User:Zonghangli/Bollywood

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Culture
The status of women in India is strongly connected to family relations. In India, the family is seen as crucially important, and in most of the country, the family unit is patrilineal. Families are usually multi-generational, with the bride moving to live with the in-laws. Families are usually hierarchical, with the elders having authority over the younger generations and men over women. The vast majority of marriages are monogamous (one husband and one wife), but both polygyny and polyandry in India have a tradition among some populations in India. Weddings in India can be quite expensive. Most marriages in India are arranged.

With regard to dress, a sari (a long piece of fabric draped around the body) and salwar kameez are worn by women all over India. A bindi is part of a woman's make-up. Despite common belief, the bindi on the forehead does not signify marital status; however, the Sindoor does.

Rangoli (or Kolam) is a traditional art very popular among Indian women.

In 1991, the Kerala High Court restricted entry of women above the age of 10 and below the age of 50 from Sabarimala Shrine as they were of the menstruating age. On 28 September 2018, the Supreme Court of India lifted the ban on the entry of women. It said that discrimination against women on any grounds, even religious, is unconstitutional.

Portrayal in Indian film
'''The Hindi film industry has had a significant impact on the portrayal of women in Indian society. The films often depict women as strong, independent, and capable of making their own choices, thus offering audiences a vision of gender equality. Historically, women in India have faced legal restrictions that limited their participation in various activities, and these limitations have raised concerns about the cultural practices and values of the country. Previously, these women could not apply simple and natural makeup on film characters because the law did not allow them to do it although the status quo has changed. Along with the media, the Indian film industry has played an important role in driving changes in the law and improving the lives of women in India; it has sent messages to its audiences that challenge the restrictive nature of society, promoting the idea that women should have the freedom to make their own choices and live their lives on their own terms. '''

The portrayal of women in Hindi cinema (Bollywood) has shifted over time as social norms have changed, and to include diverse representations. Dilwale Dulhania Le Jayenge, or DDLJ for short, is a 1995 Bollywood film whose main female character, Simran, represented the ideal Indian woman. The film depicts her as a modest, reserved, and respectful female who remains dutiful to her family and never compromises her "purity". Yet, at the same time Simran was discouraged by her father from having a relationship with a man before marriage, especially one he did not know and of whom he did not approve. This film illustrates how women who seek romance for themselves are villainized.

In contrast, films such as the 2006 Kabhi Alvida Naa Kehna and 2022 Gehraiyaan explore more nonconforming female characters. In Gehraiyaan, the main characters struggle with mental illnesses, partake in infidelity, and come from broken families. The overall presence of such characters highlight how the modern Indian woman is less bound to traditional expectations and overall have been entering the workforce, been financially independent, and even sexually freed from earlier standards.

Other films with nonconforming female characters include: the 2016 film Dangal, the 2022 film Mili, the 2018 film Raazi, and more.