She did it her way: An analysis of female rebellion in contemporary Bollywood movies

IF 0.3 0 ASIAN STUDIES
Sampada Karandikar, Hansika Kapoor, S. Sunitha Diwakar, Feryl Badiani
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引用次数: 3

Abstract

ABSTRACT Mainstream Hindi cinema, or Bollywood, has often clustered female characters into a finite number of gendered tropes, from damsels in distress, Hindu goddesses, virtuous wives and mothers, to vamps, molls, vindictive mothers-in-law, and justice-seeking avengers. Recently, women-centric cinema has attempted to depart from such stereotypical portrayals, with movies such as Queen, Pink, and Tumhari Sulu. The present study investigates the nature of female rebellion in women-centric Bollywood movies from 2007 to 2017, delineated by a major act of rebellion undertaken by the female protagonist(s), the antecedents to the major act, the immediate reactions to, and the cinematic consequences of this act. Based on these criteria, four coders independently assessed 13 movies depicting rebellion in women-centric Bollywood movies. Quantitative analyses revealed a consistent story arc of rebellious depictions across movies. Qualitative analyses showed that major acts of rebellion occurred subsequent to negative antecedents such as disrespect, lack of freedom, abandonment, and inequality. Overall, the study contributes to understanding the contemporary portrayal of female rebellion in Bollywood.
她用自己的方式:当代宝莱坞电影中女性反叛的分析
主流印度电影,或称宝莱坞电影,经常将女性角色集中在有限数量的性别隐喻中,从困境中的少女、印度教女神、贤惠的妻子和母亲,到吸血鬼、模特、报复心重的婆婆和寻求正义的复仇者。最近,以女性为中心的电影试图摆脱这种刻板印象,比如《女王》、《粉红》和《Tumhari Sulu》。本研究调查了2007年至2017年以女性为中心的宝莱坞电影中女性反叛的本质,通过女主人公的一次重大反叛行为、该重大行为的前因、对该行为的直接反应以及该行为的电影后果来描述。基于这些标准,四名程序员独立评估了13部以女性为中心的宝莱坞电影中描述反叛的电影。定量分析显示,电影中对叛逆的描述是一致的。定性分析表明,主要的反叛行为发生在不尊重、缺乏自由、遗弃和不平等等负面前因之后。总的来说,这项研究有助于理解当代宝莱坞女性反叛的写照。
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来源期刊
South Asian Popular Culture
South Asian Popular Culture Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.00
自引率
0.00%
发文量
29
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