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TRANSGENDER REPRESENTATION IN BANGLADESHI FILM: AN ANALYSIS OF THE FILM COMMON GENDER

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Abstract

This research has done to know how transgender people are represented in Bangladeshi film. Research found that transgender people are highly misrepresented in film and for this misrepresentation-they have to pay to achieve their rights from society. Hence, to work for the betterment of the transgender community in Bangladesh; it is important to know their representation style in Bangladeshi film. This paper has analysed the film Common Gender based on the content analysis method and the film narratology method while the representation theory worked as its theoretical framework. This paper found the film has represented transgender people in the same way that the Bangladeshi dominant society thinks about transgender people. There are no differences between the representation style and the reality. Hence, it can be argued that Bangladeshi films are influenced by the Bangladeshi dominant culture and transgender people have to pay to achieve their rights from society.
TRANSGENDER REPRESENTATION IN BANGLADESHI FILM:
AN ANALYSIS OF THE FILM COMMON GENDER
Md. Asaduzzaman
1
Abstract
This research has done to know how transgender people are represented in
Bangladeshi film. Research found that transgender people are highly
misrepresented in film and for this misrepresentation- they have to pay to
achieve their rights from society. Hence, to work for the betterment of the
transgender community in Bangladesh; it is important to know their
representation style in Bangladeshi film. This paper has analysed the
film Common Gender based on the content analysis method and the film
narratology method while the representation theory worked as its theoretical
framework. This paper found the film has represented transgender people in the
same way that the Bangladeshi dominant society thinks about transgender
people. There are no differences between the representation style and the
reality. Hence, it can be argued that Bangladeshi films are influenced by the
Bangladeshi dominant culture and transgender people have to pay to achieve
their rights from society.
Keywords: Bangladeshi Film, Misrepresentation, Representation, Stereotype
Thought, Transgender People.
Introduction
Media text always plays a significant role to construct our identity (Gates, 2018).
As a form of mass media, the film works for reflecting, constructing, and
reinforcing reality. It also works to construct a culture (Paralik, 2017). The film
can do it as media have the power of influence on its audiences (Gates, 2018).
Therefore, a negative representation of a group in a film can be a cause of
damages to the group (Reitz, 2017). Hence, accurate representation of a group,
culture or society in the film is important.
1
Md. Asaduzzaman is Assistant Professor, Department of Mass Communication and Journalism,
University of Dhaka, Bangladesh. Email: md.asaduzzamn90@yahoo.com
Social Science Review [The Dhaka University Studies, Part-D], Vol. 38, No. 1, June 2021
DOI: https://doi.org/10.3329/ssr.v38i1.56525
70 Asaduzzaman
Regarding this issue, Guzman (2006) said that to present any content, media are
influenced by the dominating culture and beliefs. Working on transgender
representation in media, Cavalcante (2018) added, media are influenced by
dominating culture and stereotype thoughts to represent the transgender
community and transgender people are misrepresented in the media. This
misrepresentation about transgender is not only limited in a single country‟s
boundary, but also this group is misrepresented, even in the film of India, UK,
and the USA (Ahmed, 2019; Pattnaik, 2009; Jobe, 2013; “How transgender
people”, 2010). Though there are a few pieces of work on transgender
representation style in media based on different TV programmes, reports, and
news articles, but there are no works on transgender representation style in
Bangladeshi film.
As film works to reflect, construct, and reinforce the reality (Paralik, 2017) and
negative representation of a group in film hampers the everyday lives of the
group in a society (Reitz, 2017) that is why it is important to know how the
transgender people are represented in Bangladeshi film. Are the Bangladeshi
films misrepresenting transgender people like the films of India, UK, and the USA
or not?
This paper answers these questions. It has analysed how the transgender
characters have been represented in the film Common Gender. This paper
analysed the film based on qualitative data. To analyse the data, the content
analysis method and the film narratology method have been applied and this
paper has applied the representation theory as its theoretical framework.
The film Common Gender is the first and only one Bangladeshi film on
transgender people still now that was produced especially based on transgender
lives and it was released in 2012. As this film has produced especially based on
transgender people that is why this film has a special influence on its audiences.
Analysing this film, this paper found; the film Common Gender has represented
transgender people the same way that the Bangladeshi dominant groups think
about them. It represented the stereotypical thoughts of Bangladeshi society
about transgender people.
This paper has provided a brief discussion on the objectives of this research at the
very beginning and then it has presented a review of the existing literature of this
arena. A brief review of the film Common Gender has been provided just after
Transgender Representation in Bangladeshi Film 71
the ‘Bangladeshi society’s attitude towards transgender people‟ part so that it
would be easier to understand how the film has represented transgender people in
this film and how much it relevant or irrelevant to the beliefs and practices of
Bangladeshi society. Afterward, the theoretical framework and research
methodology parts have been discussed, respectively. In the last part, the
discussion and findings section thoroughly provide the outcome of this research.
Ultimately, some conclusions have been drawn from the research findings.
Research Objectives
This paper has analysed the film Common Gender:
1. To explore the stereotypes thought and representation style of
transgender people in the film Common Gender;
2. To explore the power relations among transgender people and other
groups of Bangladeshi society in this film;
3. To explore the similarity or dissimilarity about transgender people
between the representation of film and the reality and
4. To contribute to filling up the existing knowledge gaps in the field of this
study and encourage more investigation.
Research Question
Based on the research objectives, this paper has analysed the film Common
Gender to explore the main research question and several sub-questions.
Main Research Question
RQ 1: How this film has represented the transgender people in this film?
Research sub-question
RQ 2. How the Bangladeshi stereotypical thoughts about transgender
people have been reflected in the film?
RQ 3. What is the relationship between Bangladeshi dominant culture
and film?
RQ 4. What are the power relations among society‟s majority group,
minority group and media?
72 Asaduzzaman
Literature Review
Media have a great influence on its audiences and based on it, different media
effect theories have been appearing such as magic bullet theory, agenda-setting
theory and uses and gratifications theory. Regarding this issue, Zain (2014) and
Happer & Philo (2014) said, the way a group of people is represented in the
media; the audiences think about the group in the same way.
As a form of mass media, the film also influences its audiences. Acknowledging
this thought, hooks (1996) added; the film not only reflects the culture but also
constructs the culture. Supporting hooks (1996), Paralik (2017) added; the film
works for reflecting, constructing, and reinforcing reality. So, it can be said that
the ideal representation of a group in the film is important for the betterment of
the group.
However, Guzman (2006) said, to present any content, media are influenced by
the dominating culture while Dukes & Gaither (2017) and Horton, Prince and
Brown (1999) opined that the films represent minorities stereotypically. Working
on transgender representation in film, Jobe (2013) said, the transgender people
often get misrepresented in film. Cavalcante (2018) added, this society attempts
to establish them as a prostitute, sex worker and addicted and we notice the same
presentation in the film about them. Jobe (2013) also added, producer uses a
transgender character to sensationalize the story and Reitz (2017) said, in the
film; transgender women often cast as villains that is why the transgender women
fight more to achieve their equal rights in society.
Moreover, this misrepresentation is not only limited in the boundary of a single
country, but also this group is misrepresented all over the world. In America, the
transgender community faces a lot of damage for negative representation in film
(Jobe, 2013). A research report based on the The UK‟s transgender people
expressed that the “transgender people are deeply dissatisfied with the way they
are portrayed by the media” (“How transgender people”, 2010, p.11). Banerjee
(2015) also added, transgender people have been represented in Bollywood as
“terrifying villains or ridiculous comic relief” (p.1).
Additionally, Cavalcante (2018) said, the media represent the transgender in the
same way that we notice in our society and in our everyday life. To draw an
example about transgender representation in the media, he quoted a news media,
and it was- “The [news] media says trans women are supposed to be sex worker,
Transgender Representation in Bangladeshi Film 73
and have HIV, and live in SROs (Single Room Occupancies) in a tough part of
town” (Cavalcante, 2018, p. 80).
Therefore, it can be said that Hollywood, Bollywood, and British cinema all
misrepresent transgender people and for this worldwide misrepresentation;
transgender people are paying all over the world. The above scholars also
indicate, to work for the betterment of the community in a country; it is important
to know how the country‟s film represents transgender as it gives an overview of
the society‟s attitude toward transgender.
However, Bangladeshi media also represented transgender people in the same
way that this paper discussed above (Aldama, 2019; Stenquist, 2015; Halder,
2017; Hossen, 2012; “Discrimination starts”, 2019; “Bangladesh: Transgender
men”, 2018). We get this scenario about the representation of transgender people
in Bangladeshi media based on different reports, TV programmes and news
articles, but there are no works on transgender representation style in Bangladeshi
film. It happened as no films were produced based on transgender people till
2012 in Bangladesh. Though the film Common Gender was released in 2012, no
work has done on this film yet.
In Bangladesh, transgender is a minority group (Stenqvist, 2015) and they are
fighting to achieve their basic rights (Aldama, 2019). Scholars said, the negative
representation of a group in film hampers the everyday lives of the group and it
will be worse if the group belongs to a minority group (Reitz, 2017). Besides it,
previous research said, Hollywood, Bollywood and British cinema all
misrepresent transgender people and for this misrepresentation, they have to pay
for it.
In these circumstances, to work for the betterment of the transgender people in
Bangladesh; it is important to know how the Bangladeshi film represents
transgender people. Besides it, this work has been able to insert new knowledge
in this area about Bangladesh context and it has presented an overview of the
transgender people‟s condition in Bangladesh and Bangladeshi society‟s attitude
towards transgender people based on existing literature and pieces of evidence
that are also important to work for the betterment of transgender people in
Bangladesh.
74 Asaduzzaman
Bangladeshi Society’s Attitude towards Transgender People
In Bangladesh, people address transgender people as hijra, and this community is
one of the most marginalized and crossed minority groups in Bangladesh
(Stenqvist, 2015). Like the other babies, here, the trans babies also born in a
family and they grow up with their family members normally. But the problem
starts gradually with the raising of their age.
After a certain period, when the family and society notice that their physical
shape is not normal like others, then the society and family cannot accept them
normally (“Discrimination starts in”, 2019). The stigma of being a hijra starts
from the family first (“Discrimination starts in”, 2019). Society does not treat the
family in a good way where a hijra inhabits that is why it forced hijras to seek a
life with other hijras outside of the family to protect their family from further
societal stigma (Stenqvist, 2015).
Besides it, mainstream Bangladeshi society refuses to develop any social
relationship with transgender people. The hijras are excluded from accessing
social institutions and services such as education, housing, and health care
(“Bangladesh: Transgender men”, 2018; Halder, 2017). Bangladeshi society also
does not offer them any job that is why they have to depend on the kindness of
people to survive or many of them turn to occupation within prostitution, drugs,
begging and other illegal activities (Rahman, 2009).
In addition, they are also facing dominance, violence, and abuse by the people of
Bangladesh. “Violations occur in forms of abduction, arbitrary arrests, detention,
beatings and gang-rape by law enforcement agencies and others” (Sexual Rights
Initiative, 2009, cited in Stenqvist, 2015, p. 12). They also face “molestation,
both on physical and psychological levels, of people with non-heteronormative
gender expressions and attributes” (Sexual Rights Initiative, 2009, cited in
Stenqvist, 2015, p. 12). These all indicate that transgender people are living in a
vulnerable position in Bangladesh and here, they cannot enjoy their human rights
fully.
Recently, Bangladesh Government has given full recognition to the hijras by
creating a special sex category on Bangladesh‟s national voters‟ list as „hijra‟
(Wallen, 2019). Though it is a big achievement for transgender, they are still
fighting to get recognition from society as human beings (Aldama, 2019).
Transgender Representation in Bangladeshi Film 75
The Film Common Gender
Famous filmmaker Noman Robin‟s full-length feature film Common
Gender (“Common gender-the film”, 2015). This film was produced based on the
love story of a hijra (transgender). Besides, this film is the first and only one
Bangladeshi film that vividly described the lifestyle of Bangladeshi transgender
people and the public perception towards transgender people. It was released in
2012 and it is one of the first films in the world movie in which two transgender
people worked as lead characters and it was subsequently released in the United
States (Hossen, 2012). The story of this film has been presented in the
discussion and findings’ part under the „histoire section of this paper.
Theoretical Framework
The representation theory has been applied in this research to understand why
transgender people are represented in a specific way in the media. Besides, it is
important to understand the political economy of representation which is
connected to the critical approach of text analysis.
To define representation, Hall (1997, p. 1) said, “representation means using
language to say something meaningful about, or to represent, the world
meaningfully, to other people”. Representation engages meaning and language to
culture. It is a process by which meaning is produced in society and be exchanged
among the members of the society (Hall, 1997). In this process, ideology and
power set up the meaning of a given text (Hall, 2000).
It indicates that the dominating culture plays a significant role to construct
meaning as there is the question of power. Hence, to understand and analyse how
the given text works in the existing socio-economic structure, representation
theory is important. Accordingly, to understand the political economy of the
construction and representation of transgender people in this film; the
representation theory is also important.
There are three approaches to explain how the representation of meaning through
language works. They are the reflective approach, the intentional approach, and
the constructionist approach (“Stuart Hall the work”, 2012).
According to the reflective approach, the meaning is supposed to lie in the object,
person, or idea in the world and here, language work as a mirror. In contrast, the
intentional approach of representation argues that the speaker or the author
76 Asaduzzaman
imposes meaning on the world language (Sherpa, 2019). On the other hand, the
constructionist approach states that people construct meaning through concepts
and signs. We produce our own meanings to an object, person, or idea through
our own language (“Stuart Hall the work”, 2012).
This paper has used the constructionist approach of representation to analyse the
dialogue, language, gesture, posture, music, dance, and dress of the film through
which the paper has found how the transgender people have been presented in the
film Common Gender.
Research Methodology
As this research is following qualitative approach, the content analysis method
has been applied to analyse data. Additionally, to analyse mass media content or
text; researchers apply film narratology as a method. Rudrum (2002) said,
It scrutinises the internal relations of a narrative‟s component parts and dissects
how these relations are constructed in practically any given aspect of the
narrative text (such as plot, narration, sequence of events, and so on) (p.1).
Hence, to analyse the film; this paper also applied the method of film
narratology.
However, Gérard Genette (1980) mentioned three categories or terminologies by
which we can analyse media content and text. Genette (1980) argued, the concept
of “narrative” has been developed based on these categories and they are recit,
histoire and narration. The film Common Gender has been analysed based on
these terminologies.
First, this paper has discussed the histoire (story) of the sampled film and then
the recit (message). In the last part, this paper has discussed the
narration (narrative strategy) of the sampled film.
Discussion and Findings
Histoire
This film has shown, like the other babies; the trans babies also born into a family
and they grow up with their family members normally. But the problem starts
gradually with the raising of their age. When the family and society notice, their
physical shape is not normal like others, then the society and family cannot
Transgender Representation in Bangladeshi Film 77
accept them normally and force them to live with other hijras outside of their
family.
Like this way, a child named Babu (familiar as Bubli in this film) born into a
family, but she cannot live with her family as her family members force her to
live outside of the family with other hijras. Though her mother tries to keep her
with them, her other family members do not show any attention to her appeal and
the same thing happen with Shushmoy (familiar as Shusmita). In these
circumstances, both Bubli and Shusmita start to live with other hijras.
As society does not offer them any job or work that is why Shusmita and Bubli
both go shop to shop and collect money to survive like the other hijras. Many of
them also involve with various illegal activities to survive. Like the other hijras,
this society also treats Bubli and Shusmita as sexual objects. This society thinks
they are here to entertain them.
However, one day, a Hindu family invited Shusmita and her group at a wedding
programme for entertaining them by dancing and singing. Seeing Shusmita, a
transgender youth, at the wedding programme; Shonjoy wants to make friendship
with Shusmita. They spend some time talking with each other at the wedding
programme and Shonjoy shares his phone number with Shusmita.
After the wedding programme, one day; Shusmita contacts Shonjoy over the
phone. They start to communicate with each other over the phone regularly and it
makes the friendship between them over time.
One day, Shonjoy said Shusmita over the phone that it could be much better
had Shusmita been a girl. This statement changes something inside
Shusmita. Shusmita starts to behave more like a girl and falls in love with
Shonjoy. They start to spend their time together and share their feelings with each
other.
One day, Shonjoy took Shusmita to their home, his parents obscenities Shonjoy
for making friendship with a transgender and insult both. This humiliation
forces Shusmita to commit suicide. After the death of Shusmita, the caretaker of a
graveyard disagrees to bury Shusmita at the graveyard as Shusmita neither a male
nor a female.
In the last scene, Bubli goes to her family to meet his mother, but her family
members do not allow her to meet with her mother and beat her badly for coming
78 Asaduzzaman
to her family. After returning, Bubli also commits suicide and raises a question,
how their God will treat them? Male or female? As this society treats them,
neither a male nor a female and they suffer a lot not for being a male or a female
that is why she raises the question.
Consequently, this film‟s story is like the position of Bangladeshi transgender
people. It represented the same scenario that this paper mentioned about
Bangladeshi transgender people in ‘Bangladeshi Society’s Attitude
towards Transgender People’ part above. Therefore, it can be said that the
film Common Gender represented transgender people the same way that the
Bangladeshi people or society think about transgender people. There is no
difference between the film and reality.
Recit
According to the method of Gérard Genette, this part has analysed the character‟s
dialogue, accents, gesture, posture, music, dance, and dress of the sampled film.
Analysing these, this paper found, the film presented transgender people in the
following ways:
Transgender is a curse for their family
Different parts of this film indicate the transgender is destroying their family‟s
prestige by their activities. At the very beginning of this film, when the CD owner
complains to Raju about Bubli‟s activities, then Raju (Bubli‟s brother) said,
“there is a thing called honour even that is gone now.” Regarding this issue,
Bubli‟s father said to her mother that “whose curse, is it? We have been suffering
for 22 years” and Bubli‟s father also prays to God saying- “oh God! Please do not
bring this even upon my enemy.” These conversations clearly express that
transgender people are a curse to their families.
Transgender is not entirely a human being
This film indicates, Bangladeshi society does not treat them as an entire human
being. They always treat them as a transgender and their expression indicates that
the transgender is not human beings. In different contexts, the transgender people
tried to prove them as a human being to confront different issues. Transgender
asked people saying- “why people are behaving with them in this way? Are not
they human beings?” In response, people said, they are human beings but
Transgender Representation in Bangladeshi Film 79
transgender. It seems that transgender is not a human being. It also indicates,
transgender people are still fighting with this society to get recognition as human
beings.
Transgender is not polite or civilized
In a scene in this film, one man warned the transgender people saying that “this is
a decent neighbourhood. If you can live decently then stay here, otherwise please
leave this area.” It indicates that they are not polite and to live with the general
people they have to be polite. Besides it, in different ways, this film represented
them as uncivilized. (See Appendix-1.8 for more)
People hate transgender
At the very beginning of this film, a police officer addresses transgender people
saying- “if you want money just ask for it. Why do you have to touch?” Besides
it, in different parts of this film, people asked them not to touch them and in
response, the transgender people raise the question- “are we not humans being?”
Their language and expression indicate- the people of the Bangladeshi society
hate transgender people that are why they do not allow transgender people to
touch them. (See Appendix 1.1 for more)
Transgender is here to entertain people
Different parts of this film indicate that transgender people have born to entertain
society. Once, one Hindu family invited transgender people to a
wedding programme to entertain their family by performing songs and dances.
Additionally, different parts of this film showed that transgender people are
entertaining people by their activities and performances. (See Appendix 1.2 for
more)
Narration
This paper has analysed the narrative strategy of this film and found that the film
presented the transgender people in the following ways:
Transgender does not have any rights in society and family
Analysing this film, this paper found; families severed relations with transgender
as their children or siblings after a certain time. Society does not recognize their
80 Asaduzzaman
love, romance, and friendship with normal people. Transgender people cannot
live with their family as well as in a good place that is why they have to live in a
shantytown (See Appendix-1.3 for more). Society does not offer them any job or
work that is why they beg or involve themselves in illegal activities to
survive (See Appendix-1.4 for more).
Additionally, society treats them as transgender, neither male nor female. This
treatment creates problems for them such as they cannot use a public toilet for
this treatment as the public toilets are dedicated to males and females separately
in Bangladesh. As transgender people neither male nor female that is why they
cannot use it.
Moreover, after their death; they face the same problem for this treatment as
Bangladeshi Islamic society prefers to bury male and the female in different
places and there are also some different rules for male and female in Janazah
prayer. As they are neither male nor female, hence it makes problems to
categorize them. After the death of Shusmita, we noticed- the caretaker of the
graveyard disagreed to bury Shusmita as Shusmita is neither a man nor a woman
and he has never buried a transgender (See Appendix-1.5 for more). These all
express the position of transgender people in society that indicates- transgender
does not have any rights in society.
Transgender people are sexual objects
This research observed, society treats them as their sexual objects. In a scene
when a rickshaw puller saw a transgender person, he approached, “you want to
go somewhere? Come with me?” A truck driver said, “Want to go on a truck?
Come with me.” A young boy said, “Where are you going? Let us play.”
Throughout the entire film, transgender people have shown different private parts
of their bodies and use different slang, sexual words, and expressions in their
conversation. They tried to show their sexual attractiveness by their gesture and
posture that enjoyed everyone, and people want to see transgender people in this
role. This film also showed, some people touch transgender women unnecessarily
just to satisfy their sexual demands and transgender women are allowing it. It all
indicates society‟s sexist attitude toward transgender people. (See Appendix-1.6
for more)
Transgender Representation in Bangladeshi Film 81
Transgender is helpless
While begging in a market, Bubli was talking with a shopkeeper in the following
way- “oh Allah, won‟t you look after us? Our parents will not care for us. The
government will not look after us, this man here will not either. What are we
supposed to do? How will we live if we don‟t eat?” This conversation clearly
expressed their helplessness. (See Appendix-1.7 for more)
Transgender has to depend on the kindness of people to survive
The film showed that transgender people are going door to door to survive. They
are begging and acknowledging that without the support of people, they will not
survive. One day Shusmita said, “We live off whatever money these people give
us” (See Appendix-1.4 and 1.7 for more).
Transgender is involved in illegal activities
The entire film indicates that transgender people are involved in smuggling,
hijacking, begging, snatching, prostitution, and other illegal activities (See
Appendix-1.8 and 1.9 for more). One day, some Muslims said to the transgender
people that “yesterday we saw you were fighting with each other, don‟t do this.”
Moreover, this film showed; snatchers once snatched Sanjoy‟s phone, and the
transgender people recovered it from the snatchers as the transgender people have
so many connections with muggers or illegal people. These scenes indicate their
illegal activities.
People can abuse transgender physically and verbally
This film presented, people, family members and anyone can abuse them
physically and verbally and transgender people have no options without allowing
it and there is no remedy for it. Once Shabnam Mashi mentioned, “people in a
market had once physically abused Shahjada Mashi.” This film also presented,
people and a security guard once beat Bubli badly just for using public toilets and
Bubli‟s brother to also beat Bubli just for going to their family (See Appendix-
1.10 for more). Regarding this issue, one day, Shusmita told Shonjoy that “I have
been grown up by tolerating insult from numerous people.”
82 Asaduzzaman
Consequently, analysing this film; it can be said that the stereotypical thoughts of
Bangladeshi society about transgender people have reflected in this film. This
film represented, transgender people are excluded from family, education, job,
housing, healthcare, and other basic facilities. They live depending on people‟s
kindness. They are treated as sexual objects, and anyone can abuse them verbally
and physically and they have nothing to do. They are a curse to their families.
They are involved in different illegal activities, and they are not civilized. All of
these are the stereotypical thoughts of Bangladeshi dominant society about
transgender people and this film has presented these the same way.
Additionally, the transgender is a minority and others are the majority in
Bangladesh that is why the transgender people are controlled by the other groups
and the transgender people are allowing it as they have nothing to do. The media
are presenting this scenario in a way that seems to us as natural and as the rule of
society. Here, we notice the power relations and their effects among minorities,
the majority, and the media. Therefore, supporting Hall (2000), it can be said that
power sets up a meaning.
Moreover, all the data and evidence show that there is no dissimilarity between
the representation of the film and reality. Therefore, supporting Guzman (2006)
and Cavalcante (2018), it can be said that the media are influenced by the
dominant culture.
Conclusion
To find out the transgender people‟s representation style in Bangladeshi film, this
paper has examined the film Common Gender. After analysing this film, this
paper found; this film has represented transgender people the same way that the
Bangladeshi dominant society thinks about transgender people. It has represented
the stereotypical thoughts of Bangladeshi society about transgender people. There
is no dissimilarity between the representation of film and reality. In conclusion, it
can be said that this film has misrepresented transgender people like
Hollywood, Bollywood, and British films. Before concluding, it should clarify
the limitations of this study. This paper has analysed only one film to reach this
decision, so it is difficult to generalize this finding for all Bangladeshi films.
Transgender Representation in Bangladeshi Film 83
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Transgender Representation in Bangladeshi Film 85
Appendices
Appendix-1.1 (People hate transgender)
In the first picture, a man is telling a transgender woman not to touch him and in
the second picture, one police officer is also telling a transgender not to touch
him and subtitles on the pictures clearly showing it. The expression of the first
picture also saying, he hates the transgender women.
86 Asaduzzaman
Appendix-1.2 (They are here to entertain people)
Appendix-1.3 (Live in shantytown)
In both pictures, the transgender
women are dancing and singing to
entertain people.
View of transgender people‟s living
place
Transgender Representation in Bangladeshi Film 87
Appendix-1.4 (Begging)
Bubli is begging saying- “hey mister, give me some money”. In response to
Bubli, the shopkeeper is asking Bubli- “what for”? Bubli replaying- “oh lord.
Won‟t we eat? Do not we need to eat? Give me money” (Picture-1). To response,
the shopkeeper advising Bubli to “get work” (Picture-2) and then Bubli
answering the shopkeeper saying- “we want to but who is going to give us work”
(Picture 3). Then, the shopkeeper again advising Bubli saying- “then get married
and start your own family” (Picture-4). In response to shopkeeper, Bubli is
saying- “who is waiting to marry us? Give me some money” (Picture-1.5)
Picture-1
Picture-2
Picture-3
Picture-4
Picture-5
88 Asaduzzaman
Appendix-1.5 (Transgender does not have the right to be buried)
After the death of Shusmita, Tota Mia went to a graveyard to bury Shusmita, but the
caretaker disagreed to burry Shushmita saying- Shusmita neither a male nor a female
and he has never buried a hirja.
Transgender Representation in Bangladeshi Film 89
Appendix-1.6 (Transgender is sexual object)
In Picture-1 and Picture-2, transgenders are expressing their sexual gesture. After
seeing transgender, rickshaw puller says- you want to go somewhere? Come
with me”? (Picture-3) The truck driver says- “want to go on a truck? Come with
me.” (Picture-4) Youth says- “where are you going? Let us play”. (Picture-5)
Picture-1
Picture-2
Picture-3
Picture-4
Picture-5
90 Asaduzzaman
Appendix-1.7 (Transgender is helpless)
Appendix-1.8 (Involve with illegal activities)
.
While begging, Bubli is saying- “oh
Allah, won‟t you look after us? Our
parents will not care for us (Picture-1).
The government will not look after us,
this man here will not either. What are we
supposed to do? How will we live if we
don‟t eat”? (Picture-2)
Picture-1
Picture-2
One transgender is beating a man
Transgender Representation in Bangladeshi Film 91
Appendix-1.9 (Drug Addicted)
One transgender woman is smoking cigarette.
92 Asaduzzaman
Appendix-1.10 (Anyone can beat them)
Raju (Bubli‟s brother) is Beating Bubli for coming to her family.
People and one security guard are beating
Bubli for using public toilet.
ResearchGate has not been able to resolve any citations for this publication.
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