Representation of Muslim Women in Hindi Commercial Cinema of Twenty-First Century: a Narrative Analysis of Select Movies
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Representation of Muslim Women in Hindi Commercial Cinema of Twenty-First Century: A Narrative Analysis of Select Movies A Dissertation Submitted To Sikkim University In Partial Fulfilment of the Requirement for the Degree of Master of Philosophy By Sonam Sultana Shah Department of Mass Communication School of Professional Studies October 2020 DECLARATION I hereby declare that the dissertation titled “Representation of Muslim Women in Hindi Commercial Cinema of Twenty-First Century: A Narrative Analysis of Select Movies” is submitted in partial fulfillment of the Degree of Master of Philosophy (M.Phil) in Mass Communication, to the School of Professional Studies, Sikkim University, Gangtok, Sikkim. This is my original work and the dissertation or parts thereof has not been submitted for any award, degree or diploma, fellowship, or any other similar title or prizes at this or any other university. Ms. Sonam Sultana Shah Research Scholar Roll No: 18-MPMC-04 Registration No: 18SU30764 Department of Mass Communication, Sikkim University CERTIFICATE This is to certify that the dissertation titled “Representation of Muslim Women in Hindi Commercial Cinema of Twenty-First Century: A Narrative Analysis of Select Movies” submitted by Sonam Sultana Shah for the award of the Degree of Master of Philosophy (M.Phil) in Mass Communication is a record of research carried out under my supervision and guidance in the Department of Mass Communication, Sikkim University. The dissertation or parts thereof has not been submitted for any degree or diploma at this or any other university. Dr. Jasmine Yimchunger Research Supervisor Department of Mass Communication, Sikkim University Dr. Manoj Kumar Das Prof. Abhijit Dutta Head/In-charge Dean Department of Mass Communication, School of Professional Studies Sikkim University Sikkim University CERTIFICATE OF PLAGIARISM CHECK This is to certify that plagiarism check has been carried out for the following M.Phil dissertation with the help of URKUND software and the result is 1% tolerance rate which is within the permissible limit (of being within 10%) as decided in accordance with the norms laid down by the University. “Representation of Muslim Women in Hindi Commercial Cinema of Twenty-First Century: A Narrative Analysis of Select Movies” Submitted by Sonam Sultana Shah under the supervision of Dr. Jasmine Yimchunger of the Department of Mass Communication, School of Professional Studies, Sikkim University. ---------------------------------- Signature of the candidate Sonam Sultana Shah ---------------------------------- Signature of research supervisor Dr. Jasmine Yimchunger ---------------------------------- Vetted by Librarian Document Information Analyzed document Representation of Muslim Women in Hindi Commercial Cinema of Twenty-First Century.docx (D80411397) Submitted 10/1/2020 3:25:00 PM Submitted by Jasmine Yimchunger Submitter email [email protected] Similarity 1% Analysis address [email protected] Sources included in the report Dissertation Rizwana Shaikh.pdf 3 Document Dissertation Rizwana Shaikh.pdf (D50695940) URL: https://lydiawhitneymedia.wordpress.com/tag/laura-mulvey/ 2 Fetched: 12/13/2019 7:29:48 PM CHAPTERS.pdf 1 Document CHAPTERS.pdf (D46311019) CHAPTER 2 new literature.doc 5 Document CHAPTER 2 new literature.doc (D44370853) thesis-jeena (1).docx 5 Document thesis-jeena (1).docx (D61363326) URL: https://researchspace.ukzn.ac.za/bitstream/handle/10413/10485/Ramlutchman_Nisha_20 ... 4 Fetched: 11/4/2019 1:48:26 PM 02 Methodology - Jumana P.pdf 3 Document 02 Methodology - Jumana P.pdf (D30250546) URL: https://docplayer.net/45611039-Representations-of-women-in-bollywood-cinema-charac ... 1 Fetched: 11/26/2019 2:32:53 PM URL: https://uh-ir.tdl.org/uh-ir/bitstream/handle/10657/217/NANDAKUMAR-.pdf 8 Fetched: 10/25/2019 6:33:46 AM Stenza Augustine -Feminism and Representation of Women in Contemporary Malayalam F ... Document Stenza Augustine -Feminism and Representation of Women in Contemporary Malayalam 2 F ... (D53675349) bedadyuti.docx 3 Document bedadyuti.docx (D26249219) 1 Portrayal of Hindu Muslim marriages in Hindi Cinema - Copy.docx 2 Document 1 Portrayal of Hindu Muslim marriages in Hindi Cinema - Copy.docx (D31351404) 1/91 ACKNOWLEDGEMENT Though my academic journey all throughout the MPhil programme was very challenging, yet I have received an immense deal of assistance and support, throughout the inscription and drafting of this dissertation/thesis. First and foremost, I would like to thank my supervisor Dr. Jasmine Yimchunger, Assistant Professor, Department of Mass Communication, for her ideal guidance and encouragement from the initial to the final phase which enabled me to come up successfully with this dissertation. Her insightful suggestions and feedback pushed me to hone my writing skills and cognitive capabilities and brought my work to an elevated echelon. I owe my deepest and sincere gratitude to her Secondly, I thank my parents, Mr. Nadir Shah and Mrs. Waheeda Begum Baruah (Rupa) for their wise counsel, encouragement and guidance, and for always lending a sympathetic ear. I especially thank my father, whose never giving up fortitude taught me that learning is a joy and that I need never stop. He even read and offered inputs on the drafts of this dissertation. Other family members my elder sister- Farnin Sultana Shah, and my younger brother-Tanveer Sikandar Shah (Sahil) have been very compassionate and supportive as well. I feel exceptionally blessed for all their love, support and backing. I wish to express my sincere acknowledgements to Dr. Pooja Basnett, Assistant Professor and all other faculty members and non-teaching staff of the Department of Mass Communication, Sikkim University, for their support, guidance and all the opportunities I was given and provided with, to further my research. Finally, I could not have completed this dissertation without the support and encouragement of my extended family members, near and dear ones, friends, and well- wishers. I thereby take this opportunity to express my gratefulness and thank each and everyone who have been by my side through all the ups and downs of my personal expeditions and this academic journey. i Table of Contents Contents Page Number Acknowledgement i Table of Contents ii Chapter I: Introduction -- 1.1: Background of the Study 1-3 1.2: Hindi Commercial Cinema in the Twenty-First Century 4-7 1.3: Cinema, Women and the Indian Society 7-12 1.4: Cinema and Representation. 12-19 1.5: Statement of the Problem 19-20 1.6: Purpose of the Study 20-21 1.7: Objectives of the Study 21 1.8: Research Questions 21-22 1.9: Social Significance of the Study 22-23 Chapter II: Review of Literature 24-49 Chapter III: Methodology 3.1: Design of the Study 50-51 3.2: Sampling 51-59 3.3: Narrative Analysis 59-70 Chapter IV: Theoretical Framework 71-90 Chapter V: Analysis and Interpretations 91 5.1: Zubeidaa 92-101 5.2: Ishaqzaade 101-112 5.3: Lipstick Under My Burkha 113-124 5.4: Secret Superstar 125-134 Chapter VI: Major Findings and Conclusion 6.1: Discussion and Major Findings 135-151 6.2: Limitations of the Study 151-152 6.3: Scope for Further Study/Research 152 Bibliography, References and Works Cited 153-160 ii Chapter I: Introduction 1.1 Background of the Study At present, any discussion on the minority representation particularly those associated with the Islamic world, be it from the standpoint of the victor or the vanquished, is mediated by the certain graphic spectacle of the media both online and traditional forms like Television and Films. A film is a work that can be projected photographically in a theatre (Mammer, 2003). The moving image is the medium of mass culture and the most important and universal art form of the twentieth century. More than any other art form, it has the power to entertain, to educate, to reflect, and to shape our sense of who we are and our understanding of the world in which we live. The moving image gives expression to our hopes and aspirations-to help us imagine what we might be (IMAX, 1996: A bigger vision, London: BFI). From advertisements to movies and from tablets to smart phones, we are constantly engaged with and surrounded by images, helping us deem the world in visual terms. Scores of academicians, experts, and scholars, argue that the visual is central to the cultural construction of social life in contemporary societies, marking the move to post-modernity (Rose, 2001). Author and critic John Berger fittingly point out that, seeing comes before words. The child or an infant looks and recognizes way before it can even articulate or speak, emphasizing the magnitude and significance of the visual form (Rose, 2001). It is hypothetically supposed that almost every one of us collects, receives, and obtains over in the region of nearly around 80 percent of information through our eyes (Berger, 1978, 2008). It is believed that other than films, the visual media or the moving image essentially caters to provide objective information. On the other hand, meaningful films apart from just ‗providing‘ objective data, may ‗connote‘, ‗imply‘ or ‗signify‘ various facets of politico- democratic events specific to a particular region. Besides, they are different from other visual media because of the 'human factor' associated with them. Since its inception and origin, the relationship between cinema, society, and representation is evident as well as manifested, which to some extent is dialectical. Cinema is considered to be one in every of the foremost powerful media of storytelling. It has been testified that, ―Cinema under the portents and patronages of being moving visual images subsequently has the ascendancy, control, dominance and supremacy to position across, pass on to this world and elicit durable and sturdy emotions in an attempt and effort to depict and present Page | 1 the dynamic images and pictures of social reality‖ (Wajda 1974: 98). Cinema is supposed and believed to entertain and take the viewer to a world that is starkly and completely different from the actual one, a world that allows one to break loose and provide an escape from the daily grind and toil of life.