Impact of Indian Cinema on Young Viewers: Responses to gender and violence against women

The report states that despite the existence of progressive laws prohibiting domestic violence and child marriage in India, their implementation is hindered by a lack of allocated resources. Many roles around respect for a patriarchal figure (obedience, seeking permission, dutifulness) are norms. The protection of the women’s chastity from violation is a key theme in many films from the early 20th century, the report states.

Films are a significant source of popular culture, with the Indian film industry grossing over $3.7 billion by 2020. Out of this, 43 per cent is revenue from Bollywood (Hindi films produced in Mumbai), and the remaining from regional films (50 per cent) and international films (7 per cent).

A high percentage of respondents in the five states had watched women-centric and biopic films, as well as women-directed films which have seen high profit in the post-2010s. Respondents in some areas such as Khunti in Jharkhand, did not recall names of such films without specific prompting, either due to a lack of accessibility or because of the irrelevance of cinema as a source of entertainment.

Due to a more limited access to mobile phones, girls tend to watch fewer films “ungoverned and private[ly]”, the report states.

The report surveyed the cast of 45 mainstream Hindi films. From a sample of 1,300 characters, male actors comprise 73 per cent, while female only 27.2 per cent. Women fulfil romantic roles 76.7 per cent of the time, while men play lead roles in 77 per cent of films.

The report classified “objectification” in film as i) women in stereotypical roles, ii) sexist appearances, iii) naivete and fragility, iv) robbed of choice v) “taming of the shrew”, vi) triumph for the conventional woman and vii) women seeking power humbled. Women were found to be objectified in some way in 88 per cent of the films studied. In 67 per cent of the films, women’s costumes were intended to exaggerate their sexuality and 58 per cent of films featured “voyeuristic” camera work, the report states.

The report finds that films have an impact on young girls’ constructions of sexuality and self. Heroines from films glorified a certain image that was often “at odds with the moral limits” of the lives of girls. Dressing like a heroine, for example, was widely construed as making oneself susceptible to stigma and harassment.

The report states that 50-75 per cent of the screen time female characters receive are in a song setting “which has little to no connection with the actual plot”.

Films like Gulaab Gang (2014), which depict female avengers of male sexual violence, were overwhelmingly unpopular, compared to female avengers of non-sexual violence, such as Mardaani (2014), or male avengers of sexual violence such as Pink (2016). Many male respondents are unwilling to discuss sexual violence as an issue in their communities, the report states.

The report adds that 70 per cent of female respondents saw hints of violence in romantic dialogue as acceptable. “Chedh khaani” or eve teasing was seen as harmless banter by 60 per cent of the youth.

The portrayal of provincial and rural people has improved with alternative scripts. However, rural women in films are objectified and victimised without sufficient focus on their voices or key concerns, thus portraying an “incomplete reality.”

The report concludes that Indian cinema has considerable legitimising influence on patriarchal behaviour and VAWG. It encourages marginalised and feminist voices, narratives which do not portray VAWG, and female heroine actresses boycotting films that do not meet equality standards. It also recommends gender sensitization workshops for the youth, greater technological tracking, and a feminist Film Certification Board. 

Focus and Factoids by Anandita Abraham.

PARI Library's health archive project is part of an initiative supported by the Azim Premji University to develop a free-access repository of health-related reports relevant to rural India.