Skip to main content

Women at a Distance: Gender Politics and the Past in Bhavani Iyer’s Writings

  • Chapter
  • First Online:
Women Filmmakers in Contemporary Hindi Cinema
  • 113 Accesses

Abstract

The past two decades of Hindi cinema have witnessed a renewed interest in heritage cinema. Starting with Lagaan (2001), films, such as Bajirao Mastani (2015), Padmaavat (2018), and Baahubali, the Beginning (2015) and Baahubali 2, the Conclusion (2017), have found commercial success and often critical acclaim. Most of these films have used the aesthetics of period drama (costuming, mise-en-scène, setting) to offer spectacular representations of an imagined past. The act of reconstructing a certain version of the past in a heritage film is also an act of invention connected to cultural memory, which offers commentary on the present and its preoccupations. Relatively new to the Bombay film industry, Bhavani Iyer has already penned screenplays for several significant films and TV series. In contrast to contemporary heritage cinema, Iyer’s adapted scripts for films, such as Black (2005), Lootera (2013), and Raazi (2018), offer a more critical and nuanced mode of approaching past events and historical personages. In my chapter, I explore how Iyer’s “post-heritage” adaptations complicate consumerist and/or ideologically conservative engagements with the past by disrupting the hegemonic and idealized formations of gender that abound in Hindi heritage cinema.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 129.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 169.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 169.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Similar content being viewed by others

Notes

  1. 1.

    I interviewed Bhavani Iyer for the purposes of this chapter. All quotes from Iyer unless indicated otherwise are drawn from her interview (unpublished) with the author of this chapter.

References

  • Acharya, G. (2007). Swami. Pushpa Krishna Creations.

    Google Scholar 

  • Ali, M. (1981). Umrao Jaan. Integrated Films and S.K. Jain & Sons.

    Google Scholar 

  • Anand, C. (1964). Haqeeqat. Chetan Anand.

    Google Scholar 

  • Anand, C. (1973). Hindustan Ki Kasam. Ravi Anand.

    Google Scholar 

  • Asif, K. (1960). Mughal-e-Azam. Sterling Investment.

    Google Scholar 

  • Badham, J. (1993). Point of No Return. Art Linson Productions.

    Google Scholar 

  • Benegal, S. (1996). Sardari Begum. PLUS Films.

    Google Scholar 

  • ———. (2001). Zubeida. FKR Productions.

    Google Scholar 

  • Besson, L. (1990). La Femme Nikita. Gaumont Film Company.

    Google Scholar 

  • Bhansali, S. (2015). Bajirao Mastani. Bhansali Productions.

    Google Scholar 

  • ———. (2005). Black. Applause Entertainment.

    Google Scholar 

  • ———. (2010). Guzaarish. SLB Films.

    Google Scholar 

  • ———. (2018). Padmaavat. Bhansali Productions & Viacom 18 Motion Pictures.

    Google Scholar 

  • Burgoyne, R. (2008). The Hollywood Historical Film. Blackwell, Malden.

    Google Scholar 

  • Chatterji, S. (2013). ‘The Evolution of Representing Female Sexuality in Hindi Cinema 1991-2010’. In: Gokulsing, K., Dissanayke, W. (eds). Routledge Handbook of Indian Cinemas. Routledge, Oxon, pp. 179–192.

    Google Scholar 

  • Corner, J. & Harvey, S. (1991). ‘Mediating Tradition and Modernity: the Heritage/Enterprise Couplet’. In: Corner, J., Harvey, S. (eds). Enterprise and Heritage: Crosscurrents of National Culture. Routledge, London, pp. 45–75.

    Google Scholar 

  • D’Silva, R. & Deo, A. (2013–2016). 24. Ramesh Deo Productions & 20th Century Fox.

    Google Scholar 

  • Durrani, I. (1994). Khuddar. N.R. Pachisia.

    Google Scholar 

  • Dutt, G. (1951). Baazi. Navketan Films.

    Google Scholar 

  • ———. (1952). Jaal. Film Arts.

    Google Scholar 

  • Dutta, J.P. (1997). Border. J.P. Dutta & Bhanwar Singh.

    Google Scholar 

  • Fraser, B. (2007). ‘Introduction’. In: B. Fraser (ed). Cultures of Representation: Disability in World Cinema Contexts. Columbia University Press, New York, pp. 1–17.

    Google Scholar 

  • Ghosh, S. (2007). ‘Dunce! Duffer! Dimwit! Dyslexia in Bollywood’s Taare Zameen Par’. In: B. Fraser (ed). Cultures of Representation: Disability in World Cinema Contexts. Columbia University Press, New York, pp. 63–77.

    Google Scholar 

  • Gilbert, L. (1977). The Spy Who Loved Me. Eon Productions.

    Google Scholar 

  • Gowariker, A. (2008). Jodha Akbar. Ashutosh Gowariker Productions.

    Google Scholar 

  • ———. (2001). Lagaan. Amir Khan Productions.

    Google Scholar 

  • ———. (2019). Panipat. Ashutosh Gowariker Productions & Vision World Films.

    Google Scholar 

  • Gulzar, M. (2018). Raazi. Junglee Pictures.

    Google Scholar 

  • Gupta, S. (2017). Kaabil. Filmkraft Productions.

    Google Scholar 

  • Hanich, J. (2020). ‘On Pros and Cons and Bills and Gates: The Heist Film as Pleasure’. Film Philosophy 24(3): 304–320.

    Google Scholar 

  • Higson, A. (2006). ‘Re-presenting the National Past: Nostalgia and Pastiche in the Heritage Film’. In: L. Friedman (ed). Fires Were Started: British Cinema and Thatcherism. Wallflower Press, London, pp. 91–109.

    Google Scholar 

  • Iyer, B. (2005a). “Black.” Screenplay. https://www.scripts.com/script/black_4151. Accessed on 15 May 2021.

  • ———. (2005b). “Lootera.” Screenplay. https://www.filmcompanion.in/fc-pro/download-the-script-of-lootera/. Accessed on 15 May 2021.

  • Iyer, B. (2021). Interview by Tanushree Ghosh. 14th June, 2021. Unpublished.

    Google Scholar 

  • Iyer, B., Gulzar, M. (2017). “Raazi.” Screenplay. https://www.filmcompanion.in/wp-content/uploads/2018/09/Raazi-Final-Script.pdf. Accessed on 15 May 2021.

  • Jagarlamudi, R.K. & Ranaut, K. (2019). Manikarnika. Zee Studios & Kairos Kontent Studios.

    Google Scholar 

  • Junglee Pictures (2018). Creating 1971 in 2017. Dharma Productions. May 15. https://www.youtube.com/watch?v=g7fB75C11gQ. Accessed on 15 July 2021.

  • Kimmel, M. (2009). ‘Masculinity as Homophobia: Fear, Shame, and Silence in the Construction of Gender Identity’. In: P. F. Murphy (ed). Feminism and Masculinities. Oxford University Press, Oxford, pp. 182–99.

    Google Scholar 

  • Khosla, R. (1956). C.I.D. Guru Dutt Films.

    Google Scholar 

  • Kumar, I. (1999). Mann. Maruti International.

    Google Scholar 

  • Lowenthal, D. (2015). The Past Is a Foreign Country Revisited. Cambridge University Press, New York.

    Google Scholar 

  • Macdonald, I. (2011). ‘Screenwriting Poetics and the Screen Idea’. In: J. Nelmes (ed). Analyzing the Screenplay. Routledge, London, pp. 44–68.

    Google Scholar 

  • Mehta, D. (1999). 1947 Earth. Anne Mason & Deepa Mehta.

    Google Scholar 

  • ———. (2005). Water. David Hamilton Productions.

    Google Scholar 

  • Millard, K. (2011). ‘The Screenplay as Prototype’. In: J. Nelmes (ed). Analyzing the Screenplay. Routledge, London, pp. 142–157.

    Google Scholar 

  • Mohapatra, A. (2012). ‘Portrayal of Disability in Hindi Cinema: A Study of Emerging Trends of Differently-Abled’. Asian Journal of Multidimensional Research 1(7): 124–132.

    Google Scholar 

  • Monk, C. (1996–97). ‘The Heritage Film and Gendered Spectatorship’. Close up: the Electronic Journal of British Cinema. http://www.shu.ac.uk/services/lc/closeup.

  • ———. (2001). ‘Sexuality and Heritage’. In: Vincendeau, G. (ed). Film/Literature/Heritage: A Sight and Sound Reader. British Film Institute, London, pp. 6–11.

    Google Scholar 

  • Monk, C. & Sargeant, A. (2015). British Historical Cinema. Taylor and Francis, Florence.

    Google Scholar 

  • Motwane, V. (2013). Lootera. Balaji Motion Pictures.

    Google Scholar 

  • Nair, S. (2019). Kaafir. Alchemy Films.

    Google Scholar 

  • Pal, J. (2013). ‘Physical Disability and Indian Cinema’. In: M.E. Mogk (ed). Different Bodies: Essays on Disability in Film and Television. Mcfarland, Jefferson, NC, pp. 109–130.

    Google Scholar 

  • Penn, A. (1962). The Miracle Worker. Playfilm Productions.

    Google Scholar 

  • Rajamouli, S.S. (2015). Baahubali: the Beginning. Arka Media Works.

    Google Scholar 

  • ———. (2017). Baahubali 2, the Conclusion. Arka Media Works.

    Google Scholar 

  • Raut, O. (2020). Tanhaji. T-Series Films & Ajay Devgn FFilms.

    Google Scholar 

  • Sadiq, M. (1963). Taj Mahal. A.K. Nadiawala.

    Google Scholar 

  • Samanta, S. (1981). Barsaat Ki Ek Raat. Shakti Samanta.

    Google Scholar 

  • Sandberg, E. (2018). ‘“A Terrible Beauty is Born”: Erskine Childers’ The Riddle of the Sands, the Spy Thriller and Modern Identity’. English Studies 99(5): 538–553.

    Google Scholar 

  • Sharma, A. (2003). The Hero: Love Story of a Spy. Dhirajlal Shah.

    Google Scholar 

  • Sharma, M. (2020). Breathe: Into the Shadows. Abundantia Entertainment & Amazon Prime.

    Google Scholar 

  • Sikka, H.S. (2008). Calling Sehmat. Konark Publishers, Delhi.

    Google Scholar 

  • Singh, A. (2019). Kesari. Zee Studios.

    Google Scholar 

  • Snyder, S. & Mitchell, D. (2006). Cultural Locations of Disability. University of Chicago Press, Chicago.

    Google Scholar 

  • Thomas, R. (2013). Bombay Before Bollywood: Film City Fantasies. State University of New York Press, Albany.

    Google Scholar 

  • T-Series (2013). Making of Lootera. May 7. https://www.youtube.com/watch?v=_hs6yeO91-4. Accessed on 15 July 2021.

  • Vidal, B. (2012). Heritage Film: Nation, Genre and Representation. Wallflower, London.

    Google Scholar 

  • Viswanath, G. (2014). The “Nation” in War: A Study of Military Literature and Hindi War Cinema. Cambridge Scholars Publisher, Newcastle.

    Google Scholar 

  • Wollen, T. (1991). “Over Our Shoulders: Nostalgic Screen Fictions for the 1980s.” In: Corner, J., Harvey, S. (eds). Enterprise and Heritage: Crosscurrents of National Culture. Routledge, London, pp. 178–193.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Tanushree Ghosh .

Editor information

Editors and Affiliations

Rights and permissions

Reprints and permissions

Copyright information

© 2023 The Author(s), under exclusive license to Springer Nature Switzerland AG

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Ghosh, T. (2023). Women at a Distance: Gender Politics and the Past in Bhavani Iyer’s Writings. In: Iqbal Viswamohan, A. (eds) Women Filmmakers in Contemporary Hindi Cinema. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-10232-5_14

Download citation

Publish with us

Policies and ethics