How Does Bollywood and Regional Cinema Portray Women and Violence in Films?
Divyasri SN, Anmol Yadav & Nandini Singh
1. Introduction
Anmol Yadav
India’s perception of women and violence is shaped by cinema, a potent cultural medium that
both reflects and shapes societal attitudes. Both Bollywood and regional films have an impact on
public opinion in India, frequently feeding negative preconceptions. Cinema is compared to
dreams in Sigmund Freud’s psychoanalytic theory, emphasizing how it shapes social conventions.
Many movies still normalize violence and uphold gender inequity, even though some have
progressive themes. According to a 2017 Geena Davis Institute study, women in Bollywood are
significantly underrepresented, receiving only 31.5% of the screen time compared to male actors.
2. Historical Perspective
Anmol Yadav
Social conventions and cinematic tropes have greatly influenced how women are portrayed in
Indian movies. Indian films have long employed these clichés to establish a strong emotional
connection with viewers, drawing on Carl Jung’s theory of archetypes and universal symbols like
the mother or the hero.
Women were frequently portrayed in Bollywood’s early years (1930s–1950s) as selfless individuals
who embodied virtue and parenting ideals. Devdas (1955) reaffirmed the idea that women’s value
is correlated with their interactions with males, while Mother India (1957) depicted strong but
conventionally constrained female roles.
Nuanced depictions of women were first seen in Indian film during its heyday, which spanned the
1950s to 1970s. As an unmarried mother, Sharmila Tagore’s role in Aradhana (1969) defied social
expectations. Hypermasculine themes, such as Amitabh Bachchan’s “angry young man” in
Zanjeer (1973) and the action-packed Sholay (1975), which combined violence with justice, also
became more popular during this time.
Bollywood tended toward marketed entertainment from the 1980s to the 1990s, eschewing
nuanced female characters in favor of stereotypical ones as victims or romantic interests.
Negative preconceptions were reinforced by the frequent romanticization or trivialization of
violence against women.
Regional film, on the other hand, provided more varied representations. Bengali, Malayalam, and
Tamil films explored women’s lives in more detail while capturing local sociocultural quirks. The
1964 film Charulata by Satyajit Ray delicately examined the inner lives of women. However,
patriarchal storylines continued to exist, with some movies using honor or tradition to defend
violence.
A change has been brought about by the emergence of streaming services like Netflix and
Amazon Prime, which provides room for unusual storylines and nuanced female characters. This
development is changing how movies are told and how the industry makes money.
3. Bollywood and the Normalization of Violence Against Women
Anmol Yadav
Stalking is commonly portrayed in Bollywood as a respectable and romantic kind of courting.
Male heroes who persistently seek women are portrayed in movies like Dilwale Dulhania Le
Jayenge (1995) and Raanjhanaa (2013) as romantic rather than harmful. DDLJ’s famous quote,
“Jaa Simran jaa, jee le apni zindagi,” for example, seems empowering at first but ultimately casts
the father as Simran’s protector.
With lines like “Shaadi ke baad patni ki izzat pati ke haath mein hoti hai” from Raja Ki Aayegi
Baraat (1997) and “Pati Parmeshwar hota hai” from Biwi No. 1 (1999), Bollywood further
reinforces negative gender stereotypes by reducing women to subservient positions. In movies
like Baaghi (2016) and Kabir Singh (2019), women are also employed as plot elements for male
retaliation, with their misery serving as an excuse for male violence.
The assumption that women must experience pain in order to regain power is further supported
by movies like Bandit Queen (1994), which examine domestic abuse through extreme retribution
scenarios. Sheila Ki Jawani and Munni Badnaam Hui are two examples of item songs that further
objectify women by treating them as objects for males to consume.
(References –
https://epgp.inflibnet.ac.in/epgpdata/uploads/epgp_content/women_studies/gender_studies/10.women_media_and_films/28._women_in_regional_films/et/6359_et_et_28.pdf
Role of women in contemporary Indian cinema: A psychological perspective -Berlin school of business and innovation- https://www.berlinsbi.com/blog/role-of-women-in-contemporary-indian-cinema-a-Psychological-perspective
Critical Analysis of the Representation of Women in Indian Cinema Dr. Ruchika Chaudhary
https://research-communications.cmpcollege.ac.in/wp-content/uploads/2024/02/10-Dr.-Ruchika-chaudhary-Critical-Analysis-of-the-Representation-of-Women-in-Indian-Cinema-Modified.pdf
The Impact of Gender Representation in Indian Films
https://geenadavisinstitute.org/research/the-impact-of-gender-representation-in-indian-films/
Study on the Impact of Bollywood Films on the Youth Population in India
https://www.researchgate.net/publication/383177362_The_study_on_impact_of_bollywood_films_on_the_youth_population_in_India
https://www.shethepeople.tv/film-theatre/regional-films-on-feminism-jhimma-uyare-sinjar/ )
4. Gender Stereotypes and Tropes in Indian Cinema
Nandini Singh
4.1. The “Damsel in Distress” Trope
Hindi cinema or should we say the whole Indian cinema has been male-oriented, it has always been in search of such a hero who talks about everyone and fights for everyone. In the inception of Indian cinema, female characters remained in historical, mythological, religious and traditional roles. The earliest change in this theme is visible in 1935 when Dadasaheb Phalke produced the film Hunterwali. Indian cinema seems to be changing with the changing society.Early years after independence, films like Patita, Ek Hi Raasta and Sadhna etc. depicted the indecisiveness of a woman, her chastity and her position in the hegemonic system of a male dominated society, but herchanged forms come to the fore in the movies made in later years.This was the period in the story of Indian cinema when women were out of the field of producing and directing films and this field was completely in the hands of men.
4.2. The “Item Girl” Phenomenon
The objectification and sexualization of women in Indian films have been normalized to the extent that it is hard to imagine a film without the mandatory item number or a scene that shows the female lead in a provocative outfit. In most films, women are portrayed as mere objects of desire, and their characters are often reduced to their physical appearance and sexuality. One of the most egregious examples of this is the item number. In an item number, a woman dances to a sexually charged song, dressed in revealing clothes, and is often surrounded by men. The item number is meant to be a highlight of the film, and filmmakers believe that it is necessary to include it to attract audiences. However, it reduces women to sexual objects and sends a message that women’s bodies are for male consumption. This portrayal not only diminishes the value of women but also reinforces gender stereotypes that limit women’s choices and opportunities.
5. Regional Cinema vs. Bollywood: A Comparative Analysis
Nandini Singh
5.1. Progressive aspects of Regional Cinema
Regional Cinema has influenced the way in which people perceive various aspects of their own lives. It has given people power to understand their values and culture. Not only has the country witnessed the growth of Hindi Cinema, but the regional film industry has also made its own mark. The first Bengali feature film Nal Damayanti in 1917 was produced by J.F. Madan. This film had two Italian actors, namely, Signor and Signora Manelli in the leading roles. And on the other hand, the year 1919 saw the screening of the first silent south Indian feature film named Keechaka Vadham. This is evidence that the regional film industry is as important as the Hindi film industry. Regional films are also making their presence felt on the international scene. Satyajit Ray, Adoor Gopalakrishnan and G. Arvindan were among the filmmakers who established milestones in regional cinema. In West Bengal, Satyajit Ray established the ‘Calcutta Film Society’ in 1947, with his friend Chidananda Dasgupta.
5.2. Persistent Patriarchal Narratives
A recent analysis of the popular Indian movies showed that the representation of women in
Indian cinema has remained unchanged in the last 70 years. The stereotypes of mothers,
daughters, widows, and daughters-in-law are the same in the 2010s as these were in the
1950s. There is no reluctance in pointing the finger at the movies as a reason for the
increase in violence in India. The press, the social media, and some of the social scientists
have joined in blaming the popular Indian movies for the rise in crime and disrespect for
women (Bhatt, 2013; Derné, 1999; Ghosh, 2011; Ramasubramanian and Oliver, 1997). This
is not the first time that the movies have come under fire for the socially undesirable behavior
of the audiences. As early as in the late 1920s, The Payne Fund Studies were conducted by a
team of sociologists and psychologists to determine the ill effects of movies on the behavior
of children and young adults (Brook, 2014; Lowery and DeFleur, 1999).
https://www.researchgate.net/publication/341932357_Women_and_Contemporary_Indian_Cinema )
6. Audience Reception and Cultural Impact
Nandini Singh
Motion Pictures are declared the most lethal weapon of propaganda that can influence the culture, perspectives and attitudes of its viewers in a subtle yet certain manner. It is estimated that on an average, a person in the modern age spends more time using media (3, 661 hours including films) annually than sleeping (2, 920 hours) or activities other than media (2, 179 hours) out of total hours of 8, 760 in a year (Biagi 2015). Hence people get an understanding of most of life’s unusual experiences such as violence, love and sex through media especially films. Changes in attitude and behaviour often manifest themselves only occasionally and in a seemingly erratic manner, which appears to be the case in our own correlation of the depiction of violence against women in films and in our society. It was found that heavy viewers of on screen violence were more likely to commit serious crimes, treat their families and partners rather aggressively, and punish their kids seriously, than non-viewers, but the media violence took more than a decade to exhibit its effects on the conduct of its viewers. Eventually, it is vital to realize that even small statistical effects of media violence on aggressive behavior can have a crucial effect, since it affects almost everyone in a large population, influences individuals’ psyche gradually and leaves lasting impressions on their minds through repetitive exposure to on-screen violence over a period of time.
(Reference- https://jmcd-uok.com/index.php/jmcd/article/download/49/47 )
7. The Role of Women Filmmakers in Changing Narratives
Nandini Singh
The presence of female filmmakers in India’s film industry has had a huge impact on storytelling, introducing new, nuanced perspectives that challenge gender stereotypes. Directors such as Sophie Akhtar and Anjali Menon have successfully carved out a space for female characters to play important roles in intriguing plots. Zoya Akhtar’s Gully Boy (2019) and Zindagi Na Milegi Dobara (2011) both explore themes of striving, uniqueness, and gender fairness. Similarly, Anjali Menon’s the city of Bangalore Days (2014) and Koode (2018) explore relationships, freedom, and self-discovery while depicting women outside of traditional roles.
These filmmakers are altering mainstream cinema by pushing beyond traditional bounds and delving into subjects such as women’s ambition, agency, and personal growth. The growing commercial success of such films demonstrates that people value and seek authentic female-driven storylines. Despite hurdles such as financing discrepancies and systematic biases, female filmmakers continue to break down barriers, paving the path for a more inclusive industry.
Indian cinema may diversify its storytelling landscape by supporting female-led movies, acknowledging their achievements at major film festivals, and promoting women in industry leadership positions. (Kapoor 2021; Iyer 2023).
8. Ethical Responsibility for Filmmakers
Nandini Singh
Filmmakers have enormous impact in molding public opinions, therefore ethical responsibility is an essential component of narrative. Cinema frequently fosters gender prejudices, toxic masculinity, and objectification, which can reinforce detrimental cultural standards.
A shift toward responsible storytelling entails using accurate depiction, eliminating conventional clichés, and working with gender experts. Gender-sensitivity training for industry workers and the implementation of industry rules can help to promote ethical storytelling. Encouraging filmmakers to prioritize meaningful tales above marketable portrayals will contribute to a more progressive film industry that reflects a wide range of lived experiences. (Sen 2019; Nair 2021).
9. Policy Recommendations for Gender Sensitive Filmmaking
Divyasri SN
9.1. Promoting Women-Centered Stories
To achieve equitable representation, policies must promote female-led projects and narratives. Government and commercial sector incentives, such as grants, subsidies, and tax breaks, can help promote gender-inclusive films.
Film festivals and award organizations should prioritize the recognition of female filmmakers and programming that challenges gender conventions. Streaming platforms also play an important role in supporting female-driven programming, making different narratives more accessible. These projects can help to close the gender gap and have a long-term impact on mainstream narrative. (Bose, 2023; Patel, 2022).
9.2. Gender Sensitization in Film Schools
Film schools serve as a basis for developing future storytellers. Gender studies can be included into curriculums, and workshops on ethical portrayal can help to raise awareness of responsible storytelling among aspiring filmmakers.
Collaborations between film institutes and gender advocacy groups can help to improve understanding of inclusion in cinema. Mentorship opportunities for women and non-binary filmmakers will promote a more diverse and gender-sensitive industry, resulting in long-term change. (Ghosh 2021; Mehta 2023).
10. Conclusion
Divyasri SN
The growth of gender themes in Indian cinema represents an important step toward inclusivity. Women filmmakers have played an important role in transforming storytelling, and industry regulations must change to accommodate progressive perspectives.
Developing gender-sensitive storytelling requires a collaborative effort from regulatory organizations, filmmakers, and audiences. Encouraging women in leadership positions, promoting ethical filmmaking, and tackling structural inequalities can all help to achieve long-term change.
Moving forward, improved awareness, policy reforms, and a dedication to varied representation will guarantee that film remains a potent vehicle for gender equity and social progress. (Joshi, 2023; Mukherjee, 2020).
