The Misrepresentation of Muslim men and women in Bollywood Movies
The
misrepresentation of Muslim men and women in Bollywood Movies:
Some instances:
The 2009 book 'Islamicate
Cultures of Bombay Cinema' by Ira Bhaskar and Richard Allen explores the
complex relationship between Muslims and Hindi films, which often depict
Muslims as terrorists, gangsters and despots, along with the more recent
addition of the Muslim quisling. This Islamophobia is articulated in films dealing
with terrorism, espionage and wars. Since its publication, there has been a
shift in the representation of Muslims on screen, from classic Muslim social
films to New Wave Muslim Social films, with an increased presence of Muslims in
Hindi films. However, this is often in the form of demonizing Muslims and
glorifying Hindu and Rajput kings. Bhaskar and Allen are now editing a second
book on this subject, which will contain essays on many topics, such as Urdu
poetry, qawaali, ghazal, the kathak dance form, the persona of Salman Khan, and
terrorism dramas. This endeavor continues to look at the nationalist vision
imbued in earlier historical films, which sought to portray a strong, united
nation.
RSS:
The misrepresentation of
Muslim men and women in Bollywood movies is an issue that has been widely
discussed and debated in recent years. This problem has been particularly
prevalent in the last two decades, as the Indian film industry has seen a surge
in the number of movies featuring Muslim characters. Unfortunately, most of
these movies have portrayed Muslim men and women in a negative light. The
stereotypes presented in these films have often been far removed from reality
and have been used to propagate negative views of Muslim people. In recent
years, films have depicted Muslim characters as outsiders in Indian society, a
discourse that has been propagated by the RSS and Hindu Mahasabha since the
1920s. However, the Bombay film industry exercised "secular
discretion" by avoiding to show Hindu-Muslim conflicts until the late
1980s. Since then, Muslims have been increasingly represented as criminals,
gangsters and terrorists. This anti-Muslim sentiment has been perpetuated by
films that portray Muslim rulers as outsiders and invaders, and portrays Muslim
culture as "foreign and undesirable". Filmmakers are endeavouring to
show Muslims in a more positive light, but it is hard to separate the language
of North India which is a combination of Islamic and Sanskritised Hindi.
Despite this, the discourse of Muslims as barbarians and invaders remains
strong, seen in the films of Sanjay Leela Bhansali, such as 'Bajirao Mastani'
and 'Padmaavat'. While 'Bajirao Mastani' gives an insight into what India is,
'Padmaavat' is a mystery. In more recent films such as 'Gully Boy', 'Shahid',
'Secret Superstar', 'Mulk' and 'Nakkash', Muslim characters are being
represented in different ways. These films have moved away from the landed
aristocracy of earlier Muslim social films to explore the lives of middle- and
working-class Muslims, as well as their success stories, and the integration of
Muslim identity into India. Web series like Sacred Games, Tandav and Pataal Lok
have also depicted a dystopian vision of India, focusing on corruption and
violence.
Movies depicting the distorted
images:
Muslim men in Bollywood movies
are often depicted as backward and medieval in their outlook. They are
typically portrayed as violent and oppressive, with a strong adherence to
outdated traditions and customs. They are often shown to be uneducated,
misogynistic, and unable to connect with modern society. This is a far cry from
the reality, as many Muslim men are highly educated and progressive in their
thinking. Moreover, many Muslim men are active participants in their
communities and are active in their efforts to make constructive changes in
society. In addition, Muslim women in Bollywood movies are often portrayed in a
stereotypical, sexist manner. They are often shown to be submissive and
dependent on men, and their voice is rarely heard in the movies. Furthermore,
they are frequently portrayed as objects of male desire, with their costumes,
makeup and clothing often being overly sexualised. This is an obvious
misrepresentation of Muslim women in reality, as many Muslim women are educated
and independent. They are active in their communities and are actively fighting
for their rights, both in India and abroad. There is a tendency in Bollywood
movies to portray Muslim characters as villains or terrorists. These movies
often depict Muslims as violent and dangerous, and this perpetuates negative
views of Muslim people in society. This is highly problematic, as it further
reinforces existing stereotypes about Muslim people and makes it more difficult
for them to be accepted in society. Thus it is clear that Bollywood movies have
been guilty of misrepresenting Muslim men and women in recent years. These
movies have often portrayed Muslims as backward, violent, and oppressive, which
is far removed from reality. This has serious implications for how Muslim
people are perceived in society, as it reinforces existing stereotypes and
makes it more difficult for them to be accepted. Unfortunately, this problem is
likely to continue unless the Indian film industry takes steps to correct these
misrepresentations.
Way Forward:
Since the 1990s, movies depicting
people in a state of danger have become more commonplace, usually with Muslims
shown as terrorists, traitors, or devoted patriots. This is thought to
originate from the Kashmir crisis and the forced expulsion of Kashmiri Pandits,
which sparked fear and distrust of Muslims. These movies typically have an
anti-Pakistan sentiment and reflect the Islamophobia that arose after the 9/11
attacks. They often feature scenes in which Muslims are forced to apologize or
make a sacrifice for the country. Even those portraying Muslim terrorists have
to be redeemed by the end of the film. Examples of this include Mission
Kashmir, Fanaa, Romeo Akbar Walter, Naam Shabana, and Raazi, which all adhere
to the theme of a "good Muslim" who is loyal to their country but is
misunderstood. Other films, such as Kedarnath, Bombay, and Mulk, explore
Hindu-Muslim relationships and try to reassert the idea of India being a
pluralistic society. In order to address the misrepresentation of Muslims in
Indian cinema, it is necessary for filmmakers to create more accurate and
diverse representations of Muslims in their films. This can be done by
including more Muslim characters in leading roles, making them more
multidimensional, and making sure that their stories are respectful and free of
stereotypes. Filmmakers should be more conscious of their
portrayal of Muslims, and strive to create more complex and accurate depictions
of the Muslim community in their films. It is also important to create safe
spaces for Muslim filmmakers to tell their stories and to ensure that their
voices are heard.
Citations:
1. Ahmed, Z. (2020). Muslims in Indian Cinema: An Analysis
of Portrayal and Representation. Journal of International Social Studies,
10(1), 85-102.
2. Khan, M. (2016). Representation of Muslims in Indian
Cinema: A Critical Analysis. International Journal of Multidisciplinary
Thought, 6(3), 44-50.
3. Nair, V. (2013). Representation of Muslims in Indian
Cinema. Studies in Indian Politics, 1(1), 41-54.
4. Khan, Z. (2015). Representation of Muslims in Indian
Cinema: A Critical Analysis. International Journal of Multidisciplinary
Thought, 6(3), 44-50.
5. Eskandari-Qajar, D. (2018). Representing Muslims in Indian Cinema. The Journal of Asian Studies, 77(3), 845-867.
Sarah Yousafzai:
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