My work investigates the instances of male objectification and female gaze in Indian media. Semiotic analyses of videos,pictures, stills and promotional posters constitute this study. Through this we try to ascertain whether the gender dynamics are favorable to one kind.
My work investigates the instances of male objectification and female gaze in Indian media. Semiotic analyses of videos,pictures, stills and promotional posters constitute this study. Through this we try to ascertain whether the gender dynamics are favorable to one kind.
My work investigates the instances of male objectification and female gaze in Indian media. Semiotic analyses of videos,pictures, stills and promotional posters constitute this study. Through this we try to ascertain whether the gender dynamics are favorable to one kind.
Gaze in Indian Advertising/Media This dissertation is submitted for the partial fulfillment of the Masters Degree in Applied Linguistics of this University.
Submitted by Sandhya Raghavan
Guided by Dr. Pratima Dave Shastri Post Graduate Department of Applied Linguistics SNDT Womens University Mumbai 400020 (2013-2014)
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This dissertation entitled- The Phenomenon of Female Gaze in Indian Advertising/Media is submitted for the partial fulfillment of the Masters Degree in Applied Linguistics of SNDT Womens University Mumbai 400020
Dr Pratima Dave Ms Sandhya Raghavan Guide Student
Post Graduate Department of Applied Linguistics SNDT Womens University Mumbai 400020 May, 2014
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CERTIFICATE This is to certify that Miss Sandhya Raghavan, student of M.A. in Applied Linguistics, has successfully completed her research on The Phenomenon of Female Gaze in Indian Advertising/Media under the guidance of Dr Pratima Dave. This study is submitted to the department of Applied Linguistics, SNDT Womens University in partial fulfillment of P.G. Degree in Applied Linguistics. This dissertation has not been submitted for any other degree of the University or any other university
Students sign We recommend that the dissertation be placed before examiners for evaluation 4
Dr Pratima Dave Dr Shashi Kashyap Guide I/C Head of Department
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ACKNOWLEDGEMENTS I take pleasure in expressing my gratitude to all those who have contributed in the completion of this dissertation. I extend my gratitude to my guide Dr Pratima Dave, for her patience guidance, constant feedback and encouragement and invaluable help in the study. I also extend my sincere gratitude to the university library staff for letting me use the library and cooperating with me by extending their help and providing necessary literature. Words and deeds are not enough to thank my family members for giving me the opportunity to reach so far and for their moral support and constant encouragement, and also to all my friends for their patience and understanding and timely help which have contributed to the successful completion of the dissertation. Above all I thank the Almighty Lord for his Blessings.
Sandhya Raghavan
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Contents Research proposal............................... 8 Chapter 1............................................16 Theory Chapter 2............................................27 Review of Literature
Chapter 3............................................30 Analysis part I Films, Analysis part II Advertisements, Analysis part III Magazine covers. Conclusion..........................................86 Bibliography and Reference..............89 Webliography ....................................90
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Research Proposal Abstract The topic of the research would be The Phenomenon of Female Gaze in Indian Media/Advertisements. Female gaze is the ideological other to the traditional Male gaze. It deals with the instances of objectification of male bodies in the media and popular culture to attract the admiring gazes of the female viewers. This study aims to conduct a qualitative review on the phenomenon of female gaze and male objectification in the Indian advertising, media and films. The theory of the gaze was propounded by Laura Mulvey. In this project we aim to deconstruct the phenomenon by conducting an in depth analysis of advertisements and films that seem to showcase male bodies for the viewing pleasure of female eyes. By the means of this study, we seek to understand the power play of gender versus sex. The role of the objectifier versus that of the objectified For a very long time, feminists all over the world have taken an objection to the presentation of female bodies to the assailing gaze of the male viewers. There is something inherently demeaning about the male gaze. According to Mulvey, it reduces the female to just an image or an object which has to be gazed upon without looking deeper into her identity as a human being. Female gaze as a phenomenon has been studied recently. In simple terms, the male and the female gaze may seem ideologically similar, but nothing can be further from the truth. The power play between the genders is the focal point of gaze studies. We are here to ascertain whether the balance of power between the gazer and the gazed stays the same in both the cases. Suzanne Moores and Susan Bordos observations have been instrumental in this research.
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Problems addressed/ Objectives. The problems to be addressed are as follows: -Do the males being objectified suffer from the loss of power when they are at the receiving end of the gaze? -Do the gender dynamics remain the same in the case of female gaze?
- Is the role of the woman that of a powerless gazer? -How are men portrayed by the media? -Is it a display of their physical attractiveness or power?
-Whom do the advertisers cater to by employing the female gaze?
-Are men portrayed to be objects of womens scopophilia?
The main purpose of this project is to determine whether the objectification of men in the Indian media seeks to serve the same purpose as the objectification of women. It seeks to answer whether the dynamics, which seems to favour one gender over the other, is still intact when it comes to using the male body, ostensibly by women, for voyeuristic pleasure.
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Background The third wave feminism has opened issues related to womens freedom in terms of sexual choices. This revolution was fanned by the winds of the second wave of feminism which laid the foundation for economic freedom of women. Women have become a formidable demographic. The rising female voice from the fringes is finally being heard. Businesses have decided to cater to their various needs and have vied for their attention. This has coincided with the rising trend of presenting images of men in Adonis-like fashion. Literature Review No research regarding the female gaze has happened in the Indian context, but there are some which give us a global perspective on this phenomenon. 1) Eva-Maria Jacobsson who analysed the movie Fatal Attraction for instances of female gaze 2) Equal Opportunity Objectification? The Sexualization of Men and Women on the Cover of Rolling Stone by Erin Hatton and Mary Nell Trautner.
Samples Pictures and stills taken from films, advertisements, and magazines cover constitute the sample list. A total of 30 samples have been used by the researcher. These images contain representations of men in visually appealing forms and have been selected for the same reason. Films The late 90s brought an era of the bare chested, shirtless men. The movement was pioneered by Salman Khan who raised many eyebrows in his movie Pyar Kiya Toh Darna Kya, where he appeared shirtless in a song sequence. This marked the advent of the Fit Hero in Indian movies. The male actors were also prescribed certain ideals of beauty to which they had to adhere to. Six-pack abs 11
and bulging triceps were a norm. Even to this day, hitting the gym instead of acting school is the first step in an aspiring actors rule book. Actors like Salman Khan , Hrithik Roshan and Sanjay Dutt who were used to playing action oriented alpha males made the trend mainstream. Soon, even actors like Sharukh Khan and Amir Khan who were used to playing the sensitive, thoughtful lovers joined the bandwagon. The young generation of actors such as Ranbir Kapoor, Imran Khan and Shahid Kapoor entered the industry with a well developed physique. The phenomenon is here to stay. For the purpose of analysis of female gaze in Indian media, ten films have been chosen. These are mainstream Bollywood films which reflect the common sentiments of the masses and also cater to the mainstream audience. The portrayal of men in these films in songs, film sequences and in the promotional posters is being studied. 1. Dostana 2. Aiyyaa 3. Sawariya 4. Zindagi Na Milegi Dobara 5. Desi Boyz 6. Force 7. Veer 8. Ramleela 9. Om Shaanti Om Advertisements
The hyper-sexualization of Indian advertisements has resulted in the objectification of not just women, but also men. Though the norm has always been female objectification, the early 90s saw the rise of strong sexual theme in advertisements. The opening of economy in 1991 and the advent of cable TV was a factor that contributed to the above phenomenon.It was an intermediate period where the media was introducing the idea of the naked male image, but it was 12
juxtaposed along with an equally risque female image. Advertisements of the early 90s included the controversial Tuff shoes ad featuring two naked supermodels, the M.R Coffee ad and the Kamasutra Ads. Soon brands like Denim Aftershave and Z talcum powder started television ads featuring male models. The brand identity of these products was highly masculine. The samples chosen for analysis are advertisements of the following products. 1. Live In jeans 2. VIP underwear 3. Old Spice 4. Axe Deodorant 5. Wildstone Deodorant 6. Cinthol 7. Denim Aftershave 8. Savage Aftershave 9. Nerolac Paints 10. Dollar Club underwear
Magazines covers The cover page of the magazine is what attracts the readers to it. What is placed on the cover is therefore of great importance to the sellers as well as the subscribers. Using beautiful women has been the tradition for magazine covers even if it is aimed at men. Today the trend is reversing, we find men gracing the covers of magazines meant for women. The semiotics of magazine covers will help us answer the problems proposed through this research. Ten magazine covers have been chosen from ten different brands. Womens magazines, mens magazines and film magazines have been chosen for this research. 1. Femina 2. Vogue 3. Mens Health 4. Stardust 5. Mandate 13
6. The Man 7. Cosmopolitan 8. Hi blitz 9. Mens World 10. Movie Mag
Methodology
A qualitative approach has been undertaken by the researcher of this project. Each image is analyzed for parameters such as exposure of body parts, pose, facial expressions, clothes, and how they appear in contrast to the women in the same frame. Laura Mulveys parameters in Visual Pleasure and Narrative Cinema have been used to test the presence of objectification. The attempt is to uncover the subversion of her principles through male-female role reversal as her work is centered on female objectification. Suzanne Moores observations in Heres Looking at You Kid based on the representation of men in popular culture and Susan Bordos work Beauty (Re) discovers the Male Body has been used for the analysis of the images. Her Rock and Leaner parameters are applied to the still images. The samples are segregated into three catagories- Films, Advertisements and Film magazines.
Expected results The analysis of the vast corpus of data will help us understand whether the phenomenon of female gaze has the same implications as male gaze. Whether female eyes objectifying the male form renders the male powerless like it does when the women are at the receiving end from the men. It will also help to ascertain if the aesthetic male form is that of a passive object or an active one.
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Reference.
Visual Pleasure and Narrative Cinema by Laura Mulvey
Beauty (Re)defines the Male Body by Susan Bordo
Heres looking at you kid by Suzanne Moore, 1988
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When I return to the street with the ancient legacy of longing coiled in my DNA, and the residues from a thousand generations of patriarchs silting my brain, I encounter women whose presence strikes me like a slap of wind in the face. I must prepare a gaze that is worthy of their splendor - Scott Russell Sanders, Looking at Women
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Chapter 1 Theory
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Theory What is gaze? The phenomenon of gaze was brought into popular usage by Jacques Lacan, a Psychoanalyst. He described it as a feeling of anxiety brought upon by the notion that one could be viewed. According to him,in the Mirror Stage ,one is made aware that ones body is vulnerable not only to the view of others, but also to that of oneself. This anxiety stems from the perceived loss of autonomy over the self. The child viewing its own reflection in the mirror becomes aware of its perceivable physical self who is subjected to the gaze of others and that of itself.
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Lacan extrapolates his theory the example of Hans Holbeins painting, The Ambassador. In the painting we can see two courtiers standing against a backdrop of a green curtain and leaning against a cabinet containing arbitrary articles like globes, diary, and a lute.
On examining the paining, one sees a distorted image at the bottom which is in turn gazing back at the viewer. The image is that of a distended skull which is placed so subtly that the viewer is suddenly taken aback by its gaze. Lacan uses the painting to explain the Freudian Spaltung, or splitting, which is caused by the encounter of a signifier with the real. This encounter results in gaze our sudden awareness of being watched from a field of vision which is external. This phenomenon is jarring to the one viewed. According to Lacan, the skull-blot of the painting signifies this gaze to which the viewer is subjected to.
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Gaze and Feminism according to Laura Mulvey Though gaze has its origins in Lacanian psychoanalysis, it was Laura Mulvey who used it first in the feministic context. In her essay, Visual Pleasure and Narrative Cinema . Mulvey dealt with gaze as a phenomenon that causes women to be mere spectacles in film. According to Mulvey, films reflect a patriarchal view. Women are nothing but objects, the other to the man. The basic foundation on which patriarchy rests is the notion of sexual difference. The woman is the one gazed at, a part of the male unconscious that is available only as a passive image. She has to be talked to, but she will never talk herself. Woman then stands in patriarchal culture as signifier for the male other bound by a symbolic order in which man can live out his phantasies and obsessions through linguistic command by imposing them on the silent image of woman still tied to her place as bearer of meaning, not maker of meaning. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey
Her argument was the product of second-wave feminism. It was a period concerned with womens equality in the workplace as well as psychological implications of sexual stereotyping. Mulvey's argument comes as a product of the time period in which she was writing. "Visual Pleasure and Narrative Cinema" was written in 1973 and published in 1975. From the vantage point of psychoanalysis, Mulvey states that Scopophilia or love of viewing provides the spectator with visual pleasure helps him associate with the male actor. She states that the psychoanalytical theory helps us in the understanding why film causes women to be viewed as sexual objects rather than sentient beings by the society. Mulvey also discusses Phallogcentrism, or a world view which is strictly male centric. In other words, it believes that the penis in its 20
figurative and literal sense is the defining centre of meaning. Meaning is therefore dictated by men who use their masculine power to control and define reality. This male centric view and voyeurism together has compounded the present situation. Additionally, Mulvey also says that it is the very presence of the woman that reminds the man of his power. Without the woman, the man and his power as the controller of visual pleasure are both rendered insignificant. Patriarchy, according to Mulvey, exists solely because of women. Mulvey names three perspectives or looks that occur in films. 1) Perspective of the male character- How the male perceives the female. 2) Perspective of the audience- How the audience perceives the female. 3) The joint perspective of the male character and the male audience- How the male spectator views the woman through the eyes of the male character in the film. The third perspective causes the male spectator to consider the woman in the film as his own personal object of sexual desire by identifying himself through the male character in the film. She also lays down the parameters for the Male Gaze Theory 1) Representation of women in a sexual fantasy form 2) Scopophilia or pleasure of looking 3) Objectification of characters 4) Patriarchal point of view 5) Active male and passive female 6) Men controlling subjects 7) Women as image
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Gaze and Objectification Gaze as a notion is often tantamount to objectification, which is one of the centeral notions of feminist theory. Roughly or rather literally defined as seeing or treating a person as an object. Gazing upon a person is therefore plainly an act of objectification. Martha Nussbaum in 1995 identified seven features of objectification, which we will use in the analysis of the samples collected for the study. 1. Instrumentality: The treatment of a person as a tool for the objectifier's purposes; 2. Denial of autonomy: The treatment of a person by denying them the right to control themselves and their bodies. 3. Inertness: Treating the person as a stationery object. 4. Fungibility:Treating the person as replacement for an actual object. 5. Violability: Disrespecting the persons sense of mental and physical integrity 6. Ownership: Treating the person like a object which is owned by the objectifier and sold at his own discretion. 7. Denial of subjectivity: Treating the person as if their feelings and emotions arent real to be counted as something important.. 8. Reduction to body: Treating an individual as the sum total of only his or her body parts or only referring to him or her by names of body parts 9. Reduction to appearance: Treating a person on the basis of their looks. Their sensual appeal but not their intellectual or emotional appeal. 22
10. Silencing: Treating the objectified as someone without a voice of his or her own.
Age of women and Female Gaze In Visual pleasure and Narrative Cinema, Laura Mulvey reiterates that female gaze, as a concept, is impossible. Yet these days the international media is rife with instances of objectification where the men are on the receiving end. Sinewy bodies and handsome faces are put on display for the visual pleasure of an audience they deem to be women. The third wave feminism that swept the world in the 1990s was brought about by the monumental efforts of the women who achieved economic and professional power and status through the second wave. New vistas were opened up for women and feminist awareness starting spreading to the corners of the world thanks to the revolution in communication technology. The birth of generation X scholars and activists has also contributed to this kind of progress womankind made. The professional freedom achieved by women also paved way for their economic independence with the second wave.Women no longer depended on a male bread winner and were bringing home the bacon. They started standing at par with women and demanded equal rights and fair wages at workplace. As a result of these developments, the traditional social institutions like marriage started getting redefined. The dynamics of the husband-wife relationship was also altered largely and women no longer depended on their earning husbands. The efforts of the second wavers brought about organisation of feminists into groups, questioning of sexual division of labour in the households, empowerment and self awareness among women and gave birth to a whole new generation of highly powerful, articulate and ambitious women. 23
This kind of freedom ensured that the shackles of patriarchy would be broken. Battles were fought against the redefinition of moral and sexual barriers. Irony was a powerful weapon. Violence was answered with stories of grit and survival. Perhaps the most important feature of the third wave of the inversion of certain sexists practices putting men at the receiving end. Women chose to subvert the system than becoming a part of the system themselves. There was a shift in the perceptions and notions towards the sexes. Traditional ideas of womanhood and gender were questioned and redefined. What is essentially feminine? What is masculine? These questions came to be subverted. The concept of a gender continuum was recognised where a person need not be confined into water tight compartments of gender. The Third Wave is buoyed by the confidence of having moreopportunities and less sexism (Baumgardner & Richards, 2000, p. 83). EmiKoyama (2003) summarized some of these feminist concerns in The TransfeministManifesto. (a) to define ones own identity and to expect society to respect itand (b) to make decisions regarding ones own body (Koyama, 2003,pp. 245247). Transfeminists believe that individuals should be given the freedom to construct their own gender identities as they see fit and that neither the medical establishment nor cultural institutions at large should intervene. Finally, they resist essentialist notions of identity in particular ( Krolokke and Sorensen,Gender Communication Theories and Analyses, 2006) Sexual Liberation and the rise of the gay community The breaking of the shackles of morality was an eventual consequence of womens financial liberation. This caused many to reject social institutions like marriage. The notion of men providing for women started changing as women started bringing home the bacon. With financial freedom came sexual freedom. The liberty to choose their own mate and to decide the nature of the relationship finally became the prerogative of women. 24
Women became a formidable group in the demographics who had to be catered to. They carved their own niche in the big market of consumers. Products and services started getting streamlined to suit her tastes and needs. From razor blades to magazines, women became a priority for advertisers, corporations and the film makers. They became important factors in deciding the business strategies for corporations. Advertisers reach out to them by learning which screens they watch and what social media they use. Film makers have created a genre that caters to the taste of women- The chick flicks. Schroeder and Zwick (2004) state that Gender remains central to the world of advertising and consumptionit is difficult to conceive of most products without male and female target markets. By the virtue of this fact, the media has resorted to eroticised portrayals of men and women to sell products and services. With the third wave, women have become more aware of their sexuality. There is a sense of intrepidity in the way women approach their sexual needs. She is unabashedly enjoying her sexual freedom which leaves her with a power to pursue what she likes. This includes things that cater to her visual pleasure. She has the power today so it is no wonder that men and women are portrayed in exaggerated displays of masculinity and femininity to sell merchandise, ideas and services. Strategic advertising employs sexuality because of course, sex sells. Homosexuals, namely gays, as a part of demographics have also started gaining recognition in the recent years. People voicing their support for the gay community and fighting for the rights of the Lesbian, Gay, Bisexual and Transgender community has made possible the discussion of such erstwhile taboo topics. Sexual explicitness has been on the rise in the given years. Female bodies, showcased for the purpose of visual pleasure, were commonplace in the media. Before the mid-1990s hardly any research was done in the area of male objectification in the media. The objectification of women and male gaze was the centrepiece of many a gender theory studies. Today, one cannot ignore the sudden 25
influx of sexual explicitness of men that has made its way into the media, international and Indian. Female gaze in the media same as male gaze? The rising phenomenon of the female gaze has led many to question whether the it can be equated with male gaze or not. Although the phenomenon is palpable, one cannot state for a fact that the dynamics that operate behind the male gaze is the same for female gaze. The inherent power play exists between the subject and the object. There is the active one which gazes and the passive one which gets gazed on. When men gaze at women, these roles are defined. The same cannot be said once the tables are turned. Suzanne Moore (1988) stated that there is an active female gaze present in the media. The cultural changes since the 1980s had made possible the phenomenon of female gaze. Movies such as American Gigolo and Top Gun ushered in the age of pin up men in the 80s. Levis advertisements also presented men in various states of undress which invited the active female gaze to ogle at these images. Two things changed fundamentally according to Moore (1988) 1. The male images were styled upon traditional female images like undressing, teasing and seductively staring 2. This sexualizing of male images was prevalent in mediums such as magazines, cinema and television. However, on closer analysis, one cannot state that the female gaze is the equivalent of male gaze. Moore states that the concept of women ogling at men creates a kind of amusement but men doing the same to women is hardly a novelty. This is testimony to the fact that female gaze is not a part of our socio- cultural fabric, but male gaze is. She also states that the male narcissism is what separates female gaze from male gaze. Images of naked and semi naked men appear in domains meant for men rather than women, for example, naked men usually grace the cover of magazines 26
meant for men rather than women. Contrasting with this is images of women being used to sell products which are usually aimed at men, for example alcohol or perfume.Images 1 and 2 explain this phenomenon. A man baring his torso is shown having a bath. The product advertised is Dove men care, a product clearly aimed at men. 1 2
Product mentioned is Tom Ford fragrance for men, but the visuals used are predominantly that of women. Susan Bordo (1999) classified these images of men in the media as the Rock and the Leaner types. This is described as, models who stare coldly at the viewer, defying the observer to view them in any way other than how they have chosen to present themselves: as powerful, armored, and emotionally impenetrable. I am a rock (their bodies and sometimes their genitals) seem to proclaim (pg 203 paragraph 2).
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Chapter 2 Review of Literature
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1) A Female Gaze? by Eva-Maria Jacobsson Eva-Maria Jacobsson who analyzed the movie Fatal Attraction for instances of female gaze. She uses Laura Mulveys theory to questioning the practice of objectifying women for the male gaze. She goes on to question if there is a chance of a reversal of gaze. i.e the women looking at men in the way men look at women in films. The film Fatal Attraction was analyzed and Mulveys theory and Freudian psychoanalytical theory were applied by the researcher to the narrative of the film. The conclusion was in support of Mulveys ideas about the male gaze. The fact that it couldnt be obliterated is reinforced. Psychoanalytical theory still triumphs when it comes to explaining the patriarchal order of the films narratives. Through the analysis of the film, the researcher states that though it held out promises of a gynocentric order earlier, it went back to establish the phallogocentrism that is common to our canonical narratives. Ultimately it goes back to secure patriarchy as the gaze swayed back to male gaze. The views of Eva-Maria Jacobsson were crucial in providing direction for this research. The purpose of this research is also to investigate the prevalence of the patriarchal order in narratives and images even if it promises a gynocentric view.
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2 Equal Opportunity Objectication? The Sexualization of Men and Women on the Cover of Rolling Stone By Erin Hatton Mary Nell Trautner This was an quantitative research undertaken to understand the frequency and intensity of sexualisation of male and female images. They used a longitudinal content analysis of images of men and women on the Rolling Stone cover. They used 40 years worth of sample for the analysis(19672009). They used a unique system to that measure both the frequency and intensity of sexualisation. The research findings state that though men and women are both sexualized, women tend to get hypersexualized over a period of time as compared to men. The research also points to a narrowing of acceptable ways in which femininity is represented in the popular media. The research and its findings helped provide a direction to this work. The placement of masculinity in power as compared to femininity is also a feature of this work.
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CHAPTER 2 ANALYSIS
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Analysis Part I Films 1) Dostana This movie was released in 2008 .It created a stir among the Indian cinema goers mainly for its broaching the topic of homosexuality. It was for the first time that a mainstream Hindi movie did not shy away from making homosexuality its dominant theme. It was lauded by progressive cinema goers and the gay community. Few visuals from the movie have been used: 1
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2.
In pictures 1 and 2 we see shots of John Abraham clad in nothing but a pair of yellow swimming trunks. Picture 1) shows him emerging from the sea and his body is glistening due to the water. His upper body is exposed and his sinewy physique is displayed for the audience to see. Picture 2) shows him in a more provocative way. He pulls down his swimming trunks suggestively to reveal the upper portion of his buttocks.
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Picture 3 is the promotional poster for the movie Dostana. The male actors and on the bed and the female actor is seated in between. The female seems to be the dominating one in the picture as she is seated in the centre with her legs crossed. Her demeanour suggests that she is the dominant one. The fact that she is flanked by two men on either side denotes that she is the one in control. 3.The men, as compared to the women, are in a more vulnerable state. The one of the left is wearing only a vest, which is an undergarment and the one on the right is bare torso-ed. The one on the right has also draped a bed sheet around his chest 34
which is reminiscent of canonical images where women cover their bosom.
But it is also interesting to note that Priyanka Chopra is clad in a flimsy nightdress, leaving her vulnerable to the male gaze as well. 4
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As a movie, Dostana relied heavily on its homosexual theme during its promotion. The broadening of Indian mindset has seen the percolation of homoerotic images into the Indian media. The homosexuals or the gay men of India were finally getting acknowledgment from the media. The otherwise conservative space of the Indian cinematic narrative has made a bold move towards incorporating the marginalised narratives of the gay Indian male. In picture 5 and 6, we see instances of homoeroticism where men are paired with men. There is a scene in the movie (picture 5) where both the men are coaxed by their friends to kiss in front of the audience, a feat they perform albeit reluctantly. The move is not only a bold one, but also a pioneering one as homosexuality has never been presented in such a brazen manner in Indian cinema before. Picture 6 is one of the many instances where the men are shown in a sexualized manner, making physical contact in an erotic sense. The first picture shows them in a semi embrace and the second one shows them kissing each other. The visuals may be directed mainly at the homosexual audience who may have the pleasure of watching two attractive men in an erotic scenario.
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Observation The images 1 , 2 , 4 and 5 used in the movie show men in an erotic fashion.The objective is to reach out to the gazes of women and the homosexual men who admire the muscular male form and the sight of two men in a amorous situation. Mulveys parameters for gaze are reversed here: Representation of women in a sexual fantasy form. Instead of representing women, the movie makers have decided to present the male form in a rather overtly sexualized manner. Despite the fact he is exposed to the gaze, the stance taken by John Abraham in the shots is a very active one. He is shown emerging out of water and running towards the shore. He is not exactly the defenceless victim of lecherous stares His show of muscles imply power. In picture 3 the men are shown as more vulnerable; passive objects to the onslaught of the female gaze, but Priyanka Chopra in a flimsy night dress also leaves her in a vulnerable spot making her available to the male gaze.
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2. Aiyyaa Aiyya is a 2012 movie dealing with a womans irrepressible attraction towards a handsome youth. Rani Mukherjee plays a Maharashtrian girl who is drawn to Prithviraj Sukumaran not just for the way he looks, but also for the way he smells. His presence affects her at a biological level. He causes her to swoon and palpitate. Till now instances of female gaze has been subtle. We had to rigorously scan through the images to find a speck of an instance. Aiyyaa is one movie where the staring, leching, fawning and swooning is as obvious as a circus parade. Let us analyse its visuals 1
Here the female is seen admiring the male form. The male actor pours water on his bare, muscular torso. The glistening water flowing down his sculpted stomach is the focal point of this image. This is akin to various images of women shown in Indian media from time in memorial. 38
The female actress is standing transfixed by the sight of the male actor. Her gaze is fixated on him and he is looking away from the camera
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Another shot from the movie Aiyya shows the actor flexing his muscles to display his sculpted form. There isnt any other visual on the screen apart from his. He makes direct eye contact with the viewer. The stance is quite aggressive and his stare is direct and piercing. 3
In the above picture, the female character touches the male character provocatively. Her gaze is on his body and not his face.
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Observation The film Aiyyaa was lauded by the media for its intrepid portrayal of a woman lusting for the man. Many factions of critics hailed it as a iconic movie for establishing the concept of female gaze. Throughout the movie, the female character is shown fawning over the male. In no instance does she brazenly make an aggressive move towards him. All her attempts to seduce him only happen in her fantasies where she is shown dancing with him. The idea of female gaze in the movie is a rather passive one; the male does not willingly throw himself in front of her lecherous gaze. He is the one calling the shots while she retires into her dream sequence to know what it is to actually be next to him. While analysing the images 1 and 3, we see that the woman brazenly stares at the man and even touches him. In image 1, she looks at him pour water over himself and enjoys the erotic pleasure of viewing a male body made vulnerable in front of the female. In image 2 the male actor stands flexing his muscles. The stance is assertive and active and his stare is fixated on the viewer. One cannot ignore the apparent show of brawn in the image. He may be exposed, but he is certainly not vulnerable, much like the Rock types (Bordo,1999) Mulveys idea of the active male and passive female is reversed as Rani Mukherjee boldly defies the demureness associated with her gender and touches the male body. On closer analysis, Suzanne Moores (1988) contention that female gaze is a lot more passive than male gaze seems true. The male character, though bare torso-ed, is usually seen taking stances that denote strength and aggression. This means that he is not entirely at the mercy of the female gaze; he has the power to walk away from the gaze.
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3 Sawariya (2006) Sawariya the movie is particularly important to this study because back in 2006 it created some waves owing to a controversial scene. The reason was a song sequence featuring Ranbir Kapoor that was accused of being risqu in nature. 1
In the above sequence, in the first panel we see Ranbir Kapoor facing away from the camera as he unties his towel. Using deft techniques, the director has obscured his frontal nudity but the shadow play on the towel is very obvious. Ranbirs character represents the young generation of lovers who have idealistic notions of love. There is a sheer sense of innocence in the way 41
he is portrayed. The cloth he wears around his waist is white to represent the purity of innocence of his feelings. Suzanne Moore (1988) states that most of the mens poses in films and advertisements are modelled around images of women to mimic the effect objectification. Ranbirs stance in the songs is reminiscent of classical paintings of beautiful women 1) Botticellis Venus painting
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There is a demureness to the images which lends it a feminine quality. Ranbir is presented as a thing of beauty to the female viewers.
Observation The aesthetic presentation of Ranbir Kapoor in a demure manner is reminiscent of classical paintings of beautiful women. The Scopophilic tendencies of the viewers, as suggested by Laura Mulvey, are brought to the fore through this presentation. He is almost Adonis like, a nubile young man in the prime of his youth. At the same time his muscular physique plays a foil to his demure image. The image is of a man who is ethereal in his beauty but also brawny and strong.
4 Zindagi Na Milegi Dobara 2010 Zindagi Na Milegi Dobara is a 2011 coming of age film dealing with the lives of three youngsters who decide to take a roadtrip. It gained a lot of attention due to its casting, especially the male star cast. Despite the presence of two female actors, the film entirely revolved around the lives of the three male characters. Hrithik Roshan, Farhan Akhtar and Abhay Deol are the three main male characters. Hrithik and Farhan already have a reputation for being eye candy or being physically appealing to the female audience.
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This is the main poster for the movie, Zindagi Na Milegi Dobara. The image shows the three men walking down an asphalt surface. Hrithik Roshan occupies the central space, flanked by Farhan Akhtar on the left and Abhay Deol on the right. The bare torso of Hrithik is what stikes the viewer first. It appears in stark contrast with the other two who are clothed. The colour scheme of the poster merits importance mainly for the juxtaposition of yellow against a dull background. The men are seen walking on a road that does not have vegetation on either side. The overall picture is that of a dry, tough land reminiscent of the Texan landscapes in spaghetti western movies. The get up of the actors is also worth mentioning : Farhan Akhtar is dressed in brown vest and blue jeans with a red scraf tied around his neck; Abhay Deol in a light blue t shirt and a bag; 44
Hrithik roshan is bare chested and is also seen wearing a blue pair of jeans. Farhan has a hat in his hand; Hrithik has a helmet and a trebuchet; Abhay is shown walking with his hands in his pocket Observation Everything about the image is fundamentally masculine. The grey asphalt road and three muscular men in a walking stance suggest a degree of movement in the picture. The men are in a state of motion; they are ambulant. Hrithiks expression, where he bites his lower lip, is suggestive of repressed aggression. The fetching men draw the appreciative glances of the female viewer, but they are not in a submissive role. The pose they strike shows movement and action. Again, they are ready to shake off the female gaze and walk away from the frame. The female viewer is again rendered powerless, left only to gaze at the male forms. Much has to do with the gaze of the woman in this film because the director is a woman, Zoya Akhtar. So it is natural that one gets to view these handsome forms from a very feminine vantage.
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4 Desi Boyz This movie is pictured around the characters played by Akshay Kumar and John Abraham. They play male escorts in the film who are paid by women to make them happy. The fact that they are male escorts highlights the relevance of their looks to the story of the film. We shall analyze two posters from the movie 1
In this poster the two women stand in an assertive manner with a firm chokehold on the men. The women are both clothed but the men are shown naked.
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In the second picture the same pair is shown, but here the semiotics are somewhat less harsh. The women stand against their men with their hands on the hips of each of the men. As in the above picture, the women are clothed and the men are dressed rather scantily. One is wearing a vest and the other is bare-chested. The background in both the posters is pink in colour. Observation In the first picture the women are holding the men in a choke hold exhibiting superiority and strength. The aggressive stance taken by the women seems to suggest their control over the men. One of Laura Mulveys parameters for objectification is subverted. Instead of men controlling women, it is women who are physically controlling the men which put them in power. The analysis of men in the image points to a different phenomenon; the men are smiling in the picture despite being seemingly strangled by the women. The expression on the mens face seems to suggest that the 47
strangling is done in jest or that the men are not bothered by the womens acts. The semiotics in the picture suggests that the men are still in power and are infact humouring the women by playing along. Its a confusing imagery where strong men are supposedly yielding to the aggressive moves of the petite women and smiling while they do so.
5.Ghajini In the movie Ghajini, Amir Khan plays an avenger who wrecks havoc in the lives of the people who killed his lover. His short term memory loss problem causes him to tattoo information about the killers on his body lest he forgets. So the baring of Amir Khans body has a functional purpose in the movie. 1
The poster of the 2009 movie Ghajini shows Amir Khan stooping with his hands clasped in front of him. His face has a menacing expression to match the ferociousness of the character he is portraying. The muscles of his upper body are flexed to give them a more defined look. 48
2
In picture 2 Amir is standing upright which gives the viewer a better view of his body as compared to the previous picture. The muscles on his arms and torso are glistening and one can see tattooed words and pictures on his body. The look on his face is menacing as before. The background of both the pictures 1 and 2 contains pictures, details and scribbling in keeping with the story of the film. In both the cases the actor is the focal point of the picture. The projection of soft light illuminates the actors body lending it an aesthetic appeal. Observation Amir Khans images are in stark contrast with Ranbir Kapoors in Sawariya. In the latter the male form presented a rather delicate picture with frames similar to classical paintings, but the former presents a picture that is both dark and dangerous. The image is that of an angry avenger. Amir Khans bare torso has an important role to play in the movie: The torso serves as a writing pad for him to jot down important information which he would otherwise forget due to his memory loss. Words, names and numbers are tattooed on it urging the viewers gaze at the torso. His stare is intense as he looks right back into the viewers eyes. 49
There is an invitation for aggression in his look is by no means a docile, feminine subject trying to avert the gaze of the lookers. Amir aggressive stance combined with the presentation of his body in a visually appealing manner results in an image that invites the female gaze, but instead of being a passive object, Amirs character appears in control. He seems as if he could lunge at the viewer in anger. Mulveys parameter where she propounded Men being active and women being passive gets effectively challenged when men become the object of womens gaze. Though the men are objectified, they refuse to be docile images capable only. This reinforces the notion that images of masculinity are oriented towards the active.
6. Bhaag Milkha Bhaag Bhaag Milkha Bhaag is a biopic on the athlete Milkha Singhs life where the titular character was played by Farhan Akhtar. Being a biopic, the lead actor was expected to resemble the titular character. Here is a comparative image of the athlete and the actor. 1
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In picture 1 we can see the images of the real Milkha Singh juxtaposed with the image of Farhan Akhtar as Milkha Singh. Though the facial resemblance between the two is uncanny, the same cannot be said about the physique. In picture 2 the actor is seen bare-chested standing in the rain. He wears a piece of garment on his lower body but the upper body is bare and the muscles of the upper body on display for the viewer.
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In picture 3, the actor is seen bare-chested in the rain with his eyes closed. His head is tilted upwards. This pose is taken from canonical Lone girl in the rain imagery of Indian films. For example:
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Observation As evident from the first picture, the facial resemblance of the two people does not translate to resemblance of the physique. The real Milkha Singh is a far cry from what Farhan Akhtar chose to portray.Milkha the athlete is a lean bodied runner; Farhan on the other hand sports a rather bulky physique. There is nothing particularly attractive about Milkhas physique but Farhans picture ended up gracing the posters of the film. It is clear that the film makers wanted to cash in on his fetching form to cater to the audience. In pictures 1 and 2, the male object of the gaze is in an active stance. He is in the midst of an exercise in 1 and he is standing in the rain in the second one. Both fulfill the notion of the active male who displays power rather than being a passive object. In the 3 rd picture, the actor is facing the sky with his eyes closed in the rain. This image is reminiscent of the images of women in rain. His body language is passive and almost feminine. The smile of his face is disarming and is in sharp contrast to the chiseled physique.
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7.Force Force is a movie starring John Abraham and Vidyut Jamval. The former plays the role of an avenger and the latter is the primary antagonist of the movie. The scene to be considered for analysis is the final combat that happens in the climax of the movie.
The above picture shows both the protagonist and the antagonist locked in an instance of hand-to-hand combat. The two have clasped their hands and are bare- chested. They are looking deep into each others eyes with a look of belligerence in them. The muscles on their arms are bulging due to strain and there are visible veins on the arms of Vidyut Jamval.
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Observation The picture seems to showcase the physical beauty of two good-looking men even though they are locked in combat. The viewer cannot dismiss the fact that there is an attractive quality about the picture mainly because of the presence of the men and due to the display of skin and muscle. However, like the previous pictures we have analyzed, this too falls into the realm of beautiful powerful men who are busy in a game of who stares the longest The body language of both the men is aggressive because they are in a combative state. It is a very obvious show of machismo and they have steered clear of feminizing the image. 8 Veer Veer is a romantic period film modeled on a fictious hero. 1
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In both the images, we can see the display of Salman Khans sinewy arms. In the second picture he is bare-chested. In picture 1 he is on a horse wearing a vest like garment that exposes his arms. His gaze is averted from the viewer and he looks away at a distance. In picture 2 He his right leg is slightly ahead and arms are seemingly swinging. This indicates that he is walking. His gaze, like in the previous picture, does not meet the viewers and is instead fixated on a point which is not visible in the image. Observation Both the images seem to suggest the scopophilic tendencies of the picture. The film maker has exploited the actors pulchritude and showcased it for the viewer. The body language of the actor in both the pictures shows aggression. The actor not meeting the viewers gaze implies a disconnect with the gazers. The body language does not show vulnerability; instead it shows strength and might. 56
9 Ramleela Ramleela is an adaptation of romeo and juliet set in Gujrat. The visuals used are images of actor Ranveer Singh in a song sequence
The picture is self explanatory in many ways. The actor is standing in the center of a beavy of women with his upper body exposed. He is wearing a pair of tattered jeans and his body is glistening with oil. His upper body appears sculpted and he seems to be in the midst of a dance routine. The women around him are excited. Albeit dressed in a traditional garb, they arent behaving like the traditional coquettes. They are clicking pictures and fawning over the young man who is happy to pose for them. The song is centered on the male actor Ranveer Singh who is introduced in the movie through this sequence. The entire song is in fact about the physical beauty and demeanor of Ram
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Observation In the above picture, the signs speak for themselves. He is in the midst of a dance sequence surrounded by women, who are excited in his presence. His body language looks self assured and assertive. He seems like an object of scopophilia not only for the women in the song, but also for the viewers who gaze at his physical form. The application of oil on his body gives it an added lustre which makes it eye catching and draws the gazes of the lookers. There is no show of strength in the above picture, but at the same time it is not a picture of a passively starting coquette. His dances moves are very raunchy which are suggestive by nature. So even though he is a thing of great beauty, Ranveer Singh exudes power and aggression. The women in the sequence are fawning over the actor but none has made any overt moves to touch him. The condition of the women in the image is similar to that of the viewer. Both the parties are equally, passively watching the subject of attraction instead of making overtures. 10 Om Shaanti Om The dance sequence hailed as a male item number from the film is taken for analysis. The name of the song is Dard-e-disco and is centered on Sharukh Khan. He had famously acquired a set of six-pack abs for it. Following is a sequence taken from it which shows him in three different poses and garbs.
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In image 1 he is seen standing with his shirt open baring his torso. The shirt does not seem to cover his body at all as the bare torso and his upper arms are visible. The expression on his face is menacing and he stares back at the viewer by squinting his eyes slightly. The idea may have been to give the viewer a tough look. The airy background looks like a battlefield and has two flags on the side 2
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In image 2 he is shown wearing a construction workers hard hat and has a rope in his hand and a tool belt around his waist. His body is glistening and he has the same serious expression on his face. His body not directly facing the camera, instead it is tilted at an angle. His hands are employed, with one hand he holds his hat, and with the other he holds a rope. There is a utility belt on his hips. The actor gives an impression of a handyman or an odd job worker Observation Shahrukhs stance in the song sequence is assertive. He tilts his body at sharp angels which gives him a masculine feel. His facial expressions are also consistent with his manly body language. The song sequence is featured on a narcissistic flamboyant character he plays in the movie, so it is natural that he exudes confidence. His gaze is fixated on the viewer. In image 2 he is dressed up as a handyman, which is a common trope that is associated with womens sexual fantasies. Erotic movies and literature made for women often revolve around the idea of the attractive handyman, namely the plumber. It is someone who associated with strength but belonging to the lower rungs of social class.
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(An example of erotic literature for women centered on the handyman theme)
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Analysis Part II Advertisements The sample featured here is a vintage advertisement of an aftershave brand. The model is actor Jackie Shroff. The face is the focal point of the advertisement. The name of the product is Savage Aftershave. The target audience for this product has therefore has to be men, and the demographic targeted is also male. The above print advertisement showcases the actors face in an attractive manner. His stare is soft but direct and it meets the gaze of the looker. His hair is falling on his forehead and on his left eye. His face is youthful and the expression on his face is of anticipation, as if he were to utter something. The lips are slightly parted and the viewer gets to see his bare neck and the top of his chest. There is slight hint of wirey chest hair and the rest of his body is obscured by his shirt. The words in the print advertisment read: The Macho After Shave is here 62
Rugged! Fiercely savage! The macho after shave youve been waiting for. Masculine, Virile, Unforgettable. Use after every shave, after anything. Observation The above advertisement cashes on the beauty of the models face. The squinty stare and the falling hair on his face imparts a romantic look. His parted lips combined with the eager eyes gives an impression of sexual invitation. Jackie himself was known as an unconventionally good looking actor who belonged to the era of manly mustachioed hero(The other being Anil Kapoor) So the theme of masculinity, which has been reiterated through the heading and body copy of the advertisement, compliments the image of a macho looking man. Words like: macho, masculine, rugged, fiercely savage, virile etc sets the theme for the advertisement.The image of the actor also seems to have been drawn upon the feminine pictures of women with parted lips and secductive gaze. For example
2 Nerolac Paints. The following is a print ad for Nerolac Paints featuring Shahrukh Khan. The demographics targeted here may be difficult to ascertain, it could be men or women as both have a say in deciding . Sharukh may have been roped in due to his appeal and popularity that cuts across all ages. The print ad shows Shahrukh wearing a vest and a pair of pants with a wet paint brush in his hands. There is a step ladder behind him and couple of buckets of paint. 63
Observation There is a hint of sexualization of the imagery owing to a few reasons. The product such as paint need not use sexual appeal or marketing, despite this fact there is a hint of sexualization in this advertisement. Shahrukhs gaze at the camera merits special importance because the look on his face is sultry. He intensely makes eye contact with the person looking at him as he dribbles the thin stream of pain dripping from the paint brush in his hand. Also, there are paint stains on his person. He wears a sleeveless vest which puts his sculpted arms on display for the viewer. This picture is modeled on images of women who appear sexually inviting.
3 Old Spice The new old spice advertisement is a perfect example of using male imagery blatantly for the purpose of marketing a product. A sequence of the television ad is used for analysis. The male model in question is Milind Soman who appears to be naked in the picture with a bottle of Old Spice deodorant. He has a gold chain 64
with the word MAN on it. He wears a pair of aviator sun glasses and speaks about his favourite fragrance in a laudatory and a self congratulatory way. The exact words are as follows:
Observation Milind Soman being naked could be an allusion to the Tuff Shoes advertisement of the 1990s. The erstwhile supermodel extols the bottle of Old Spice and by that extension himself. He uses words such as mantastic to reiterate the masculine brand imagery of the product. His own association with the product reasserts its macho-ness. The chain with the word MAN is in keeping with the masculine theme of the advertisement. The oppositional gaze of the object is steady as he back at the camera with an unwavering gaze and maintains it throughout. His rhetoric revolves around the 65
macho man image that old spice often tries to base its ad campaigns on. He knows he is attractive and makes an unabashed declaration of the same.
4 Live In Jeans The follow image is a sequence of a Television advertisement for mens jeans. The theme of the campaign seems to be a word play on the name of the product- jeans one can live in. The model is Dino Morea who wakes up from his sleep and goes about with his routine. He walks up to the washing machine in order to wash his clothes. He removes his vest but hesitates to remove his jeans. He ponders for a split second after which we see the washing machine rumbling. From inside the machine emerges the model, soaking wet and still wearing his jeans. The central idea is that the pair of jeans is so comfortable that one wouldnt want to get out of it.
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Observation The camera follows the model as he wakes up from his sleep and goes about with his daily routine in a voyeuristic manner. He does not acknowledge the gaze on him as he goes about getting up, drinking coffee, and washing his clothes. He wears a white vest with his muscular arms showing. His upper body is bared as he strips the vest to reveal a chiseled physique underneath. The camera momentarily focuses on his face as he ponders whether to remove his jeans or not. The focus then shifts to his waist and hips as he is seen fidgeting with his button. The chiseled abs can be seen in this shot. The next frame shows him emerging out of water with water droplets on his body. This advertisement reminds the reader of Mulveys theory on camera playing a substitute to the viewers eyes showing them what they need to see. The man here is viewed as if he is in captivity. He is oblivious to the prying eyes of the people, but his body language is confident and assertive.
5 Axe Chocolate Deodorant The Axe Chocolate ad features a man entirely made of chocolate travelling through the city delighting and amusing women as he goes. He is seen walking through hordes of women who stare lustily at him and even touch him. His chocolate body makes him irresistible to women who cant help touching him, feeling him, and consuming him.
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Observation There is a literal objectification happening in his advertisement. The man is equated with the chocolate. He is shown to be made entirely of chocolate. Mulveys parameter of treating women like objects is reversed as it is the man who is at the receiving end. The man is completely passive in the advertisement as women grab him and assault him as they please. He seems to have no power over the women who happen to the aggressive ones in the ad He seems to be playing out on womens ultimate fantasymen and chocolates. Women are known to go weak knee for chocolate, so it is obvious that a man made entirely of chocolate would be next to perfection. His irresistibility causes these women to act in berserk. They chase him down the street, get distracted from the gymming routine, and feed on his ears and nose as they please and even take a big bite out of his buttocks. He also plays out the fantasy of the sensitive man as he willingly lets the women have their way. He even regales them by going out for movies with them and hosting a chocolate tasting party for them. Despite his obvious and literal objectification, the man seems to be smiling throughout the ad He is happy to be objectified and to be treated like a giant living 68
chocolate bar. The very fact that it is a deodorant ad targeted at men shows that the ad makers are holding out a tacit benefit from the usage of the product women going berserk over them. While the female fantasy revolves around chocolate and men, the male fantasy ostensibly is being objectified by hordes of women. 6 VIP underwear VIP is an undergarment manufacturing company of India who specializes in mens vests and underwear. The following print ad for mens underwear is self explanatory, and single handedly proves the hypothesis of this research. The print ad features a male model sitting with his legs parted. The sculpted body glistens in the light and his pectoral and abdominal muscles are therefore highlighted. He wears shades over his eyes which he maneuvers with his index finger of his left hand. His stare is piercing and his expression suggests a bold invitation. Observation The man in the picture dons only a pair of underwear and sits with his legs apart. His hands are on the sides of the chair. His head is cocked in front as he adjusts his shades with his index finger. His 69
body language is consistent with regality. His wide-spread legs give an impression of breadth and power; He is seated like a king on the throne. His posture, on close observation, resembles the letter X which is name of the brand advertised. The image attempts to foreground the underwear on the model, therefore the rest of the background is beige to highlight the red underwear against its backdrop. This inevitably brings the viewers gaze to the groin of the model. The look on his face is inviting, but at the same time it is haughty and self assured. 7 Dollar club undergarments Six print ads have been taken for analysis for Dollar Club. It is a brand of undergarments meant for men. The brand identity, like many other products targeted for men, is toughness. The brand ambassador is Akshay Kumar who is usually associated with daredevilry in movies.
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Observation Akshay Kumar is clad in a white vest and blue jeans performing various physical activities such as playing with a basketball and exercises such as pushups, bicep extensions. The soft light accentuates the ripples of his bicep and the picture presented thusly is pleasing to the eyes. His poses are all athletic (therefore action oriented) and his facial expressions are serious. 8 Denim After Shave Denim After Shave advertisement aired in India in the early 1990s. The TVC featured a woman rubbing cologne on a man. She caresses his face and neck and eventually, her hand travels along his chest to his abdomen when she tries to move her hand inside his shirt. In a quick swift move, the man stops the womans hand by grasping it suddenly. The voiceover for the ad can be transcribed as: When a woman puts Denim on her man, he knows, the more she puts on the more life takes offDenim. For a man who doesnt have to try too hard
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Observation The slogan for Denim After Shave is, For a man who doesnt have to try too hard . Meaning it is meant for a man who never has to try too hard to win a womans attention. It capitalizes on the Freudian desires of men, because ultimately that is the pivot of mans endeavors according to psychoanalysts. The sexual undertones of the ad are obvious as the woman sensually tries to apply the aftershave. It seems to the viewer that the woman is in control, until she tries to open his shirt and put her hand inside. The mans heavy hand suddenly grabs her hand and stops her thus proving it is ultimately the man who is in power. Mulveys theory of reducing the object into body parts is observed here. The male is reduced to a chin and chest and the woman is represented through an attractive, well manicured hand. Despite that, the man is the one wielding power over the woma 9 Wildstone Deodorants The sample is one of the many ads of Wildstone the common leitmotif is that of a woman leching at an attractive man. Though the scenarios change, the theme is the same. This one particular TVC features an attractive woman in an Indian garb who suggestively eats a slice of watermelon while leching at the man. She eats the wedge of the melon in a rather messy manner wiping her mouth in a provocative fashion, all the while fixing her gaze on the man. the man on the other hand seems to be amused by the womans behavior, He smiles at her but does not engage her any further. The advertisement ends with the male model spraying the deo on his bare torso.
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Observation The semiotics of the advertisement showcases heavy sexual undertones. The messy eating of the melon and the lusty stare is towards the man is indicative of this. The man is amused, but dismissive. The womans antics seem to tickle him a bit but ultimately, he wields the power and decides to walk away. The female gaze here is passive; she does not have the power to make any overtures. The male on the other hand appreciates her admiration, but being the active male he refuses to being objectified. 10 Cinthol This Cinthol TVC features Hrithik Roshan who is shown bathing with the soap in one sequence and standing atop a building with arms wide open in another. The bathing scene is the focus for analysis. He is shown standing in the shower and rubbing the soap sensuously over his body. his gaze is averted as he does not make eye contact with the viewer. The water droplets are show splashing against 73
his skin and multiple shots of the same scene is taken from various angles.
Observation Hrithik Roshan is shirtless in the entire sequence; the TVC obviously wanted to cash in on his attractive form. Even when he is shown clothed, his shirt unbuttoned to reveal his torso. A hint of his undergarments are shown over his pants. The rest of the sequence shows him engaged in manly activites such as water sports and horse riding. A significant part of the ad focuses on his bathing. The angles of his body show power and strength, but the template of the bathing scene is borrowed from the ones featuring women.So there is a juxtaposition of masculine undertones with feminine ones.
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Analysis Part III Magazine covers 1 Mandate The first magazine cover to be analysed is Mandate, which is a mens lifestyle magazine. The sample features a male model flanked by two women on either sides. There are lipstick stains on his face. He wears a white jacket but his chest is bare. His stare is fixated on the camera and not on the women who are by his side. The caption on the cover says Mirror Mirror on the wall, whos the hottest of them all? this line is taken from the fairy tale Snow white and the seven dwarfs. The line is modified as the fairest is replaced by the hottest .It is a line commonly associated with vanity. Observation The male model occupies the central position of the magazine cover. He is therefore the subject of the picture and the object of the viewers gaze. He gazes back at the viewer with a smirk on his face. The lipstick stain on his face suggests that he was kissed by the women in the picture. The smug expression on his face on his face puts him on a position of power. This means, even on being manhandled by the women in the picture, the male is self assured, confident and seemingly enjoying the attention. Such a picture with a role reversal would be difficult to digest. Since it is the man who is at the receiving end of the gaze, the story is very different 75
The vanity aspect of the picture is highlighted with the help of the caption which says whos the hottest of them all. This line is associated with the evil queen in the Snow White fairy tale. She routinely asks this question to her magic mirror in an insecure fashion. The association of the line with the image is deliberately done to equate vanity with men. The evil queen has been replaced by the male model 2 Stardust In this sample of Stardust, we see picture of John Abraham shirtless against a white background. He is shown looking directly into the camera with a slight smile. His right hand rests on the back of his head and the left hand is on his waist. His left palm is very close to his groin and his entire body is bent in a very feminine S shape. Observation Here we see the feminization of a macho image by making the male model pose in styles that are usually common to women pin-ups. For example the picture on the left with the woman is a classical pose meant for pin up girls. This feminization does not resonate well with the image of the male model. He is macho looking and sinewy. So the image of a very strong macho man posing in a manner associated with pin up girls gives an impression of irony. 76
Susan Bordo in Beauty (Re)discovers the Male Body calls such posers leaners because their pose is more feminine and more passive. 3 Filmfare Through this we revisit the analysis of our first sample where John Abraham struck a similar pose. This particular analysis however may be different from the first one owing to the change of medium and also because of the text that surrounds the image on the cover. The description of the picture is the same, he poses sideways with his head turned towards the viewer. He has a sheepish smile on his face and his swimming trunks are pulled low to reveal considerable amount of skin. His body is well chiseled and sinewy. The soft light gives an attractive quality to the picture. The text is of special importance to us which may give us an idea as to why the magazine chose to use this image as its cover picture. On the extreme left we see the word Homosexuality and on the right, big red and white font say Men make passes at me all the time Johns sizzling confession Observation Johns pose shows vulnerability as he pulls his pants low to reveal skin. Such poses are associated with female pin up models. The picture is extremely provocative and raunchy by Indian standards. His pose also shows assertiveness 77
as evident from the smile on his face. The body is well defined and the soft light highlights the contours of his muscles implying strength and power.
The text that is used in the cover is worthy of attention. It reads Homosexuality and Men make passes at me all the time. For many, magazine cover becomes a decisive factor in buying a magazine. The words on the cover imply that they seek attention from the homosexual readers as well. 4 Cosmopolitan In this sample we see Shahid Kapoor standing upright with one hand in his pocket and the other hand by his side. His face has a hint of a smile and his gaze is straight, direct, and piercing. He wears a white shirt with a grey jacket and blue jeans. The top buttons of the shirt and open and a small part of his chest is revealed. The background of the picture is white and colours like orange and black are used. The words on the cover say Are men the new women? Observation Shahid Kapoors pose and demeanor is of prime importance in this observation. The face and the body communicate assertiveness. There are no traces of sensitivity or vulnerability on his face or body language. The placing on the hand on the hip is a tell tale sign of showing macho superiority. It suggests attention to 78
the hip region and by that extension the phallus. The picture suggests a show of power if not aggression. He is completely clothed as opposed to the other samples observed till now, but the partial chest show is consistent with the others. The line on the cover Are men the new women? is confusing and ambiguous. It may be meant for a corresponding story inside. 5 Vogue The sample features a picture of Hrithik Roshan. He wears a white jacket and a shirt with its buttons undone. His chest is bare and his hands are in the pant pockets. The pair of pants is white to match with the shirt and the background. His stare is direct and there is a hint of smile on his face. The white background of the picture is offset by the yellow and black fonts on the cover. Observation Hrithiks pose is smiliar to Shahid Kapoors in the previous sample, but instead of one hand ,Hrithik has both hands in his pockets. This sign according to body language experts is to bring the attention to the hips and the groin area. It is a reassertion of the power of the phallus and a show of might and male superiority. The buttons of the shirt and kept open and the chest and the 79
abdomen are on display. The skin glistens in the soft light giving it a sensual appeal. His well developed muscles and body give an impression of strength. 6 Hi Blitz The sample features Ranbir Kapoor as the model on the cover. He is seen wearing a black strap on his upper body, it could be a black vest which has been pulled over his head. His torso is bare and his abdominal muscles are on display. He wears a pair of shades on his eyes. There are chains and bracelets on his right hand. His underwear is visible over his blue jeans and he has his right hand in his pocket. He is seen leaning on a tree. His facial expression is smug with one raised eyebrow. Observation This posture of the model qualifies as Susan Bordos leaner type. In this type the model typically leans against a wall or any other surface giving him a relaxed look. The show of muscles and skin entices the female gaze but at the same time, the object is in a position of power. The muscles and the stance points to the fact that he is in control. The facial expression needs to be noted: The raise right eyebrow gives his face a rather smug look which reinforces his confidence and strength. 80
7 Movie Mag In this sample, John Abraham stands bare-chested with a scarf on his neck. He wears his pants very low to reveal the top part of his underwear. His body is chiseled and bulky. On his face, he wears a pair of sunglasses. His body language is confident. He turns his head and there is a smile on his gaze. His gaze is obscured because of the shades. His hands are at a distance from his body. though his head is turned away, his body faces the viewer. The words on the left side say Johns too confident of his sexuality to worry and Gay fever hits Bollywood. Observation In the picture, the models masculinity is made evident not only through the show of brawn but also through his posture. he looks away averting the gaze of the viewer to make it seem like he doesnt care or that he doesnt acknowledge the gaze of the viewer. Despite him not meeting our gaze we can see his show of strength through the pose; his arms are at a distance from his body giving him an illusion of width and by that extention, power. There is some light stubble on his chin and his cheeks which looks macho. The yellow/green colour of his scarf may be a mismatch to his strong, masculine image but even that works in an ironic fashion: It highlights his masculinity by contrast. The words Johns too confident of his sexuality to worry reasserts his strength. The words Gay fever hits Bollywood is also deliberately put there for attention from the homosexual subscribers of the magazine. The fact that he is very 81
confident about his preferences doesnt cause him to worry about the rising tide of homosexuality in Bollywood. 8 Femina The sample chosen for analysis features actor/director Farhan Akhtar standing against a pale white background wearing a white shirt and blue jeans. His right hand is straight and his left hand is bent at the elbow. He touches with his left hand the intersection between his forearm and arm. He is shown smiling ear to ear.The words on the cover worth mentioning are Found! Indias hottest men, What he really thinks of your bedroom moves
Observation Unlike the other samples investigated so far, this one stands out mainly because there is no show of skin. The model wears a basic white shirt with blue jeans. His face is pleasant with no signs of aggression or power. His folded shirt sleeves give him a relaxed and casual look. His well defined body is hid from the prying 82
female gaze but yet there is an attractive quality to the picture which inevitably invites the looker to admire it. The allure of an attractive clothed man is more, especially because he is wearing a white shirt with denims. The average female reader relates to the picture and she sees a man-next-door which has its own magnetism. The smiling face of the model also renders a sense of beauty to the picture. Farhans posture and smile is indicative of his amusement. He does not mind being looked at. Even though he is covered fully and does not showcase any skin, the bulge of his muscles is discernable through the shirt. The posture exudes confidence and assertion. The words on the side Found! Indias hottest men, What he really thinks of your bedroom moves invite the readers to grab a copy and read. The magazine is meant for women, and the promise of finding Indias hottest men inside is a testimony to the fact that they want the men to be ogled at. The risqu words juxtaposed with a modestly dressed man is quite a contrast.
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9 Mens World In this sample, Shahid Kapoor stands with his left hand obscured. His shoulders are tilted. His gaze is direct and looks straight into the camera. His chest is visible through the shirt as he has kept the top buttons open. His legs are parted in such a manner; it gives an impression of movement. The facial expression is pleasant as there is a hint of smile on his face. Observation The body language of the person suggests movement. The legs are parted as if in a stride. The left hand is obscured to make it seem like he is reaching for something in his pocket, or he could be adjusting his jacket to aid better movement while walking. The some portion of the chest is bare, it is also trimmed and clean of chest hair. Despite him being clothed, the baring of the chest makes him available for the female gaze. The smile, the stubble, the gait are all consistent with confidence and macho-ness. The seemingly expensive suit is indicative of of his financial status. The semiotics of his clothes seems to give away his superior social status. It is yet another way of showing his might.
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10 GQ The last sample features Shikar Dhawan as the model on the cover page. He wears a blue jacket with a black vest with white details underneath. His facial expression is serious and menacing. His right eyebrow is cocked and his eyes are narrowed. He sports a handlebar moustache and there is a considerable amount of facial hair. He stands with one hand akimbo and the other hand tossing a cricket ball.
Observation Shikar Dhawans picture exudes extreme machismo. His expression suggests belligerence. The eyebrows and the narrowed eyes indicate aggression as if he has tosses a challenge to an opponent. The handlebar moustache and his facial hair is an indicator of his masculinity. He is in a state of motion as he tosses the ball up and down. His left hand is on his hip, which is a classical pose of intimidation. It makes the body appear wider and hence more menacing and powerful. The expensive suit also plays a role in the semiotics of this picture. He also happens to wear an expensive watch and a wrist ornament. These are indicators of his social status. The picture immediately strikes off as one filled with pure antagonism. He comes across as a villain. But one cannot ignore the aesthetics of the picture as well, 85
Shikar Dhawans pulchritude is seems very obvious to the viewer despite his show of might and intimidation. This picture is a classical example of a handsome man showing off a lot more than his physical might, he also displays his opulent attire and by that extension, his financial status.
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Conclusion To conclude this research, we have to make a section-by-section analysis of the representation of male bodies for female gaze. The original problems faced by the research prior to the investigation of this phenomenon should be asked again. Overall observation Films 1) All samples show attractive, strong men 2) Men are shown in motion or in any form of masculine show of aggression. Eg Bhaag Milkha Bhaag, Force, Ghajini,Veer. 3) Mens poses are modeled on womens traditional poses, but they are masculinized rather than feminized. Eg. Sawariya 4) Womens gaze seems passive. No overt instances of women actually touching or making advance at the men. Aiyya being the only exception to the rule, but only in Rani Mukherjees imagination. Advertisements 1) All advertisements are directed at men. This proves Suzanne Moores contention (1988) that men look good more as a narcissistic need rather than to impress women. 2) They all show men in assertive and strong stances. They are in control of their bodies. 3) They enjoy being objectified and ogled at. 4) They are not disempowered like the women in the advertisements, they play active role.
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Magazines 1) The magazines sampled are a heterogeneous lot, some are mens magazines, some are womens, and some are meant for both. Presenting attractive men on the cover would imply that the gaze is invited from the men and the women. 2) Men are physically strong, not passive things vulnerable to the gaze. 3) They exude not only physical power but also financial and social power. 4) Poses are related to aggression, movement or they qualify as Rock or Leaner type Do the males being objectified suffer from the loss of power when they are at the receiving end of the gaze? Women are ideally portrayed as vulnerable beings, helpless and hapless, subjected to the male gaze much against their will. The representation of men is not the same. Almost all the images and instances studied showed men in a state of power and movement. According to studies (Moore,1988), these men are sinewy and well built and capable of walking out of the prying gaze of the women . It does not replicate a monolithic and masculinized stare, but instead involves a whole variety of looks and flances- an interplay of possibilities (Moore in Gamman and Marshment,59) Do the gender dynamics remain the same in the case of female gaze? Sex is related to a persons biology, whereas gender is a social construct. In the power play of gender versus sex, the men win inevitably. The one in power is the male, so the gender dynamics of the objectifier versus the objectified is in the favour of the men. The women are passive gazers. Is the role of the woman that of a powerless gazer? It is safe to say yes, the role of the woman is not a very active one mainly because they are not gazing at powerless objects but images of men who refuse to be objectified. Even if they are, the men enjoy it and do not show offense at being gazed at. 88
How are men portrayed by the media? All the images of men used in the study show power and strength, either physical or financial. They all adhere to the standards of male beauty. All of the subjects of study have well developed bodies and are portrayed as irresistible to the women.
Is it a display of their physical attractiveness or power? In the images used for study, almost all the subjects come across as good-looking and powerful. It is safe to say that the image portrayed by the media of men is the one of masculinity, attractiveness, and power. Models coldly stare at the viewer in a locked in a tacit battle of power. It defies the observers to view them in ways other than how the intended to present themselves. They present a shield that is powerful to the gaze of the (Bordo, 1999,pg 203 paragraph 2).
Are men portrayed to be objects of womens scopophilia? We can say that the men portrayed are images of Scopophilia, but not necessarily of women. They could also be aimed at gay men or at women. It is evident by the magazines that included stories pertaining to homosexuality next to an image of John Abraham or the movie Dostana which was pitched as a gay friendly movie.
The phenomenon is here to stay: Pictures of scantily clad, attractive men are going to be commonplace in the Indian media, but how much does it change gender dynamics is uncertain. Through the study of the images in the Indian media, we can say that the female gaze cannot be equated with male gaze.
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BIBLIOGRAPHY AND REFERENCES 1) Laura Mulvey, Visual Pleasure and Narrative Cinema: Visual and Other Pleasures ,1975 2) Suzanne Moore, "Here's Looking at You, Kid!," The Female Gaze: Women as Viewers of Popular Culture, Ed. Lorraine Gamman and Margaret Marshment, Women's Press, 1988 3) Susan Bordo, Beauty (Re)discovers the Male Body, 1999 4) Martha C. Nussbaum Philosophy & Public Affairs Vol. 24, No. 4 (Autumn, 1995), pp. 249-291 Philosophy & Public Affairs Vol. 24, No. 4 (Autumn, 1995), pp. 249-291 5) Gender Communication Theories and Analyses From Silence to Performance Charlotte Krolokke andAnne Scott Sorensen, SAGE Publications, Inc, 2006. 6) Overcoming Objectification: A Carnal Ethics by Ann J Cahill, Taylor & Francis, 07-Dec-2010