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The Idea of Femininity in Cinematic Rites of Passage in Bollywood Cinema

The Idea of Femininity in Cinematic Rites of Passage in Bollywood Cinema

Amrita Satapathy
Copyright: © 2020 |Pages: 17
ISBN13: 9781799835110|ISBN10: 1799835111|ISBN13 Softcover: 9781799835127|EISBN13: 9781799835134
DOI: 10.4018/978-1-7998-3511-0.ch007
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MLA

Satapathy, Amrita. "The Idea of Femininity in Cinematic Rites of Passage in Bollywood Cinema." Handbook of Research on Social and Cultural Dynamics in Indian Cinema, edited by Santosh Kumar Biswal, et al., IGI Global, 2020, pp. 76-92. https://doi.org/10.4018/978-1-7998-3511-0.ch007

APA

Satapathy, A. (2020). The Idea of Femininity in Cinematic Rites of Passage in Bollywood Cinema. In S. Biswal, K. Kusuma, & S. Mohanty (Eds.), Handbook of Research on Social and Cultural Dynamics in Indian Cinema (pp. 76-92). IGI Global. https://doi.org/10.4018/978-1-7998-3511-0.ch007

Chicago

Satapathy, Amrita. "The Idea of Femininity in Cinematic Rites of Passage in Bollywood Cinema." In Handbook of Research on Social and Cultural Dynamics in Indian Cinema, edited by Santosh Kumar Biswal, Krishna Sankar Kusuma, and Sulagna Mohanty, 76-92. Hershey, PA: IGI Global, 2020. https://doi.org/10.4018/978-1-7998-3511-0.ch007

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Abstract

Most movies pre-2000 focused on feminine stereotypes conceived within the confined ambit of societal constructs. It is only with the millennium that scriptwriters became bolder in their conception of femininity. Directors and women actors have begun experimenting with unconventional feminine roles which are definitively plausible. The portrayals of new-age peripatetic women like Deepika Padukone's single and successful architect Piku Banerjee, living with her septuagenarian father or Paravathy's urbane, sophisticated, English speaking, corporate executive, the widowed Jaya Shashidharan, prove that fixities have given way to flexibilities in portrayal and form. This chapter seeks to undertake a comprehensive study of the idea of femininity in cinematic rites of passage through an in-depth analysis of Shoojit Sircar's Piku (2015) and Tanuja Chandra's Qarib Qarib Singlle (2017), and show how itinerant women protagonists are negotiating identities by challenging alterity.

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