In an age where screens dominate our lives, ‘Gender Representation in Hindi Cinema’ becomes a crucial lens through which we view the evolution of storytelling and gender roles.
During the 53rd International Film Festival, discussions revolved around a pivotal study titled “Breaking the Screen Ceiling: Gender and Work in Hindi Cinema.” This comprehensive analysis, drawing from 1930 characters across 35 films, delved into the nuances of gender representation on screen. It examined the diverse roles played by characters of varying genders, their depicted occupations, and other critical parameters. Additionally, the study illuminated the filmmaking domains to which women crew members predominantly contribute, the professional echelons they occupy, and the proportion of women graced with film awards. The discussion offered a lens into the industry’s gender dynamics.
Source: Digital report by TISS
Gender representation in Hindi cinema: Women in key positions
Intriguingly, over the past 75 years, only four women have ascended to the role of Union Ministers of Information and Broadcasting. It is a stark reflection of the gender gap in pivotal governmental positions influencing the cinema landscape. Similarly, the Central Board of Film Certification (CBFC) has witnessed merely four female chairpersons in its 72-year history. Within the past 13 years, women accounted for only 29% of the board’s composition. This number underscores the slow pace of achieving gender parity in cinema’s governing bodies.
Stereotypes and challenges in narratives
Prof. Lakshmi Lingam, Dean of the School for Media and Cultural Studies, brought to light something interesting. It highlights the stereotyping prevalent in the portrayal of men and women’s professions within cinema narratives. She articulated, “The purpose of the study is to initiate a conversation with the industry. A lot needs to be done to bring equality. Many films depict intimacy as solely initiated by men, devoid of consent concepts. They also portray illegal means to obtain consent. This sends detrimental messages to society, highlighting the urgent need for narrative shifts.“
Women film directors: Opportunities and challenges
The landscape for women film directors in Hindi cinema offers a mixed bag of opportunities and challenges. Directors like Alankrita Srivastava, Sonali Bose, Reema Kagti, Tanuja Chandra, Zoya Akhtar, and Meghna Gulzar have significantly impacted the industry with their unique storytelling perspectives. However, barring notable exceptions such as Zoya Akhtar and Farah Khan, the industry hesitates to invest substantially in projects helmed by women. The others are making meaningful movies for a niche audience.
Our question is, if they got more funding, couldn’t their work would have become mainstream?
The male and female gaze and stations
Also, the exploitative nature of the industry is quite evident. A very convenient argument is that women who come here know that there are some prices to pay. Women’s right to a safe working environment in the film industry is a necessity. If women want to enter the sector and internalise the flesh trade as part of the game, there is no argument about gender equality. To quote Mr. Pushan Kripalani, noted Director, “Every room I walked in as a cinematographer was drenched with misogyny. I didn’t want to be a part of it, and that’s why I chose Independent cinema.“
Gender representation in Hindi cinema: What workplaces need to learn
The challenges of gender representation in Hindi cinema mirror many issues seen in workplace culture across industries. Just as women in cinema struggle with being typecast or limited in their roles, women in the workplace face similar barriers. They have to face issues of unequal pay, lack of leadership opportunities, and a culture where their voices are often sidelined. The concept of the “male gaze” is not limited to the film industry. It extends to corporate boardrooms. Moreover, it influences how people perceive and value women professionally. Creating inclusive and equitable spaces in workplaces, just as we advocate for in cinema, requires systemic change. Both need clear, progressive policies that actively promote diversity, challenge stereotypes, and break down the entrenched biases that hold women back.
The final thoughts on gender representation in Hindi cinema
The discourse on gender representation in Indian Cinema continues to evolve. The male and female gazes occupy disproportionate narrative space. Virginia Woolf, in her seminal essay “A Room Of One’s Own,” poses a question of enduring relevance: Had Shakespeare had a sister with equal talent, would she have found the same opportunities to express her genius? This query resonates profoundly today, as women in cinema grapple with similar barriers Woolf identified in the literature.
She talks about the differences, biases, and restrictions that did not allow a woman to be a writer. Today, women have money and their rooms, unlike in her time. For example, in literature, where the financial stakes are low, we see many women writers engaged in path-breaking work. But in the world of cinema, where technological advancement, the cost of actors, and locations have made the business of moviemaking a prohibitively expensive proposition, not too many women filmmakers get to showcase their crafts.
Virginia Woolf continues to be relevant for modern women. When will we have enough money and enough space to work without shackles?
Disclaimer: The views expressed in this article are based on the writer’s insights, supported by data and resources available both online and offline, as applicable. Changeincontent.com is committed to promoting inclusivity across all forms of content, which we define broadly to include media, policies, law, and history—encompassing all elements that influence the lives of women and gender-queer individuals. Our goal is to promote understanding and advocate for comprehensive inclusivity.
