ABSTRACT

In India, the 2012 Delhi gang rape case catalyzed protests for women’s rights, particularly in regard to their safety. These demands were rekindled with vigor anew with the eruption of the #MeToo movement. In the Indian film industry, the most visible change appeared in the gradual increase of films with women-leads. But behind the scenes, there has been comparatively less change in female representation. Currently, approximately less than 10% of film directors in India are women. Considering the importance of having stories about women being made by women, in this article I examine the factors that hinder women’s entrance and tenure in the Mumbai film industry. I argue that a composite of concerns, including but not limited to reputability and personal security, thwarts women’s progress in the industry. I base my conclusions on interviews with women and men working in the film industry, conducted in Mumbai in 2017. I use the framework of the Ambivalent Sexism Index developed by psychologists Glick and Fiske in 1996, and revised in 2013, (1996, 2001, 2013) to examine my interviewees’ encounters with hostile and benevolent sexism. This article complicates our understanding of the reasons that limit the work of women beyond explanations of overt discrimination.

摘要

在印度，2012年的德里帮派强奸案激起了对妇女权利的抗议，尤其是在妇女安全方面。#MeToo运动的爆发重新激发了这些需求。在印度电影业中，最明显的变化出现在女主角电影的逐步增加中。但是在幕后，女性代表的变化相对较少。目前，印度电影导演中大约不到10％是女性。考虑到拥有由女性创作的女性故事的重要性，在本文中，我探讨了阻碍女性进入孟买电影业的因素。我认为，综合考虑因素（包括但不限于信誉和人身安全）阻碍了妇女在该行业的进步。我的结论基于2017年在孟买进行的电影界男女采访。我使用心理学家格利克（Glick）和菲斯克（Fiske）于1996年制定，并于2013年进行了修订的歧义性别歧视指数框架（（1996年，2001年， 2013年），考察受访者遇到的敌对和仁慈的性别歧视。这篇文章使我们对限制女性工作的原因的理解更加复杂，而这些原因超出了公开歧视的解释范围。