Media Images of Women
The creation of woman according to a Hindu myth:
“When Twastri came to the creation of woman, he found that he had exhausted his materials in the making of man and that no solid elements were left
After profound meditation he did as follows: –
He took the weeping of clouds and the fickleness of winds,
the roundness of the moon and the gaiety of sunbeams.
He gathered the elegance of the deer, the vanity of the peacock
and the softness of the parrot’s bosom and the sweetness of honey
and the cruelty of the tiger and the cooing of the kokila
and the tapering of the elephant’s trunk
the hypocrisy of the crane, the fidelity of the chakrawaka.
He then took the lightness of leaves, the bloom of flowers
the curves of creepers, the clinging of tendrils,
the trembling of grass, the slenderness of the reed.
He turned to the coldness of snow and the warmth of fire
and compounding all these together,
He made woman and …”
And placed her among other earlier creations including man.
Indeed the finest creation of the Creator but what has been made of this crown of creation? From ages immortal nature has decked woman with colours and flowers enhancing her God-given beauty on one hand, but on the other hand the modern media have many more times sullied her to an unrecognizable state. In all spheres – religion, society, culture, media – the beautiful body of woman is defined, despised, desecrated, debased, discriminated against, damaged, denounced, decimated, drugged, displayed, decorated, disrobed, disposed, discarded, dumped, demonized and deadened (Philomena, 2004)
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Media Creations : Media comprising the print, broadcast, electronic and new media are advancing by the day. One medium is competing with another in using the latest and fastest means to reach the largest audiences to every nook and corner of the world. With the developments of the latest technologies – news, views and live images are seen as they happen anywhere and everywhere on planet earth. The newer, colourful technologies in photography and printing, contribute to the attraction and glamour of media. Along with progress there is also the use, misuse and abuse of resources for profit and popularity. In particular, the images of the human female form through various media are often misleading, misguiding and disgusting. The created, concocted media images have wide and wild influence, deep and metamorphoric impact particularly on the vulnerable sections of society.
Most of the newspapers both broadsheets and tabloids – national and local – carry all sorts of images of woman in the tiniest and scantiest outfits. The woman’s magazines are flooded with fashions, lifestyles, beauty aids, fit regimes. The pull-out sheets of some of the national dailies deal only with (FEST) fashion, entertainment, shopping and travel attracting the readers’ gazes to colourfully over-dressed or under-dressed women.
Media images have created stereotypes of men and women – men as confident, strong, brave, daring, independent, handsome and women as ‘plastic dolls’, tall, lean, fair, with glowing skin and flowing hair. The fabrication of these images is to generate a consumer society to accelerate profits and establish a mindset in the audience “to be ideal like these models I need to buy the product”. Mass media alter people’s attitudes, beliefs and prejudices to a large extent.
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In a recent telephone poll, People magazine asked women about how the images of women in the media influenced their self-esteem. Eighty percent said that they made them feel insecure, 93% tried to lose weight and 34% said they would try a diet even if it could endanger their health. ( quoted by Nivedita).
Advertisements: Advertisements and commercials are very carefully planned to appeal to the target audience of a particular radio or television programmes. Ads in magazines and newspapers are also strategically placed enticing the reader to stop and read. In most of the advertisements women are featured as desiring to be desirable by men for marriage and/or for employment. On a daily basis the media bombards thousands of messages digitally perfected examples of women setting standards for other women. Quite a few of these show women and housewives pre-occupied with cosmetics, adornments sometimes even appearing as stupid and superstitious.
Very often women are shown as “soft toys” for the men, the way they are positioned emphasizing their subservience and dependence. They wear revealing clothes and take leaning and yearning postures all these to grab the attention of men. These are signals of incompleteness or lack of security. Women and their body parts sell everything – food, clothing, cars, computers, men’s shaving lotions and underwares. Models as glam dolls in ads and films work their magic in front of the camera and ace photographers do the same behind the lenses but thousands of simple girls believe to get the same look as the models by using certain products advertised by them.
In 2002, researchers at Flinders University in South Australia studied 400 teenagers regarding how they relate to advertising. They found that girls who watched TV commercials featuring underweight models lost self-confidence and became more dissatisfied with their own bodies. Girls who spent the most time and effort on their appearance suffered the greatest loss in confidence. (Janet and Shirley)
Obsessiveness with fairness: ‘Seeing is believing’ claims the fair and lovely soap. It further says, “Everytime you bathe with the new fair and lovely fairness soap, you get your daily dose of fairness… discover fair, radiant skin that glows from within.”
Let’s cite some of the popular advertisements of recent years of this product the image of their ideal woman .
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a) A daughter is depicted unfit for marriage, because she is not fair. But after she uses the fair and lovely cream she gets engaged to a suitable boy.
b) The father of a girl regrets that he does not have a son who would have earned (irrespective of whether he would be fair or not) and supported the family even to the point of being able to buy milk for coffee at home. When the girl starts using the fair and lovely cream she gets a job in an airline and is able to take her parents to the airport restaurant for coffee.
c) Another young girl works in a beauty palour making others look beautiful, but is unable to make herself so. On recommendation of a friend to use the cream she obtains the desired fairness within a month and lands as an anchor in a television channel.
d) A young wife who regularly uses fair and lovely is adorned by her husband who carries her face in his pocket or heart before he leaves for work..
Should all women have a white (fair) skin in order to be worthwhile? What is this farce about fairness loveliness? Did God make a mistake lining our skin with the melanin pigment for protection? Are not the millions of shades unique in themselves that add variety and individuality to each person? What about the races whose darker shades are more pronounced, will they, and need they become fair like the Europeans? But why all this fuzz about fair skin?
How many innocent, young girls get cheated with false claims made by such beauty aids? How many have shattered their lives trying to live-up to the ideal formula projected by advertisements?. The millions of vulnerable viewers of media including very young girls go through sleepless nights worrying and trying to wipe away pimples, warts and marks. They spend hours on end, to bleach, scrub and peel off their skins often times under painful processes to equal themselves to Barbie dolls shown in the ads spending valuable money and time. They do it in their homes or beauty palours that are mushrooming. (Now the fairness mania is catching up the men folk too with fair and handsome creams to ‘be fair be handsome’)
Marshal McLuhan the guru of electronic media correctly ascertained the fact that women try to look attractive for men by polishing each and every part for the best performance. The modern woman has been taught through advertising bombardments that every feature of her physical makeup can be enhanced for promotion, popularity, money and men.
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There is no comparison what the Indian woman was 20 or 30 years ago from what she is today. She considers her emancipation by selling her figure grabbing maximum money in the shortest period. By exposing her near-naked body in myriad poses she thinks she stands tall winning hearts and contests, bagging plump roles and quick bugs. The advertiser glorifies the woman through her body parts making her look no longer with downcast eyes but straight into the eyes of the camera and in reality into the secret sexy thoughts of the man . She is the new queen of sex-hungry men riding the wave of a revolution that gives her new power.
In a recent opinion poll by All India Democratic Women’s Associtaion (AIDWA) and the Working Women’s Co-ordination Committee (WWCC), the subject of which is ‘Women’s portrayal in TV serials and advertisements’ the women uttered dismay over they being shown in bad light in advertisements and serials. The ‘soaps’ cast women as ‘scheming’ who are instrumental in breaking up the family bond. Polygamy, adultery and extra marital relations featuring in serials threaten the very family bond. The need for a media-monitoring cell is of utmost importance as reiterated by AIDWA. (Nivedita)
Airline Advertisments: What are the images of women produced by airline ads? A few years ago a random survey of 18 advertisements showed 10 of them sold women instead of transportation or service. In these 10 ads, a total of 21 women were shown doing nothing except smiling and looking beautiful for the camera. The settings were gardens, elegant living rooms having no connection with their work place. It is know to all how the airhostesses work through the entire flight, they are not idle models but hard-working, glorified waitresses, re-assuring travelers, acting as nurses and baby-sitters.
Then why are these women just shown in beautiful settings and in idleness?
Some of the answers could be: a) male travelers are more interested in the appearance of an airhostess than her capabilities b) male ego is boosted by the presentation of docile beauties solely to serve him and make him comfortable.
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Some of the international airlines like the Thai International Airlines specially show their airhostesses very gentle, caring, courteous and beautiful, that’s the way they sell their flights and carry men to the sex capital, Bangkok. The beautiful Singapore Airlines hostess are shown in golden tones blurred through the glass of a window, slight blurring or fuzziness is a common tactic – it enhances the impression of softness. The accompanying story reads ‘mysterious woman form the orient’.
Advertising airlines is designed to sell services and products. Competing airline companies will go to any lengths to convince consumers that they provide better product or service. The ordinary traveler does not see much difference between airlines accept getting to their destination. So the battle for consumers is waged over the bodies of women or atleast over their images, an image not one of efficiency and cheerful service but of female gentleness and subservience. The ads further reinforce and exploit the stereotyped characteristics of docile and submissiveness .
Beauty Pageants: A pageant is a brilliant spectacle, a big show, splendid display, indeed an empty show as far as beauty pageant is concerned. Such pageants gather young, unmarried women from various states/countries who with their specific measurements of height, weight, hour-glass figures compete with one another to prove that they are more beautiful than the others. The girls are expected to wear dresses that reveal their body parts including the swim suit. The measurements of these girls are judged by a team of experts who are executives of various companies involved in the production of different kinds of cosmetics, actors and former beauties. (In 1952 Ms Indrani Rehman, a contestant from India was disqualified from the Ms Universe contest when she refused to wear the swim suit.)
The contest is organized and sponsored by multi-national companies. Miss Universe and Miss World are organized by companies involved in the production and sale of cosmetics. They use these contests to choose some girls who would work as models to advertise the company’s products for a whole year. The winners are not allowed to get married for that year, have to travel, dress, speak as per the directives of the sponsors, and model all the products of these companies. The expenses incurred in such shows are nothing compared to what the company earns through the advertisements.
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They justify such contests that physical beauty intelligence are given equal importance. Then why is it that more than a month is spent preparing the physical structure and external beauty, trimming, shaping and massaging, etc, while the intellect is judged by just asking one or two questions at the end of the spectacle? Why not train the intellect as well and equip the girls to do something more in life? The allurement towards such pageants is so strong that thousands of young girls are aspiring and dreaming to be crowned Miss worlds. Someone has very rightly said, ‘Beauty is not for being crowned Miss World but to reach out to the missed worlds’.
Politics behind pretty faces:
There is a need to understand the underlying politics and economics in the selection of winners of these beauty contests
– In May 1994, Sushmita Sen was crowned Miss Universe in the Philippines, in October of the same year Aishwaryarai snatched the Miss World title in South Africa. Was it a mere co-incidence that these ladies won the title soon after India signed the GATT?
– Following the collapse of communism in the former Soviet Union, a few days later a girl from Russia was titled Miss World
– In 1992-1993 a Jamaican beauty was crowned Miss world after Jamaica adopted a liberal economy which offered full freedom to multinational companies to exploit the people of that country
– Since 1970 Venezuela has introduced remarkable flexibility in its economy and political system to permit external intervention by increasing concessions to multinational companies in the global market. This nation has received rich rewards for this generosity Over 30 and more young girls from Venezuela have won one of these titles since this nation introduced liberal economic measures.. In 1994 too a contestant for Venezuela won the second runner-up title
– How did Miss Africa get crowned as first runner-up in the 1994 beauty pageant? Is it because Dr Nelson Mandela had launched a campaign inviting foreign capital in South Africa?
– In the same year Miss Universe had Miss Croatia and Miss Zimbabwe in the finalist list. Both these nations have been faithfully obeying all the dictates issued by the World Bank and the International Monetary fund.
– Coming back to India, in June 1966, soon after Ms Indira Gandhi became the Prime Minister for the first time there was a devaluation of the Rupee by 33%. The intervention of the World Bank had also increased during that time. That same year Ms Rita Faria of India clinched the Miss World title. Later Ms Gandhi gave priority to the public sector and nationalization thereby reduced the influence of multinational companies in Indian economy. In the 1980s Ms Gandhi refused loan from IMF and of course no beauties were recognized from India. Is it not difficult to believe that for 27 years (since 1966) there was not a single beautiful girl in India who could stake claim to these coveted titles? Only from 1994 the beauties started marching with their crowns and the trend has followed either a runner-up or a finalist.
What is beauty? When beauty is related to holiness, there is no room for competition. Everyone and everything the Creator has created is beautiful. Every woman is beautiful as she is.
Pin-up Images
Marshall McLuhan in ‘the medium is the message’ describes the contemporary mindset of a woman under the influence of advertising geniuses saying “To the mind of the modern girl, legs and busts are power points which she has been taught to tailor, but as parts of the success kit rather than erotically or sensuously. She swings her legs from the hip… she knows that a ‘long-legged girl can go places’ As such, her legs are not intimately associated with her taste or with her unique self but are merely display objects like the grille of a car. They are date-bated power levers for he management of the male audience” (quoted by Todd).
The exposure of the female body has reached its lowest base where lean models with endless legs are daring to wear anything or wear nothing to gain instant recognition and a climb in their careers. These are the new calendar girls, cool and confident of their perfect lissome figures, stylish and sexy looks, wriggling themselves in an itsy, bitsy swimsuits and pouting before the camera. They are loving the gorgeous profession selling their figures in return for huge cash and free travel to exotic locales, boldly posing in wet skimpy clothes. The photographers shooting these nude stars have no inhibitions and openly admit that it is a gimmick to grab eyeballs and draw attention to the product.
The calendar girls that began with the Pirelli calendars from 1964 revolutionized images of naked women in the name of art which is catching up in India. The Westerns are excited about the ‘beautiful Indian princesses’ for their special looks. These are marketing tools connecting with their ‘specific clients’. The Indian marketing executives say they have women on their calendars not to project them as sex objects but because women reflect warmth and hospitality.
While in the West people won’t raise an eyebrow at seeing a nude woman in an advertisement, the Indian cultural values are different and a large majority of our people will not accept this image of the Indian woman. Earlier the female models would think twice before slipping in to a swim not anymore.
Music Videos: The beautiful, meaning-loaded lyrics of old numbers of the by-gone-days’ movies truly tugged the heart stings when listened to or seen. They are fading to the remix cacophony. Mindless and heartless people remix the lovely nostalgic melodies giving them vulgar and violent twists.
This new onslaught on images of women are the music videos and pop albums with seductive lyrics and tantalizing choreography that project women in very poor light. Most of these numbers depict one or many skimpily dressed women who turn and twist their ill-clad figures trying to woo one or many men. Popular as these videos are among the youth these can effortlessly be misled to take women lightly and available to gratify their sexual urges. Imprinting these repeated visuals can reach dangerous levels of sexual abuse of even minor girls. The melody queen of some of these numbers, Asha Bhonsale herself has this to say “Remixing old melodies and then making women dance atrociously… ruins the aesthetics of the music an the dance.”
Nirmala Samant Prabhavalkar, former Mayor and Chairperson of Maharashtra State Commission for Women said, “ the media, which today includes video and pop albums is increasingly becoming gender insensitive to the gender issue. The entire issue is being overlooked as it is considered a taboo or restrictive of individual freedom” (quoted by Kiran, 2005).
Films
It can be said with no exaggeration that without women there would be no cinema. Sadly, this is so not because the natural concerns of genuine womanhood have been addressed in films, but because from the very beginnings of cinema a woman has been made the centerpiece of attraction, an object.
Cinema, in particular, has made a devastating contribution here. One definition of 99% of cinema would be to say that it specializes in creating stereotypes and beauty-substitutes. Through personality cults of stars, through promotion of escapism into fantasy, it creates images, which encourage superficiality and vanity – the two qualities that are already sufficiently developed as it is within all of us. And since women, due to their superior intuitive faculty, are more susceptible to suggestions through imagery than men, the effect on the female population has been nothing short of catastrophic.
Most Indian films depict women as gentle, docile, serving and subservient. They are shown as very attractive able to break forth into a lovely song whether she is an illiterate village girl or an educated city-dweller. Woman is cinema is an object of desire and all Indian films end in getting the woman married.
Almost all the Indian features films released year after year are hero-oriented where men are full of action, song, dance and masti, the women props and decorated pieces adding a splash of colour to the storyline. Infact till the late 1980s most movies emerging from the portals of Mumbai had a suffocating and condescending attitude towards women treating them as mere objects of desire and glamour. From Madhubala to Rekha, Zeenat Aman to Dimple Kapadia, the heroines were archetypal sex objects who pouted their lips and wiggled their hips for the audiences. They were lead female artists but never the protagonists or the soul of the film.
A commercial Indian film is often loaded with all sorts of songs and dances including the rain-soaked dances with tighter and scantier clothes, seductive scenes with heaving breasts and dangling legs.. For any rhyme or reason the story cuts to a song. Some songs are meaningful but many are useless, crap and vulgar literally commodifying woman and her body parts, like tu chees badi hai mast mast and choli ke kpeeche kya hai, etc,
From the 1990s the trend has changed to a more heroine–oriented movies addressing themselves to real feminine issues. The substantial films have had women like Shabana Azmi, Smita Patil, Rekha, Madhur Dixit, Pooja Bhatt, Seema Biswas in leading roles. There is marked seriousness in these films. The themes are woman-oriented though they may not have hit the box-offices, they created an awareness. This trend is catching up. Of course the initial launching pad was provided by Mehboob Khan’s epic – Mother India – in 1950s.
After the 50s and a long interval came Umaro Jaan (Rekha), Arth with Shabana Azmi and Smita Patil, Subah with Smita Patil; Bandit Queen with Seema Biswas. Bandit Queen detailed the torment of a woman only a woman can understand. The public disgrace, the private humiliation, the erotic rape picturized are revolting and sickening. The film opened the floodgates for a number of woman-oriented themes.
Mrityudand by Prakash Jha told the story of a Bihari woman’s fight against feudalism in a male chauvinistic society, the revolt led by Madhuri Dixit. On the other end of the spectrum came Basu Bhatacharya’s Aasta dealing with sensitive subject of martial relatiohsip of a woman’s consumerist desires.
In Tamanna ,Pooja Bhatt enacted the life story of a girl dumped in a garbage by her father. The same and more can be said about Shyam Benegal’s Sardari Begum about the life of a girl who braves the wrath of her strict father to learn thumri from a mirasin and then flees home when her father threatens to forcible marry her.
For most producers cash may still be the bottom line but the fact is that in the years to come the above mentioned actors will be remembered for their singular contribution of elevating the status of the heroine and lending a new respectability to females actors. These and the few ones like Nandita Das, Konkana Sen Sharma, Sushmita Sen are trying to breach the male-dominated walls of tinsel town with serious women-oriented films.
Credit goes to the genre of women directors who are making films close to their heart. As they believe so they show the many characteristics of women with a touch of elegance and reverence. They make their characters come alive though low-budget films which tell different stories. Deepa Mehta made Fire, Earth-1947; Revathy made Phir Melange Arpana Sen’s earlier films and Kalpana Lajmi. Ms Lajmi was as fierce in her commitment to what she calls “socially purposeful cinema”. She is still a firebrand who minces no words, is unafraid of following her own path. In her latest film Chingaari. Kalpan discovered the multi-facts of Sushmita and brought out the a gamut of emotions in the actor. Ms Lajmi fiercely criticizes the male actors in the industry as many of them refused to act in her film excusing themselves on the pretext of their image being affected if they acted in women-oriented films.
Foreign Films
A few foreign film makers have attempted to give the audience an insight into the predicament of womanhood. Agnes Varda uses her womanly intuition in the filmmaking process because she belongs to that select group of filmmakers, who engage in spiritual seeking through the medium of film.
Varda’s film Cléo from 5 to 7 (1961) presents with the perfect opportunity to focus on this issue and to see just what connection exists between a woman’s beauty and her freedom. The film chronicles two hours in the life of a woman as she waits for the results of her cancer test. Cléo, the main character, is beautiful – so beautiful that, as she walks down the street, men stop and stare. She herself is perfectly aware of this and does not miss a chance to look at her own reflection. The intoxication with one’s own image and the relentless promotion of that image is the agenda for womanhood, which today’s cinema (along with television and other media) lays out enticingly before every woman. And nearly every woman is hard at work implementing this agenda into her life. Her identification not with true beauty, but with a beauty-substitute makes it impossible for her to find consolation and support just when she needs it most. At last she begins to taste the bitter harvest of her own sowing.
The great Spanish-born filmmaker who lived and worked in France, Luis Buñuel in his film That Obscure Object of Desire, remarkably records the absurdity of male/female relationships. In this film something strange happens: the actor playing the female lead, is suddenly replaced in the middle of the film by a different one, who continues to play the same part – and the male protagonist does not even notice the switch! One cannot help wondering how many of the viewers actually do not notice this switch either, since Buñuel keeps the narrative right on going as if nothing whatsoever has happened. Throughout the course of the film the two female actors are used interchangeably – but the male actor continues to pursue the woman in the film as if she were the same woman, not noticing any difference. This is Buñuel’s brilliant way of demonstrating our present-day distortion: all a man sees in a woman is “that obscure object of desire”.
Another major director on the world stage, Ingmar Bergman, has always been preoccupied with the mystery of womanhood. From as early a film as Persona to as late a film as Autumn Sonata, female characters occupy center stage in all of his films. Frustrated and confused, often in the middle of a life-crisis, these women are definitely seeking something – their identity, the meaning of it all . . .
Although just a few examples from some of the world’s greatest filmmakers have been cited here, the ongoing search for a woman’s true identity can be seen in the films of many filmmakers from all over the world. Ultimately, this search has to take us to a higher plane: to a search for Knowledge of how womanhood fits into a greater context of not just the world, but of Creation at large.
Conclusion
Mass media in totality cannot be held responsible for the false and indecent images of women, viewers are also partly responsible. It is important to note that the women’s movements and activities have got recognition due to the cumulative efforts of the media, yet it is paradoxical that mass media has not been able to present women in new shades of life in a positive manner according to the changing times. It is high time that the stereotypical portrayal of women in mass media should give rise to the new, emerging, empowered woman.
The audience need to be aware of safeguarding Women’s interests and The code of Commercial Advertising that lays down standards of advertising conduct.
Under the indecent Representation of Women (Prohibition) Act 1986, wide ranging restrictions have been imposed on the content of advertisings published or broadcast in the media. The Act, introduced in response to growing demands, especially from women’s organizations, for legislative action to curb the increasing exploitation of women by the media, makes it an offence for any publication, writing, painting, figure or other medium to depict a woman or her body in an indecent or derogatory manner (Media Advocacay Group 1996, Venkateswaran 1993).
Thoughts are powerful things. Women should be introduced to “power thinking”. Every woman need to know – that whoever you are, you are perfect before you put on a stitch of clothing. Whatever your shape, color or size, you are beautiful.
If your doctor tells you you’re healthy, that’s all you need to know. Anyone or anything that tells you that you are not beautiful is wrong. When you truly like yourself, you know you have no flaws.
The desire for beauty is not wrong. God placed this desire in each of your hearts. That’s why we love to stargaze, plant flowers and vacation in breathtaking places. It’s only when viewed through the world’s distorted lens that this desire becomes corrupted.
How ridiculous and disgusting will the present fashion craze appear, to which you have always readily and even unconditionally submitted! Every nonsensical creation thrown on to the market for the sake of money-making by the fashion designers you seize like an animal to which titbits are thrown!( Maria Pearse)
For attractive lips, speak words of kindness. For lovely eyes, seek out the good in people.
For a slim figure, share your food with the hungry. For beautiful hair, let a child run his or her fingers through it once a day. For poise, walk with the knowledge that you never walk alone…
The beauty of a woman is not in the clothes she wears, the figure that she carries or the way she combs her hair.
The beauty of a woman must be seen from in her eyes, because that is the doorway to her heart, the place where love resides.
The beauty of a woman is not in a facial mode but the true beauty in a woman is reflected in her soul. It is the caring that she lovingly gives the passion that she shows. The beauty of a woman grows with the passing years. – Sam Levinson
