This academic paper aims to examine the statement, “The dark side of the family, evidenced through practices pertaining to gender discrimination, opposition to non-heterosexual kinship, caste or religion-based resistance to marriage, or other forms of violence and abuse often arise from the nature of social arrangements” in terms of the storylines of the 2 Indian films, such as Matrubhoomi: A Nation Without Women (2003), and Pagglait (2021), and the resolution of violent outbursts/outbreaks in the cinematic context. This report will use two themes such as the ‘positionality of the women’ and ‘Utilization of Caste panchayats to enforce kinship and geographical exogamy’ from the selected movies regarding the statement mentioned above. Moreover, this academic paper will also highlight whether the film’s finales differ from the path troubles might take in off-screen lives to give concluding remarks on the concerned themes.
The given statement implies that families can have a "dark side" that takes the shape of many sorts of abuse and violence, including gender discrimination, antagonism to non-heterosexual kinfolk, and caste or religion-based opposition to marriage. The nature of social structures, which might include cultural, historical, and structural elements that affect family dynamics and relationships, is frequently the source of these practices. For instance, patriarchal civilizations may continue to tolerate gender inequality and abuse against women in the home, and traditional beliefs and values may forbid non-heterosexual kinship relationships and unions with people from different castes or religions (The Guardian, 2021). Such behaviors can be considered a reflection of societal norms and values at large, as well as of various power systems and inequities. Thus, the statement emphasizes the significance of comprehending social and cultural settings. This is concerned with how the family functions as well as the necessity of addressing structural problems that support harmful family practices. It also implies the need for family-focused interventions that support fairness, inclusivity, and respect for diversity, as well as for larger-scale societal changes that oppose repressive social structures. The examination of the storylines of 2 Indian films with the key themes will be explored in the sections below.
The provocative Indian movie, “Matrubhoomi: A Nation Without Women” examines the negative aspects of family and the status of women in society (Herrmann-Pfandt, 2019). The movie is set in a dystopian future where female infanticide has eliminated all women from the population. The narrative turns on a male-dominated family that must manage without the presence of women, which causes a strange and violent turn of events. The treatment of women and their place in society are two important concerns that are brought up in the movie. The patriarchal mentality that permeates Indian culture is highlighted by the way that families are portrayed as a microcosm of society. In the movie, it is made clear that men have a skewed perception of women and treat them as nothing more than objects to gratify their desires (Herrmann-Pfandt, 2019). Alongside this, the objectification of women is a recurring subject in the movie and is indicative of larger social conventions that place (positionality) women below males.
The plot of the movie serves as an allegory for the more general problem of gender inequality and the high rate of female infanticide in various regions of India. The notion that women should be viewed as objects has historical and cultural roots (Rubin, 1975). According to Rubin, understanding "traffic in women" is essential to comprehending how women are commodified. In order to preserve patriarchal arrangements in society, males will trade women with one another. In the movie, males are depicted as being ready to do everything to satiate their sexual urges, which results in the commodification of women's bodies (Herrmann-Pfandt, 2019). The film’s depiction of violence against women is a criticism of the patriarchal culture that supports it. The movie demonstrates how the lack of violence from women has resulted in a misperception of what it is to be a man, with the men turning to violence to establish their authority. The film’s violence is a mirror of India's greater societal issue of violence against women (Rubin, 1975).
India registered 3,78,236 crimes against women in 2019, according to a study by the National Crime Records Bureau, highlighting the pervasive gender imbalance in the nation (Herrmann-Pfandt, 2019). According to The Guardian, (2021), the idea of "woman" needs to be rethought or repositioned. Rubin contends that gender should not be considered a biological fact, but rather a performance. The movie Matrubhoomi emphasizes how societal conventions and practices create and maintain gender. The lack of female characters causes gender roles to be distorted, with men playing the roles that are often assigned to women (Guardian, 2021). The movie demonstrates how societal conventions and practices, rather than inborn characteristics, define gender.
Overall, the movie examines the negative effects of gender inequality in a fictional society where men vastly outnumber women. The movie offers a potent charge of positionality, gender inequality, and women's enslavement (under the family’s dominance) inside the family unit. This movie is relevant to the sociology of gender because it clarifies how gender roles are created and maintained in society. The film explores the societal and cultural conventions, alongside gender stereotypes, that lead to women's marginalization.
Pagglait is a comedy-drama movie with Hindi subtitles that was made by Balaji Motion Pictures and directed by Umesh Bist in 2021 (Bose, 2023). The movie follows Sandhya, a recently bereaved young woman who must face the sinister side of her family while attempting to accept the death of her spouse. The issue of the utilization of caste panchayats to enforce kinship and geographical exogamy and how it functions in families and society is central to the film. For instance, the movie is set in a small town in the Indian state of Uttar Pradesh. After only five months of marriage, Sandhya's husband Astik passes away, leaving Sandhya to struggle with her loss and the expectations of her family and society (Bose, 2023). Concerned about her son's unfinished business, her mother-in-law tries to coerce Sandhya into performing specific rituals (Bose, 2023). The movie depicts the negative side of the family, as relatives, including Sandhya’s mother-in-law, in terms of having internalized patriarchy. They have shown internalized patriarchy in terms of putting excessive pressure on Sandhya to live up to their standards such as dominance, and obsession with control. The family members are more worried about maintaining their social standing and reputation than they are about the woman's pain. Chowdhry says that the caste system in India is also shown in the movie, along with its role in imposing rigid social and marital rules (Chowdhry, 2004).
The film's depiction of the family's sinister side is consistent with the field's scholarly studies. According to a study by Chowdhry, (2004), caste panchayats (village councils) in the Indian state of Haryana are essential in controlling marriages within their own castes. These panchayats have the power to impose their will through violence and function in defiance of the law. The study emphasizes how women are the main targets of the panchayats' acts and how they exploit the idea of family honor to defend them. Sandhya is likewise a victim of the family's quest for honor in Pagglait. Because of his concern that Astik's unfinished business may drag the family into disrepute, her father-in-law insists that Sandhya follow certain traditions, even if doing so means going against her preferences (Chowdhry, 2004). The movie also examines how patriarchy functions within families. The first impression of Sandhya's mother-in-law is that she is a harsh, traditional woman who imposes strict rules on Sandhya. But as the movie goes on, it becomes obvious that she is also a victim of patriarchy and is just doing what society expects of her as highlighted above (Chowdhry, 2004). The movie also demonstrates how men in the family, such as Sandhya's brother-in-law and father-in-law, control the reins of authority and make choices, with women supposed to take their cues to be acknowledged.
Overall, the film depicts the truth of the shadowy side of the family and the patriarchy that exists within it, as aligned with the readings presented. The movie is consistent with Chowdhry's (2004) study on the regulation of marriage in Haryana, India, and how caste panchayats are used to enforce kinship and geographical exogamy (Chowdhry, 2004). Similar to how Chowdhry's study was highlighted, the movie portrays the idea that family honor is of the biggest significance, even if it means ignoring people's desires and emotional well-being. The film's recurring subject of the "dark side of the family" emphasizes the oppressive aspect of family institutions, which is consistent with the texts presented. Moreover, Pagglait is crucial in terms of the world and sociology because it highlights the need to fight oppressive systems and build more compassionate and fair societies. In spite of expectations from family and society, the movie emphasizes performing gender roles and the value of individual freedom of expression.
In the context of cinema, violent outbursts, and eruptions are frequently shown as a theatrical reflection of human emotions and behavior. They can be used by filmmakers as a tool to shed light on societal and cultural problems that might result in conflict and violence. However, violent outbursts and outbreaks in a cinematic setting can also serve to reinforce negative social attitudes and harmful stereotypes (Anwer & Arora, 2021). Off-screen, violent eruptions, and outbursts can have detrimental effects on people and communities. They may result in death, severe emotional distress, and physical harm. Such actions frequently have their roots in societal and cultural norms that support discrimination and violence, especially towards vulnerable and marginalized groups. One of the most frequent types of violence in real life is gender-based violence. It may manifest itself in a variety of ways, such as domestic violence, sexual assault, and harassment (Anwer & Arora, 2021). Gender-based violence, which frequently has its roots in patriarchal attitudes and beliefs that consider women inferior to males, is especially dangerous to women and girls. In some circumstances, particularly when women are denied fundamental human rights and freedoms, gender-based violence is even condoned by societal and cultural norms. In their real lives, non-heterosexual people run the possibility of being violently attacked and discriminated against. Numerous societies suffer from a high level of homophobia and transphobia, which can result in incidents of physical assault and hate crimes against non-heterosexual people. Verbal abuse, social rejection, and workplace discrimination are some forms of this violence. Additionally, it is critical to offer assistance and resources to people who are victims of abuse and violence (Anwer & Arora, 2021). This may include counseling services, legal support, and safe places where people can flee abusive circumstances. Additionally, it's critical to equip people with the knowledge, skills, and resources they need to speak out against abuse and violence.
The statement emphasizes the connection between violent outbursts in the setting of movies and the negative aspects of family customs that have their roots in oppressive and discriminatory societal structures. Inappropriate attitudes and beliefs that exist in society can occasionally be reflected and reinforced by violent scenes in films. Similar to this, violent behavior inside families is frequently the result of ingrained forms of prejudice and oppression that are supported by institutions and social norms. Gender discrimination, which refers to the unfair treatment of people based on their gender identity or expression, is one type of discrimination that is listed in the statement (Anwer & Arora, 2021). This can take many different forms, such as the underrepresentation of women in the entertainment sector or the subjection of women in families through customs like honor murders and domestic abuse. Opposition to non-heterosexual kinship refers to prejudice towards those who do not fit the stereotypes of heteronormative gender and sexuality. As a result, LGBTQ+ people may get stigmatized and excluded from the movie industry as well as their own families.
Another factor in family violence is opposition to marriage based on caste or religion. Marriage is sometimes seen as a tool to preserve caste or religious purity, which can lead to abuse and rejection for people who marry outside their social group. Opposition to non-heterosexual kinship is another form of violence that is pervasive in many civilizations. Homophobia and transphobia are frequently strongly rooted in society's attitudes and beliefs, which can result in instances of violence and discrimination against non-heterosexual people. Non-heterosexual people frequently lack access to fundamental human rights including the ability to get married and have kids (Anwer & Arora, 2021). Another common kind of violence in many civilizations is opposition to marriage based on caste or religion. People are forbidden in these circumstances from selecting their partners based on their caste or religion. Instances where people are coerced into marriages they do not want to have or are subjected to violence if they refuse such arrangements can result from this. Recognizing the part that social structures play in maintaining these behaviors is crucial if the problem of violence and abuse in families is to be solved. To build a more equal and just society and to confront deeply rooted social attitudes and ideas, there needs to be a concentrated effort (Anwer & Arora, 2021). This can entail encouraging educational and awareness initiatives that stress the value of human rights and gender equality, as well as passing laws and policies that safeguard the weak and hold those who commit acts of violence accountable.
Overall, in order to address these difficulties discussed in the previous section, one must have a thorough awareness of the nuanced ways in which social structures influence our attitudes and behaviors, as well as a dedication to the abolition of repressive and discriminatory systems.
In conclusion, Matrubhoomi: A Nation Without Women is a potent movie that brings up a number of important themes regarding how women are treated and their place in society. The movie emphasizes how gender inequity is maintained by the deeply rooted patriarchal attitude seen in Indian culture. The film's depiction of violence against women is an indictment of India's greater societal issue of violence against women. The movie urges people to take up these issues and work towards creating a society that is more just and equitable. In addition, Pagglait is a powerful movie that exposes the patriarchal nature of the family and its evil side. The movie demonstrates the unjustified pressure that family members can exert on a person to live up to their standards, even at the expense of neglecting their wants and emotional health. The caste system in India is also shown in the movie, along with its role in imposing rigid social and marital rules. Overall, the movie emphasizes the necessity of opposing these repressive structures and building a more compassionate and egalitarian society. In order to effectively treat violent outbursts and outbreaks, a comprehensive strategy is needed. Cinematic depictions of violence can be a useful tool for examining societal issues and human behavior, but it's crucial to understand that they can also reinforce negative social attitudes and stereotypes (Anwer & Arora, 2021). Off-screen violent outbursts and outbreaks can have detrimental effects on people and communities, so addressing the underlying causes of such actions is essential to fostering a more just and equal society.
Anwer, M., & Arora, A. (Eds.). (2021). Bollywood’s new woman: Liberalization, liberation, and contested bodies. Rutgers University Press. https://books.google.com/books?hl=en&lr=&id=N_0qEAAAQBAJ&oi=fnd&pg=PT6&dq=Violent+outbreaks+in+the+cinematic+context+and+off-screen+lives+india+family+and+kinship&ots=5VM_QZHYip&sig=ZzphVZbRIvQQkD8tN5MfrQYXbjo
Bose, N. (2023). Guneet Monga: Gender, Labour and the “Disrupter” Indie Film Producer. In Women Filmmakers in Contemporary Hindi Cinema: Looking through their Gaze, 137-158. Cham: Springer International Publishing. https://link.springer.com/chapter/10.1007/978-3-031-10232-5_8
Chowdhry, P. (2004). Caste panchayats and the policing of marriage in Haryana: Enforcing kinship and territorial exogamy. Contributions to Indian Sociology, 38 (1-2), 1-42. https://journals.sagepub.com/doi/pdf/10.1177/006996670403800102
Herrmann-Pfandt, A. (2019). On Behalf of us All? Violence against Women as a Subject of Indian Film Studies. In Gender and Violence in Historical and Contemporary Perspectives, 243-259. Routledge India. https://www.taylorfrancis.com/chapters/edit/10.4324/9780429328572-16/behalf-us-violence-women-subject-indian-film-studies-adelheid-herrmann-pfandt
Rubin, G. (1975). The Traffic in Women: “In Rayna Reiter.” https://philpapers.org/rec/RUBTTI-2
The Guardian. (2021). Judith Butler: ‘We need to rethink the category of woman.’ Online. Retrieved on 2 May 2023, from https://www.theguardian.com/lifeandstyle/2021/sep/07/judith-butler-interview-gender
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