Citation

Gupta-Cassale N. Indian J. Gend. Stud. 2000; 7(2): 231-248.

Copyright

(Copyright © 2000, SAGE Publishing)

DOI

10.1177/097152150000700206

PMID

unavailable

Abstract

Indian cinema in its preoccupation with rape shows a parallel between feminist resistance and nationalist resistance. While Mirch Masala (1985), set in pre-Independence rural India, is able to draw upon a mythology of nationalist resistance, which also, at the same time, 'sanctions and mediates the potentially subversive politics of female resistance', later films like Zakhmi Aurat (1988) and Damini (1993) qualify women's autonomous resistance by including male partners to witness, support and legitimise their actions. We conclude that in popular cinema 'the more radical the gesture of resistance, the more conservative the resolution'. All the same, as fanta sised reactions to rape enacted by women, they engage the politics of female resistance in ways that are relevant to our feminist understanding.