Citation
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SUBMITTED
BY: Ms Sania Khan ENROLMENT NO.: A7706123019 B.A. (Hons.) English |
SUPERVISED BY: Dr Rashi Srivastava Assistant Professor-II Amity School of Languages Amity University, Lucknow |
Under the Guidance of Prof. (Dr.)
Kumkum Ray Director Amity School Of Languages
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Abstract
This paper
examines the depiction of girlhood in modern Hindi cinema by critically
evaluating the films Secret Superstar (2017), Dangal (2016), and Gunjan
Saxena: The Kargil Girl (2020). By engaging with feminist theory,
specifically the writings of Simone de Beauvoir and bell hooks, this paper
explores the ways in which girlhood is socially
constructed in patriarchal societies. This analysis reveals that these
films begin by depicting girlhood as a burden created by control, silence, and
the need for sacrifice. However, it is through the actions of agency,
resistance, and determination that the female characters in these films resist
these limitations. This
paper will explore the significance of support structures, mentorship, and
institutional contexts in creating alternative paths to empowerment.
Furthermore, it will also examine the concept of internalized patriarchy and
the role of women in upholding or overturning gender norms. Finally, this paper
contends that modern Hindi cinema not only mirrors the existing social
inequalities but also helps in reconstructing girlhood as a space of
possibility, ambition, and transformation.
Keywords:
Girlhood, Patriarchy, Agency,
Internalised Patriarchy, Hindi Cinema, Feminist Film Theory, Social
Transformation
Introduction
Girlhood is not
just a biological phase that precedes womanhood but rather it is a social and
cultural construct in which gender identity, social roles, and patriarchal
values are instilled in the girl child. The girl
child in the Indian context has been constructed in
various limiting roles, such as, domestic roles, vulnerability, or the epitome
of family honour. Girls are taught from a very young age to conform, comply, and prioritize
family roles over individualistic goals. So, girlhood is the stage where gender
inequality begins to take root.
Today,
modern Hindi cinema has moved from showing the female character in a supporting
role to placing young girl characters in the centre of the narrative. This
project, titled “Burden, Agency, and Transformation: Representations of
Girlhood in Modern Hindi Cinema,” seeks to analyze how contemporary films
navigate the transition of the female protagonist from a site of patriarchal
“burden” to a figure of “agency” and “transformation.”
The project focuses on three movies, namely, Secret Superstar (2017), Dangal
(2016), and Gunjan Saxena: The Kargil Girl (2020). The movies belong to
different genres, but what connects them is their focus on important stages of
life. The research focuses on girlhood rather than adulthood, as it emphasizes
how patriarchy begins in homes and society, and how early resistances and
support systems shape empowerment. The research will be based on the concepts
of burden, agency, and transformation, as they relate to patriarchy.
This
study examines how patriarchal family structures are
represented in contemporary Hindi cinema, as well as the ways in which
girlhood as a burden is represented. The study also
looks into the ways in which girl power and
resistance are represented in the protagonists of Secret
Superstar, Dangal, and Gunjan Saxena: The Kargil Girl.
Furthermore, it examines the ways in which internalized patriarchy is represented in the female characters of these
films, as this maintains patriarchy-based gender
inequality. Finally, this study aims to look into
the ways in which contemporary Hindi cinema contributes to the reconstruction
of girlhood in contemporary Indian culture.
Theoretical Framework and Medium of Analysis
Why Cinema as a
Medium of Study
Cinema is not
just a medium of entertainment, but rather an important cultural and social
text that constructs and reflects society’s consciousness. As a medium of
entertainment, cinema is a combination of visual, auditory, and performance
elements, which construct powerful stories that affect society’s understanding
of its realities. As a powerful medium, cinema has become a space where
dominant ideologies are challenged, constructed,
and negotiated, especially because of its powerful visual and emotional appeal.
The popularity and accessibility of
Hindi cinema are important factors that make it a
relevant medium in the context of India. Unlike literature, which may be restricted by issues of literacy and language,
cinema has been able to reach a wider audience across diverse regions, classes,
and educational backgrounds. Thus, cinema has been able to spread its
representations far and wide, making it a powerful
tool for constructing society’s consciousness. Hence, cinema is not just a
reflection of society, but also a tool for constructing its realities.
From
the point of view of Cultural Studies, it can be argued
that cinema is a legitimate field of literary and academic study because it is
based on the principles of narratives, character development, symbolism, and
themes, which are the hallmarks of literary work. In studying the cinematic
techniques and the development of the characters, it is possible to understand
the social values and the power structure of a given cultural period. In this
way, the films Secret Superstar, Dangal, and Gunjan Saxena
can be understood in terms of the contemporary
Hindi film industry’s struggle to balance the values of patriarchy and the
emerging values of female liberation.
To critically analyze the portrayal of girlhood in contemporary Hindi
cinema, this study employs some of the major concepts of feminist theory and
cultural studies. These theories offer a theoretical framework essential to comprehend the images of gender constructed,
sustained, and subverted in the films Secret Superstar, Dangal,
and Gunjan Saxena: The Kargil Girl.
The foundational theory for this
study is Simone de Beauvoir’s The Second Sex published in 1949.
Beauvoir’s theory states, “One is not born, but rather becomes, a woman” (de Beauvoir).
The theory emphasizes the idea that womanhood is a social construct rather than
a biological fact. Her theory is highly relevant to the study of girlhood, as
it is in childhood and adolescence that social constructs are imposed upon girls. Beauvoir’s theory also
emphasizes the idea of women being constructed as
the “Other” in a patriarchal society, i.e., they are
constructed in relation to men rather than in relation to themselves. In
the films selected, this theory provides an explanation for the way in which
girlhood is often built around restriction,
discipline, and sacrifice.
Another theory to this foundational
knowledge is Feminism Is for Everybody, written by bell hooks in 2000.
hooks’ theory of patriarchy is not just a theory of dominance by males, but a
theory of social structure and systems that support domination and inequality.
Crucially, hooks introduce the concept of internalised patriarchy, i.e., the
ways in which women maintain patriarchal systems of
oppression, having been trained to do so. This theory is particularly
related to the representation of mothers and female characters in the films
chosen, and how they maintain patriarchal systems
of oppression through silence, fear, and compliance. hooks’ theory of feminism,
or the fight against sexist oppression, provides a rationale for the
protagonists’ acts of resistance.
Moreover, Gender and Cinema Studies
offer the wider academic context for the analysis of film as cultural text.
Scholars working in this field suggest that film is a mirror of society that
reflects its values and also has
the ability to influence these values. Films can reinforce the gender
stereotypes that are prevalent in society. However, they can also subvert these
stereotypes. Through the use of these theoretical
approaches, the study aims to go beyond the level of plot analysis and explore
the representation of girlhood as a space of burden, resistance, and
transformation.
Constructing Girlhood — Burden, Agency, And Resistance
Girlhood As Burden
In the
conventional patriarchal social structure, the girl child is not seen so much as a person with possibilities but
rather as a responsibility to be controlled.
Girlhood is seen in terms of economic, social, and
moral burdens. Economically, the expenses of marriage and dowry contribute to
the girl being seen as a burden. Socially, the girl
is seen in terms of her family’s honour, with her
actions being seen to reflect directly on her
family. Morally, she is expected to embody
qualities of obedience, modesty, and self-sacrifice. Thus, girlhood is seen as a burden, although not necessarily in
explicit terms, but in the ways in which girls are
treated.
This burden is demonstrated in the limitation of the girl’s voice,
mobility, and ambitions. Her freedom is never absolute but is always
conditional and dictated by the fear of “what society will say.” In the movie Dangal,
for example, the villagers mock Mahavir Singh Phogat’s decision to train his
daughters in wrestling. The discomfort felt by society is not just about the
activity of wrestling but is also a manifestation of the fear of girls
venturing into a space that is exclusively for males.
However, the most poignant
representation of the burden of being a girl is found
in the movie Secret Superstar. Insia Malik is a girl who is raised in a household dominated by her
authoritarian father who considers her ambitions to be a musician as
unnecessary and inappropriate. Her ambitions to be a musician are not taken seriously but viewed as a form of
rebellion. The scene in which her father breaks her guitar is a metaphor for
the suppression of her individuality and voice. The space of the home is not a
space of security but a space of fear.
This burden is further emphasised by
the factor of silence and compromise. In the case of Insia’s mother, though she
empathises with the oppression she has suffered, she initially asks her
daughter to be content with her condition. This is a
reflection of the concept of internalised patriarchy, in which women,
because of their patriarchal upbringing, unintentionally continue patriarchal
norms and values. This leads to a condition wherein the girl has to sacrifice her desires for the sake of the
family.
Through the portrayal of the adolescent stage of the girl’s
life, these films indicate that the construction of
gender roles begins very early in the girl’s life.
This stage of girlhood is portrayed as a
preparatory stage wherein the girl has to be
content with the burden of sacrifice. Through these films, Indian cinema has
shown that the construction of the girl as a burden is a social construct and is perpetuated within the family structure.
Agency
and Resistance
In feminist
theories, agency is used to describe the potential
of an individual to act on her own and make deliberate decisions despite
limitations. Agency, as used in cinematic stories, is the point of shift from
being to becoming. The agency of girls is rarely
depicted as a dramatic rebellion but as small acts of resistance.
In the movie Secret Superstar,
the power of Insia is directly associated with her voice and her dreams. Being raised under the dominance of an authoritarian
father, she is not allowed the freedom to freely
express herself. The decision to upload her songs on the internet while keeping
her identity hidden marks the beginning of her struggle against both her father
and the patriarchal society she is living in. Her assertion that dreaming is a
basic right reveals her defiance against the restrictions placed upon her. The
rebellion is not vocal, instead it is quiet and calculated. By singing her
songs, she asserts her right to her dreams and defies the patriarchal belief
that the dreams and aspirations of a girl should not conflict with the peace
and tranquility of her family.
In the movie Dangal, agency is developed gradually. Although Geeta and Babita
resist their father's training at first, they later assume full ownership of
their training and aspiration. The girls’ participation in wrestling contests
also resists the traditional expectations imposed upon girls in the village,
where they are supposed to remain indoors and perform domestic duties only.
In
the movie Gunjan Saxena: The Kargil Girl, the concept of agency is demonstrated through the idea of persistence. Gunjan
Saxena chooses to stay in a male-dominated field despite the discrimination she
faces. Her resistance is also demonstrated through
her desire to carry out her duties with competence and confidence. By
constantly being in a space that questions her right to be there, she is
asserting her right to belong.
All these movies demonstrate the concept of agency among girls through
the idea of voice, physicality, and professionalism. While the idea of
resistance may seem subtle at first, it ultimately
undermines patriarchal values.
Transformation, Support, and Internalised Patriarchy
Transformation and Empowerment
Transformation
in modern-day Hindi cinema does not happen as a miraculous event, but as a
process through support systems, education, and mentorship. Though girlhood in
these films starts off as a space of restriction, movies such as Dangal
and Gunjan Saxena: The Kargil Girl show how transformation through
positive encouragement can turn restriction into empowerment. Transformation in
these films is thus not only individual but also collective.
In Dangal, the story of Geeta
and Babita Phogat is one of transition from confinement to liberation.
Initially, wrestling is forced upon them by their
father, Mahavir Phogat. But over time, training becomes an exercise of
self-realisation. Mentorship is also an important aspect of their transition.
Mahavir Phogat, though very strict with his
daughters, gives them access to opportunities, training, and belief in their
potential, which they never had before. The
cutting of their hair symbolises a rejection of socially imposed femininity
rather than femininity itself. Their success
in national and international wrestling events shows their transition not just
as individuals but also as women. They move from being
laughed at by the people of their village to becoming respected
individuals.
Similarly, in Gunjan Saxena: The
Kargil Girl, empowerment seems to correlate with familial support as well
as perseverance. While in Dangal, discipline results in empowerment, in Gunjan
Saxena, encouragement, particularly from her father, who encourages her to
pursue her dream of becoming a pilot, is an important
factor. The father’s statement that whether the pilot is male or female,
the aircraft will still be
flown by a pilot helps shatter the gender stereotypes of competence in the
workplace. This childhood empowerment helps Gunjan Saxena overcome the
discrimination she is subjected to in the Air
Force. Her self-doubts, through education and determination, are transformed into self-confidence. The Kargil mission, in which
she participates, represents
the culmination of her empowerment journey from being a young girl with an
unorthodox dream to being a competent pilot in a male-dominated profession.
Both films also suggest that
empowerment does not only come through rebellion, but through constant support,
education, and guidance. Transformation does not happen if girls are not able
to redefine their identity beyond what the patriarchal society defines for
them.
Comparative Analysis
The journey of
girlhood in modern Hindi cinema is also influenced
by the existence or lack of support. While each of these characters has talent
and ambition, the nature of their struggles and the success of their journey
are very different.
In the movie Secret Superstar,
the lack of support in the domestic space creates conflict. Insia’s father not
only represents the oppressive authority figure in
her life but also represents the oppressive action.
The domestic space in this movie represents
surveillance rather than encouragement. Therefore, Insia’s empowerment happens
in secret. The success she experiences happens in secret, implying that without
support, empowerment happens defensively. The success in this movie is not only
professional success but also emotional freedom from fear, silence, and
domestic oppression.
On the other hand, the role of
support as a strong motivator for change is depicted
in the movie Dangal. Although the training system of Mahavir Phogat is
extremely tough, his belief in his daughters allows them to make the most out
of the opportunities that they get. His rhetorical claim that his daughters are
no less than his sons challenges the status quo of
the village. Here, support is protection from ridicule. The change is not just
about personal success, it also impacts society’s attitude towards girls participating in sports. Agency, therefore, is fostered through a system of support.
Gunjan Saxena: The Kargil Girl brings forth a more nuanced role. Gunjan
has tremendous emotional support from her father but faces challenges on an
institutional front. The Air Force is an epitome of gender biases, which limits
Gunjan through subtle discrimination and infrastructure-based marginalization.
Gunjan is not fighting against her family but against professional biases. Her
metamorphosis is an achievement within institutional limitations. It is not an
individual success story but that of symbolic entry into a male-dominated field.
Thus, it is evident
that the comparative analysis shows that support, or the lack of it, is what
leads to agency being facilitated through secrecy,
mentorship, or negotiation. All three stories illustrate themes of empowerment,
but it is clear that the route to this empowerment
is quite distinct.
Role Of Women and Internalised Patriarchy
As bell hooks
puts it, patriarchy is a system of domination that is
sustained not just by men, but also through social conditioning (hooks).
The fact that patriarchy transcends gender, as asserted by the statement of
bell hooks, can be used to explain why there is a
recurring trend of women enforcing patriarchal norms that govern them. This is
known as internalized patriarchy.
In the film Secret Superstar,
Najma at first seems to discourage Insia from following her dreams. Her advice
to Insia to be satisfied with what she has is a manifestation of her firm
belief in the safety of conformity. Rather than resisting her husband’s
dominance, she attempts to conform to it. Her
silence is not a form of acceptance of oppression but rather a coping mechanism
that she has developed in response to the violent marriage. The movie portrays
how women can accept patriarchal norms in a bid to protect themselves and their
children from danger.
In the same way, in Dangal,
the mother has some concern about her daughters’ involvement in wrestling. This
is because of the social pressures and the implications of their
marriageability and social acceptability. In the movie, wrestling is portrayed as a sport that compromises the
traditional feminine identity, which is acceptable in the social sphere.
Using hooks’s theory, these
portrayals imply that patriarchy is perpetuated
through daily practices in the family. The mothers and female relatives may not
be actively trying to suppress their daughters, but they merely perpetuate what
they have been socialized to believe is the norm. However, the subtle changes
in these characters also imply the potential for change. As the women begin to
question these traditions they have been handed down, they go from perpetuating
patriarchy to being agents of change.
Hindi Cinema as an Agent of Social Change
The Indian film
industry has undergone a transition from being a platform for entertainment to
a platform for social commentary. Movies such as Secret Superstar, Dangal,
and Gunjan Saxena: The Kargil Girl are examples of how the film industry
can be used as a tool to challenge the limiting
definition of girlhood and gender. The Indian film industry is a reflection of society and a commentary on it.
Cinema begins by reflecting social
reality through the depiction of control over the domestic space,
institutionalized discrimination, and the weight of honour imposed on girls.
But the contemporary story shifts from depiction to exploration. In Secret
Superstar, Insia’s assertion that “Sapne dekhna toh basic hota hai… itna
toh sabko allow hona chahiye” (“To dream is basic… that much at least should be
allowed to everyone”) (Chandan) raises a personal desire to a universal right.
This declaration resists the social impulse to view a girl’s ambition as too
much to ask, not something due to her. Through this declaration in a mainstream
film, cinema challenges viewers to re-evaluate the boundaries they set for
young girls.
The cultural significance of
mainstream Hindi cinema is its accessibility and emotional connect. These films
not only show girls as athletes, pilots, and independent dreamers but also help
in creating a wider scope of acceptable dreams. These films not only entertain
but also help in reshaping people’s imagination. When people are consistently exposed to stories of empowered
girlhood, the traditional assumptions start to break down.
Although films
cannot, by themselves, dismantle the framework of patriarchy, they definitely have a role to play in changing the
discourse in public spaces.
Conclusion
This study has
examined the representation of girlhood in the contemporary Hindi film industry
through the films Secret Superstar, Dangal, and Gunjan Saxena:
The Kargil Girl. The analysis presented in this paper clearly illustrates
that girlhood is often portrayed as a burden in
patriarchal societies, which are linked to concepts
of control, honour, silence, and sacrifice.
At the same time, it is clear from
this research that girlhood is not merely about victimhood. The characters in
the movies are able to overcome the constraints
imposed upon them through their acts of agency, resistance, and perseverance.
Whether it is through digital communication, physical exercise, or professional
success, the characters in the movies are able to
reclaim their right to ambition and self-definition.
One of the most important findings
of this analysis is the importance of support systems. The presence or absence
of familial and institutional support systems determines
the extent to which each of the protagonists’ journeys will be made easier or harder. However, the importance of
support systems also underscores the ways in which internalized patriarchy can
make relationships between women more complicated, and how both structural and
psychological changes are necessary for transformation to take place.
Ultimately,
these films indicate that girlhood is a
socially constructed but not fixed category. By subverting the traditional
concepts of gender and creating empowered female protagonists, Hindi cinema is
a part of the changing cultural imaginary.
Works Cited
Chandan, Advait, director. Secret Superstar. Aamir Khan
Productions, 2017.
de Beauvoir, Simone. The Second Sex. Translated by
Constance Borde and Sheila Malovany-Chevallier, Vintage Books, 2011.
hooks, bell. Feminism Is for Everybody: Passionate Politics.
South End Press, 2000.
Sharma, Sharan, director. Gunjan Saxena: The Kargil Girl.
Dharma Productions, 2020.
Tiwari, Nitesh, director. Dangal. Aamir Khan Productions,
2016.
