Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: a Multigenerational Comparison

Total Page:16

File Type:pdf, Size:1020Kb

Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: a Multigenerational Comparison Exploring the Relationship between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison by Priya Lena Sharda A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Social Justice Education Ontario Institute for Studies in Education University of Toronto © Copyright by Priya Lena Sharda, 2020 i Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison Priya Lena Sharda Doctor of Philosophy Graduate Department of Social Justice Education University of Toronto 2020 Abstract Colourism or skin colour stratification is a persistent dilemma for people in India. Socially and culturally constructed definitions of beauty based on skin tone, represent Western realities and continue to sustain beauty ideals that shape the beliefs and practices around fair skin for women. The study of skin tone and its relationship to self-esteem is essential in expanding upon the limited research examining the intersections between body image and the sociocultural experiences of South Asian Indian women. Against the backdrop of Western hegemony, the research discusses how a fair skin beauty ideal impacts different generations of women in New Delhi. More specifically, investigating the relationship between skin tone and self-esteem among women in South Asian families through a multigenerational comparison, provides a deeper understanding of how skin tone bias is perpetuated, while reinforcing and normalizing white heteropatriarchy. Skin tone bias is disseminated through the family, culture and media. The narratives highlight how skin tone bias manifests itself among adult women in different South Asian family units according to their life stage and membership in the family. Women from the young age group (generation) had the lowest self-esteem and faced the most pressure to conform to white skin beauty ideals when compared to older generations in their families. Skin tone appeared to be heavily emphasized for these young women, namely in the context of marriage. ii Grounding the research analysis and discussion in Critical Race Feminism Theory and Post- Structuralist Theory, Westernized beauty ideals prescribe a skin tone archetype that is rooted in colonialism and Western hegemony. They shape and influence the beliefs and practices around fair skin, as well as the self-perceptions and self-esteem of South Asian women. These ideals set the benchmark for women to conform to, but the representations of these standards are exclusionary and increasingly unattainable. Therefore, it provides an opportunity to gain a better understanding and critical awareness regarding how the internalization of a homogenous conception of beauty functions as a tool of oppression, and the potential psychosocial effects it has on different generations of South Asian women. This research lays the groundwork for further study in this area. iii Acknowledgements I have imagined writing this page over and over again in my mind. This journey has shaped, humbled and strengthened me in ways that I would have never imagined. The unwavering support of my family and friends helped me see this through. It truly does take a village to finish a PhD. This dissertation could not have reached completion without the guidance and encouragement of the many people that I must acknowledge and thank. I would like to begin by thanking my first supervisor, Dr. Paul Olson. Thank you for your infinite wisdom, scholarly advice, compassion and steadfast support along my graduate school journey. You are a beacon of intellectual knowledge and I truly thank you for emboldening me to follow my intellectual curiosity and for teaching me to look at the world in a new way. I am grateful for our stimulating conversations, your guidance and attention in my work. I hope our paths will cross again in the future. I would also like to thank my current supervisor, Dr. Njoki Wane. Thank you for taking me under your wing. I could not have asked for a better mentor. Your insights and our fruitful conversations always helped me to expand my thinking on race, beauty and dynamics of power. This dissertation is a collaborative effort; one that you helped give form to. Your warmth, scholarly advice and intellectual prowess enriched my research topic. I express deep gratitude to you. Thank you for getting me to the finish line. I wish to recognize and extend my gratitude to my committee members, Dr. John Portelli and Dr. Martin Cannon. I consider myself lucky to have had the opportunity to work with the both iv of you. Your support and feedback are invaluable contributions to this work through your extensive knowledge, expertise, experience and time, dedicated to supporting me on this academic journey. I wish to also thank Sezen Attacan for all of her help throughout my time in the Social Justice Education Department at O.I.S.E. Your goodwill, genuineness and support helped me each step of the way. Whenever I needed any kind of information or assistance, you were there to lend a hand. I would also like to thank other professors that have had a profound impact on my academic career. Dr. William (Bill) Lee, thank you for your support when I decided to embark on the path to pursue a PhD. Throughout my undergraduate career, you taught me to find my voice and to speak my truth. This truth fueled my desire to continue on the path of higher education as a means to create change and to challenge the status quo. I have always admired your work and how you have brought academia and real social justice issues together through your authenticity, while creating a space for those voices that are most often silenced. These are the elements that develop genuine connections with people and communities. I hope that I can do that in my work too. I am deeply grateful to Dr. Miglena Todorova. I came to O.I.S.E. as a bright eyed student ready to learn all that I could. Your expertise and knowledge furthered my passion for learning. I remember always leaving your classes with a new lens to look at the world around me. You taught me that it was not important what I thought, but how I thought. You taught me that critical thinking was essential in seeing things for what they really are. Thank you for your insightful influence. v I am grateful to the women that I interviewed for my research. The beautiful families that shared their stories with me, stories of sadness, happiness and the struggles that South Asian women still face around traditional gender norms, beauty and the body. You have enriched my life and I am thankful that I had the opportunity to have met each and every one of you. I will remember all of the warm smiles and empowering exchanges. You are all strong souls; I thank you for sharing your time and putting your trust in me. Let us all remember that true beauty is about being comfortable in your own skin. I am blessed to have amazing friendships that nurture me in so many ways. These friendships have enriched my life greatly. Flora (Flo) Vineberg, I am so lucky to have your peaceful presence, wisdom and friendship in my life. Your sincerity and exuberance to make the world a better place is inspirational. To my social justice companions and comrades, Natasha Gibbs- Watson and Dr. Christopher Taylor, I am fortunate to have met the both of you. Tasha, your authenticity, intellect and insights never cease to amaze me. Your kind heart and infectious laugh are truly a gift. Chris, thank you for your mentorship. Your integrity, kindness and giving nature enrich the lives of those who meet you. I thank you both for your wisdom, support, guidance, and most of all, friendship. Keep fighting the good fight. I am fortunate enough to have the presence of dear friends in my life, though I cannot name them all, I express my sincerest gratitude to Manisha Moran, Kim Barton and Nayara Mouktarr. You have all walked with me on this journey in different ways, encouraging me, supporting me, uplifting me, being there for me and most of all, for listening to me go on about this dissertation. I extend my gratitude for your friendship, care and compassion. I am also vi indebted to Mr. Ernest (Ernie) Harris. Thank you for always being my mentor and seeing the best in me even during those times when I was not able to see that in myself. I appreciate your scholarly advice, support and kindness in both my professional and academic careers. You taught me to push myself in order to reach new limits that I never thought imaginable. This has given me the confidence to step into my power and to pursue my passion for academia. I am especially blessed to be supported and loved by members of my extended family (by choice). I am moved by their authenticity, thoughtfulness and kindness. I am forever grateful and touched by their love and faith in me. I owe my sincerest thanks and love to Reneé Hewer, Tracy (Morris) Pettenuzzo, Lisa Wilkinson, Shelley Lalonde and Michael (Mike) Figueroa. You have all stuck by my side through both good and bad times. Your unwavering support, compassion and presence in my life has taught me the true meaning of friendship and family. Your presence in my life makes me a better person and refreshes my soul. Thank you for walking beside me. My family is my backbone. I am thankful to my family and those ancestors who may no longer be in this world, but who forever live in my heart.
Recommended publications
  • Bippity-Boppity-Boo!; Becoming a Princess at Fairytale Land”
    Culture | Volume 1 Issue 1 | May 2017 13 Gina Jibran Once upon a time becoming a princess occurred only when marrying a prince. Nowadays, the yearning to become a princess satisfies more than obtaining the status. Pretending to be a princess is seen to be just as fulfilling. What is it about being a princess that brings contentment? Specifically, what is it about wearing an oversized dress and a tiara that makes life more fascinating for young girls? Disney fairytales such as Snow White and Cinderella have helped popularize the motif of princesses. Girls can buy Cinderella costumes or visit their favourite princess at Disneyland. This helps create the notion that becoming a princess is something to be desired. It is important to note, that life as a princess is hardly ever visited in stories such as Grimm’s Little Snow‐White, or even Disney’s Cinderella. In fact, these tales end right after a girl marries prince charming and obtains the princess status. The sole insight readers gain about life as a princess is that, ‘they lived happily ever after’—a sentence stated at the end of many Disney fairytales. The company Fairytale Land, demonstrates how contemporary society recreates the princess motif. The ability to facilitate the transformation of a young girl to become a princess is promoted at Fairytale Land. Fairytale Land, however, distorts Disney’s focus on becoming a princess into a process whereby young girls are allowed to live that life of luxury. In the focus on being a princess, one then fixates on contemporary female ideals of beauty.
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • Abstract Rereading Female Bodies in Little Snow-White
    ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed.
    [Show full text]
  • A Facilitator's Guide for Ngo Screenings
    GIRL RISING A FACILITATOR’s Guide FOR NGO SCREENINGS TaBLE OF CONTENT SECTION 1 GIRL RISING CAMPAIGN 3 SECTION 4 DISCUSSION QUESTIONS 14 • About the Girl Rising Film 4 SECTION 5 CALL TO ACTION 22 • Special NGO Edition 4 ANNEXURES 23 SECTION 2 FOR THE FACILITATOR 8 1. Background on Making of • Objective of the Guide 8 Girl Rising: The Story behind • For the Facilitator 9 the Stories 23 • Facilitation Tips 10 2. About Empowering Next • The Dos and Don’ts of Generations to Advance Girls’ Facilitating 10 Education (ENGAGE) 25 3. Partnership with Save the SECTION 3 PLANNING FOR THE Children 26 SCREENING 13 • How to use the Girl Rising NGO Special Edition 13 • Who is the audience? 13 SECTION 1 GIRL RISING CAMPAIGN The Girl Rising India Campaign aims to reach girls and boys, their families, communities, and other decision-makers to raise awareness about the power and benefit of girls’ education. Through powerful story-telling, the campaign aims to generate public dialogue on gender and education issues as well as spark community-led change as individuals who are motivated by these stories choose to address barriers to girls’ education in their own communities. The Campaign’s vision is to change the way the girl child is valued in the society, to increase access to equitable, quality education for girls, reduce gender disparity in education in India through the medium of storytelling and films, and thereby increase investment in girls education and investment programs. 3 ABOUT THE GIRL RISING With this in mind, the film helps focus the audience on three very important facets.
    [Show full text]
  • Clary Fray's Femininity and Masculinity the Main Female Character in Cassandra Clare’S Novel "The Mortal Instruments: City of Bones"
    Allusion, Volume 06 No 01 February 2017, 52-57 Clary Fray's Femininity and Masculinity the Main Female Character in Cassandra Clare’s Novel "The Mortal Instruments: City of Bones" Alda Fakhrizal Khafidzy Usma Nur Dian Rosyidah English Department, Universitas Airlangga Abstract Gender is a cultural concept constructed by society to define man and woman. This study aims to analyze the gender performance of the main female character in Cassandra Clare's "The Mortal Instruments: City of Bones." Clary Fray, the female protagonist who is determined to save her missing mother, is portrayed as a feminine-masculine character through her performance by joining Shadowhunter. As the qualitative method and Gender Performativity by Judith Butler are applied to the discussion, the study discovers that Clary Fray learns to behave in a certain way by imitating some figures to attain a certain ideal of beauty in order to be accepted by society. Keywords: femininity, gender performance, masculinity 1. Introduction Femininity and masculinity are terms for gender identity used in society to define man or woman. Gender and sex are completely different things. Gender refers to cultural concepts which attempt to make a distinction in terms of roles, behavior, mentality, and emotional characteristics of men and women in society while sex is a biological organ. Therefore, it is expected for a male to respond to masculine traits and behave like a man while female define themselves as feminine and behave like a woman. According to Jan E. Stets and Peter J. Burke, it is possible whether female define herself as masculine or male define himself as feminine.
    [Show full text]
  • Girl Rising India
    GIRL RISING INDIA Building a Movement for Girls Through Powerful Storytelling Girl Rising uses the power of storytelling to inspire, shift attitudes and change behavior. In India, Girl Rising’s powerful media tools have made meaningful strides towards increasing the agency of girls and women, and inspiring community members to support the movement for gender equality. Girl Rising Film Comes To India After a close consultation with Prime Minister Narendra Modi and a partnership with the Ministry of Women and Child Development, the Girl Rising film was launched in India in August 2015 as Woh Padhegi, Woh Udegi (She Learns, She Rises) on Star television, which has a network of 450 million viewers across the country and a reach of 100+ countries. The film harnessed the talents of India’s biggest Bollywood stars including Priyanka Chopra, Freida Pinto, Parineeti Chopra, Kareena Kapoor Khan, Madhuri Dixit, Sushmita Sen, Amitabh Bachchan, Nandita Das, Farhan Akhtar, and Alia Bhatt, all of whom lent their voices to the film. Celebrities promoted the launch through their social media networks, and #IAMGirlRising trended No. 1 on Twitter India. Film Screenings To stir important conversations about girls’ education among corporations, communities, universities and neighborhoods, a screenings program was launched soon after the television broadcast of the film. Under this program, Woh Padhegi, Woh Udegi was re-purposed for NGO and corporate audiences. Each version consisted of 3 stories from Woh Padhegi, Woh Udegi and was complemented by a screenings toolkit that contained resources including discussion guides, Director’s Q&A, and promotional materials to help steer conversations around barriers to education.
    [Show full text]
  • Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films.
    [Show full text]
  • THE BUCHAREST UNIVERSITY of ECONOMIC STUDIES The
    THE BUCHAREST UNIVERSITY OF ECONOMIC STUDIES The Faculty of International Business and Economics The Department of Modern Languages and Business Communication of ASE Iuliu Hațieganu University of Medicine and Pharmacy Cluj- Napoca 7th International Conference: Synergies in Communication Bucharest, Romania, 22 - 23 November 2018 BEHIND THE SCREENS: A STUDY OF THE FILMS OF THREE INDIAN WOMEN DIRECTORS Minouti NAIK1 Abstract Indian films, even after 76 years of independence and 105 years of Indian Cinema, are a predominantly male domain. The percentage of women film makers, in the industry, is a mere 9.1%. Despite this, the films directed by women have compelled audiences to take notice, because of the wide spectrum of issues they have touched upon. Three women directors, whose movies have left an indelible mark on the audiences, include Tanuja Chandra, Meghna Gulzar and Gauri Shinde. This paper analyses the work of these three women directors, for the uniqueness of their themes and the characters they have sketched, and attempts to find out, what has led to their films being etched deeply, into the consciousness of their audience. This will be analysed against the backdrop of the realities of the society from which these films emerge, and as a reflection of the gender dynamics existing in Indian society. Keywords: Indian cinema, women, themes, characters, uniqueness 1. Introduction Men have sight, women insight. - Victor Hugo Victor Hugo‟s observation, penned down in his memoirs, might be an apt point to begin with, when one reflects upon films made by Indian women filmmakers. Despite films forming a very important facet of the Indian society and the fact that India completed 105 years of cinema, this year, the number of women making films in India is very small.
    [Show full text]
  • How Disney's Hercules Fails to Go the Distance
    Article Balancing Gender and Power: How Disney’s Hercules Fails to Go the Distance Cassandra Primo Departments of Business and Sociology, McDaniel College, Westminster, MD 21157, USA; [email protected] Received: 26 September 2018; Accepted: 14 November; Published: 16 November 2018 Abstract: Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes. Keywords: gender stereotypes; sexuality; heroism; hypermasculinity; selflessness; Hercules; Zeus; Megara 1. Introduction Disney’s influence in children’s entertainment has resulted in the scrutiny of gender stereotypes in its films (Do Rozario 2004; Dundes et al. 2018; England et al. 2011; Giroux and Pollock 2010). Disney’s Hercules (1997), however, has been largely overlooked in academic literature exploring the evolution of gender portrayals by the media giant. The animated film is a modernization of the classic myth in which the eponymous hero is a physically intimidating protagonist that epitomizes manhood.
    [Show full text]
  • 278 | ASIA ONE | AUGUST-SEPTEMBER 2019 Q & a LARA DUTTA BHUPATHI Reigning the Universe with Her Wit, Grit & Charm
    278 | ASIA ONE | AUGUST-SEPTEMBER 2019 Q & A LARA DUTTA BHUPATHI Reigning the Universe with her Wit, Grit & Charm A lethal mix of beauty and brains, Ms. Lara Dutta Bhupathi is one such famous personality whose popularity has no bounds. Besides conquering the universe as an international beauty queen, she has also tasted immense success as an actress especially renowned for super hit films like No Entry, Housefull and others. She has recently donned the garb of an entrepreneur with her skin care line ‘Arias’. Skin care and grooming have always been a significant part of her journey to name and fame and thus the prospect of starting her own line came quite naturally to her. Made for the modern woman, Arias is curated by her and currently includes 11 products. AsiaOne wishes her immense success in all her endeavours! BY RICHA SANG bollywood interview Q & A You are renowned all across the What has been your childhood grew up at different Air Force camps globe as Miss Universe 2000. It is ambition? Did you always wanted L but it gave me the opportunity to adapt indeed a matter of great pride for all to become a beauty queen? Do you to various different places, different of us. Please describe your emotions think your upbringing has a role in A people. I mean every couple of years post winning the crown and your your success? if I had to move schools; so you learn odyssey thereafter as Miss Universe. Sure, I think as a child, I had a very R to make friends much more easily.
    [Show full text]
  • Download Download
    Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship.
    [Show full text]
  • VOLVIV February 2015 No. 2 HIGHLIGHTS
    VOLVIV February 2015 No. 2 HIGHLIGHTS Kukunoor’s Dhanak bags Berlin honour India’s 175 Grams wins at Sundance Film Festival Bodhon wins two awards in US Film Festival Mardaani premieres in Poland D. Rama Naidu is no more NATIONAL DOCUMENTATION CENTRE ON MASS COMMUNICATION NEW MEDIA WING (FORMERLY RESEARCH, REFERENCE AND TRAINING DIVISION ) MINISTRY OF INFORMATION AND BROADCASTING Room No.437-442, Phase IV, Soochana Bhavan, CGO Complex, New Delhi-3 Compiled, Edited & Issued by National Documentation Centre on Mass Communication NEW MEDIA WING (Formerly Research, Reference & Training Division) Ministry of Information & Broadcasting Chief Editor L. R. Vishwanath Editor H.M.Sharma Asstt. Editor Alka Mathur CONTENTS FILM AWARDS International 1-2 FESTIVALS Berlin 1 North Carolina 2 Sundance 1-2 OBITUARIES 2-5 AWARDS/FESTIVALS Kukunoor’s Dhanak bags Berlin honour Filmmaker Nagesh Kukunoor’s Dhanak has been honoured with the Grand Prix of the Generation K plus International Jury for the best feature length film at the 65th Berlin International Film Festival. The movie which premiered at the festival, also received a special mention from kids jury at the festival. Dhanak is about a young girl in Rajasthan who is determined to restore the vision of her blind brother. The film stars Hetal Gada and Krrish Chhabria. Co-produced by Manish Mundra, Kukunoor and Elahe Hiptoola, the film had its world premiere at the Berlinale held from February 5 to 15, 2015. Screen (20 February 2015; 12) Dainik Jagran (16 February 2015) Asian Age (16 February 2015) Hindustan Times (19 February 2015) India’s 175 Grams wins at Sundance Film Festival Indian film 175 Grams directed by Bharat Mirle and Arvind Iyer is one of the five winners of the Short Film Challenge programme at the 2015 Sundance Film Festival at Park City in Utah.
    [Show full text]