Author : Thaarani S, Student at Sathyabama Institute of Science and Technology
Introduction:
Have you visualised and compared yourself to Katrina Kaif when watching Sheila Ki Jawani or any item number? If yes, then you are a victim of self objectification and the male gaze. Under the guise of ever-present patriarchy in this male dominated world, it is not easy to be anyone but a man; from the very beginning of life, it was assumed that men were hunters and women were gatherers. This dictated the ‘natural roles’ of men and women in the modern male chauvinistic arrangements – man to be the breadwinner of the house and woman to stay at home and take care of children.However, a recent research study has proved that during the period when homo sapiens first started emerging into man and woman, woman were the hunters of the pack and men were gatherers; just like the lions breed. Thus, what has been forced to be natural is unlike the crux of womanhood in itself.
However, this revelation does not create any commotion around the narrative of ‘womanhood’, especially in the field of media and cinema. Cinema, in respect to the Indian mentality, is a reflection of reality. Oftentimes, we find ourselves behaving similar to the characters we see on screen. But what good does it make to redefine gender roles? None. The actresses and heroines we often romanticise are the brutal victims of exploitation. Various theories suggest that the role of women in cinema only furthers the objectification of females, even in family settings. Women are often casted in suggestive roles which demean their values and this is a by-product of misogyny to dictate ‘natural gender roles’.
Analysis of Theoretical Evidences related to Objectification: ( To the Point and The Proof)
There’s no denying the fact that obscene and indecent portrayal of women in films are one of the major reasons for increase in crime rates against women. It should be noted at this juncture that both the on and off screen representation of women are pointing out the underlying fact that despite the modernization, we are trapped in a recurring pattern of male domination and patriarchy. According to the Geena Davis Institute on Gender in Media in collaboration with UN Women and the Rockefeller Foundation, India ranks third in terms of showing women in sexy clothes, according to the first global study of women characters in the world’s popular films, behind German and Australian Films.
The scenario in the off screen representation of women is horrendous as well .Compared to the 68.5% of screen time of their male counterparts, Women in cinema only get about 31.5% of screen time. Due to the ever prevalent stereotypes, the representation of women on screen is purely based on the male gaze and the off screen presence of women, such as directing, script writing and film-making rarely finds women in power. According to a 2017 study conducted by Geena Davis Institute, only one out of ten directors in bollywood is a woman.
These figures reveal the discrimination that is faced by a gender which contributes to more than 50% of India’s population.According to Fredrickson & Roberts, “Sexual objectification is the treatment of a person just as a body, an experience of being treated as a body which is predominantly presented as an object for the pleasure of men or predominantly for the consumption of male gaze”. According to the research study that was conducted by them, it was derived that sexual objectification of women is a form of oppression that women often face in the workplace, especially in media and theatre arts. It was also proved by this research study that sexual objectification of women in cinema leads to self objectification of women in society. This means that women want to be assessed and valued only based on their looks, which further fuels the pre existing misogyny.
Apart from the societal impacts, Self Objectification also has health impacts; It leads to women being obsessed with their weight, skin colour, body shape to name a few. This inturn creates room for eating disorders, depression and the pressure to fit into the fragments that is dictated by objectification. One of the most impactful theories on this subject matter is Laura Mulvey’s Theory of Male gaze (1975).
According to Mulvey’s, patriarchy is the root cause of sexual objectification and sexual assault of women in films and in society respectively. One of the key findings of this theory is the “Visual pleasure and narrative cinema”, which categorizes three kinds of spectators’ male gaze with respect to women in films. Firstly, the women in films are sexually objectified from the male gaze of the male protagonist. Secondly, from the male gaze of the camera’s (man’s) eye. Thirdly, and lastly the male gaze of the male audience who fulfills his intent of objective desires. The crux of this theory is based on the concept of ‘Scopophilia’.
Scopophilia is basically voyeurism; it is the pleasure derived from watching others with a sexual intent. The primary argument of Mulvey is that male audience have the motive of scopophilia because they engage in narcissistic voyeurism.In simple words, the male audience often step into the shoes of the male protagonist while watching the film; therefore presume engaging in romantic interests with the actress of the film in the same manner the hero of the movie does.It can therefore be concluded that women in cinema are often dictated by the following elements – Male Gaze and Camera Framing which sexualizes her characteristics, body movements and even costumes for that matter.
What does the Law say? ( Legal Jargon and Case Laws)
There are various laws in India that can safeguard women from being sexually exploited in films, especially the Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013 a.k.a the POSH act and the Cinematograph Act, 1952. Further, Landmark judgements such as Vishaka v. State of Rajasthan and prominent cases like the Women in Cinema Collective v. State of Kerala prove to pave way for women in cinema to prevent themselves from exploitation of all kinds, with special reference to sexual harassment and exploitation. However, the current direction of the major film industries in India such as the bollywood, tollywood and kollywood demonstrates that the current laws are inadequate in fulfilling their roles.
It is a reiterating opinion of the people that Indian movies don’t project women in a proper manner. Women are being used as commercial products to promote the films. Elements of Cinema like item songs, overly sexual scenes, and the same old roles make things worse and push women’s real stories to the side. A legislation that was enacted in the year of 1952 that’s supposed to control what’s in movies, but it’s not used well enough to stop objectification and exploitation. One such integral provision of the act is Section 5B of The Cinematograph Act, 1952, delineates that movies can’t be infringing integrity, sovereignty or the morality of the nation and it cannot go against what people think is right, but this provision is not clear enough with respect to it legislative intent, so women are still shown as objects.
The CBFC on movies should be stringent in approving movies or scenes that project women as eye-candy instead of giving them real characters. Changes to the law should also clearly say that movies can’t treat women like products. This would make sure that movies don’t push bad ideas about gender. The cinema industry shall be making stories that make women stronger, not just using old, sexist stereotypes. Stronger laws and people being more aware can cause things to change. By using the Cinematograph Act better, we can make movies that respect women and promote equality instead of using them.
Conclusion:
Women in cinema have problems with recognition and wage gaps, even though they make important contributions to the industry. Female actors, directors, and technicians are paid much less than their male counterparts for similar roles. Such discrimination in the industry prevents many from seeking long-term employment. Although the POSH Act seeks to address harassment issues, the act reveals the truly shocking need for effective policies concerning equitable pay and equitable treatment of women in the workplace. This long term discrimination dissuades numerous individuals from seeking long term opportunities. While the POSH Act deals with focus on harassment, it superficially reveals the absence of gender sensitive policies directed towards reasonable compensation.
Just like every other industry, the entertainment sector has certain unique traits and challenges that set it apart from the rest. As compared to other office sectors, the entertainment industry lacks the rigid order of a corporation. Many film projects have a loose structure and function using informal rounds of personal contract dealings. This environment makes it nuanced for women to report harassment. Cast couches and the manipulative sexualization of actresses for roles is not a common secret anymore. Many companies do not comply with the POSH Act of Internal Complaints Committees in workplaces. Cinematographic sets and production houses are women devoid grievance redressal mechanisms.
“Men act and women appear. Men look at women. Women watch themselves being looked at.” There is no doubt that Powerful and influential women, existing without objectification in the arts, are still a rarity. This only goes to prove the need for feminism in today’s day and age where many of its aims remain largely unachieved.
FAQS
What laws in India prevent the sexual exploitation of women ?
There are various laws in India that can safeguard women from being sexually exploited in films, especially the Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013 also known as the POSH act and the Cinematograph Act, 1952.
What are the major findings of the Geena Davis Research Study?
According to the Geena Davis Institute on Gender in Media in collaboration with UN Women and the Rockefeller Foundation, India ranks third in terms of showing women in sexy clothes, according to the first global study of women characters in the world’s popular films, behind German and Australian Films.
