Deconstructing Domestic Violence in Bollywood:
Instances of domestic violence against women persist globally, particularly prevalent in various forms across South Asia. It is a topic that has gained attention in various forms of media, including Bollywood movies. One of the recent Bollywood productions, Darlings (2022), directed by Jasmeet K. R...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
ULAB Press
2024-12-01
|
| Series: | Crossings |
| Subjects: | |
| Online Access: | https://journals.ulab.edu.bd/index.php/crossings/article/view/584 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1841552004544987136 |
|---|---|
| author | Rohini Zakaria Oishee |
| author_facet | Rohini Zakaria Oishee |
| author_sort | Rohini Zakaria Oishee |
| collection | DOAJ |
| description |
Instances of domestic violence against women persist globally,
particularly prevalent in various forms across South Asia. It is a
topic that has gained attention in various forms of media, including
Bollywood movies. One of the recent Bollywood productions, Darlings
(2022), directed by Jasmeet K. Reen, addresses this issue differently
than its predecessors. A grim subject like domestic violence which is
rarely material for humor has been presented through a dark comedic
lens while bringing back the Muslim social genre. This paper seeks to
assert by referring to western and non-western feminist discourse that,
despite successfully subverting the popular representation of women
in feminist revenge narratives and emphasizing the perpetuating
maltreatment of women in South Asian patriarchal households, the
film could not liberate itself from the two oppositional representations
of women – “angel” and “madwoman” (in case of Darlings, it is
murderer), popularized by Sandra Gilbert and Susan Gubar in The
Madwoman in the Attic. Concurrently, while correlating Simone de
Beauvoir’s positioning of women in her influential text, The Second Sex
with Chandra Talpade Mohanty’s postcolonial alignment in “Under
Western Eyes: Feminist Scholarship and Colonial Discourses,” the
paper will also argue that, in spite of raising awareness about violence
against women and deconstructing the stereotypical portrayal of
domestic violence in Bollywood, the film inadvertently normalizes
intimate partner violence (IPV) and potentially undermines the
seriousness of this critical social issue.
|
| format | Article |
| id | doaj-art-a89b96039bb34ad281e3cb7eff76e124 |
| institution | Kabale University |
| issn | 2071-1107 2958-3179 |
| language | English |
| publishDate | 2024-12-01 |
| publisher | ULAB Press |
| record_format | Article |
| series | Crossings |
| spelling | doaj-art-a89b96039bb34ad281e3cb7eff76e1242025-01-09T13:34:57ZengULAB PressCrossings2071-11072958-31792024-12-0115110.59817/cjes.v15i1.584Deconstructing Domestic Violence in Bollywood:Rohini Zakaria Oishee0East West University Instances of domestic violence against women persist globally, particularly prevalent in various forms across South Asia. It is a topic that has gained attention in various forms of media, including Bollywood movies. One of the recent Bollywood productions, Darlings (2022), directed by Jasmeet K. Reen, addresses this issue differently than its predecessors. A grim subject like domestic violence which is rarely material for humor has been presented through a dark comedic lens while bringing back the Muslim social genre. This paper seeks to assert by referring to western and non-western feminist discourse that, despite successfully subverting the popular representation of women in feminist revenge narratives and emphasizing the perpetuating maltreatment of women in South Asian patriarchal households, the film could not liberate itself from the two oppositional representations of women – “angel” and “madwoman” (in case of Darlings, it is murderer), popularized by Sandra Gilbert and Susan Gubar in The Madwoman in the Attic. Concurrently, while correlating Simone de Beauvoir’s positioning of women in her influential text, The Second Sex with Chandra Talpade Mohanty’s postcolonial alignment in “Under Western Eyes: Feminist Scholarship and Colonial Discourses,” the paper will also argue that, in spite of raising awareness about violence against women and deconstructing the stereotypical portrayal of domestic violence in Bollywood, the film inadvertently normalizes intimate partner violence (IPV) and potentially undermines the seriousness of this critical social issue. https://journals.ulab.edu.bd/index.php/crossings/article/view/584domestic violenceBollywoodpatriarchyfeminist criticismmarginalization |
| spellingShingle | Rohini Zakaria Oishee Deconstructing Domestic Violence in Bollywood: Crossings domestic violence Bollywood patriarchy feminist criticism marginalization |
| title | Deconstructing Domestic Violence in Bollywood: |
| title_full | Deconstructing Domestic Violence in Bollywood: |
| title_fullStr | Deconstructing Domestic Violence in Bollywood: |
| title_full_unstemmed | Deconstructing Domestic Violence in Bollywood: |
| title_short | Deconstructing Domestic Violence in Bollywood: |
| title_sort | deconstructing domestic violence in bollywood |
| topic | domestic violence Bollywood patriarchy feminist criticism marginalization |
| url | https://journals.ulab.edu.bd/index.php/crossings/article/view/584 |
| work_keys_str_mv | AT rohinizakariaoishee deconstructingdomesticviolenceinbollywood |