My interest in Vijayasanthi dates back to discussions over the last decade in women’s groups about film and media, to our embarrassment about weepy women, anger against the “degradation” of female bodies, and our discontent regarding female stereotypes. Our reaction was to seek positive images of women, to read for character and plot, which would “empower” women viewers. Our attention was drawn to the popularity of the Vijayasanthi figure, and we wondered if our applause for a woman beating up the villains would be wholly unqualified. We noticed that both feminist and non-feminist women spectators for different reasons felt some discomfort at watching Vijayasanthi, and were confused about the compulsion to celebrate vigilantism. My paper is an attempt at exploring the reasons for that discomfort (did it have to do with the replication of male violence, or with the fluidity of sexual identity in the films?). Are characters and plot the most interesting aspects of these films? Or would a focus on the problems of spectatorship yield a more nuanced reading of our admittedly ambivalent responses?
|Title of host publication||City flicks : cinema, urban worlds and modernities in India and beyond|
|Publisher||International Development Studies, Roskilde University|
|Number of pages||14|
|Publication status||Published - 1 Jan 2002|
Bibliographical noteRoskilde Universitscenter. International Development Studies. Occasional Paper, 22
ISBN of the source publication: 9788773495469