal proved their determination to succeed. society but they attained that deed. Devika Realistic cinema like Black Friday Rani, co-founder of Bombay Talkies (2004), Udaan (2010), No One Killed studio, was one of the most powerful Jessica (2011), Once Upon a Time in actresses of her time. Mumbai (2010), Akrosh (2010) etc. are Mother India (1957), film, directed by different from popular cinema as these Mehboob Khan, saw Nargis as a movies take inspiration for their subjects courageous mother who killed her erring from real life situations and present son. A woman can run a family all by circumstances in the society. Their herself, face all possible adversities and approach and treatment of characters is still continue living without giving up hope more convincing as they combine both is what filmMother India is all about. In popular appeal and critical applause. For this movie, she stands up for what is right example, based on model Jessica Lal’s and does the needful without a second murder, the film No One Killed Jessica thought. Mother Indiawas the first (2011), initially saw VidyaBalan as shy Bollywood movie to be nominated at the and introvert, who later musters the guts Oscars in the Foreign Film category. to fight to get justice for her dead sister. The last few years saw quite a few Rajkumar Gupta’s directorial depicted that narratives with strong female characters. if they wish for, women can take on In Sujoy Ghosh’s directorial venture anyone. Kahaani (2012), actress VidyaBalan In Dor (2006), Indian drama film pretended to be pregnant and tricked the written and directed by NageshKukunoor, police department to avenge her husband’s Ayesha Takia acted as a young strong death. People from all across in the country widow, who has the zest to lead her life lauded her performance. Even actress and despite losing her partner at an early age. social-activist ShabanaAzmi, who has Story is based on a conservative section been a part of women-centric movies like of India where widowed women have been God Mother and Fire, was bowled over treated badly facing humiliation and by her performance in the thriller. torture. The movie English Vinglish (2012), Although Rajkumar Santoshi’sLajja directed by GauriShinde, was ‘Chandni’ (2001) was not commercially workable,

38 Indian Cinema as a Catalyst for Women’s... Archna Katoch, Manish Sachan and Monika the critically commended film was about the National Film Award for Best Feature women’s empowerment. The male- Film in Hindi, andFilmfare Critics Award bashing movie artistically highlighted for Best Movie and Best Direction for that different crimes against women. Starring year. It is a film about the hardships that ManishaKoirala, Madhuri Dixit, Rekha Phoolan faced in her youth as a female and MahimaChaudhary in strong roles, member of a lower caste and subjected to their characters are seen fighting abusive sexual abuse at the hands of numerous husbands, dowry and the like. Lajja men, which continues even today in the represents that our society only talks and society. preaches about gender equality and when Film Mirch Masala (1987), directed by it comes to implementation, it fails. Ketan Mehta,having SmitaPatil in Madhur Bhandarkar’sChandni Bar prominent role, is a powerful story on the (2001) was about a bar dancer, played by fight against oppression. The story is set Tabu, and the hard-hitting film portrayed in colonial India, when the British have how she breaks free to give her children a disarmed the people, and continue to better life. coerce villagers, through tax collectors Astitva (2000), a film written and called Subedars. The movie successfully directed by Mahesh Manjrekar, is a film conveys the cowardice of exploited men about the issues like male chauvinism, who cannot even think of rebellion, and extramarital affairs, and spousal abuse. It even beat up their wives when they protest is about a woman trying to find a separate against their decision. identity outside her marriage. Tabu’s Film Manthan (1976), made by power packed performance captured the ShyamBenegal, gave a glimpse of a strong, hearts of the people and realized that men independent woman who never feared to are nothing but hypocrites when it comes stand up for her and her community’s to morals and ethics. rights. She went against higher authorities Damini-Lightning (1993) is a Hindi to set up local milk-cooperative that could film directed by RajkumarSantoshi help villagers earn a better livelihood. She starring MeenakshiSheshadri in the title was not afraid of raising her voice against role. The story is of how a woman fights wrong and stood up to influential against injustice in the society. The film is personalities with confidence. considered to be the best woman-centric Sports wasalways a male-dominated film ever made in Bollywood along area, but when a team of girls brings home with Mother India. the Hockey World Cup, one cannot help Bandit Queen (1994) is an but scream Chak De. Film Chak De! Indian biographical film based on the life (2007), directed by Shimit Amin, saw the of Phoolan Devi, directed women’s hockey team giving the male by ShekharKapur and starred Seema hockey team a tough fight and then saw Biswas as the title character. The film won them accomplishing a mission that was 39 International Journal of Communication and Social Research Vol. 3, No.2: July-December 2015 considered to be impossible by everybody, dances of Bollywood films (The Times of except their coach. This movie surely India, 2012). inspires more girls to step into the world Film Matrubhoomi: A Nation Without of sports and make their mark there. Women, (2003), directed by Manish Jha, Mary Kom (2014), is an examines the impact of female foeticide Indian biographical sports drama film, and female infanticide on the gender directed by Omung Kumar and produced balance, and consequently the stability and by , on a story and attitudes of society. Its storyline bears screenplay written by Saiwyn some resemblance to real-life instances of Quadras. This is based on the life of the gender imbalance and economics resulting Indian boxer Mary Kom and the film in fraternal polyandry and bride buying in stars in the lead. some parts of India.It portrays a future According to the 2011 Census, due to dystopia in an Indian village populated female foeticide, the ratio between girls exclusively by males due to female and boys has been affected, and there are infanticide over the years. It received only 914 girls for every 1,000 boys. widespread critical commendation for its Jalpari: The Desert Mermaid (2012) and important theme on women’s issues and Riwayat (2012) are two films that have female infanticide. attempted to delve into the aftermath of Challenges of Indian cinema practices such as female foeticide. Even after 68 years of independence, National Award-winning filmmaker we find that India’s progress towards NilaMadhab Panda’s Jalpari: The Desert establishing an unbiased society has been Mermaid has TannishthaChatterjee and disappointing. Discrimination against Parvin Dabbas playing key roles. Riwayat, women thrives and cuts across religion, a Hindi feature film that handles the caste, rich-poor and urban-rural divides. disturbing issue of female foeticide and While education, employment infanticide, has been produced by two opportunities and social networks have internationally renowned Indian doctors in given some women a voice, many women Australia, based on real facts. At the heart still continue to suffer injustice silently in of the film is the emotional journey of three the name of family honour, tradition, women from different walks of life and religion, culture and community. So their trysts with foeticide. This film has entrenched are certain modes of thinking attained worldwide recognition by that bias is not even perceived as bias, not winning five awards and 12 nominations even by the females themselves. in 12 international film festivals - a stupendous achievement for an Divergence of cinema from its social extraordinary commercial film that responsibility is a matter of grave concern. handles a serious social issue while still Cinema is anticipated to treat the subject retaining the entire colour, songs, and matter in a method that does not endanger

40 Indian Cinema as a Catalyst for Women’s... Archna Katoch, Manish Sachan and Monika and cause erosion in social values. With attracting people to perform offensive growing materialism and consumerism, activities, which are introducing social and filmmakers are just concerned with the moral disaster (Bag and Roy, 2010). profit making without any concern for Today, there are so many legal society. Commercialism has replaced the provisions; things are perhaps better than social responsibility of the cinema. This before yet certain things stay unaffected. drift of commercialism of cinema is Hence, filmmakers have apprehended that triggering undue damage to society. The unless certain fundamental issues that concepts of freedom and equality have affect gender equality and justice are been sidelined and the human values are addressed in cinema, women’s shifting in the name of economic empowerment will remain at the level of liberalization. In the age of globalization, rhetoric. the filmmakers are compelled to make a compromise and win over the audience Conclusion through certain business strategies. Bollywood films have always been Ramachandrappa (2010), narrates that as magnificent, not only giving self- globalization is based on capitalism, the confidence to the women, but also social and cultural priorities are changing, exemplifying the world that women are no which has motivated the film makers to less than men. Optimum utilization of this produce films on the basis of box office potential of the cinema should be ensured economics and formula. by laying down guidelines for the people Cinema exemplifies different aspects, involved in film-making and there must nuances and sometimes even the sufferings be provision of stringent action against of being a woman. Bollywood, for a long those who violate them. As a social time, have been producing some great constructor and representative of people, films with strong female characters but cinema should work to overcome the most of the women’s stories often remain barriers of stereotypes and prejudices so untold, overshadowed by other events and that both sexes are able to equally matters. contribute to and benefit from economic, social, cultural and political developments In most of the films, women are within society, and have gender justice and objectified, playing the role of the hero’s democratic order. Cinema should project love interest (Nandkumar, 2011). Films women in a more positive, proactive and produced today are stuffed with cheap empowered manner, which can have materials and dual meaning dialogues to maximum impact on the society and bring provide the commercial ends. Cinema about an attitudinal and behavioral change including sexual content, violence etc. is of people towards women. further causing great damage to the social fabric. Disgraceful representations of women through cinema have been

41 International Journal of Communication and Social Research Vol. 3, No.2: July-December 2015 References Bag, K.K., & Roy, P. B. (2010).Some basic observation on contradictory representation of women in Indian perspectives.Canadian Social Science, 6 (6), 140-145. Chatterjee, S. (2012, September 15). Are women not part of our being? The Hindu. Retrieved fromhttp://www.thehindu.com/opinion/open-page/are-women-not-part- of-our-being/article3901569.ece Graham, E. M. (2008).Opening the black box: Women’s empowerment and innovative secondary education in Honduras. Gender and Education 20(1), 31–50. Iqbal, S. (2015). The changing perceptions of gender and sexuality in Indian visual narratives: A case study of Queen and Piku. Clarion, 4(2), 96-100. Kumar, A.V. (2013, February 12). Cinema and strategic culture. Retrieved from http:// www.idsa.in/idsacomments/CinemaandStrategicCulture_VinodKumar_120213 Moura, G. (2010, August 15). What is Cinema?fromwww.elementsofcinema.com/cinema /definition-and-brief-history Nandkumar, S. (2011).The stereotypical portrayal of women cinema. MA thesis: University of Houston. Pareek, S. (2015, January 26).11 Powerful women characters in Indian cinema that show what women can truly achieve. Retrieved from http://www.thebetterindia.com/ 18586/11-powerful-women-characters-indian-cinema-show-women-can-truly- achieve. Ramachandrappa, B. (2010). Globalisation and cinema.Souvenir, Platinum Jubilee Celebrations, Karnataka Film Chamber of Commerce, Bangalore, 172-173. Ranaut, K. (2015, September 14). KanganaRanaut says women-centric films have gone mainstream. Indo-Asian News Service. Retrieved from http://movies.ndtv.com/ bollywood/kangana-ranaut-says-women-centric-films-have-gone-mainstream- 1217483 Stafford, R. (2006). Indian cinema: The world’s biggest and most diverse film industry. Manchester: Corner house. The Hollywood Reporter (2012).Bollywood wraps up strong 2012 with ninth blockbuster. Retrieved from http://www.hollywoodreporter.com/news/bollywood-2012-nine- blockbusters-406727 The Times of India (2012, August 7).Riwayat. Retrievedfromhttp:// timesofindia.indiatimes. com/entertainment/hindi/bollywood/previews/Riwayat/ articleshow/15389207.cms. The Times of India. (2012, February 28). Empowering women through cinema. Retrieved fromhttp://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news- interviews/Cinema-that-paid-a-tribute-to-womens-empowerment/articleshow/ 31111497.cms. 42 Indian Cinema as a Catalyst for Women’s... Archna Katoch, Manish Sachan and Monika Author biographies

Dr. Archna Katoch ([email protected]) is Assistant Professor in the Department of Journalism and Creative writing at Central University of Himachal Pradesh, DharamshalaHP, India.Earlier, she taught in HP University Regional Centre, and Councilor, IGNOU Study Centre, Dharamshala. Her research and teaching interest areas include Development Communication, Mass Media Research, ICT, Women Empowerment, Science and Environment Journalism, and Creative Writing.

Mr. Manish Sachan is a Research Scholar in the Department of Journalism and Creative Writing at Central University of Himachal Pradesh, HP, India.

Ms. Monika is a Research Scholar in the Department of Journalism and Creative writing at Central University of Himachal Pradesh, HP, India.

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