2014- The Year of Women in Indian Mainstream Cinema

In 2014, the Geena Davis Institute on gender in Media released a report entitled Gender Bias Without Borders.1 The purpose of this study was to explore the visibility and nature of female depictions in films worldwide. India fared fairly poorly in terms of gender disparity. It was found that Indian cinema lays inordinate emphasis on the sexual attractiveness of its female characters and resorts to semi nudity to make the women characters more appealing to male spectators. The study, commissioned by the Geena Davis Institute on Gender in Media, with support from UN Women and The Rockefeller Foundation, reveals deep-seated discrimination, pervasive stereotyping, sexualisation of women and their underrepresentation in powerful roles by the international film industry. Indian films, the study found, have a significantly higher prevalence of sexualisation of female characters and the movies score low in depicting women in significant speaking roles and as engineers and scientists. In the light of this scathing indictment it is reassuring that 2014 saw the release of some powerful women oriented films. Films like Mary Kom,2 Queen3 Gulab Gang4 and Mardaani5 released this year and were remarkable for their absence of a strong hero presence and their breaking free of the stereotypical projections of women which have haunted Bollywood cinema in the past. We saw women as police officers, as dacoits, as leaders of gangs and as boxers this year. We looked beyond matrimony and motherhood as the sole desired destiny and life choices of women. Some of the reasons for this recent spate in heroine dominated films can be traced back to the rage and grief felt within our society as an aftermath of the Nirbhaya Rape case where students, women activists, home makers and teachers protested against the misogyny deep rooted within our culture. Some of the blame for creating this atmosphere of violence was laid at the door of Indian cinema which was contributing to objectifying women with its “item numbers” suggestive lyrics and rampant sexuality. Perhaps the women centered cinema of 2014 is the Industry’s response to the scathing criticism. Some of it can be linked to simple economy. Ajit Andhare, chief operating officer of Viacom18 Motion Pictures, producer of Queen and Mary Kom explains “The economics of a male star-lead film became adverse as they demanded a very high upfront fee and a share in the upside if the film did well. We didn’t see these films as women-oriented but considered their themes?a biopic about the human spirit, a contemporary story about a woman dumped at the altar. These were winning subjects which made business sense too.”6 However it became necessary to cast stars to make the films financially viable as the industry is apprehensive about women oriented cinema being financially risky. This article sets out to celebrate 2014 as the year of women in cinema as well as to discuss what further initiatives can be made to encourage a more empowered representation of women in cinema.