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Essay on “Cinemas and Image of Women” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Cinemas and Image of Women

Modern  cinema  has  diminished  the  respect  for  women  as individuals  and  the  mystique  attached  to  them.  Heroines  of  today do  not  mind  exposing  their  bodies  to  please  the  producers  and the  viewers.  They  are  copying  their  western  counterparts  where such  portrayal  is  decades  old.  Man  is  depicted  as  superior  while a  woman  is  shown  in  a  derogatory  and  degrading  way.  The result  is  that  following  the  visual  images,  instances  of  rape  and sexual  harassment  have  increased.  The  problem  requires  strict censorship  and  involvement  of  more  women  in  mass communication  programming  levels.

The modern day portrayal of women on the screen, in TV Serials, Telefilms and in sundry other forms has played an important though shameful, role in the diminishing of respect for women as individuals and the mystique attached to them. The overt sexual nuances in most forms of the mass media notably films, play a significant role in not only the creation of inappropriate stereotypes of women in the male mind but also the creation of wholly perverse role models for the pliable minds of teenage girls.

The  debonair  hero  on  the  screen  nudges  and  teases  the  young  heroine, harasses  her  along  with  his  friends, that  is  till  they  irrevocably  fall  in love:  The  conversion  of  the  heroine  into  the  vamp,  the  woman  who  uses her  sexuality  for  scandalizing  the  audience  is  a  case  in  point.  In  recent years,  in  India,  there  has  been  a  flood  of  movies  starting  perhaps  with  Raj Kapoor’s  “Ram  Teri  Ganga  Maili”  in:  which  female  sexuality  has  been perversely  portrayed.  Since  then  a  Krishma Kapoor  or  a  Shiplap  Shirodkar or  a  Puja  Bedi  has  had  no  inhibition  in  terms  of  exposing  and  catering  to the  perverse  tastes  of  the  male  audience.

In the West, such portrayal goes back to many decades.  A  Marlin  Monroe or  a  Brigitte  Bardot  were the  sex symbols  of a generation  almost  three decades  hack.  They played them.  role  of  Women  slaved  to  their  sexual instincts,  and  whose sense  of  self-worth  arose  only  from  their  degree  of sexual  satisfaction.  The  myth  became  the  reality  in  the  male  mind women  became  only  and  ultimately  sex  symbols.

Men,  as  a  rule,  since  the  dawn  of  society  have  held  a  commanding  position vis-a-vis  woman.  In  a world  where  till  recently  brawn  was  More  important  than  brains,  this  seemed  natural  and  fit.   In  a  recent  film  “Sangeet” Dixit  played  a  middle-aged  wife  to  Shaft  Inamdar  who  exploits physically,  treats.  her  like  a  doormat  and  threatens  to  throw  her  out.  In one scene, he throws whisky at her face.  This  is  shocking  enough  but  more Shocking  is  Madhuri’s  reaction—she  bears  it  silently.  Lack  of  reaction typical  of  wife  as  she  is  shown  on  our  screen.

Man, in “popular” cinema is depicted as superior.  This  so  call “superiority”  of  the  male  has  been  mainly  responsible for  a  lewd  and  low  image  of  the  fair  sex.  On  the  other  hand  a  woman  is  portrayed  in derogatory  and  degrading  way  in  the  contemporary  mainstream  cinema: girl,  victim  of  a  rape,  is  treated  as  a  moral  leper  while  a  womaniser surrounded  by  a  bevy  of  beautiful  girls.

Women in Hindi films play stereotypes characters.  They  are  showily either  glamorous  girl-friends,  sacrificing  wives  and  mothers,  vamps  or  rag They  are  a  there  foil  to  the  .male,  whatever  the  role.  The  heroine  is  the darling  “beti”  who  has  either  lost  her  mother  or  father  when  she  was mere  child.  Or  she  is  forced  to  marry  a  drunkard  and  rich-  boy  against  her wishes.  She, in  such  a circumstance,  either  commits  suicide  and  ref., against  ha  parents  and  even  elopes.  She  can  suffer  any  humiliation,  undergone and  hardship,  shed  tears  but  does not  budge  from  decision,  She  takes Insufficient  dose  of  poison,  jumps  into  a  river  and  leaves  her  home  o day  to  live  with  her  man  even on  a  footpath  or  in  a  slum.  Money does Matter With her.  Love, she thinks, thrives on poverty.  She  is  prepared be  teased  in  a  market  or  parks  and  bursts  into  a  lusty  song.  The  shyness, flung  to  the  winds and  she  sprawls  on  the    ground,  making  a  variety suggestive  poses  with  the  hero  But  still  she  is  supposed  to  be  a  paragon  of  virtue.

The Vamp who is charming and beautiful is another stereotype.  In fact she  is  supposed  to  be  more  beautiful  and Sexually  attractive  than  the  heroine She  has  a  lush  torso,  full  bosom  and  seductive  charms.  She acts as cleavage between the heroine and hero.  She  jiggles,  writhes,  her  amity” bosom, swings  hips,  winks,  dances,  pours  liquor  and  bursts-  into  song  and  dance.

The  heroines  of,  today,  however,  can  over-smart  her  in  all  these  gimmicks. She  can  throw  her  bosom  on  the  camera  with   dhak  dhak  or  can  tell  the spectators  what  is  choli  ke  peechhe.  The line between the two has just disappeared.  In  formula films  a woman  is  just  shown  as  a  caricature, incomplete,  with  her  body    as  her  only  asset,  having  no  mind.  In  a  film, the  girl  suffers  the  taunts  of  her  sister-in-Law  rather  than  support  herself and  her  child.  An idiot of the village halts her humiliation.  An imbecile male is better than a sound-minded female!

Most  formula  films  having  failed  at  the  box-office,  new  stereotypes  are being  invented.  The viewers now want more and bigger doses of vulgarity. People like Madhuri Dixit lifting her ample bosom.  The  heroine  seems  to squirm  but  smiles  when  the  hero  lifts  or  attempts  to  lift  her  ghagra,  skirt or  saree.  The  hero  degrades  the  heroine  but  she  falls  in  love  with  her tormentor!  Tastes have trashed.  People are becoming brazen.  Eve-teasing has assumed the form of eve-tormenting.

Some  films  like  Arth,  Ankur;  Bazar,  Umrao  Jaan  were  woman-oriented. In  these  movies,  women  and  their  problems,  “their  status  have  been  treated realistically  within.  Certain parameters  Dimple  Kapadia  played  a  highly emotional  role  of  a  professional  mourner  in  Rudali.  In  Damini  Meenakshi Shesadri  personifies  character  and  courage.  She  fights  for  what   is  right  but pays  a  price  of  her  conviction.  That  the  film  Was  gripping  shows  that what  is  wanting  is  directorial  .determination  and  professional  skill  on  the part  of  the  makers  of  “popular”  films.

Formula filing is miles away from realities.  The  contribution  of  women in  various  fields  and  professions is seldom  the  focus  of  a  full-fledged  film. Rocha  and  Simi  Grewal  played  a  lawyer  in  Yeh  Aag  Kab  Bujhegi  and  in Insaf  Ka  Tarazu  respectively.  But they were essentially cameos and not central roles.

Repeated  visual  images  do  leave  their  impressions  in  the  minds  of  the viewers.  Instances  of  rapes  of  school  children  by  teachers,  women  in  police custody  and  sexual   harassment  in  places  of  work  prove  this  point.

The problem requires strict censorship.  But  the  existing  Board  of Certification  appears  to  have  a  soft  belly;  having  a  bark  but  no  bite.  Should then  one  conclude  that  their  tastes  are  worst  than  those  .of  the  viewers? What  is  ,needed  is  that  more  women  should  be  involved  in  mass levels  so  that their point  Of-view  dilutes  the communication . Programming male  one  Which  is  biased  and  secretly  sadistic.


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