Abstract
This chapter examines representations of women in the films and web series that stream on SVOD (subscription-video-on-demand) platforms in India. It specifically interrogates the image of Indian woman as independent, empowered subject—a portrayal that not only belies the reality of Indian women but also forecloses the future of feminist activism. While cinematic representations of gender in India have largely followed a traditional Brahmanical patriarchal trajectory, a phenomenal transformation occurred in the 1990s when India transitioned from a closed economy to an open-market economy. This chapter explains how the impact of economic liberalization, globalization, and technological revolution led to the mediated reconfiguration of the image of traditional Indian woman who has since then been posed as a free modern empowered individual—global/Western in style, but desi (Indian) in samskar (values). With the entry of digital technologies in postmillennial India’s media ecosystem, this image of post-liberalization New Woman has become more ubiquitous. However, what problematizes such a portrayal is its close alliance with a neoliberal economy and postfeminist ideals. Using critique of postfeminism as a theoretical framework, this chapter appraises such concepts as liberation, choice, and empowerment and argues that diverse media forms, especially the SVOD platforms, in contemporary India celebrate what is termed as “empowerment lite” (Cornwall, CadernosPagu, 52, 2018). It validates this argument by analyzing a specific web series, Four More Shots Please!, which after two successful seasons (2019–2020) on Amazon Prime Video launched its third season in October 2022. Finally, the chapter evaluates the significance of mediated portrayal of “empowered” Indian women in the context of escalating sexual violence and the rise of toxic masculinity in contemporary India.
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Notes
- 1.
Femina is one of the oldest and most popular women’s magazines circulated in India. It was first published in 1959.
- 2.
- 3.
The film Is Love Enough? Sir was originally released in the theaters as Sir in 2018. Geeli Pucchi is a part of an anthology film called Ajeeb Daastaans, released in 2021.
- 4.
Both films are available on Amazon Prime Video, though they were originally released in the theaters.
- 5.
See Rautray, Samanwaya (2021). “Same sex marriages cannot be given legal sanction: Government.” 2021.
- 6.
The term “Indian women” often represents upper-caste Hindu women; therefore, the notion of honor excludes from its ambit low-caste women who are deemed “impure” and “unchaste” by a Brahmanical patriarchal society.
- 7.
Celebration of motherhood persists in various forms within the new patriarchy which reconfigures itself in the post-liberalization period following the demands of a neoliberal market economy, globalization, and technological revolution. Apt examples are Badhaai Ho (2018) and Mimi (2021).
- 8.
See Kamdar, Bansari. “Women Left Behind: India’s Falling Female Labour Participation.” 2020.
- 9.
Jeh is an example of the many versions of the “New Man” popularized by the postmillennial cinema and SVOD platforms.
- 10.
- 11.
- 12.
Gilead refers to the strongly patriarchal, totalitarian, quasi-Christian state where the narrative of Margaret Atwood’s dystopian novel Handmaid’s Tale (1985) is set. A television series based on the novel was produced by Hulu, an American SVOD company. The first three episodes of the series premiered in 2017.
- 13.
Aryavarta refers to the Hindu, patriarchal, totalitarian nation of Aryavarta mentioned in the Netflix India web series Leila. The series, a Netflix original, was released in 2019. It was based on Prayaag Akbar’s dystopian novel Leila (2017).
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Paunksnis, R.C. (2023). Four More Shots Please!: Postfeminism, SVOD Platforms, and “Empowered” Indian Women. In: Chakraborty Paunksnis, R., Paunksnis, Š. (eds) Gender, Cinema, Streaming Platforms. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-16700-3_4
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