Dreamgirls in Tinseltown

The inherent influencing capability of media can often be seen reflected in the way people think, feel, behave, and perceive reality.1 In recent years, several technological advances have changed the landscape of Indian media especially with exponential use of social media and OTT platforms like Disney+ Hotstar, Amazon Prime Video, Netflix, ZEE5, MX player, and so on for consumption of movies, songs, series, short films, and advertisements.2^,3 Amongst the psychosocial impact of media, 2 issues that become noteworthy in the representation and portrayal of real, fantasy, and fiction are perpetuation of body image stereotypes and prevalence of sexism.4

During the golden years of Indian cinematic industry, majority of stories showcased idealistic and aspirational narratives that revolved around the male characters playing protagonist in the storyline with the masculine ideals of “taking care of problems” and the aesthetical female characters simply supporting them while confining to the norms of a “good woman and homemaker” like Barsaat, Afsar, Dastan, Sangam, Mera Saaya, Chaudhvin Ka Chand, Ganga Jamuna, and Dulhan Wahi Jo Piya Man Bhaye. Dual divarication surrounding the stereotypical female role conformity became clear—virtuous woman and less than stellar woman. Within the first bifurcation, gender stereotypes of good woman being naïve, funny, shy, and suppressed (Guddi, Seeta Aur Geeta), portrayal of damsel in distress (Daag, Ek Phool Do Mali), being subservient and used a pawn by family members (Do Badan), glorification of self-sacrifice, and playing martyr for happiness of others (Aap Aye Bahaar Ayee, Khandan) dominated the characters while the second category highlighted the vamp (Shashikala in Gumrah), courtesan who were good enough to have affairs with but not genteel to marry (Umrao Jaan), being manipulative (Do Raaste), controlling (Lalita Pawar in Tum Se Achcha Kaun Hai), enjoying dancing, and drinking (Bindu in Kati Patang), smoking (Purab aur Paschim), sensuality (Helen in Inteqam), defying the dictate of husband or family members characters.5 Being beautiful and physically appealing was certainly “necessitated” for either roles. While a few movies tried to carve a space for complex, multilayered experiences of women that could resonate with others, like Mother India, Aurat, and Mughal-E-Azam but also represented the looking glass6 aspect of dominant patriarchal perspective of the society.

During 1980s and 1990s, the scale of balance was still skewed toward male-centric movies though female roles became a little more detailed. With the Western influence of working women, the female characterizations were seen studying at colleges and working in offices. Several films belonging to this era perpetuated the masculine stereotype of being an avenging savior who fought the negative lead for the damsel in distress. This can be seen in movies like Tezab, Qayamat Se Qayamat Tak, Namak Halaal, Naseeb, Dilwale, Raja Hindustani, Agneepath, and Ghayal that still subscribed to the gender hierarchy prevalent in our society. The lingering male gaze7 on female body and propensity toward sexual assault and misogynistic values along with normalizing obsession with possessing a woman as if a prize to be won became prominent, contributing toward objectification of women (Aashiqui, Deewana Mujh Sa Nahin, Izzatdaar, Khatarnak, Baazigar, Koyla, Darr). Ironically, their intellectual, emotional, and sexual interests were frowned upon. The propagation of going with the flow, being agreeable, particularly with one’s in-laws became the standard (Hum Saath – Saath Hain, Maine Pyar Kiya, Hum Aapke Hain Koun, Viraasat). Damini, Mohra, and Sangharsh portrayed strong female driven stories but the aid of male characters to wrong the right persisted. The movies in early 2000s saw similar characterizations and storylines though the content expanded to include issues like brain drain retention (Swadesh), youth voice (Yuva, 3 Idiots), learning disabilities (Taare Zameen Par), and so on but the female remained in background. Men characters working as doctor, businessman, scientist, press employee, and women as teacher, student, and air hostess abided by occupational stereotypes. Though films like Chak De! India and Jab We Met managed to give some incremental space to voice of female characters.

A recent survey concluded that in trailer talk time test of movies, male characters tend to “outspeak” female ones by more than 4 times and 59% movies failed the Bechdel test (2 named female characters must engage in conversation that is not about man/men in at least 1 scene).8 For the past few years, movies represent a mix bag—on the one hand, we have Kabir Singh epitomizing toxic masculinity, disrespect, abuse9; on the other hand, we have Piku, Masaan, Raazi, and The Lunchbox that represent women as exercising choice, making mistakes, and negotiating life. Things look promising as important issues like consent (or absence of in Tanu Weds Manu), domestic abuse (Thappad), body positivity (Fanney Khan), being self-reliant and marriage not being the ultimate goal (Queen), marital rape (Lipstick Under My Burkha), and dichotomy of daughter/daughter-in-law (Pagglait) are being discussed in mainstream and questioning age old sexist gender stereotypes.

Along with sexism, perpetuation of an ideal body image can be seen clearly in movies. The prevalent notion of beauty included being fair, having attractive figure, and height. Actresses like Uma Devi Khatri popularly known as Tun Tun often played roles for comic relief at the cost of self-esteem but unfortunately later the name became synonymous with fat shaming. Despite having a range of skin color in India, Indian actresses were overwhelmingly fair skinned.10 A clear trend for women in Bollywood to become slimmer over time is visible, with a resultant increase in body dissatisfaction among Indian women.11 The actresses in the 80s and early 90s could be seen as having healthy curves but changing body image perception could be seen represented in the 2 female leads of Dil To Pagal Hai and later on in Taal. The compulsion of Indian cinema with praising fair skin continued.

A similar trend can also be mirrored in the world of television serials that are an instrument of communication and influence. In the past decades, the focus was on saas-bahu serials that essentially reinforced and emboldened the stereotypical gender roles of a timid, self-sacrificing daughter-in-law who takes care of her family, vapid mother-in-law who torments the daughter-in-law, mostly silent nonparticipative father-in-law, a dutiful hard at work son portrayed as stuck in conflict between women in his life, a conniving sister-in-law, or spoilt brother in-law (Kyunki Saas Bhi Kabhi Bahu Thi, Kundali Bhagya, Ek Mahal Ho Sapno Ka). Last few years also saw forays into fantastical world of snakes, mongoose, bees, witches, romanticizing stalking, further strengthening superstitious beliefs, dogmatic gender expectations and beliefs, reinforcement of body shaming (fat and skinny shaming), slut shaming, age shaming, and skin color shaming (Sasural Simar Ka, Naagin series, Saat Phere, Bidai, Pinjara Khubsurti Ka). A number of shows that start with a premise of empowering women often end up toeing the older line (Kuch Rang Pyar Ke Aise Bhi, Patiala Babes, Kaatelal & Sons, Zindagi Ki Mehek) perhaps to stick to TRPs.

With the coming of OTT platforms, newer spaces for characterizations are being explored in newer contexts for representation of nuances from a female’s perspective like Aarya, Pushpavalli, Aranyak, Raji in The Family Man season 2, and Kavya in Little Things and Engineering Girls, which represent women as independent, hard-working individuals12 who embrace their femininity with toughness and grit. Lust Stories and Four More Shots Please! showcased the blatant sexuality of unapologetically flawed women and can in many ways be considered pathbreaking. Some problematic issues around OTT series include the unrequited use of coarse language13 without context which reeks of misogynistic insults with no apologies (Sacred Games), continued objectification of female characters, and misrepresenting their needs and wants (Yeh Kaali Kaali Ankhein).

Women and men characters on television still set unrealistic standards of beauty and physique with thin bodies, prominent collar bones, chiseled cheekbones, and normalization of fad diets which leads to double bind for those who emulate such in order to look attractive.14^,15 This in turn tends to affect the viewers’ self-worth, confidence, and mental health. If female leads are played by women of different shapes and size, different skin tones, different facial structures, having tattoos, and piercings, then perhaps engrained gender stereotypes and norms of beauty can be challenged.

Music and choreography are akin to blood and sweat of Indian movies. Suhana Safar Aur Yeh Mausam Hasin, Kora Kagaz Tha Yeh Man Mera, Maine Tere Liye Saat Rang Ke, Chitthi Na Koi Sandesh, Raatan Lambiyan Re, Agar Tum Saath Ho, and so on have left lasting impression on listeners and viewers with their melody and lyrics. But there is also a section of songs that objectify women reducing them to “item” with no sense of identity but an instrument of playing into derogatory “desirable fantasy” as envisioned by men—Tu Cheez Badi Hai Mast Mast, Sheila Ki Jawani, Chikni Chameli, Fevicol, Aa Re Pritam Pyaare, and so on. Women can wear whatever they want but when the camera is zoomed to get shots of the waist, cleavage, and other body parts in provocative clothes while water is being poured to hold attention of a group of men hollering and shouting, then it becomes disrespectful, demeaning, humiliating, and discrediting. The lyrics such as Tu Haan Kar Ya Na Kar Tu Hai Meri Kiran; Coca Cola Tu; Matkaun Main Kamariya Dheere Dheere, Saiyaan Ji Samne Baithe Jaam Peere Peere; Haan Tujhpe Right Mera Tu Hai Delight Mera; Tera Rasta Jo Roko To Chaukne Ka Nahin; Ek Garam Chai Ki Pyaali Ho Koi Usko Pilane Vali Ho are not only offensive, allude to double entendre but normalize, “justify” harassment, and sexist attitude which might have the unfortunate consequence of girls and women doubting their own standpoint. In addition to this, songs like Tujhe Dekh Ke Goriya, Beyonce Sharma Jayegi; Chitiyan Kalaiyan; White White Face Dekhe; Gori Gori Gori Gori; Kudi Menu Kendi; and Mainu Lehenga Le De, repeated comparisons with “Chaand” create an image of fair beauty and inferring women as gold diggers. We as consumers are also to be blamed for promoting and reinforcing the continued legacy of double standards and patriarchal hegemony of such songs when we groove to them at parties, and not raise our voices to communicate that they set us back rather move forward.

Another segment of media that propagates gender role stereotypes and impractical beauty standards are advertisements. There has a been a long-term practice of ads showing women exclusively in food (Maggie, Everest), kitchen equipment (Hawkins, Kent water purifier), bathroom supplies (Lizol, Pantene, Harpic), beauty products (Lakme)-related commercials with taglines like Jo Biwi Se Kare Pyar, Woh Prestige Se Kaise Kare Inkaar, for an emotive appeal to the women of the house to take care of their family. They often play the supporting cast in ads for men’s deodorants (Envy) and shaving cream/equipment (Philips), ads where “Men Will Be Men,” where women are objectified and reduced to ornamental accessories (Katrina Kaif in Slice Aamsutra). They further promote the stereotype that house needs to be looked after women while men are portrayed coming back from offices exhausted. Similarly, old ads for 2 wheelers or 4 wheelers showed men in the driving position adding onto the implicit ideas that women are the passengers not operators of their lives and destiny. Another relevant issue that has plagued ads is body image projection specifically shaming dark skin tones (Fair & Lovely, Lotus, Garnier) and using actors who are gorgeous women and handsome men having toned, lithe bodies (Cinthol, Pan Pasand) instead of including actors of all body types, facial features, and skin tones, which again can lead to greater body dissatisfaction among viewers.16 We have made stride toward inclusivity of all with ads like Dove’s #StopTheBeautyTest campaign17 where the prospective arranged married alliance is shown taking a toll on different girls, make up ads showing women of all color (Fit Me). Efforts are made to include men in ads for household items using them (Ariel) not just as a prop (Ghadi); insurance ads showing women in context of higher studies and not just marriage, automobile ads with tag lines Why Should Boys Have All The Fun?, Cadbury ad in which a young guy cheers on the girl, and the recent controversial Manyawar ad where Alia Bhat rejects Kanyadaan—which raise important questions of women’s equality and dignity.

Concluding Remarks

There has been a slow evolution of movies, songs, and advertisements over a period of time, both in terms of characterizations and content. While much of the narrative has changed over the years, it is our contention that when one looks underneath the surface, gender stereotypes are still maintained. Even when powerful female protagonists are used, they are more often than not, shown to be from privileged backgrounds, conforming to a particular beauty and body type, and often unhappy when successful. While a woman can embrace sexuality and be feminine, her sexiness still seems to be rated higher than her intelligence, and it is anybody’s guess as to how much such characters are liked by the masses. Most of the web series that have a strong woman protagonist are seen to be “unrelatable, since it caters to a very niche women audience.”18 There is no doubt that over the years, topics that were untouched are now finding their way in our bedrooms through our television sets. The reach of such platforms needs to be widened to the masses to be an instrument of true social change.

The bidirectional influence of society on media and vice a versa is an opportunity that can be used to deliberate and discuss difficult issues which were not brought to light before but now can be. Onus is not only on creators but also us as audience to become active participants in this consumerism of entertainment. We have to ask ourselves why movies like Fire, Astitva, Arth, Lajja, and Lipstick Under My Burkha do not get the appreciation that is due to them? Why are such movies considered against traditional and cultural values? Why female characters are shown as accepting their husbands’ affairs (Saudagar, Biwi No.1) on screen, but the mere mention of women’s sexuality sends us into a tailspin?18 Why movies that contain female actors shown in male counterpart roles are not accepted as readily (Gangajal 2)? Why we appreciate female actors who are fair skinned and thin but call out the same for not shedding baby weight soon, getting tanned, shearing hair?

It has taken time to reach here, but the audience is receptive to change now. Perhaps systematic desensitization with repeated exposure to previously unexplored content can help reassess and break stereotypes around body image and gender as content framing does matter.19 Bringing about the change cannot be handed over to social activists only, but everyone including giving more representation to women in the industry as directors, producers, writers, cinematographers, and so on. Reverence and veneration of women are not the goals; rather respect and gender equality would suffice. The molds are difficult to break but enough cracks even 1 at a time can work.