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Indian cinema and its portrayal of emotional complexities of LGBT community
Abstract
The dissertation focused on the representation of emotional complexities of LGBT community in Indian cinema based on quantitative and qualitative study done on four films: - Fire (1996), Margarita with a Straw (2014), My Brother Nikhil (2005), Chitrangada: The Crowning Wish (2012). We live in a society where people have a prejudiced attitude towards homosexuality and the identity of homosexuals. Sexual minority refers to Lesbian, Gay, Bisexual and Transgender. Furthermore IPC section 377 increases their sorrow by making homosexuality as something of criminal nature. Films that interpret reality are of utmost importance. Cinema is a capable medium that can influence people at once. The study makes an attempt to study the role of films in creating a space for the homosexuals in the society. The study will examine how cinema helped in creating a positive perspective regarding homosexuality in the psyche of viewers.
... Homophobia leads to virulent verbal abuse of MSM individuals, and they are addressed by different words instead of their real names [29][30][31]. The portrayal of Hijra (transgender) and other members of the LGBT + community as funny characters in Indian cinema and using phrases like 'Gay love angle' , 'terror of Hijras', 'Gay murder' , 'Gay gang' , 'Gay crime' , 'Gay thieves' etc. in Indian media has strengthened the prejudice already prevalent in society [32][33][34][35]. Homophobic comments made under the garb of 'humour' and 'friendly bullying' on social media platforms also establish a stereotype and lead to verbal and non-verbal violence against MSM individuals [36]. ...
Background
Five distinct forms of violence - Physical, Verbal, Sexual, Cyber, and Relational - persistently afflict sexual minorities worldwide. The presence of feminine attributes in Men who have Sex with Men is inherently linked to a heightened susceptibility to various manifestations of violence, thereby exerting detrimental repercussions on both the physical and mental well-being of these individuals. This correlation stands as a principal contributor to the alarmingly elevated rates of suicide attempts among Men who have Sex with Men, particularly during their early years.
Data and Methods
This cross-sectional study investigates the risk factors for violence against Men who have Sex with Men in six metropolitan cities across India. Quantitative data were gathered from 300 self-identified Men who have Sex with Men, with 240 providing only quantitative data, while both quantitative and qualitative data were collected from a subset of 60 respondents, ranging in age from 18 to 70 years. Quantitative analysis was conducted using descriptive statistics, chi-square tests, and binary logistic regression to explore the likelihood of different types of violence. Qualitative data collected through in-depth interviews, were analyzed thematically to provide contextual depth and validate the quantitative findings, focusing on specific incidents and key themes associated with violence among Men who have Sex with Men.
Results
More than 60 per cent of the respondents encountered at least one type of violence due to their sexuality. More than half of the respondents who engaged in the receptive role during sexual activity reported experiencing sexual violence. The likelihood of encountering verbal violence was found to be nearly six times higher among respondents who were receptive than penetrative sexual partners. Respondents of Muslim religion exhibited a 2.6-fold increase in the likelihood of experiencing sexual violence compared to their Hindu counterparts.
Conclusion
Violence against Men who have Sex with Men is a pervasive issue in the six metropolitan cities studied in India, particularly affecting individuals with lower education and low income. These findings resonate with global research, which identifies similar risk factors for violence against sexual minorities, especially in regions with deep-rooted homophobia and socio-economic inequalities. Insights from this study underscore the urgent need for targeted policies and interventions to create a safer, more inclusive environment for this population in India and other parts of the Global South.
... p.269). Pooja and Rekha (2018) point out that there is a need to present the characters belonging to sexual minorities, not merely as stereotypes who offer comic relief in an otherwise heterosexual narrative. They add, 'Instead of merely portraying them as the main protagonist or giving them a space in mainstream movies, portraying their emotional complexities should be given utmost importance…There should be a real and accurate portrayal of the homosexual lives rather than portraying homosexuality as odd' (p.2868). ...
... p.269). Pooja and Rekha (2018) point out that there is a need to present the characters belonging to sexual minorities, not merely as stereotypes who offer comic relief in an otherwise heterosexual narrative. They add, 'Instead of merely portraying them as the main protagonist or giving them a space in mainstream movies, portraying their emotional complexities should be given utmost importance…There should be a real and accurate portrayal of the homosexual lives rather than portraying homosexuality as odd' (p.2868). ...
This article examines the impact of cinema in recalibrating public perception of gender nonconforming individuals. It argues that the act of ‘coming out’ can be facilitated through cinema
as it can normalize queer identities through its visual narratives. Cobalt Blue (2022), an
adaptation of the eponymous novel, originally written in Marathi in 2006 and translated by
Jerry Pinto into English in 2016, problematizes the traditional notions about sexuality and
gender. This article foregrounds Cobalt Blue to explicate the psychological turmoil
experienced by those who embody non-binary gender identities. It explores the impact of
cinema in triggering broader discussions about sexual identity across a wide range of gender
spectrums. The conceptual framework of queer theory has been used to elucidate how the
protagonists in Cobalt Blue acquire agency by embracing their sexuality. This research
postulates that ‘queer cinema’ can bring about gender equality, neutralize homophobia, and
facilitate the normalization of the LGBTQ+ community.
... But they do not try to show the situations or circumstances that help a person look into one's own identity. There are internal as well as external factors that shape a person's sexual behavior (Pooja & Rekha, 2018). In addition to highlighting only the genders and having their say, the films have also shown sexual violence over time, which has led to contemplating into what goes into making such films. ...
For Indians, Cinema has remained integral since its inception in society. Films have evolved from black- and-white to color; from several reels to a single showreel; from no animations to varied forms and techniques; and from single-screen theatres to multiplexes/multiple screens too. The researchers have chosen the social drama genre from the spectrum of diverse genres to study. The researchers are curious to know the perception of youth towards the mentioned genre, especially those who belong to the age group of 18 to 23 years. This research aims to study whether or not movies belonging to the social drama genre make the desired impact on society against social evils. With the ever-increasing number of social issues in the country, even during the present pandemic situation, this study holds significance in trying to know if one of the empowering tools of the Indian society for generating awareness is empowering or forbidding. The present study is conducted by keeping “Bollywood” (Hindi cinema) in the nucleus because of the researchers’ zealous fondness towards Hindi movies. Because of the unprecedented times of the Covid-19 pandemic, the data for the research have been collected using Google forms and combined with the data of 200 respondents, majorly from, but not limited to, the Western part of India. The study findings interestingly unveil that the majority of the youth believe the social issues are majorly seen in the middle economic class of Indian society. The majority also does not agree or is neutral with the statement that the social drama Hindi films could bring the desired change in society.
... Comedy and songs performed by guys in women's clothing have a long history in commercial cinema. [15] ...
The LGBT community is subject to gender-based violence and other violations of human rights since these laws are invisible to the public. Film has unquestionably been important to the LGBT movement in India. Like many contemporary movements, the queer movement in India seeks to change ingrained social mores, notably the pervasive notion that sexual orientation is merely a phase. Film is viewed as a social cycle in which audience members interpret signs or messages that are broadcast to them using their aural and visual senses. The movies have become much too popular a tourist attraction. Dramatic cinematography and sound film in an exhibition of copying not only shocks us but also holds our attention. Film has the power to captivate audiences, educate viewers, and shift the collective conscience. This huge growth of Bollywood in India and overseas is described by “Jaikumar (2006)” in his book ‘Film Towards the End of Empires’. Bollywood, an Indian film industry powerhouse, mimics and analyzes the public's credit, complexity, genuine elements, and deceptions via a variety of narrative perspectives. As a result, our worldview and general awareness are shaped by Bollywood This Research paper sets out to examine the mainstream treatment of homosexuality in Hindi films, with a focus on how the LGBT community is depicted. And how they fight for their rights for freedom, love, respect and acceptance in the society. The arrival of cinema in India's LGBT community was unquestionably a game-changer. Gay, lesbian, bisexual, and transgender persons are all part of the sexual minority. Among the numerous nations where homosexuality is still frowned upon one is India. In colonial India, the British enacted Section 377 of the Indian Criminal Code, which still exists today and criminalises homosexuality. In this paper, we have shown Hindi cinema’s representation of the LGBTQ community in films like Badhaai Do, Kapoor & Sons, Dear Dad, Ek Ladki ko Dekha to Aisa Laga, Shubh Mangal Zyada Saavdhan and their struggle and acceptance in the society in the 21st century.
... On the social cum moral depiction of homosexual characters, Pooja and Rekha (2018) disclosed that there is an unrealistic, odd and satirical/comic representation of homosexuals (an objectification of seriousness) for fun and little attention to their human side with the same fear, needs, pain and aspirations as the heterosexual populace. Equally, (Forshaw, 2015) revealed that the portrayal of homosexuals is stereotypic with specific elements such as selfishness, corruption, deceit, unclean, demonic, unholy, religiously unwelcomed, and disgusting or irritation and rejection. ...
This study addresses a sensitive subject in the context of the socio-cultural, political, legal and religious opposition to homosexual groups in Nigeria. It addresses the social depictions, honest portrayal, and conflicts between heterosexual and homosexual characters based on sexuality in Nollywood films. The study adopted a quantitative content analysis of twenty (20) Nollywood films. The study revealed that homosexual characters are depicted as physiologically, psychologically, socially and spiritually misfits. However, the film producers made an educational effort in exposing practices seen as offensive to societal norms and values. Further findings reveal that homosexual characters are portrayed as morally negative. This demonstrates the truism of the normative hypothesis that media take colouration of society in which they are situated. Finally, the study revealed a high level of perceptual conflict of non-acceptance, stigmatisation, rejection and prohibited reaction by heteronormative characters towards homosexuals based on their sexuality. In this sense, the Nollywood films examined by this study illustrate unwelcome, stereotypic, anti-social and homophobic narratives of homosexual characters that align with Nigerian society's social, civil, cultural, and religious belief systems. It is recommended that well-researched based content on sexual minorities beyond the depiction of the social position on their sexuality to more issues relating to the causal factors and ways of addressing such sexuality should be more focused on since in it has been marked as a crime in Nigeria.
Women across the globe, along with various feminist outfits, have been struggling to achieve gender equality in social, professional, and personal life. Media is something where women have continuously raised their issues for not getting equal status with men. But, the media is also the place where they face discrimination like getting paid lower than their male counterparts. In Indian TV serials, the role is a little different. Women are given more preference over men, but their role is shown to be restricted to the kitchen and household only. In the world of cinema, actresses are paid lesser than actors. In many cases, their role is just to be the pillow riders of men. Somehow, the same is the case with LGBTQ characters in films. One can easily remember male LGBTQ characters like Abbas Ali of Bol Bachchan, but the role of a woman belonging to the LGBTQ community is either erotic or negligible. In this research paper, the researcher has tried to discover the prevailing gender inequality in LGBTQ films and the preference for male characters. The researcher has used content analysis to analyze the content of four mainstream Bollywood movies. The main aim of the research is to find out if female charact
Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences.
Fairly recently in 2018, Section 377 of the Indian Constitution was scrapped by the Supreme Court of India which criminalized homosexuality. Quite unfortunately, it took India almost 160 years to abolish a law introduced by the British during the colonial rule. LGBTQ issues are comparatively new in India and to a great extent is still considered scandalous, controversial and unacceptable. Literary works are a great medium to normalize the issue in society but is extremely difficult to achieve in India, at least not in any near future. With so little opportunity of getting some basic primary education, this level of knowledge cannot be achieved and will also be deemed scandalous and highly objectionable. The only other medium available, and perhaps more popular, is media, more specifically television/movies. Visual images and motion pictures are more welcoming to most people than books. Contemporary Indian Parallel or New Wave Cinema have begun portraying the lives and voicing the issues of alternative genders which, for long, has been suppressed. The paper focuses on the authentic representation of LGBTQ community in Indian Parallel Cinema and its audience reception, how they portray these issues to educate the audience and how have they been received by the spectators. Focusing on selected films of Rituparno Ghosh, the paper investigates the films that question the beliefs, perspectives and misconceptions regarding the issues and work on how better ways they can be portrayed in cinema to leave an impact on the spectators, thus pushing towards a healthier society.
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