Travel is a luxury that I cannot handle easily. I was born with a disability called Talipes, or more commonly called as Club Foot.
Travel, while liberating and empowering for women, comes with its own set of restrictions and tensions. Maybe that’s why we can’t envision Dil Chahta Hai with female characters, because we know that the experience won’t be the same for a group of women travelling together.
Jyotsna Siddharth interviewed Niharika Singh for Dalit Feminism Archive to discuss issues of caste, appropriation, representation and feminism in Bollywood.
As media fills up with political debates, we continue to silence the voices of those directly affected who grieve for their home. FII talks to Ahmed Dar to learn about Kashmir—his home.
Shyam Benegal’s first feature film, Ankur, released in 1974 which also marked the debut of Anant Nag and Shabana Azmi disentangles the intricacies of caste, class and gender in both rural and urban settings in a really simplified yet enlightening way.
In the millennial, Sari is marketed as a trendy and stylish outfit. It can be worn as a skirt, trouser, with denim jackets and aviator glasses. It is sported frequently by celebrities at international events.
Films like Game Over have given rise to a new trope in Hindi cinema—the faux feminist. For example, films like Pink or Dangal may have had more on-screen time for women, but they still promote patriarchal ideals with female characters exerting little or no agency.
Rekhti is characterised by having a female speaker, and having women, and erstwhile feminine lifestyles as its themes. Its settings, scenarios, subjects and objects were often those commonly encountered by women in their everyday life.
Mukherjeedar Bou is about the loss of identity that women face when they marry. The change in name subsumes individual selves and is a precursor to squashed dreams and desires.
While I cannot dictate how the feminist in you should view them, here is a quick lay-down on the Kardashian-Jenner brand of feminism.