BOLLYWOOD PAPER 1 
HAPPY NEW YEAR!
Why is the role of women in Bollywood movies inferior to the Male role? Bollywood is the moniker for the Hindi film industry in India. The films released out of Bollywood are encircled around the male character. This paper is intended to research the reason behind the aforementioned trend. This paper will examine whether the Male Dominance, in the film making process a product of culture or a business decision. The movie Happy New Year would be used to examine the extent to which the Male Character is the basis of Hindi Indian Film Industry.
Happy New Year is an Indian movie released in 2014. It belongs to the action comedy Indian film genre. The movie is directed by Farah Khan (a well-known female movie director) and produced by Gauri Khan (female producer, wife of lead male actor Shahrukh Khan). Even though the movie’s producer and director are females the movies theme is largely based on the lead main character Charlie. Charlie is played by non-other than the mighty well known king of Bollywood Shahrukh Khan. [1] Shahrukh Khan is one actor that is not only praised for his acting but has a Divine status which leads to the title of King as mentioned earlier. He is the prime example of how Bollywood movies are successful only due to the Male Characters presence. Movies no matter what the ratings earn in the millions just by the Kings presence. All other characters specially the women are just incidental. However it is important to note that in addition to being incidental the women character is viewed as an object, only there to further the male roles purpose, and either very good or awry. According to a book by Steve Derne Men in India are attracted to Hindi films partly because of their attraction to depictions of modern lifestyles. Dern argues that films help men handle their ambivalence about modernity by rooting their sense of Indianness in women 's acceptance of traditional food habits, clothing, and gender subordination. [2]
Happy New Year
Why is the role of women in Bollywood movies inferior to the Male role? Bollywood is the moniker for the Hindi film industry in India. The films released out of Bollywood are encircled around the male character. This paper is intended to research the reason behind the aforementioned trend. This paper will examine whether the Male Dominance, in the film making process a product of culture or a business decision. The movie Happy New Year would be used to examine the extent to which the Male Character is the basis of Hindi Indian Film Industry.
Happy New Year is an Indian movie released in 2014. It belongs to the action comedy Indian film genre. The movie is directed by Farah Khan (a well-known female movie director) and produced by Gauri Khan (female producer, wife of lead male actor Shahrukh Khan). Even though the movie’s producer and director are females the movies theme is largely based on the lead main character Charlie. Charlie is played by non-other than the mighty well known king of Bollywood Shahrukh Khan. [1] Shahrukh Khan is one actor that is not only praised for his acting but has a Divine status which leads to the title of King as mentioned earlier. He is the prime example of how Bollywood movies are successful only due to the Male Characters presence. Movies no matter what the ratings earn in the millions just by the Kings presence. All other characters specially the women are just incidental. However it is important to note that in addition to being incidental the women character is viewed as an object, only there to further the male roles purpose, and either very good or awry. According to a book by Steve Derne Men in India are attracted to Hindi films partly because of their attraction to depictions of modern lifestyles. Dern argues that films help men handle their ambivalence about modernity by rooting their sense of Indianness in women 's acceptance of traditional food habits, clothing, and gender subordination. [2]
Happy New Year
References: 10. Genesis, Second Edition (Readings: A New Biblical Commentary) Paperback – August 11, 2009 (pg 20) by Laurence A. Turner 11