Main Article Content
In primitive law of social organization, a woman is defined as a symbol of exchange between men and as an object of possession which is extended to the representation of women in paintings and later in photography and cinema. In cinematic representations, according to feminist film theory, it is the male protagonist who actively dominates the screen and the gazes while the female character, though essential for the narrative, is portrayed as a passive bearer of the gaze. The female body, as a spectacle, offers voyeuristic pleasure to the male spectator. But with the turn of the century, an inversion of the power equation in the dominant discourse of representation has taken place. With the advent of postmodernity and the concept of sex for sale, eroticized male body has appeared in the ambit of representation which is also a product of consumerist capitalism where every aspect of life is segmented to form separate consumer entities. This paper tends to look at popular Hindi films that are released in the recent past where the male body is offered as an eroticized spectacle. Interestingly, this kind of representation of the male body has also given rise to the concept of the metro-sexual man and a desire for mesomorphic body enhanced with all cosmetic products, promoting consumerism. The paper bases its analysis on Laura Mulvey’s theory of visual pleasure and I attempt to apply it on the re-imagination of sexuality in cinematic spaces. The paper also examines the consumer spaces where the homo-sexual communities occupy substantial space as target audience which has enough potential to determine the direction and success of any popular cultural medium.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Revised Copyright/CC license that applies to all the articles published after 05-02-2017
Copyright/CC license that applies to all the articles published before 05-02-2017
Author(s) will retain all the right except commercial and re-publishing rights. In the case of re-publishing, they will have to obtain written permission from the journal. Additional licensing agreements (Creative Commons licenses) grants rights to readers to copy, distribute, display and perform the work as long as you give the original author(s) credit, they can not use the works for commercial purposes and are not allowed to alter, transform, or build upon the work. For any reuse or distribution, readers and users must make clear to others the license terms of this work. Any of these conditions can be waived if you get permission from the copyright holders. Nothing in this license impairs or restricts the authors’ rights. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.
Research Papers published in SOCRATES are licensed under an Attribution -NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)
Haraway, Donna. (1991). A cyborg manifesto: science, technology, and socialist-feminism in the late twentieth century. Simians, Cyborgs and Women: The Reinvention of Nature, (pp. 149-181). New York: Routledge.
Lévi-Strauss, Claude. (Rev. Ed.) (1969). The elementary structures of kinship. (James Harle Bell, John Richard Stermer, and Rodney Needham, Trans.). London: Eyere & Spottiswoode
Mulvey, Laura. (2009). Visual and other pleasures. Hampshire: Palgrave Macmillan
Rose, Jacqueline. (2005). Sexuality in the field of vision. London: Verso