Feminist Theory in Indian Cinema

Abstract

Feminist film theory arose in the 1970s, riding in on the tails of second wave feminism. The scholars of the time focused on how cinema’s depictions of women reflected the way women were viewed by society. The movement, based out of America, studied mostly Hollywood films and directors. This essay attempts to branch out and look at India cinema in the 1970s and its portrayal of women, specifically the works of Shyam Benegal, one of Indian New Wave’s and Parallel Cinema’s most notable directors.

The two works discussed in this essay are Nishant (1975) and Bhumika (1977). Nishant brings to light the unfair treatment of women including topics such as the exploitation of women by the elite class. Buhmika takes a different approach by focusing solely on a woman and her internal struggles. The audience sees her through her own eyes as opposed to the eyes of men. Both stories tell of the struggles of Hindi women and this essay will attempt to bring them together to paint a picture of what the 1970s were like for women in India.