Revealing the unseen: Gender and caste in Bollywood

As a South Asian, it is no surprise that Bollywood has been an integral part of my upbringing. From vibrant musicals to emotionally charged dramas, Bollywood films have been a source of joy and a bridge to my cultural roots. As one of the largest and most influential film industries in the world, it continues to shape the identities and experiences of millions.

But when I participated in a presentation by Bhagya Shree Nadamala (IIT-Patna) at the 2024 CIRCLE Graduate South Asian Conference, I began to see the unseen. In that moment, I realized something was drastically wrong with the way Bollywood portrays caste. Subtle yet powerful caste markers are woven into its films, profoundly shaping societal perceptions of caste and power.

Nadamala revealed this messaging by analyzing a scene in which the camera subtly shifted from a Dalit man to a dog. Doing so drew a dehumanizing comparison – dogs are curs, and Dalits, historically regarded as outcasts or "untouchables," remain the most socially and economically marginalized caste in Indian society. Even though it was a brief framing, it strengthens harmful stereotypes, embedding caste hierarchies into the language of film.

This technique also diminishes the perceived masculinity of the Dalit man, portraying him as inferior and subordinate to dominant caste characters. In South Asian cinema, masculinity is often tied to power and dominance, which are visually reinforced through techniques like lower camera angles for upper-caste men and higher angles to belittle those of marginalized castes. As a result, societal power dynamics are reinforced without most viewers even realizing it.

The problem also extends beyond on-screen representation. Directors who attempt to challenge these norms often face resistance from the industry and audience. Since mainstream films are expected to cater to the mass viewers who uphold traditional caste and gender hierarchies, directors who push for more inclusive narratives risk failure or backlash. As a result, many are pressured to conform rather than disrupt these deeply ingrained biases.

Nadamala’s presentation has greatly transformed the way I approach and consume media. It has made me reconsider how normalized caste and gender hierarchies in cinema have unconsciously shaped my worldview. One particularly striking example was the Dalit-dog example mentioned earlier, but this was just one of many instances Nadamala highlighted. She also discussed how dominant caste male protagonists are consistently portrayed as heroes, while Dalit characters are often relegated to submissive or villainous roles, reinforcing societal biases. Seeing these patterns laid out so clearly, I now feel a responsibility to engage more critically with media and actively work to unlearn ingrained biases.

By critically analyzing these narratives, we can break the cycle of unconscious bias and push for media that encourages true equity and inclusivity. Cinema holds a lot of power in shaping our perceptions, and it is only recognizing and challenging these hidden narratives that we can demand storytelling that uplifts marginalized voices rather than reinforcing systemic oppression. This responsibility lies with both film makers and the audience. To tell, seek out, and support narratives that move us towards a more just and conscious interaction with film.

Soha Mohammad is a student writer for CIRCLE. She is in her third year of her undergraduate degree in Biomedical Science at the University of Guelph.

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