Gender equality in cinema gaining traction in India, but queens have a long way to go

Miles to go before I lead. This is something, women in the Indian film industry still believe. In terms of portrayal of women, the movie sector is seeing a change. But is the change big enough? It doesn't seem so.

According to a 2017 study, gender disparities do exist in Bollywood. The study, titled "Analyzing Gender Stereotyping in Bollywood Movies", has revealed that it is rare to find plots focused on women. This, despite there being exceptionally talented female stars.

The study analyses 4,000 movies released between 1970-2017. In the study, the researchers found that on-screen time for females was relatively less when compared to males. Screen time for females was just 31.5 percent compared to 68.5 percent of time male actors received.

Higher level roles are designated to males in terms of occupations in films. Lower level roles are designated to females, the study observed. A similar trend was noticed for centrality where females were less central to the plot as compared to males.

Another study suggested that films are one of the great storehouses of the society's stereotypes about women. According to the 2012 study titled An analysis of Hindi women-centric films in India, stereotypical portrayal of women is due to historical and cultural reasons.

Agreeing to this is director Vasant S Sai. His film Sivaranjani and 2 other women is shortlisted for the Oxfam Award for Best film on Gender Equality, at the Jio MAMI festival.

Talking to Moneycontrol he said, "Patriarchy. Right through the ages women have been seen as a collective and not as individuals. Violence has been the prerogative of men world over for ages. This had been used as a deterrent against women blossoming into individuals."

According to Karan Chavan, director of Marathi film IMAGO, "From childhood itself, the kind of stories one hears in this patriarchal society are mostly with male protagonist. No wonder the representation of female point of view is so less in the Indian film industry."

Director Aadish Keluskar shared the same opinion. "Because it is a feudal and patriarchal society. Indian Film Industry industry reflects the power dynamics of the Indian society whether regarding gender, religion or caste.

"Females have been suppressed at the very bottom of the social hierarchy and thus, less representation of their point of view," he said.

But filmmaker Aijaz Khan pointed out another aspect. According to the director of Hamid, representation of female point of view is less in Indian films because of the male gaze. "Everything is seen from the male point of view, for the most part," he pointed out.

Is the scenario changing? To an extent yes. Testimony to this is the success of films like Raazi, Tumhari Sulu, Queen, Padmaavat, Tanu Weds Manu Returns, among others.

The year 2018 has been a banner year for women. In the first half of 2018, out of 10 hit films, seven were women-oriented and Padmaavat was the highest grossing among them. The film did business worth Rs 300 crore in India.

However, female-centric films tasting box office success is not a common case. There were around 2,000 film releases in 2017, according to the FICCI-EY report. As for female-driven stories in Bollywood, there were only 12. And not all of them could make a mark at the box office.

On the business front, few women-centric films have been able to gather a grand total for themselves. In fact, only three films have been able to make Rs 100 crore and above. In the last 10 years, the 2017 study detected only 289 female-centric movies.

The change may be slow. But the potential of films from this genre is increasing with time. Data in the 2017 study is proof of this. Back in the 70s, the percentage of females with central characters was seven in Hindi films. This rose to 11.9 percent between 2015 and 2017.

"In the last three years, during our engagement with the industry, we have seen directors, producers, artists and professionals in the sector push the envelope to create gender-equal cinema. Their cinema is being appreciated and commercially rewarded," said Oxfam India CEO Amitabh Behar.

One factor that has helped this category of films gain momentum is changing taste of audiences. According to Ivan Ayr, director of the film Soni, "As far as films with women protagonists are concerned, I believe our audiences have always appreciated cinema that gives its characters the depth and the dignity they deserve. I believe the viewers have been ready for a while, and the film industry probably needs to catch up."

Concurring with Ayr is IMAGO director, who said that viewers have appreciated movies like Queen, Lipstick under my burkha and Pink. "We need to make the right environment to educate more audience to view lady-oriented films," he said.

While Sai believes that "viewers are certainly ready to accept women-centric films, he says for the film industry only success counts."

"If a female oriented film is a hit at the box office a spate of women-oriented films will follow. ’Female oriented films’ will then be considered a Product and a Product which sells is always welcome. In short for the film industry it is business dynamics that counts," he added.

What can help female-oriented films gather steam?

According to Sai, "A ready acceptance by one and all, including the women, of their equal status to men in all matters."

Khan believes that the scenario will change “by bringing out more narrative from and about women. "There have been a handful of films back in the day that have focused on women - like mother India. if only that was done more often," he added.

Meanwhile, Chavan said, "Support to regional cinema that supports female point of view through festivals and theatrical release... can bring about a change. I think this small change can impact in large scale because regional cinema has that language of change and people can connect easily with contemporary cinema. So, I think we just need to support them without any kind of discrimination.”

On the other hand, Keluskar noted that more than films and web series, most of the Indian audience gets programmed through TV. Until a change happens on TV (or their programmes that are syndicated to digital platforms), nothing much can be changed by lady-oriented films alone. Cinema's effect is negligible in terms of time and convenience compared to TV and now Digital.

Offshore recognition of female driven Indian films

Success of films with women in the lead in international markets is another factor that is encouraging this genre. Dangal based on the life of the Phogat sisters, who made their name in the wrestling world, charmed audiences in China.

The love for the film was so much that it collected more than Rs 1,200 crore in the country. One reason the film was welcomed with open arms in the neighbouring nation was theme of women empowerment.

Dangal opened the Chinese movie market for other Indian films. Another film based on women power, Secret Superstar did better business in China than India. In 24 days, the film gathered Rs 799 crore. It became the highest grossing foreign film of 2018 in China.

Rani Mukherjee-starrer Hichki is winning hearts in the Asian country as well. It received a standing ovation at the Shanghai International Film Festival. On the box office front, the film is trending in the country with a collection of over Rs 37 crore.

But along with audience and the industry, the Censor Board needs to promote women-centric films.

How should CBFC treat such films?

Central board of Film Certification (CBFC) had termed Alankrita Shrivastava’s Lipstick Under My Burkha as lady-oriented. It was even denied a certificate until the Film Certification Appellate Tribunal had stepped in.

"The censor board needs to treat these films with the same level of objectivity, without getting taken aback by the content," said Aijaz Khan. "If they can accept sexist content that trivializes women and objectifies them - and they are still okay with this going out, they definitely need to start following a more progressive way of thinking," he added.

Ayr was of the view, "if there has to be a censor board, then I believe they must not veer away from their ratings guidelines and adhere to a common set of rules for each film that comes their way."

According to Chavan, "Contemporary cinema is a very strong medium to highlight the hidden dark secrets of the society. It is important for an artist to express his/her reflections on past, present, future society.

"To be able to do the same fearlessly, one needs freedom. Keeping the primary motto of CBFC intact, they can surely treat contemporary cinema with a wider, liberal perspective."

Women's perspective through a woman's eyes

Director Shrivastava believes that more female directors are required for better portrayal of women in films. While more women filmmakers are coming to the fore, disparity still exists.

According to a 2014 study by Geena Davis Institute on Gender in Media, India sees only 9 percent female directors, 12 percent female writers, and 15 percent female producers. These are less than global averages.