The Themes Of The Film Padmavati

This paper attempts to examine the fictional projections of Indian girls, to see how they emerge in ideological terms. Their journeys from self-alienation to self-adjustment, their childhood struggles against the hypocrisies and monstrosities of the grown-up world, eventually demolishing the unjust male constructed citadels of power that hinder their progress- are the highlighted issues. The point of comparison between the two novels focused on here is the journey of Rahel in The God of Small Things and Sai in The Inheritance from a lonely childhood to a tragic adulthood passing through a struggle with the complex forces of patriarchal society. Both the novels portray the imaginativeness, inventiveness, independence, rebelliousness, wide-eyed wonder and innocence associated with these young girls.

Using the elements of fiction and truth a mass amount can be gained from understanding how women fit in with the government/patriarchy. From novels comparably, A Passage to India and A Handmaid’s Tale, these two reflect different times: a realistic time of Indian Imperialism and a Utopian fantasy that could indubitably become the future of tomorrow. How do they correspond with the role of women? Both either represent or differ from the true, unseen representation of women amongst the power of the elite, against the suppressors of the minority, and the

and the issue of government response to it. The movie contains various forms of oppression,

Composed ages ago, The Mahabharata still continues to be retold in various literary, graphic and visual media. In the hands of the postcolonial Indian English novelist the mythological past takes different shapes. Unlike retellings of previous centuries, these novels do not view the epic as a mere tussle between dharma and adharma. They re-narrate their past but from a different perspective. They demolish authority, stereotypes, icons and sexist values. This paper seeks to examine how notions of gender are subverted and notions of victimhood and agency are playfully dealt with, in these modern retellings of The Mahabharata. This paper will be dealing with two hyper-masculine characters from The Mahabharata, namely Duryodhana and Bhima. Pushed to the brink of half-existence, both these characters seem to share their frustrations in being misunderstood, half-understood. Beneath all the masculinity, the massive strength, the oozing machismo, we get two marginalised men waiting to be heard. Our reading of these novels reveals how rewriting epics gives voice to the subordinated speaker and also analyses the ways in which individuals of this age resist hegemonic notions of gender and class.

Shashi Deshpande ranks high in the list of top Indian authors. She is the most popular Indian Woman writer in English. It is a fact that woman is mistreated and vanquished by the male community everywhere. She has been the subordinate monopolization and has to conform to male standards. In most of her novels, Shashi Deshpande has focused on the suppression of women in Indian society. She draws our attention to women’s exploitation, discrimination and commodification.She fairly rejects the system where there is no revolt of the women against the society and its norms which underrate women. Shashi Deshpande has dealt with 'women-issues', of how they are being treated and what the women actually want.

In this novel, what the reader learns about the culture of the society is that men are the most important in the family. From an early age, little girls are taught to be submissive to men. Arranged marriages are common, as in Lakshmi’s case, she was promised to marry a boy whom she has never met before, whom she refers to as “the boy with the sleepy cat eyes”. The uncertainty of Lakshmi’s future is common for many girls as poverty often drives the mother or father of the young Nepali girls to sell them to wealthy families as a last resort. The girls are sold to wealthy families in urban India work as “maids,” but the actuality is that the young girls are sold unwittingly into prostitution. The girls are told they will work until they pay

There is no hiding that the film was produced and directed by a white woman, and this is why it could be argued that the film takes on a white savior complex, presenting Indian society as a deviant “other.” Meenakshi Gigi Durham explores this idea in her essay “Scene of the Crime: News discourse of rape in India and the geopolitics of sexual assault.” Following a close study of the media coverage of the rape Durham writes, “like maps, media representations are imbricated with power relations; like maps they use language, visual imagery, and other symbols to represent the world; and like maps, they help to orient us to our surroundings” (Durham 177). Durham makes a connection to Edward Said’s concept of Orientalism, and how Occident and Orient are pitted against eachother, creating this binary relationship where one is seen as more powerful and “better” than the other (Durham 178). This relationship “sustains the material injustices of imperialism and neo-colonialism” (Durham 178).

Introduction “When you bring in the human condition into a movie, it elevates it to something more than just a collection of images and sounds. It creates an emotional synthesis between the characters you see, the story surrounding, and your own heart.” (Matthew Bailey, Movie Pilot) Human condition is what can turn a movie from good to great, and from great to excellent, and there is no better example of this than the film Slumdog Millionaire, directed by Danny Boyle. The film was fortunate to have Dev Patel and Freida Pinto play the main roles of Jamal and Latika.

During the Age of Imperialism, Britain established many colonies. One of its dominions was the British Raj in India. Throughout this period Britain ruled India which caused many of the cultures to intermix. Now, in modern day, many films are made about the effects of Britain and India’s cultural interchange. Many British auteurs focus on the cultural effects of this time period on the new generation through contemporary films that revolve around a modern day family with cultural differences. Contemporary films are essentially films that have been created recently, circa the late 1900s to present day. The transnational circulation and genre hybridity of contemporary films is exemplified by the increasing global popularity of Indian Bollywood cinema. British post-colonial films often include portrayals of the Indian culture due to the merging of the cultures and their shared history. The post-colonial films juxtapose the Indian culture before and after the Indian diaspora, often in settings that are not traditionally of the Indian culture. British films often study the Indian diaspora’s effect on the Indians in terms of their culture and adaptation to the British culture. This analysis will focus on the portrayal of the post-colonial Indian culture through analysis of British contemporary films.

Simmi Gurwara, the Head of Radha Govind Group of Institutions in India, goes in-depth about Celie, the protagonist in The Color Purple, dealing with the wrongful deeds done by the males in her life, such as her father and husband, and relates it to today’s society about men and their abusive use of power. Gurwara explains the effects of male dominance and what the wrong use of power can have on the weaker members in a family. This scholarly journal connects Celie’s father’s abuse of power against Celie through rape and physical abuse with the cultural aspects seen in society today about the men in the family being in a higher power, like in the Indian culture. For instance, the murder of a girl by her own father, Muhammad Parvez, because she

This movie presents many events in which propagate the evils the Muslim society of India has been practicing.

Women are still facing steady discrimination through the film industry. Even as women gain more rights on the political front and through social movements, they are still locked into inferior roles beneath their male counterparts. As time progresses, the independent woman, Anna, in the original text of The English Governess at the Siamese Court is reduced to the role of a romantic partner for King Mongkut by the media of film adaptation. There is a trend in which films increasingly reduce the role and contribution of women from independent to dependent in order to appeal to a male-dominated audience.

In this essay, three movies; City of God, Güeros and Wadjda were compared and their variations were discussed, each movie had an equal coverage. The factors in which the comparison was based on where, mobility, social disconformity, isolation and any cultural factors that influenced the lead actress actions,

In this paper I will examine and compare recent movies like “The Hunger Games” and “Mulan” with the feministic ideas of Simone De Beauvoir and Judith Butler. Using the points of view created by Beauvoir and Butler, I will examine each movie to prove the representation of feminism in the protagonists in each movie.

The Indian society believes that men have the facility and cultural hegemony in the group. A odd feature of the Indian action is that men defend maleness and deem women not manly which is not basically human. Women are marginalised through cultural institutions and religious rituals. Feminist movements have been maddening for removal of this marginalisation. The hermetic salutation of feminism in the 1960s and 1970s helped theorize a girl's discourse. A feministically right to use text can gain to a better covenant of the woman's condition Feminism in Indian English literature is focused so many years back. Feminism refers to the support of women’s right. This right is to remove gender discrimination and gives equal status to female in society. From the early period to modern period women writers presents the theme to highlight women issues in society. It goes on developing its content time to time. It starts with suppression of women and slowly comes to revolt of women. Feminism in India is a set of movements bearing in mind the direct of defining establishing and defending diplomatic and socio-economical rights and equal opportunities for Indian women. Like the feminists of new countries in India too the women be lacklustre for gender equality, the right to sham for equal wages the right to equal entry to health, education and politics too and I should make known for