© Media Watch 7 (3) 370-380, 2016
ISSN 0976-0911 e-ISSN 2249-8818
Weepies Going Dirty and Machos Doing Masti: Unveiling the Female Chauvinist Pigs in Indian Cinema
SIMRANPREET KAUR & VANDANA SHARMA
Shri Mata Vaishno Devi University, India
This paper aims to examine Raunch culture, a strand of post-feminism in the recent Bollywood movies, The Dirty Picture and Grand Masti. Both these movies critique the perception that the investment in raunch feminine sexuality empowers female characters, but if observed profoundly, they celebrate the co modification of women’s body. Frequently revolving around sex and consumption, it celebrates female agency through its discernment that women in such movies are provided the capacity to “have it all” (Genz, 98). Drawing upon Levy’s notion of “Female Chauvinistic Pigs” and McRobbie’s notion of “double entanglement”, the focus is that this apparent empowerment is hollow for celluloid females; their actions incite cultural anxieties about the ways women are to be represented and simply reinforce the patriarchal norms that envisage women as objects.
Keywords: Raunch culture, post-feminism, sexuality, consumption, chauvinistic
Atwood, F. (2007). “Sluts and Riot Girls: Female Identity and Sexual Agency”. Journal of Gender Studies. 16, 3: 233-247. Atwood, F. “Sexed Up: Theorizing the Sexualization of Culture”, Sexualities 8(4): 392-406. Barthes, Roland. (1973). Mythologies. London: Vintage. Bartky, Sandra. (1990). Femininity and Domination: Studies in the Phenomenology of Oppression. New York: Routledge. Bishop, Emily C. “‘I Know What I Like’: Is Raunch Culture Ruinous for Young Women’s Sex Lives?”. https://www.tasa.org.au/wp-content/uploads/2011/01/Bishop-Emily.pdf Brara. (2010). “The Item Number: Cinesexuality in Bollywood and Social Life”. EPW. 67-74. Butler, Judith. (1990). Gender Trouble: Feminism and the Subversion of Identity. London: Routledge. Duits, L. and van Zoonen, L. “Who’s Afraid of Female Agency? A Rejoinder to Gill”, European Journal to Women’s Studies 14(2): 161-70. Firestone. (2003). The Dialectic of Sex: The Case for Feminist Revolution. New York: Farrar, Straus and Giroux. Foucault, M. History of Sexuality. (1976). Trans. Robert Hurley. New York: Pantheon Books. Genz, S. (2010). “Singled Out: Post-feminism’s “New Woman” and the Dilemma of having it All”. The Journal of Popular Culture. 97-119. Gill, R. ( 2009). ‘Supersexualise me! Advertising and the midriffs’. in F Attwood & R Cere (eds), Mainstreaming Sex: The Sexualisation of Culture. I B Tauris & Co Ltd, London, pp. 93-110. 380 Gill, Rosalind. (2007). Gender and the Media. Cambridge: Polity Press. Gupta. (2010). “Language, Cinema and State: A Gender Perspective”. EPW. 86-88. Indra Kumar (Director). (2013). Grand Masti. [Eros International].India. Kant, I. (1963). Lectures on Ethics. New York: Harper and Row. Landy, Marcia. (1991). “Introduction”. Imitations of Life. Wayne State University Press. Levy, Ariel. (2006). Female Chauvinist Pigs: Women and the Rise of Raunch Culture. Simon and Schuster: Free Press. McNay, Lois. (2000). Gender and Agency: Reconfiguring the Subject in Feminist and Social Theory. Cambridge: Polity Press. McRobbie, A. (2004). “Post-Feminism and Popular Culture”. Feminist Media Studies. 4(3): 255-65. Print. McRobbie, A. (2009). The Aftermath of Feminism: Gender, Culture and Social Change. New Delhi: Sage Publications. Milan Luthria (Director). (2013). The Dirty Picture. [Vertex Motion Pictures Pvt. Ltd.]. India. Mulvey, Laura. (2009). Visual and Other Pleasures. UK: Palgrave Macmillan. Nicholson, Linda. (1997). The Second Wave: A Reader in Feminist Theory. Psychology Press. Papadaki, Evangelia. (2007). “Sexual Objectification: From Kant to Contemporary Feminism”. Contemporary Political Theory. Vol 6. 330-348. Palgrave: Palgrave Macmillan Ltd. Rao, Maithili. (1988). “Victims in Vigilante Clothing”. Cinema in India. 2.4. Rao, Maithili. (1988). “The Avenging Angels: Icons of Death”. Monograph on Indian Cinema, International Film Festival. Directorate of Film Festival. Rao, Maithili. (1995). “To Be a Woman.” Frames of Mind: Reflections on Indian Cinema. Ed. Aruna Vasudev. New Delhi: UBS Publishers. Roberge, Gaston. (1990). The Subject of Cinema. Calcutta: Seagull. Rowena, Jenny. “ The ‘Dirt’ in The Dirty Picture: Caste, Gender and Silk Smitha”. http:// www.dalitweb.org/ Sen, Mrinal. (2002). Montage: Life, Politics, Cinema. Kolkatta: Seagull Books. Thornham, Sue. (1999). Feminist Film Theory: A Reader. Edinburgh University Press. Virdi, Jyotika. (2003). The Cinematic Imagination: Indian Films as Social History. New Jersey: Rutgers University Press. Walter, N. (2010). Living Dolls: The Return of Sexism. London: Virago. Wilkins, A.C. (2004). “So full of myself as chick”: Goth Women, Sexual Independence, and Gender Egalitarianism”. Gender and Society. 329-349. Whelehan, I. (2005). The Feminist Bestseller: From Sex and the Single Girl to Sex and the City. Basingstroke: Palgrave Macmillan.
Dr. Vandana Sharma is dean, Faculty of Humanities and Social Sciences, Shri Mata Vaishno Devi University, Katra, Jammu & Kashmir. Presently, she is working on Sahitya Akademi awarded English translation of Dogri short stories. Her areas of interests are Post Colonial Literature, gender studies, Indian drama in English, translation.
Simranpreet Kaur is a research scholar in the Department of Languages and Literature, Faculty of Humanities and Social Sciences, Shri Mata Vaishno Devi University. She is a Senior Research Fellow and a recipient of Maulana Azad Fellowship. She is working on portrayal of celluloid females in contemporary Hindi cinema, tracing their transition from negative objectification to generative subjectification.