Native american films have played a great role in building nationalized spirit. Hindi songs are now pan Indian phenomena and then the dancers of southern India are ‘homely names’. However themes and underlined messages emanating from these video clips are not encouraging for women. In these sex and violence filled movies, neither the women are shown in their true perception nor they get their due share of importance in modern culture. And as cinema is the most powerful medium for cultivating vistas, the biased attitude has resulted in huge setback on honouring the freedom of women in India. In order to present the very modernity among women, Indian filmmakers have ‘parachuted’ on an concept that the display of dancing girls in napkin-sized apparel is real expression of freedom. Were we to produce the elements of emerging freedom, we should show the changes in societal attitudes and the challenges women encounter in today’s changed cases. Most of the films display women as subordinate characters. The heroin functions as a subplot. Other sweet-voiced ladies are necessary furniture to decorate the frames. Whenever a woman is revealed, she is shown satisfying men’s desires and is portrayed when raw material for producing and rearing children. Girls displaying her skin-stock, a woman crying for help, or perhaps mother praying before a Goddess: these are the scenarios the men want to see. The real-self of Indian women seldom matches with these scenes. Films have failed in explaining the real woman we see in the homes, offices, and storage of fast running trains. The way in which our films like sex and omnipresent violence is quite antagonistic to the master planning of feminism. The ‘point of view’ of male mindsets remains dominant while selecting the scenes and designs of dresses. The age, body features, and glow of women characters’ dermis are selected (or rejected) in the same way. And man provides always seen women with telescope of his male member only. Such a one-sided depiction negates the presence of half of the public of India. Violence: Historically the women have nurtured a tendency to run under the secure umbrella of home on witnessing threat perception. After 9/11 incidents it is observed the fact that in western nations, especially in US, the women are more more prone to marrying. More women prefer home sitting and child showing against the outside jobs.
The presence of threat perceptions and the anxiety about a violent happening at any time induce the fairer having sex to adopt seclusion. Fear is mother of strange cultural changes. The Indian films if viewed frequently plough the feeling of fear amongst women. The word ‘orthodoxy’ possesses several versions, meaning wise. It refers to observance in the beliefs of older generations, without testifying them in the lenses of justification. Older members impose whole couple of their beliefs onto younger ones. Indian cinema, despite the fact that using ultra modern techniques to its best advantages, features always approbated the orthodox role for women. The women roles, even after getting Masters degrees in Science, succumb to observation of the rituals like ‘Karava Chauth’, the fasting just for longer life of husband. The girls, who are shown on the barest possible outfits until they are married, are dismissed to have ‘say’ while choosing their life partners. Parents, the custodian of traditions, do that job for them. Once getting married these women are mindlessly loaded with the weight for bangles, ornaments, and conventional clothes. Such a turnaround, whereas artistically displayed on screen, thins the morale on the girls who want to be the captains of their own boats. The filmmakers do all these things for pleasing the male gaze. The male eyes prefer to see the women observing the rules of agreeable their sexual and cultural tastes. The male members you should not limit this voyeurism only to seeing the doctored ideas in the theatres; but they demand the same observance of language in homes and on streets, too.
While a woman perspectives these films, she hardly identifies herself with what is going on the screen. She neither shows interest in Indianporn on the television screen, nor she agrees upon while a woman is found as a conquered animal. After seeing a film when a woman viewer’s goes home, she carries with her a message communicated. Your woman filters all the images she had seen; she tries to sort out the elements of pleasure the men viewers had praised. Including the message of ‘be a conformist and continue happy forever’, she arrives on a premise that if your woman wants to be happy, she needs to be a follower with the old traditions. If the Indian cinema wants to show legitimate women on the screen, if it wants to be the real copy for the thoughts and behaviour of Indian women, it has to learn a lot from the woman’s perspective.