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 年德里轮奸案引发了对妇女权利的抗议，特别是在她们的安全方面。随着#MeToo 运动的爆发，这些要求被重新点燃。在印度电影界，最明显的变化是女性主演的电影逐渐增多。但在幕后，女性代表的变化相对较小。目前，印度大约不到 10% 的电影导演是女性。考虑到女性故事的重要性，在本文中，我研究了阻碍女性进入孟买电影业并获得任期的因素。我认为，包括但不限于声誉和个人安全在内的一系列问题阻碍了女性在该行业的进步。我的结论基于 2017 年在孟买对从事电影行业的女性和男性进行的采访。我使用了心理学家 Glick 和 Fiske 于 1996 年开发并于 2013 年修订的矛盾性别歧视指数框架（1996、2001、 2013）检查我的受访者遭遇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变得复杂，超出了对公开歧视的解释。