Please use this identifier to cite or link to this item: https://hdl.handle.net/10356/52184
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dc.contributor.authorMohammed Shafie Haja Mohaideen.
dc.date.accessioned2013-04-24T08:40:29Z
dc.date.available2013-04-24T08:40:29Z
dc.date.copyright2013en_US
dc.date.issued2013
dc.identifier.urihttp://hdl.handle.net/10356/52184
dc.description.abstract“Sridevi” is one name that lingers in many of the actresses, actors and audiences’ heart due to her remarkable and unforgettable performances in the Indian cinema, predominantly in Bollywood and Kollywood. However, what is largely forgotten is Sridevi’s empowerment by her adherence to the patriarchal structure of Indian cinema. This paper would argue that Sridevi straddles binaries using her body to embody different patriarchal stereotypes only to subvert the very rules that govern her body within patriarchy. Her body becomes a site for the performance of different body types such as the disabled body, the queered body, and the combination of vamp and innocent qualities. This project investigates how Indian cinema looks at Sridevi and how what others have written about represention of women in Indian cinema applying Laura Mulvey’s and Claire Johnston’s notion of gaze and spectatorship. In doing so, I would also investigate how the Indian cinema avoids the ‘inclusion’ of the cinematic tools such as camera angles, costuming, and songs and dance sequences that are employed, to ‘manipulate’ or ‘dictate’ the way spectators look at her.en_US
dc.format.extent56 p.en_US
dc.language.isoenen_US
dc.rightsNanyang Technological University
dc.subjectDRNTU::Humanitiesen_US
dc.title“Main Teri Dushman” : critiquing the patriarchic suppression of female identity through Sridevi.en_US
dc.typeFinal Year Project (FYP)en_US
dc.contributor.supervisorBrian Keith Bergen-Auranden_US
dc.contributor.schoolSchool of Humanities and Social Sciencesen_US
dc.description.degreeBachelor of Artsen_US
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Appears in Collections:HSS Student Reports (FYP/IA/PA/PI)
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