New Delhi: Art mirrors life, and life mirrors artwork, however the skinny line between them typically blurs, particularly in Bollywood, a cornerstone of Indian common tradition. Criticism has been fervent, focusing on the business’s portrayal of girls and the shortage of child-friendly content material.
Violence, extending past the bodily, encompasses the systematic, social, psychological, and cultural realms. Sadly, the victims are sometimes girls, labeled because the ‘submissive’ gender, and helpless kids bearing the brunt. Vani Tripathi Tikoo, a CBFC board member, underscores the difficulty, stating unequivocally, “We have for long objectified women, which is non-negotiable.”
The high-quality line between persuasion and stalking, typically depicted in motion pictures, has real-life repercussions, with incidents reported in society. Marital boredom resulting in infidelity is portrayed humorously in titles like Biwi No. 1, Gharwali Bharwali, Pati Patni Aur Woh, prompting a deeper examination of societal norms. While some movies deal with essential points, the query of aesthetics of their portrayal stays paramount.
Actor Shweta Basu Prasad, talking at a session on violence depiction in cinema, praised works by Raj Kapoor and Shyam Benegal, emphasizing their respectful portrayal of feminine protagonists. Vani Tripathi Tikoo echoed this sentiment, highlighting the significance of context in movies like ‘NH10’ and ‘Pink,’ the place express content material serves a objective with out veering into vulgarity.
In an business the place commerce drives selections, each Vani and Shweta emphasize particular person duty. They stress that if customers reject inappropriate content material, producers will alter their strategy. However, considerations persist concerning the dearth of healthful movies for kids and the exploitation of kid artists, as highlighted by former baby artist Shweta Basu Prasad.
Shweta urges mother and father to withstand viewing their kids merely as monetary property, recounting a stunning incident the place a toddler requested about her each day earnings on set. The shift from college to movie units, coupled with mother and father turning into managers, raises questions concerning the well-being of kid artists. As the business grapples with these challenges, the necessity for accountable storytelling and moral portrayals takes middle stage.
