The radical resilience of women in South Asian cinema

The history of South Asian cinema is a deep and complex tapestry that reflects the social and political changes of the region over the last century. For many years, the film industries of India, Bangladesh, Pakistan, and their neighbors were dominated by men.

Women were often invisible or confined to very rigid roles. However, the history of women in this region is one of incredible resilience. They have moved from being silent figures on a screen to becoming powerful directors, technical experts, and global authors of their own stories.

In the early 20th century, social taboos were so strong that acting was seen as a disreputable profession for women. Because women were often prohibited from appearing on screen, male actors frequently played female roles during the beginning of Indian cinema. Breaking this barrier required a brave defiance of the rules that governed the lives of South Asian women.

The breakthrough began in 1913 when Durgabai Kamat appeared in the film 'Mohini Bhasmasur'. She was joined by her daughter, Kamlabai Gokhale, marking a landmark moment where women finally claimed their own space in public life. 

By the 1930s, Devika Rani emerged as the first true female star. Her work in the 1933 film Karma helped shift the perception of actresses toward professional dignity and international appeal.

Similar pioneers appeared across the region to pave the way for future generations. In Sri Lanka, Rukmani Devi became a cultural icon after starring in the first Sinhala talking picture, Kadawunu Poronduwa, in 1947.

The shift from being the object of the camera to the person controlling it was a major turning point for female agency. Fatma Begum is recognised as the first female director in South Asia. 

She established her own production company during the silent era and directed the film 'Bulbul-e-Paristan' in 1926. This act of ownership was a radical move in an industry that was almost entirely run by men.

The history of women in South Asian cinema is a story of calculated resilience and solidarity. From the early pioneers who defied social taboos to the modern directors in Bangladesh and beyond, women have used the screen to negotiate their place in the world.

In Bangladesh, this spirit of authorship found a powerful home through the work of Rosy Afsari. After a very successful acting career during the Golden Era, she became the first female movie director in Bangladesh with the film 'Nirasha' in 1986. 

Today, a new generation of Bangladeshi filmmakers is gaining international fame. Rubaiyat Hossain is a leading voice in this movement, directing films like 'Meherjaan' (2011) and 'Made in Bangladesh' (2019) to explore war trauma and social issues through a feminist lens. Her work represents a group of filmmakers who use digital platforms and global networks to share stories that go beyond local borders.

The way women were portrayed on screen changed as society evolved. In the 1950s, the "Sacrificial Mother" was the dominant image. The famous film Mother India (1957) turned the resilient and suffering woman into a symbol of national identity. 

While this role was respected, it also restricted women to being seen only as nurturing figures. During this time, cinema often relied on a "Madonna-Whore" divide, where "virtuous" heroines were sharply contrasted with sexualized "vamps" or "item girls".

The 1970s and 1980s brought the "Angry Young Woman" archetype to the forefront. Influenced by feminist movements, films like Arth (1982) and Mirch Masala (1987) showed women resisting societal oppression and seeking autonomy. 

In the 21st century, the narrative has shifted toward "Complex Protagonists". Films like Queen (2013), Kahaani (2012), and Piku (2015) celebrate women who drive their own stories independently of a male lead.

In Afghanistan, the struggle has been even more extreme. Cinema was completely banned during the first Taliban rule, but the post-2001 era saw a vibrant revival. Sahraa Karimi became the first female General Director of Afghan Film in 2019. 

Her films 'Hava', 'Maryam', 'Ayesha' provided a rare and intimate look at the lives of Afghan women. Although the return of the Taliban in 2021 has forced many into exile, these filmmakers continue to record the struggles of their people from abroad.

Despite these creative gains, the film industry remains a space of significant inequality. The gender pay gap is a persistent issue, even for top stars. Technical roles like cinematography and sound design also remain heavily dominated by men.

To change this, women are forming their own support networks. The Indian Women Cinematographers' Collective (IWCC), established in 2017, now has nearly two hundred members who provide mentorship to young professionals. Additionally, the rise of streaming platforms has provided a more democratic space for women to break into genres like horror and crime.

The history of women in South Asian cinema is a story of calculated resilience and solidarity. From the early pioneers who defied social taboos to the modern directors in Bangladesh and beyond, women have used the screen to negotiate their place in the world. 

As they continue to dismantle structural inequalities, their voices ensure that the diverse experiences of women across South Asia are heard and appreciated by a global audience.