International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 91 ISSN 2278-7763 Sensitizing Gender Parity in Urban India: A Cinematic Revolution. Rashmi Condra Abstract: Gender concern has always remained a core issue of social evolution in every period known. India sustainably going through the process of modernizing could not evade ‘change’ and outlook towards sections that was emancipating. As cities developed so went up the standard of living vis-à-vis continuous efforts to maintain it. Cinema in India reflected this transformation but dealt mainly in focusing on inequity than on social balance. This paper analyze the role of working women in urban society and their representation in Indian Cinema. This includes formation of equal space, her sartorial style, patriarchal marginalization, dealing with male chauvinism and call for change as projected in Indian cinema. An attempt will be also be made to understand representation of Urban working Woman and her dynamics in contemporary Cinema and whether the celluloid woman has made considerable progress towards realizing the motto, ‘the freedom to choose, and the right to excel’ like most of her ‘real’ life counterpart. IJOART Copyright © 2014 SciResPub. IJOART International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 92 ISSN 2278-7763 Sensitizing Gender Parity in Urban India: A Cinematic Revolution. Rashmi Condra Assistant Professor RTM Nagpur University. Social milieu in Modern India and Indian Cinema: Gender concern has always remained a core issue of social evolution in every period known. India sustainably going through the process of modernizing could not evade ‘change’ and ‘outlook’ towards sections that was emancipating. As cities developed so went up the standard of living vis-à-vis continuous efforts to maintain it. Women were equally required to shoulder this economic burden and as a consequence nexus between man-woman relationship changed. This transition was very rapid and changed the social rules for maintaining harmony. Families became nuclear and with it emerged new challenges. Cinemas in India did reflect this transformation but mainly dealt in focusing on inequity than on social balances. Right from its inception films have dealt with the changes in the society and have consistently tried to project the evolution of modern Indian society. Technically, considering the broad definition of Urbanization, Cinema can be termed as one of the tools for gauging modernization of Indian society1. Interestingly, the development in Cinema and socio- political environmental changes in the Indian society have always been parallel, making it a reflexive epitome.IJOART In pre- independence period, the struggle under the banner of Indian National Congress was imbued with a socio-economic outlook. Ironically, it was born of the stimulus provided by the Merchant Imperialism. The longer lasting colonists started schools in their own languages to which were admitted children of Indians willing to welcome the foreign culture. The better off among them were encouraged to send their wards abroad for higher education. Returning home with foreign degrees, these young minds formed a nucleus of “Westernized” elite. They had new ideas. There was a consensus that a sweeping change was needed, not just in the ways of thinking and living but also in the institutional frame of socio-religious structures that has become either obsolete, or fossilized. These were prominently the Modernist school of thoughts that was trying to bring awareness and change in social thinking. The gifts of modern technology that came as ‘the blessing’ of Merchant Imperialism yielded fruits sooner than expected. The restructuring process began on lines of past reformist tradition. Receptivity to this new phase of reformation was rightly called the modernization of India. This was however, slow, reticent and in many ways, dependent on legislative 1 Researches in Cinema therefore derives its significance as an analyst and presentator of Indian social culture. Copyright © 2014 SciResPub. IJOART International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 93 ISSN 2278-7763 intervention. The orthodox segment resisted change rather stiffly. The British East India Company effectively altered the Indian economy, society and governance. The Company Bahadurs introduced new secular education system open to all. The language imparted opened a window to the outside world. With it also came in Modern Indian literature, theatre, performing arts and Mass Media. The most prominent among these in Mass Media was Cinema. Films, in totality create awareness and an impact on the audience because of moving images than incorporated with sound. The effect was magical! An unintended change began to happen over a period of time. A cinema ghar2 became a secular holistic place, where ideas got rooted into the subconscious mind with a relating effect. It had no limitations of ‘literacy’, and so could reach to larger section of the society. The social issues primarily addressed and kept on agenda were, better deal for women, elimination of gender discrimination, prohibition of child marriage, Sati, Devdasi system of temple prostitution, prevention of alcoholism, promotion of literacy, especially female and adult literacy, removal of Untouchability, eradication of evils such as superstition and process of urbanisation. It was a period of Renaissance in Maharashtra and prime hub of film industry was Pune and Mumbai. Several leaders of the Congress party were also active on the social reform front, foremost being Bal Gangadhar Tilak3. For the leaders of the time, freedom had no meaning without socio-economic reform and cultural regeneration of India. This was followed by rural reconstruction programme effectively adopted and implemented by Mahatma Gandhi. A social ‘new deal’ was coming into existence. Theatres and Cinema undertook task to broadcast these messages with Pune and Mumbai as its main centreIJOART. The birth of the multicentre, multi lingual film setup in itself was a major achievement of Swadeshi, for nothing like it has happened in any other European colony. There began a new wave of urbanization. The agenda was bringing awareness among the Indian masses, the consciousness for existing social problems and possible ways to resolve them. Films dealing with these themes did not have to fear the Censorship, except where political symbolism or intent was discernible. Featuring social issues was rather encouraged as it was considered ‘white man’s burden’ to emancipate the Orientals. To a certain extent the pre-independence reformist films were indeed regarded an agent of change. Considerably woman in films remained a central character and the ‘new woman’ was now shown liberated, expressive and emancipated. This was particularly true for the projection of modern, urban woman character. Notably, most of the yesteryears heroines came from Anglo-Indian lineage and they brought with them westernized customs which further 2 Cinema House. 3 Bal Gangdhar Tilak did make use of conventional mass mediums such as Kirtans, Theatre, platforms during celebration of Sarvajanik Ganesh Utsav and Shivaji Jayanti to bring about Public awareness on political and social issues. Copyright © 2014 SciResPub. IJOART International Journal of Advancements in Research & Technology, Volume 3, Issue 6, June-2014 94 ISSN 2278-7763 became a trend. Showcasing of movies would happen mainly in urban centers and so most of the female characters projected urban traits, so that audience relate to the character. These films received positive response due to the ongoing change of urbanization in India and its adaptation by western educated Indian minds. Though, many female characterizations were mythic or bucolic they still were played by elite class woman, fair skinned and who had upper class grooming. This with certainty reflected in their on-screen imagery. Figure 1 Nadia- a face of Urbanisation in Indian Cinema , Devika Rani in Nirmala smoking a Cigarette, Shanta Apte enjoying a high tea, an advocate of liberalism and modernization. Accordingly, many researches and articles are written on women in Indian Cinema, and this paper will particularly discuss on projection of urban working woman in Indian Cinema4. Urban working woman in Indian Cinema: It was important for cinema to begin dealing with the dilemmas confronting the modern working woman in the hostile urban environment. With socio-economic circumstance compelling moreIJOART and more women to share and shoulder the burden of supporting the family, the film world could hardly neglect this aspect. Curiously, however, few directors took up the issue as their theme. Though films like Typist Girl, Telephone Girls and Educated Wife were made in the 1920s, the following decades have not yielded a crop to keep pace. College Girl and Indira M A in 1934, Nurse and Lady Doctor in the mid-1940s, and Dr. Vidya in 1964 attempted to depict educated and working women, but they are generally seen as 5 lukewarm efforts . As former Censorship Director and activist Sharmila Tagore states, ‘Another example of popular stereotyping is seen in the near-complete absence of working women in our mainstream cinema. In this aspect too, the 1950s—with films like Awara, Shri 420, Kaagaz Ke Phool appear progressive vis-à-vis what followed. Even in the films of Hrishikesh Mukherjee, who made such women-centric films as Anupama, Anuradha, Guddi and Khoobsurat,