Bollywood is the name given to the Hindi film business because it is based in Bombay (Mumbai). For decades, Bollywood has been a popular source of entertainment for millions of people not only in India but also around the world. Dada Saheb Phalke launched the Indian cinema business with silent films, and from that time until now, Bollywood has experienced numerous ups and downs and undergone significant changes in terms of technology, fashion, and the impact of political, social, and cultural developments in the nation. The primary Hero (protagonist), The Heroine (his love interest), and the Villain (his enemy) are a few aspects that, despite all these variations, are consistent and common in Bollywood film plots. These components can be found in any Bollywood film from any era. Without it, a Bollywood film is incomplete. The Bollywood heroine has been the style symbol for decades, from Madhubala and Nargis of the 1950s to Sridevi and Madhuri Dixit of the 90's to Deepika and Katrina of the 2020s. They might be seen as a reflection of the social and cultural attitudes about beauty parameters of the period. Women, in addition to young girls, also look up to and emulate these heroines for their beauty, fashion sense, and way of life. This study paper analyses the changes in the attractiveness and Physical appearance of Bollywood heroines, as well as the reasons for these changes.
See Full PDF See Full PDFCinema in India incorporates mainstream cinema which holds popular appeal, art or parallel cinema that deals with social issues, and middle and regional language cinema concerned with local issues. 'Bollywood' is a term associated with the Hindi-language film industry centered in Mumbai (Ganti, 2004). In this paper the term 'Bollywood' will refer specifically to the Hindi-language film industry. The justification of studying Hindi films is best provided by Dasgupta (1996) who saw in them a very popular form of art and literature. In terms of reach, they top the chart. Moreover, Bollywood has been a major point of reference for Indian culture (Bagchi, 1996). It has reflected the changing scenarios of modern India to an extent that no preceding art form has ever achieved. It is true that the portrayal of women characters in Bollywood has been studied by various scholars. Past studies, however, mainly focused on the portrayal of lead female characters, the stereotyping of women and the construction of women as good or bad. (Kishwar & Vanita, 1987; Gopalan, 1997, and Ganti, 2004). Survey of available literature suggested a paucity of studies to examine the extent to which these portrayals reflected the socio-political realities of their times. The present study aims to fill the gap. Also, there is a dearth of literature on the changing construction of female characters in Bollywood. By examining films from different time periods the present study aims to capture the changes in the depiction of lead female characters of Hindi films over time.
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Psychology and Education Journal
Cinema Industry is a popular form of mass media believed to entertain. This experience helps the audience to skip to the world that is ascetically different from the real world, the land which helps them to escape from the daily drudge of life. Cinema is a popular form of art medium which plays a vital role in reinforcing dominant cultural values, constructing images and molding opinion. This research article deals with the portrayal of women in mainstream cinema “Bollywood”. It is important to examine this issue as women are the large part of country’s population and therefore their representation on screen is essential for determining the existing stereotypes in society. This paper will investigate about how mainstream Hindi cinema is restricted with limited defined sketches of womanhood. It will also examine about whether the mainstream Hindi Cinema has been successful in representing women’s different shades through celluloid screen in a society with patriarchal values. The data.
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In every society each one knows the social order of behaviour and the expectation of the society from respective genders, be it biological or social.Cinema as a medium in many ways depicts the social reality on screen. On one hand it becomes a document of the existing fashion or technology, and on the other it also is governed by the norms of the existing time and presenting the images which would reflect realism of social order. This paper attempts to see the journey of female body image in Indian cinema with specific reference to the popular actresses' body type and see if socioeconomic situation was /is an influencing factor for the shift from a full body to thin waistline or from fair skin, long hairs to higher navel which is the current fad.
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Do movies reflect reality? This question can occur in terms of Bollywood movies where women are usually depicted as independent, strong and bright characters. As a contrast, their everyday life consists of working, childrearing, tidying up the house and fulfilling the wishes of men. So why should we deal with this topic, some people may ask. First, because there are some social issues which are not often shown in Bollywood movies, including marriages out of the caste system or the general tension between Muslim and Hindu citizens. Furthermore, if these movies are being observed closely and we get a deeper insight into how the Indian society works, it is easy to see how the role of women is manipulated. In order to make a comparison between motion picture and real-life situations, it is needed to take some movies as examples and collect their common moments. Moreover, these points should be compared with facts. By tracking the crucial points and examining their meaning, it gets easier to see women's condition in India and to analyze their current situation. Introduction:
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Bollywood, the Hindi film industry of India, has been entertaining the global population through its music, songs and dances shot in picturesque and exotic locations. These films generally revolve around a powerful male protagonist involved in different activities and females encrypted only to enhance the position of these males. The females tend to glorify the movies with their looks, gorgeous dresses, music and dances. Though, this may be the prevailing scenario of the women in the industry, there are films where a story is scripted around a female. This paper of mine intends to go through some of the movies of Bollywood so as to highlight how along with the metamorphosis in the life of the real Indian woman, there comes a very subtle modification in the depiction of females in these female centric movies.
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The Scholastic Forum , ISSN : 2395 -0889
For the past two decades or so, cinema has proven to be the critical ground on which feminist debates about culture, identity and representation have been held. Films reflect social changes but they also shape cultural attitudes. Their stereotypes are the product of unconscious assumptions ingrained too deeply to be changed merely by putting more women in potent positions within the film industry, primarily as the ‘leading ladies.’ It is in this climate that the feminist film theory begins- as an urgent political act and feminists from Simone de Beauvoir onwards had seen cinema as a key carrier of contemporary cultural myths through which our material existences are viewed and lived. This paper examines the various themes that have been pertinent to the female protagonist of Indian Cinema (particularly Hindi Cinema) and the diverse transformations that the cinematic representation of the woman in the apparently male-centric Indian Cinema has broadly gone through. The paper seeks to explain how the connotations of the sign ’woman’ have been operating in different guises within the Indian film texts over the last few decades- the meanings it has been made to bear and how has it disengaged and placed the dominant power structures; the paper is a fusion of feminist criticism and Film theory, with the basic premise being that it is not enough for cinema to merely offer more positive roles for women or for women to operate collectively to produce more realistic film images, for film making to be transformed. Instead, efforts must be made to disrupt the ideological fabric of conventional films. Instead of a mindless, complete and irrevocable reversal of men’s and woman’s roles in the movies, women should be portrayed as women- no more, no less. The movies cited in the paper are random and have been quoted to exemplify the essence of the theme in question. The paper seeks to explain how the connotations of the sign ’woman’ have been operating in different guises within the Indian film texts over the last few decades- the meanings it has been made to bear and how has it disengaged and placed the dominant power structures.
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