Introduction
The Indian film industry, renowned for its vibrant culture and global influence, harbors a grim reality which is the systematic exploitation of women hidden beneath its dazzling allure. From sexual harassment which surprisingly is very much normalized in the industry to caste-based oppression and institutional neglect of workplace safety, women face multidimensional vulnerabilities that reflect broader societal inequities.
While Indian cinema has a long history of portraying women in diverse roles, ranging from traditional homemakers to powerful goddesses, a closer examination reveals a persistent pattern of marginalization, objectification, and underrepresentation (View of Woman in Bollywood). This includes gender-based wage disparity, unethical and exploitative processes in casting and recruitment of female actors, and often parlous working environments, where the safety, wellbeing and dignity of women are not always assured (Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films). Women have always been objectified and sexualized in Indian films, and it has become a norm rather than an exception.
Recent revelations, such as the 2024 Hema Committee report exposing rampant exploitation in Kerala’s Malayalam film industry, underscore the urgent need for systemic reform.
Historical Patterns of Exploitation in Indian Cinema
The roots of exploitation can be traced to the portrayal of women in Indian cinema over the decades. From the self-sacrificing mother to the docile wife and the seductive dancer, women have often been confined to reductive roles. The societal norm of considering women subordinate to men and existing patriarchal notions have always tried to portray the stereotypical image of women in the film communicating gender inequalities in modern times (ipleaders).
The 1970s “angry young man” era solidified male-centric narratives where women served primarily as romantic props or victims requiring salvation. Films like Sholay (1975) reduced female characters to decorative roles. Later on in the 80s and 90s also this trend continued and women continued to play the roles they were expected to play or to be more precise the roles which everyone wanted them to play. While some films like Queen and Pink have challenged these stereotypes, they remain exceptions in an industry still dominated by male-driven narratives.
The ‘On Screen’ Exploitation
The film industry’s depiction of women reinforces the idea that a woman’s worth lies in her beauty, and she is only valuable if she can attract men. This portrayal not only diminishes the value of women but also reinforces gender stereotypes that limit women’s choices and opportunities (Times of India).
In this journey of Indian cinema, when item numbers were the guarantee of the movies being hit, crowds of audience used to reach the cinema hall to watch the dance performed by the attractively dressed dancers or item girl (Critical Analysis of the Representation of Women in Indian Cinema). In contemporary cinema, item numbers such as Munni Badnaam Hui or Sheila Ki Jawani objectify women under the guise of entertainment (Wikipedia).
There are many films from which the only thing people remember is the item number performance which kills the whole purpose and essence of a film. A study which analysed the audience perspective of item numbers pointed out influence of male lyricists, Bollywood’s control over female sexuality to be main reasons behind this phenomenon of ‘Masculine control and objectification of women’ (Science Direct). The on screen exploitation therefore is something that has been deeply inculcated in the film industry. On paper, item numbers form the perfect formula for female sexual empowerment but in reality, they mostly result in the most blatant objectification (Wikipedia).
The ‘Off Screen’ Exploitation
The euphemistic ‘casting couch’ is an open secret in the Indian film industry. Many aspiring actresses have spoken out about being propositioned by directors, producers, and influential figures in exchange for roles. Notable actors like Kangana Ranaut and Tanushree Dutta have brought these issues to light, with the latter’s allegations against a veteran actor sparking a wave of #MeToo revelations in Bollywood (MeToo movement in India).
A more recent development was the 2024 report prepared by the Justice Hema Committee which studied the Malayalam Film Industry specifically and found rampant abuse of women (both mental and physical), inhumane conditions and the industry is dominated by “a mafia of powerful men” (BBC). Although this report was prepared only for the Malayalam Film Industry, it will not be wrong to assume that these findings will be similar if reports were prepared for Bollywood or other regional industries.
Also women face other challenges like derogatory comments about their face, body and beauty standards etc. which puts a negative impact on their psychological well being and confidence. Many successful actresses have also stated openly about the level of internal and external bullying they face when they enter the industry and continue to face that throughout their career.
Regulatory Framework
To prevent the portrayal of women in an indecent manner and to stop obscene content, The Cinematograph Act, 1952 was enacted by the Parliament. But the measures under it were not enough and in 1986 The Indecent Representation Of Women (Prohibition) Act, 1986 was enacted.
Section 2(c) of the Act defines Indecent Representation of Women as “the depiction in any manner of the figure of a woman, her form or body or any part thereof in such a way as to have the effect of being indecent, or derogatory to, or denigrating, women, or is likely to deprave, corrupt or injure the public morality or morals.” Also Section 3 and 4 of the same Act prohibit advertisement and publication of content in which women are indecently represented.
The laws prohibiting the sexual harassment of women are also contained in various statutes. In the Bhartiya Nyay Sanhita, 2023 (previously Indian Penal Code, 1860), Section 75 prescribes punishment for Sexual Harassment of Woman. Acts such as physical contact and advances involving unwelcome and explicit sexual overtures; or a demand or request for sexual favours; or showing pornography against the will of a woman; or making sexually coloured remarks, these are covered under the said section. Section 74 and 79 also penalise for outraging modesty of a woman through assault or acts or words. For more heinous offences, Section 63, 64 etc. prescribe punishment for Rape.
To counter sexual harassment of women at workplace, the Parliament enacted The Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013 (popularly known as the POSH Act, 2013) after the landmark Vishaka Judgment. Although the POSH Act doesn’t expressly mention film sets to be a workplace, Section 2(f), 2(g) and 2(o) along with various interpretations of the High Courts and Supreme Court suggest that the Act covers the film industry.
The Kerala High Court, on March 17, 2022, through the judgment of Women In Cinema Collective vs State Of Kerala, held that there did, for a fact, exist an employer-employee relationship between the actors and their respective production units and that the film production units served as their “workplace” as defined under Section 2(o)(ii) of the POSH Act (POSH at Work). In 2017, the then Women and Child Development Minister Maneka Gandhi wrote to leading film production houses of Bollywood, urging them to comply with the prevention of sexual harassment law to provide a “safe, secure and inclusive” work environment for women. She also requested them to set up ICC (Internal Complaints Committee) for better regulation of the situation (Indian Express).
Conclusion: March Towards An Equitable Industry
India has made significant progress in establishing legal protections for women, yet their enforcement within the film industry remains uneven. The Sexual Harassment Act requires workplaces to set up Internal Complaints Committees (ICCs), but numerous production houses either do not have these committees in place or fail to implement them effectively.
Stricter measures are essential to promote accountability, such as adopting transparent hiring practices, conducting regular audits of workplace policies, and enforcing zero-tolerance policies for harassment. In the face of these challenges, many women have shattered barriers and opened doors for future generations.
Actors such as Vidya Balan have revolutionized the portrayal of female protagonists, while directors like Meghna Gulzar consistently push the boundaries of storytelling with their impactful work. Many films in recent times have had women in lead roles and they have gathered massive public support also. Though the progress towards a gender-neutral film industry has started, a lot of work still remains that needs to be done to ensure the end goal is achieved.
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