Women on TV are just glorified home-makers

MUMBAI: She is always decked up, dutiful and composed, even in times of crisis. She is ‘Biwi No. 1’—the protagonist in contemporary soap operas.
From the obedient Parvati bhabhi in Kahani Ghar Ghar Ki to the generous ‘ba’ in Kyunki Saas Bhi Kabhi Bahu Thi.., . Their identity as an individual remains unexplored in most serials, observes a recent study by the New Delhi- based Centre for Advocacy and Research, a media research organisation.
The study found rigid gender characterisation in the serials that dominate the coveted ‘9 p.m.to 11 p.m.’ slot on satellite channels. For instance, the percentage of married women is 55 per cent, higher than the number of unmarried women (38 per cent).
While 80 per cent men across popular channels—Zee, Sony and Star Plus—wear modern clothes, 64 per cent women are seen in traditional outfits. The study notes that scripts revolve around family interactions in all channels —Star (84 per cent), Sony (56 per cent) and Zee (53 per cent)—with women involved in 57 per cent of these scenes. Only 21 per cent of the women are shown at workplaces as against 79 per cent of the men.
Empowerment for women on prime time television is thus confined to domestic space, says Akhila Sivadas, executive director of CFAR. “Serial-makers have empowered women with a major share of domestic responsibility. She controls the house but this control is sanctioned by the elders,’’ she points out. Shalini Bharat, sociologist with Tata Institute of Social Sciences, finds the black and white images of women on television disturbing. “If a woman opts out of the joint family, she could be justified in her decision and need not be shown in negative light,’’ she says. Neena Gupta’s Saans was more closer to reality as the characters had shades of grey, she adds.
However, the television industry contends that women characters do have a distinct identity. Sunil Lulla, executive vice-president of Sony Entertainment Television, cites the example of Kkusum who has taken a stand against her erring husband. However, Kkusum’s single status won’t last for long as Mr Lulla says she will remarry in the forthcoming episodes.
So, stories on single women or working women continue to be elbowed out by family sagas. Rajesh Pavithran of Balaji Telefilms says, “Our soaps are family sagas because a range of viewers, even those living in the interiors can relate to it,’’ he says.
This not always true.When Udaan, a serial on Doordarshan in the 80’s, showed a young girl as a bold police officer, it not only became a hit across the country, the Indian Police Services also witnessed a steep rise in the number of women applicants.
Says director and actress Kavita Choudhry that family interactions, though identifiable, are not essentially an enlightening experience for the audience. “A programme is able to exercise a positive influence when its protagonists overcome real problems, their own weaknesses. To show games of one-upmanship between a perfect woman and a vampish woman and play on the fears and insecurities of a housewife is not an uplifting experience for her. Even though battles of ego supremacy are identifiable by people, they end up increasing trivia and pettiness in society.’’ Channels and serial producers maintain that reality doesn’t sell. “Television hence focuses on emotions and not career choices,’’ Mr Lulla says.