Such scenes imply that women need to be saved. They cannot save themselves. They need men. Not only movies, but other forms of media in Hollywood also portray women as weaklings. When it comes to women, the picture painted by Hollywood is stagnant and therefore, has a huge influence on how women are viewed and how they view themselves.
The woman 's body is constantly judged, scrutinized, and examined as an object or a piece of meat. The specific issues of sexualization and objectification are part of a fairly recent debate, but has the representation of the female body on the big screen changed since the golden age of cinema? We often hear about "sex symbolism" when we describe women like Jean Harlow, Marilyn Monroe or, to take more contemporary examples, Cameron Diaz, Kate Upton, or Megan Fox. What do they have in common, other than the fact that their bodies have been at the center of their careers? New feminist movements are challenging the objectification of women’s bodies in the traditional Hollywood filmmaking.
But when looked at the these pinup series through the lens of Indian women, it is totally a different thing. Bhanot explores the idea of the unreal expectations of conformity that are expected out of Indian women even today. "There are no depictions of Indian women being so sexually liberated in painting, so I thought this was a great way to do it because it combines artistic influences from both my North American and Indian heritage.” Says Bhanot (Lets ' talk about Sex). Women with sexual confidence have always been portrayed with a negative connotation and were always considered to be an un-Indian. But in this series all figures made direct bold eye contact with the audience.
Feminist film theory Feminist scholars point out that there is misogyny in the mainstream media that treat women as inferior and objects. They expressed that there is a need to explore representations and images of women. Feminist film theory makes gender its exploratory focus and it has emerged to find a place for women in films; they were frustrated with how feminist studies ignore critiques and works of media, particularly films. Conventionally, the representations of media are counter to the ideas of feminism. The study of women’s representation in the media is not new When feminist film theory emerged in the 1970s and early 1980s and parallels with the development of film theory.
Through this carelessness, they were underestimated all through the story. This boundary drives them as minor characters. All through Ramayana Urmila and Mandodari were smothered by their spouses. Thus, the present study is planned to discover the feministic aspects of Ramayana by focusing on the characters Urmila and Mandodari. Feminism in India is an arrangement of developments made for characterizing, setting up, and shielding approaches like political, monetary, and social rights and equivalent open doors for Indian ladies.
By subverting the traditional role of gender in the genre, the film shows how feminism impacted the film industry by challenging Hollywood and the gendered myths and social patriarchy, providing women with a voice, and changing how spectators view how women are looked at through women’s eyes and their experiences. Thelma starts the movie as a naïve and submissive housewife who absolutely cannot stand up to her husband, Daryl (Christopher McDonald), while Louise is portrayed as an independent and headstrong woman. The Silver Bullet Bar is where Harlan is introduced and this is where Thelma’s transformation initially begins as she orders a drink which shocks even Louis. This is perhaps the first revelation of her true demeanor that had been repressed in years of an unhappy marriage that is now, finally, beginning to flourish. Thelma is also shown smoking for the first time in this scene compared to the previous scene where she childishly held
There is definitely a problem when we talk about gender equality and sexism. It's everywhere: in movies, commercials on television, in music videos, at the workplace and even at school. The gender biases are blatant. One of the sources of the problem lies in the media and the way the media portrays women. For example, the function of an assistant can be fulfilled by both a man and a woman, but when we look at movies and commercials, we often think that it is weird when the assistant of a powerful man is not a woman but a man.
248). Furthermore, by using the various methodologies and perspectives contained under the umbrella of feminist film theory, feminist film critics illustrate the distinct relationship between feminist film theory and criticism. As in film theory the concept of “counter cinema” (cite) was taken up by feminist film critics, however that was not their only approach. The developments in feminist film criticism, recent and not so, point to the investigation of the effects race, ethnicity, class, and sexual preference and the differences between women have on the progress of film. And it is exactly this distinct relationship between feminist film theory and criticism that creates a sense of urgency for a positive future of feminist film criticism; one that will focus, more rigorously, on exploring the global perspectives in “film and media in various locations and across class, racial, and ethnic groups throughout the world" (McHugh & Shobchak, p. ).
These pageants show women as objects not as humans, and this is exactly the problem we are trying to solve. Daniel Katz even argued that, “Some opponents go as far to argue that pageants encourage rape and sexual assault on women”(Katz). The idea of sexual assault is horrific and anything that might possibly promote it or the idea of it should be ended
. She was not a ordinary woman as she broke all the norms and bondages and rules of the patriarchal Indian society. She openly talked about sex and her extra marital affairs, for her nothing is immoral. If an act provides you happiness then everything is valid. Kamala das as a writer is quite rebellious and bold.