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Reviewing Indian Culture And Population Senarios Film Studies Essay

Hindi cinema is definitely a major point of guide for Indian culture and culture. Not merely has it formed but also portrayed the changing cases and contours of India's ethnic and societal sentiments to such an magnitude that no other preceding talent could ever before achieve. Hindi theatre has influenced how people perceive and offer with various areas of their own lives.

Movies now portray live-in relationships, girlfriends and boyfriends, pre-marital gender, corruption, people following live and let live policy in life and family, liberal parents, colleges are depicted like seeing gatherings and professors like friends. Of course one has to admit that it's all exaggerated and blown up, sometimes even in epic proportions, but the center idea, the crux, the central theme, comes from the world itself. Obviously those situations and reflections of life and culture are exaggerated and inflated converting everything into a motion picture with components of dilemma, suspense and comedy to be able to get spectators.

The contemporary society and the world that we live in is changing and these changes are echoed in the movie theater. Let's take the example of the humble and illiterate mother or 'ma' depicted in the Hindi films of 60's, through the 70's right till the 80'. The 'ma' was a female amount, an epitome of sacrifice and effort, caring and bothered about nothing but her children. She burned the midnight essential oil to stitch clothes to cover two meals every day and to pay for the hero's BA degree, has slowly got replaced with the present day, educated and sometimes even independent 'mother'.

The heroine who was normally a straightforward homely girl has been changed by a female who's not only informed and striking but is also self-confident about her sexuality. The hero no more falls deeply in love with a innocent uneducated 'gaon-ki-gori'. He has been substituted by a simple boy next door without palaces to live in, with human capabilities, flaws and aspirations. The result would be that the audience can now easily connect with the lead heroes of the film.

But there's a different aspect, a different part to the coin, as well; movie theater itself can herald or produce changes in the contemporary society. It inspires fashion and offences when people try to mimic what they see in films, failing to realise that what they see on display screen is an modified or revised version of simple fact that was created to look gorgeous though devices and technology and this life like movie theater is not predictable. But, there are some movies that result in positive changes as well like the recent change in the old insurance policy followed by CBSE consequently the movie Tare Zameen Par (2007). CBSE now gives extra time to dyslexic students for his or her board exams. Likewise, public desire for hockey was renewed after the reach movie Chak De (2007). So that it wouldn't be wrong to state that movie theater isn't only a source of popular entertainment for young families and people, but also a car of interpersonal change, as it ought to be.

Audiences like to start to see the familiar on display screen. They like to see what they know, what they know about, what they believe that and it is this representation on display that suits the tastes and sensibilities of the public. People derive joy, pleasure and amusement when they watch such motion pictures and therefore it's the audience that chooses what switches into a film. Next it is the investor. The producer of any film would want to spend money on something that could fetch him some earnings on his investment and for that reason they put their profit films that could make the audience happy and consequently bring in the greens for the traders. Unless a film suits the mass audience, you won't be economically feasible.

The representation of women is often used as a feature of the videos. Audience loves to watch women on display in various melody and dance routines, in stereotypical images, in a variety of outfits ( as mentioned in section 2) and the reflection of women on screen differ from time to time with changing fads in the continuously evolving world ( as mentioned in chapter 3).

It is true that the changing ideologies of an society have the power over what is depicted on display and exactly how it is depicted but another reality is the actual fact that the patriarchal undercurrents inside our society are still the same. Women are still depicted in a manner that caters to the male gaze. Women are still categorised and this has been achieved through songs and party sequences, through various types of dress and through stereotypical images. Each one of these factors help compartmentalise women, switch them into a fetish giving no room for the true female to be depicted on display.

A cursory look on the annals on Hindi theatre and the changing movements of modern culture and theatre leads someone to assume that Bollywood has progressed as time passes in conditions of depiction of women. Globalization and western culture has had a strong impact and a huge impact on this content motion pictures, the locations where they are really shot and even the settings. But a closer examination of the films disclose that indeed there's been progress, but only in conditions of scientific devices that are being used for special effects, locations as in they are more scenic, the movies have started to signify N. R. Is, the conversation has westernised, the dresses have today's influence and the whole facet of film making and marketing has becoming more commercial and corporate and business like. It offers truly become a business, a business.

Women remain depicted or portrayed in the old moulds of feminity. Heroines are westernised, as is everything around them, but it has led to turning a woman into a commodity that needs to be made a spectacle of so that the film can sell well. The american effect and modernisation has resulted in more skin show in order to make the film commercially practical as it is currently sold to Indian as well as american audiences.

Mythology, religion, notions and ideas about family and custom, cultural ethos, many of these strongly effect Bollywood and therefore the representation of women on display screen. But one must understand that all these values that dictate the trends of Bollywood are ruled and dominated by the premise of patriarchy and therefore women are represented in a manner which is submissive to these worth and therefore subject to control by men. "The ladies are shown in subordinate assignments, upholding traditional values. They represent the community and are seen as repository of community beliefs. Women authenticate a nationwide/cultural identity. The body of the woman is the carrier of social signs. Symbols of marriage like the mangalsutra, sindoor etc. are fetishized. "

Women are displayed as prototypes, one dimensional individuals as daughters, wives, daughter-in-law, courtesan, enthusiast, widow. Such stereotypes haven't any personal traits, no element in conditions of character and character; they only are present in relation to men, to heroes on display. They are there as foils to the male characters in order to highlight their characteristics. Feminity as it is outlined by the premise of patriarchy is generally honored in Indian movies.

However, via an examination of new emerging styles in Bollywood cinema as well as the parallel cinema, it becomes obviously obvious that some women break this mould. You will find videos that portray women in daring and strong heroes or even as individuals but such films are not very successful commercially. And also the answer to the question whether ladies in Hindi movie theater are constructed to be able to entice male gaze remains yes because even in those videos, the heroines who enjoyed the striking, strong and specific characters were beautiful and attractive, they were found in various melody and dance sequences and were objectified by using costumes and other cinematic tools.

There have been endeavors to emancipate women from the constraining stereotypical moulds through representation of strong women characters in powerful tasks in mainstream cinema nevertheless they have been only partially successful because those videos were made nonetheless they weren't very successful. The art work films or parallel theatre as they call it, emerging in the 1970s, avoided objectifying women, and focussed on showcasing the common oppression and exploitation of ladies in our society. However the overriding themes or templates, ideologies and principles of religion, culture and custom employ a strong foothold as it pertains to Hindi theatre and they entrap representation of women in set moulds of stereotypes strengthened by patriarchy. "Events seldom catapult women people of Indian theatre to a white-hot spotlight. They can be dumped into the quagmires of tension-packed fireworks of the home-prison or the ambitious exploitations of healers and killers, lovers and betrayers. The women are shown as having no spheres of their own, no impartial identity, no living space. They go down in collective storage as organic imperfections, ramshackle, rickety, unhinged creations, mere fictional constructs of the 'delicate - handle with treatment' male ego. "

Hindi movies with excellent picture taking, picturesque locations, designer costumes and beautiful heroines enthral and influence audiences in a manner which slowly and steadily transforms just how they think and perceive the earth around them. The youth that forms a huge chunk of the audience start aping what's shown in display in terms of costumes, language, style and most importantly the norms and ideologies highlighted by the videos.

These ideologies recommend that home bliss and societal acceptance is possible only through distribution to the pre-established hierarchies. Among the dictates of such ideologies is the fact that women should be submissive and subordinate to the men in family and in contemporary society in general. Movies often show heroes chasing the heroines not with poetry, as the idea of chivalry preaches, but with melodies and sequences that manhandle the heroine, pestering her with antics like using her dupatta, pulling and pinching her cheeks, preventing her path, arriving too close for comfort and sometimes even kissing her without her authorization. The girl initially tries to get away from this brute but finally offers in to him and allows his love. The marvel of marvels happens when she succumbs to such degrading antics and it is acquired over by his elegance. Is it any marvel that eve teasing is rampant in this country when motion pictures show women presenting directly into such demeaning and crude gestures used by the man in the film to be able to judge her?

In case a woman is raped in a film, the lady is compelled to marry the perpetuator of such a deplorable and detestable act. The girl isn't even asked if she needs to spend the others of her life with the person in charge of violating her bodily and psychologically in such a horrendous manner and robbing her of her flexibility. The girl becomes the property of the man who ruined her life. If she refuses to marry her rapist she actually is immediately alienated from the culture and is deemed undeserving of anyone's sympathy and support for she refused to marry the person who violated her and then was happy to provide for her as his wife. The perpetuator, the offender here becomes noble and self-righteous for in the work of agreeing to marry the girl he raped he's redeemed himself. The sufferer, if she refuses to marry him, becomes ungrateful, perverted and promiscuous for she refused a man's offer of relationship, a guy who as per the norm, would have shrugged off all responsibility towards her.

Most Hindi movies portray love experiences between a abundant boy and an unhealthy lady or vice versa. The predictable and often repeated story lines being that they meet, fall season in love, come across opposition using their respective families, areas and society and lastly they get married after innumerable tests and tribulations. The rich boy who would like to marry below his train station is considered noble, heroic, compromising and generous while a wealthy girl who would like to marry the poor guy is often portrayed as fashionable, impartial, spoilt, pampered and bratty who frantically needs to be tamed and domesticated to be able to bring her in line with what the society expects. Quite simply she must wear Indian dresses with bindi and bangles, should have the ability cook and serve to the family and lastly should see her spouse as her only reason for presence. This she is changed into by the indegent son who as compensation gets the woman as a trophy in the long run. The whole idea defies logic. Why would a abundant and pampered gal want to marry an unhealthy boy for there are enough good men on earth with the same moneyed record? The root patriarchal assumption being that any man is good enough to marry a girl, rich or poor doesn't subject.

A woman, in a film, who places her dreams, ambitions and profession before family is considered ruthless and also at time unwomanly but if a man does the same he becomes noble and virtuous. If a female does it she actually is to be condemned for her professional goals come in the way of providing the family and her spouse but if a guy does it he is doing this to give his family which is commendable. The dual standards of the culture and hypocrisy of the patriarchal ideologies promoted by films tend to be than obvious but such motion pictures are accepted by the people and they embark on to become hits. The identical ideology and storyline is repeated film after film changing the ideology into a norm that soon becomes a tendency followed by individuals. "Wielding the camera is probably a far more onerous responsibility than wielding the pen, as the visible medium is several times more powerful than the written one. Increase this the sway that tinsel town's charismatic heartthrobs have over the masses and the job of filmmakers as arbiters of preference and public opinion becomes that a lot more accountable. "

The ideology of patriarchy works through the concept of female morality preparing territorial limits for your idea of female identity and revealing the hypocrisy of male attitude that ultimately seeks patriarchal domination of women. A female's body remains central to the society's as well as her realization of personal. Patriarchy, that asserts itself through relationship, adultery and rape, works through the feminine body. Alternatively a female who tries to withstand patriarchy uses her body to express her liberty, desire and sexuality.

Powerful woman heroes and their impact is eclipsed by the way in which in which she is depicted as stereotypes trapping a woman in tasks that submit to the dictatorial conventions of your society in the process inhibiting the features of a woman as an individual at serenity with herself and comfortable in the world of her personal dreams and interests. It is because a woman child in the formative many years of growing up is conditioned through the procedure of socialization where her freedom and liberty is decrease drastically. At an extremely early age she learns to submit to the whims and fancies of the patriarchal population. She gives in to the tyrannies of our own world and forgets all about her own psychological, public and financial needs along with her individual aspirations.

Women in our society are perceived and therefore represented as poor beings. The realities of the patriarchal society and the standards set by it make the woman under confident and make her think that the only real form of security she can perform is through conformity to the world that terrorizes her to commence with. This ideology perpetuated by the masculine world around her makes a woman consent to the unreasonable mental, sociable and financial needs made upon her, all in the name of tranquility, contentment, order and security.

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