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The Phenomenon ofFemale Gaze in Indian

Advertising/MediaThis dissertation is submitted for

the partial fulfillment of theMaster’s Degree in Applied

Linguistics of this University.

Submitted bySandhya Raghavan

Guided byDr. Pratima Dave Shastri

Post Graduate Department ofApplied Linguistics

SNDT Women’s University

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Mumbai 400020(2013-2014)

This dissertation entitled- ‘The Phenomenon of Female Gazein Indian Advertising/Media’

is submitted for the partialfulfillment of the Master’sDegree in Applied Linguisticsof SNDT Women’s University

Mumbai 400020

Dr Pratima DaveMs Sandhya Raghavan Guide

Student

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Post Graduate Department ofApplied Linguistics

SNDT Women’s UniversityMumbai 400020

May, 2014

CERTIFICATE This is to certify that MissSandhya Raghavan, student ofM.A. in Applied Linguistics,has successfully completed herresearch on ‘The Phenomenon ofFemale Gaze in IndianAdvertising/Media’ under theguidance of Dr Pratima Dave.

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This study is submitted to thedepartment of AppliedLinguistics, SNDT Women’sUniversity in partialfulfillment of P.G. Degree inApplied Linguistics. Thisdissertation has not beensubmitted for any other degreeof the University or any otheruniversity

Student’ssign

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We recommend that thedissertation be placed beforeexaminers for evaluation

Dr Pratima Dave Dr ShashiKashyap

GuideI/C Head of Department

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ACKNOWLEDGEMENTS

I take pleasure in expressing my gratitude to all thosewho have contributed in the completion of thisdissertation.

I extend my gratitude to my guide Dr Pratima Dave, forher patience guidance, constant feedback andencouragement and invaluable help in the study.

I also extend my sincere gratitude to the universitylibrary staff for letting me use the library andcooperating with me by extending their help andproviding necessary literature.

Words and deeds are not enough to thank my familymembers for giving me the opportunity to reach so farand for their moral support and constant encouragement,and also to all my friends for their patience andunderstanding and timely help which have contributed tothe successful completion of the dissertation.

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Above all I thank the Almighty Lord for his Blessings.

Sandhya Raghavan

ContentsResearch

proposal...................

............ 8Chapter

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1............................................16Theory

Chapter 2............................................27Review of Literature

Chapter 3............................................30Analysis part I Films, Analysis part II Advertisements, Analysis part III Magazine covers.

Conclusion..........................................86Bibliography and Reference..............89Webliography ....................................90

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Research Proposal

Abstract

The topic of the research would be “The Phenomenon of

Female Gaze in Indian Media/Advertisements”. Female

gaze is the ideological other to the traditional Male

gaze. It deals with the instances of objectification of

male bodies in the media and popular culture to attract

the admiring gazes of the female viewers.

This study aims to conduct a qualitative review on the

phenomenon of female gaze and male objectification in

the Indian advertising, media and films. The theory of

the “gaze” was propounded by Laura Mulvey. In this

project we aim to deconstruct the phenomenon by

conducting an in depth analysis of advertisements and

films that seem to showcase male bodies for the viewing

pleasure of female eyes. By the means of this study, we

seek to understand the power play of gender versus sex.

The role of the objectifier versus that of the

objectified

For a very long time, feminists all over the world have

taken an objection to the presentation of female bodies

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to the assailing gaze of the male viewers. There is

something inherently demeaning about the male gaze.

According to Mulvey, it reduces the female to just an

image or an object which has to be gazed upon without

looking deeper into her identity as a human being.

Female gaze as a phenomenon has been studied recently.

In simple terms, the male and the female gaze may seem

ideologically similar, but nothing can be further from

the truth. The power play between the genders is the

focal point of gaze studies. We are here to ascertain

whether the balance of power between the gazer and the

gazed stays the same in both the cases. Suzanne Moore’s

and Susan Bordo’s observations have been instrumental

in this research.

Problems addressed/ Objectives.

The problems to be addressed are as follows:

-Do the males being objectified suffer from the loss of

power when they are at the receiving end of the gaze?

-Do the gender dynamics remain the same in the case of

female gaze?

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- Is the role of the woman that of a powerless gazer?

-How are men portrayed by the media?

-Is it a display of their physical attractiveness or

power?

-Whom do the advertisers cater to by employing the

female gaze?

-Are men portrayed to be objects of women’s

scopophilia?

The main purpose of this project is to determine

whether the objectification of men in the Indian media

seeks to serve the same purpose as the objectification

of women. It seeks to answer whether the dynamics,

which seems to favour one gender over the other, is

still intact when it comes to using the male body,

ostensibly by women, for voyeuristic pleasure.

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Background

The third wave feminism has opened issues related to

women’s freedom in terms of sexual choices. This

revolution was fanned by the winds of the second wave

of feminism which laid the foundation for economic

freedom of women. Women have become a formidable

demographic. The rising female voice from the fringes

is finally being heard. Businesses have decided to

cater to their various needs and have vied for their

attention. This has coincided with the rising trend of

presenting images of men in Adonis-like fashion.

Literature Review

No research regarding the female gaze has happened in

the Indian context, but there are some which give us a

global perspective on this phenomenon.

1) Eva-Maria Jacobsson who analysed the movie Fatal

Attraction for instances of female gaze

2) “Equal Opportunity Objectification? The

Sexualization of Men and Women on the Cover of

Rolling Stone” by Erin Hatton and Mary Nell

Trautner.

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Samples

Pictures and stills taken from films, advertisements,

and magazines cover constitute the sample list. A total

of 30 samples have been used by the researcher.

These images contain representations of men in visually

appealing forms and have been selected for the same

reason.

Films

The late 90s brought an era of the bare chested,

shirtless men. The movement was pioneered by Salman

Khan who raised many eyebrows in his movie Pyar Kiya Toh

Darna Kya, where he appeared shirtless in a song

sequence. This marked the advent of the “Fit Hero” in

Indian movies. The male actors were also prescribed

certain ideals of beauty to which they had to adhere

to. Six-pack abs and bulging triceps were a norm. Even

to this day, hitting the gym instead of acting school

is the first step in an aspiring actor’s rule book.

Actors like Salman Khan , Hrithik Roshan and Sanjay

Dutt who were used to playing action oriented alpha

males made the trend mainstream. Soon, even actors like

Sharukh Khan and Amir Khan who were used to playing the

sensitive, thoughtful lovers joined the bandwagon. The

young generation of actors such as Ranbir Kapoor, Imran

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Khan and Shahid Kapoor entered the industry with a well

developed physique. The phenomenon is here to stay.

For the purpose of analysis of female gaze in Indian

media, ten films have been chosen. These are mainstream

Bollywood films which reflect the common sentiments of

the masses and also cater to the mainstream audience.

The portrayal of men in these films in songs, film

sequences and in the promotional posters is being

studied.

1. Dostana

2. Aiyyaa

3. Sawariya

4. Zindagi Na Milegi Dobara

5. Desi Boyz

6. Force

7. Veer

8. Ramleela

9. Om Shaanti Om

Advertisements

The hyper-sexualization of Indian advertisements has

resulted in the objectification of not just women, but

also men. Though the norm has always been female

objectification, the early 90s saw the rise of strong

sexual theme in advertisements. The opening of economy

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in 1991 and the advent of cable TV was a factor that

contributed to the above phenomenon.It was an

intermediate period where the media was introducing the

idea of the naked male image, but it was juxtaposed

along with an equally risque female image.

Advertisements of the early 90s included the

controversial Tuff shoes ad featuring two naked

supermodels, the M.R Coffee ad and the Kamasutra Ads.

Soon brands like Denim Aftershave and Z talcum powder

started television ads featuring male models. The brand

identity of these products was highly masculine.

The samples chosen for analysis are advertisements of

the following products.

1. Live In jeans

2. VIP underwear

3. Old Spice

4. Axe Deodorant

5. Wildstone Deodorant

6. Cinthol

7. Denim Aftershave

8. Savage Aftershave

9. Nerolac Paints

10. Dollar Club underwear

Magazines covers

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The cover page of the magazine is what attracts the

readers to it. What is placed on the cover is therefore

of great importance to the sellers as well as the

subscribers. Using beautiful women has been the

tradition for magazine covers even if it is aimed at

men. Today the trend is reversing, we find men gracing

the covers of magazines meant for women. The semiotics

of magazine covers will help us answer the problems

proposed through this research. Ten magazine covers

have been chosen from ten different brands. Women’s

magazines, men’s magazines and film magazines have been

chosen for this research.

1. Femina

2. Vogue

3. Men’s Health

4. Stardust

5. Mandate

6. The Man

7. Cosmopolitan

8. Hi blitz

9. Men’s World

10. Movie Mag

Methodology

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A qualitative approach has been undertaken by the

researcher of this project. Each image is analyzed for

parameters such as exposure of body parts, pose, facial

expressions, clothes, and how they appear in contrast

to the women in the same frame. Laura Mulvey’s

parameters in Visual Pleasure and Narrative Cinema have been

used to test the presence of objectification. The

attempt is to uncover the subversion of her principles

through male-female role reversal as her work is

centered on female objectification.

Suzanne Moore’s observations in Here’s Looking at You Kid

based on the representation of men in popular culture

and Susan Bordo’s work Beauty (Re) discovers the Male Body has

been used for the analysis of the images. Her “Rock”

and “Leaner” parameters are applied to the still

images.

The samples are segregated into three catagories-

Films, Advertisements and Film magazines.

Expected results

The analysis of the vast corpus of data will help us

understand whether the phenomenon of female gaze has

the same implications as male gaze. Whether female eyes

objectifying the male form renders the male powerless

like it does when the women are at the receiving end

from the men. It will also help to ascertain if the

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aesthetic male form is that of a passive object or an

active one.

Reference.

Visual Pleasure and Narrative Cinema by Laura Mulvey

Beauty (Re)defines the Male Body by Susan Bordo

Here’s looking at you kid by Suzanne Moore, 1988

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“When I return to the street with the ancient legacy of

longing coiled in my DNA, and the residues from a

thousand generations of patriarchs silting my brain, I

encounter women whose presence strikes me like a slap

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of wind in the face. I must prepare a gaze that is

worthy of their splendor”

- Scott Russell Sanders, Looking at Women

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Chapter 1

Theory

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Theory

What is gaze?

The phenomenon of gaze was brought into popular usage

by Jacques Lacan, a Psychoanalyst. He described it as a

feeling of anxiety brought upon by the notion that one

could be viewed. According to him,in the “Mirror Stage”

,one is made aware that one’s body is vulnerable not

only to the view of others, but also to that of

oneself. This anxiety stems from the perceived loss of

autonomy over the self. The child viewing its own

reflection in the mirror becomes aware of its

perceivable physical self who is subjected to the

“gaze” of others and that of itself.

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Lacan extrapolates his theory the example of Hans

Holbein’s painting, The Ambassador. In the painting we

can see two courtiers standing against a backdrop of a

green curtain and leaning against a cabinet containing

arbitrary articles like globes, diary, and a lute.

On examining the paining, one sees a distorted image at

the bottom which is in turn gazing back at the viewer.

The image is that of a distended skull which is placed

so subtly that the viewer is suddenly taken aback by

its gaze.

Lacan uses the painting to explain the Freudian

Spaltung, or splitting, which is caused by the

encounter of a signifier with the real. This encounter

results in “gaze” our sudden awareness of being watched

from a field of vision which is external. This

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phenomenon is jarring to the one viewed. According to

Lacan, the skull-blot of the painting signifies this

gaze to which the viewer is subjected to.

Gaze and Feminism according to Laura Mulvey

Though gaze has its origins in Lacanian psychoanalysis,

it was Laura Mulvey who used it first in the feministic

context. In her essay, Visual Pleasure and Narrative Cinema .

Mulvey dealt with gaze as a phenomenon that causes

women to be mere spectacles in film. According to

Mulvey, films reflect a patriarchal view. Women are

nothing but objects, the other to the man. The basic

foundation on which patriarchy rests is the notion of

sexual difference. The woman is the one gazed at, a

part of the male unconscious that is available only as

a passive image. She has to be talked to, but she will

never talk herself.

‘ Woman then stands in patriarchal culture as

signifier for the male other

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bound by a symbolic order in which man can live out his

phantasies and

obsessions through linguistic command by imposing them

on the silent image

of woman still tied to her place as bearer of meaning,

not maker of meaning.’

Visual Pleasure and Narrative Cinema (1975) - Laura

Mulvey

Her argument was the product of second-wave feminism.

It was a period concerned with women’s equality in the

workplace as well as psychological implications of

sexual stereotyping. Mulvey's argument comes as a

product of the time period in which she was writing.

"Visual Pleasure and Narrative Cinema" was written in

1973 and published in 1975.

From the vantage point of psychoanalysis, Mulvey states

that Scopophilia or love of viewing provides the

spectator with visual pleasure helps him associate with

the male actor. She states that the psychoanalytical

theory helps us in the understanding why film causes

women to be viewed as sexual objects rather than

sentient beings by the society. Mulvey also discusses

Phallogcentrism, or a world view which is strictly male

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centric. In other words, it believes that the penis in

its figurative and literal sense is the defining centre

of meaning. Meaning is therefore dictated by men who

use their masculine power to control and define

reality.

This male centric view and voyeurism together has

compounded the present situation.

Additionally, Mulvey also says that it is the very

presence of the woman that reminds the man of his

power. Without the woman, the man and his power as the

controller of visual pleasure are both rendered

insignificant. Patriarchy, according to Mulvey, exists

solely because of women.

Mulvey names three perspectives or “looks” that occur

in films.

1) Perspective of the male character- How the male

perceives the female.

2) Perspective of the audience- How the audience

perceives the female.

3) The joint perspective of the male character and

the male audience- How the male spectator views

the woman through the eyes of the male character

in the film.

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The third perspective causes the male spectator to

consider the woman in the film as his own personal

object of sexual desire by identifying himself through

the male character in the film.

She also lays down the parameters for the Male Gaze

Theory

1) Representation of women in a sexual

fantasy form2) Scopophilia or pleasure of looking3) Objectification of characters4) Patriarchal point of view5) Active male and passive female6) Men controlling subjects7) Women as image

Gaze and Objectification

Gaze as a notion is often tantamount to

objectification, which is one of the centeral notions

of feminist theory. Roughly or rather literally defined

as seeing or treating a person as an object. Gazing

upon a person is therefore plainly an act of

objectification. Martha Nussbaum in 1995 identified

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seven features of objectification, which we will use in

the analysis of the samples collected for the study.

1. Instrumentality : The treatment of a person

as a tool for the objectifier's purposes;

2. Denial of autonomy : The treatment of a

person by denying them the right to

control themselves and their bodies.

3. Inertness : Treating the person as a

stationery object.

4. Fungibility : T reating the person as

replacement for an actual object.

5. Violability : Disrespecting the persons

sense of mental and physical integrity

6. Ownership : Treating the person like a

object which is owned by the objectifier

and sold at his own discretion.

7. Denial of subjectivity : Treating the

person as if their feelings and emotions

aren’t real to be counted as something

important..

8. Reduction to body : Treating an individual

as the sum total of only his or her body

parts or only referring to him or her by

names of body parts

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9. Reduction to appearance : Treating a person

on the basis of their looks. Their sensual

appeal but not their intellectual or

emotional appeal.

10. S ilencing : Treating the objectified

as someone without a voice of his or her

own.

Age of women and Female Gaze

In Visual pleasure and Narrative Cinema, Laura Mulvey reiterates

that female gaze, as a concept, is impossible. Yet

these days the international media is rife with

instances of objectification where the men are on the

receiving end. Sinewy bodies and handsome faces are put

on display for the visual pleasure of an audience they

deem to be women.

The third wave feminism that swept the world in the

1990s was brought about by the monumental efforts of

the women who achieved economic and professional power

and status through the second wave. New vistas were

opened up for women and feminist awareness starting

spreading to the corners of the world thanks to the

revolution in communication technology. The birth of

generation X scholars and activists has also

contributed to this kind of progress womankind made.

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The professional freedom achieved by women also paved

way for their economic independence with the second

wave.Women no longer depended on a male bread winner

and were bringing home the bacon. They started standing

at par with women and demanded equal rights and fair

wages at workplace.

As a result of these developments, the traditional

social institutions like marriage started getting

redefined. The dynamics of the husband-wife

relationship was also altered largely and women no

longer depended on their earning husbands. The efforts

of the second wavers brought about organisation of

feminists into groups, questioning of sexual division

of labour in the households, empowerment and self

awareness among women and gave birth to a whole new

generation of highly powerful, articulate and ambitious

women.

This kind of freedom ensured that the shackles of

patriarchy would be broken. Battles were fought against

the redefinition of moral and sexual barriers. Irony

was a powerful weapon. Violence was answered with

stories of grit and survival.

Perhaps the most important feature of the third wave of

the inversion of certain sexists practices putting men

at the receiving end. Women chose to subvert the

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system than becoming a part of the system themselves.

There was a shift in the perceptions and notions

towards the sexes. Traditional ideas of womanhood and

gender were questioned and redefined. What is

essentially feminine? What is masculine? These

questions came to be subverted. The concept of a gender

continuum was recognised where a person need not be

confined into water tight compartments of gender.

“The Third Wave is buoyed by the confidence of having

moreopportunities and less sexism” (Baumgardner &

Richards, 2000, p. 83).

EmiKoyama (2003) summarized some of these feminist

concerns in “The TransfeministManifesto.” “ (a) to

define one’s own identity and to expect society to

respect itand (b) to make decisions regarding one’s own

body (Koyama, 2003,pp. 245–247). Transfeminists believe

that individuals should be given the freedom to

construct their own gender identities as they see fit

and that neither the medical establishment nor cultural

institutions at large should intervene. Finally, they

resist essentialist notions of identity in particular”

( Krolokke and Sorensen,Gender Communication Theories

and Analyses, 2006)

Sexual Liberation and the rise of the gay community

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The breaking of the shackles of morality was an

eventual consequence of women’s financial liberation.

This caused many to reject social institutions like

marriage. The notion of men providing for women started

changing as women started bringing home the bacon. With

financial freedom came sexual freedom. The liberty to

choose their own mate and to decide the nature of the

relationship finally became the prerogative of women.

Women became a formidable group in the demographics who

had to be catered to. They carved their own niche in

the big market of consumers. Products and services

started getting streamlined to suit her tastes and

needs. From razor blades to magazines, women became a

priority for advertisers, corporations and the film

makers. They became important factors in deciding the

business strategies for corporations. Advertisers reach

out to them by learning which screens they watch and

what social media they use. Film makers have created a

genre that caters to the taste of women- The chick

flicks.

Schroeder and Zwick (2004) state that “Gender remains

central to the world of advertising and consumption—it

is difficult to conceive of most products without male

and female target markets.” By the virtue of this fact,

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the media has resorted to eroticised portrayals of men

and women to sell products and services.

With the third wave, women have become more aware of

their sexuality. There is a sense of intrepidity in the

way women approach their sexual needs. She is

unabashedly enjoying her sexual freedom which leaves

her with a power to pursue what she likes. This

includes things that cater to her visual pleasure.

She has the power today so it is no wonder that men

and women are portrayed in exaggerated displays of

masculinity and femininity to sell merchandise, ideas

and services. Strategic advertising employs sexuality

because of course, “sex sells”.

Homosexuals, namely gays, as a part of demographics

have also started gaining recognition in the recent

years. People voicing their support for the gay

community and fighting for the rights of the Lesbian,

Gay, Bisexual and Transgender community has made

possible the discussion of such erstwhile taboo topics.

Sexual explicitness has been on the rise in the given

years. Female bodies, showcased for the purpose of

visual pleasure, were commonplace in the media. Before

the mid-1990s hardly any research was done in the area

of male objectification in the media. The

objectification of women and male gaze was the

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centrepiece of many a gender theory studies. Today, one

cannot ignore the sudden influx of sexual explicitness

of men that has made its way into the media,

international and Indian.

Female gaze in the media same as male gaze?

The rising phenomenon of the female gaze has led many

to question whether the it can be equated with male

gaze or not. Although the phenomenon is palpable, one

cannot state for a fact that the dynamics that operate

behind the male gaze is the same for female gaze. The

inherent power play exists between the subject and the

object. There is the active one which gazes and the

passive one which gets gazed on. When men gaze at

women, these roles are defined. The same cannot be said

once the tables are turned.

Suzanne Moore (1988) stated that there is an active

female gaze present in the media. The cultural changes

since the 1980s had made possible the phenomenon of

female gaze. Movies such as American Gigolo and Top Gun

ushered in the age of pin up men in the 80s. Levis

advertisements also presented men in various states of

undress which invited the active female gaze to ogle at

these images.

Two things changed fundamentally according to Moore

(1988)

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1. The male images were styled upon traditional

female images like undressing, teasing and

seductively staring

2. This sexualizing of male images was prevalent in

mediums such as magazines, cinema and television.

However, on closer analysis, one cannot state that the

female gaze is the equivalent of male gaze. Moore

states that the concept of women ogling at men creates

a kind of amusement but men doing the same to women is

hardly a novelty. This is testimony to the fact that

female gaze is not a part of our socio-cultural fabric,

but male gaze is.

She also states that the male narcissism is what

separates female gaze from male gaze. Images of naked

and semi naked men appear in domains meant for men

rather than women, for example, naked men usually grace

the cover of magazines meant for men rather than women.

Contrasting with this is images of women being used to

sell products which are usually aimed at men, for

example alcohol or perfume.Images 1 and 2 explain this

phenomenon.

A man baring his torso is shown having a bath. The

product advertised is “Dove men care”, a product

clearly aimed at men.

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1

2

Product mentioned is Tom Ford fragrance for men, but

the visuals used are predominantly that of women.

Susan Bordo (1999) classified these images of men in

the media as the “Rock” and the

“Leaner” types.  This is

described as, “models who

stare coldly at the viewer, defying the observer to

view them in any way other

than how they have chosen to present themselves: as

powerful, armored, and

emotionally impenetrable. “I am a rock” (their bodies

and sometimes their

genitals) seem to proclaim (pg 203 paragraph 2).

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Chapter 2

Review of

Literature

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1) ”A Female Gaze?” by Eva-Maria Jacobsson

Eva-Maria Jacobsson who analyzed the movie Fatal

Attraction for instances of female gaze. She uses Laura

Mulvey’s theory to questioning the practice of

objectifying women for the male gaze. She goes on to

question if there is a chance of a reversal of gaze.

i.e the women looking at men in the way men look at

women in films.

The film Fatal Attraction was analyzed and Mulvey’s

theory and Freudian psychoanalytical theory were

applied by the researcher to the narrative of the

film.

The conclusion was in support of Mulvey’s ideas about

the male gaze. The fact that it couldn’t be obliterated

is reinforced. Psychoanalytical theory still triumphs

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when it comes to explaining the patriarchal order of

the film’s narratives.

Through the analysis of the film, the researcher states

that though it held out promises of a gynocentric order

earlier, it went back to establish the phallogocentrism

that is common to our canonical narratives.

Ultimately it goes back to secure patriarchy as the

gaze swayed back to male gaze.

The views of Eva-Maria Jacobsson were crucial in

providing direction for this research. The purpose of

this research is also to investigate the prevalence of

the patriarchal order in narratives and images even if

it promises a gynocentric view.

2 Equal Opportunity Objecti cation? The Sexualization fi

of Men and Women on the Cover of Rolling Stone

By Erin Hatton • Mary Nell Trautner

This was an quantitative research undertaken to

understand the frequency and intensity of sexualisation

42

of male and female images. They used a longitudinal

content analysis of images of men and women on the

Rolling Stone cover. They used 40 years worth of sample

for the analysis(1967–2009). They used a unique system

to that measure both the frequency and intensity of

sexualisation.

The research findings state that though men and women

are both sexualized, women tend to get

“hypersexualized” over a period of time as compared to

men.

The research also points to a narrowing of acceptable

ways in which femininity is represented in the popular

media.

The research and its findings helped provide a

direction to this work. The placement of masculinity in

power as compared to femininity is also a feature of

this work.

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CHAPTER 2

ANALYSIS

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Analysis Part I

Films

1) Dostana

This movie was released in

2008 .It created a stir among the

Indian cinema goers mainly for its

broaching the topic of

homosexuality. It was for the

first time that a mainstream Hindi

movie did not shy away from making

“homosexuality” its dominant theme. It was lauded by

progressive cinema goers and the gay community.

Few visuals from the movie have been used:

1

45

2.

46

In pictures 1 and 2 we see shots of John Abraham clad

in nothing but a pair of yellow swimming trunks.

Picture 1) shows him emerging from the sea and his body

is glistening due to the water. His upper body is

exposed and his sinewy physique is displayed for the

audience to see. Picture 2) shows him in a more

provocative way. He pulls down his swimming trunks

suggestively to reveal the upper portion of his

buttocks.

47

3

Picture 3 is the promotional poster for the movie

Dostana. The male actors and on the bed and the female

actor is seated in between. The female seems to be the

dominating one in the picture as she is seated in the

centre with her legs crossed. Her demeanour suggests

that she is the dominant one. The fact that she is

flanked by two men on either side denotes that she is

the one in control.

3.The men, as compared to the women, are in a more

vulnerable state. The one of the left is wearing only a

48

vest, which is an undergarment and the one on the right

is bare torso-ed. The one on the right has also draped

a bed sheet around his chest which is reminiscent of

canonical images where women cover their bosom.

But it is also interesting to note that Priyanka Chopra

is clad in a flimsy nightdress, leaving her vulnerable

to the male gaze as well.

4

49

5

As a movie, Dostana relied heavily on its homosexual

theme during its promotion. The broadening of Indian

mindset has seen the percolation of homoerotic images

into the Indian media. The homosexuals or the gay men

of India were finally getting acknowledgment from the

media. The otherwise conservative space of the Indian

cinematic narrative has made a bold move towards

incorporating the marginalised narratives of the gay

Indian male.

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In picture 5 and 6, we see instances of homoeroticism

where men are paired with men. There is a scene in the

movie (picture 5) where both the men are coaxed by

their friends to kiss in front of the audience, a feat

they perform albeit reluctantly. The move is not only a

bold one, but also a pioneering one as homosexuality

has never been presented in such a brazen manner in

Indian cinema before.

Picture 6 is one of the many instances where the men

are shown in a sexualized manner, making physical

contact in an erotic sense. The first picture shows

them in a semi embrace and the second one shows them

kissing each other.

The visuals may be directed mainly at the homosexual

audience who may have the pleasure of watching two

attractive men in an erotic scenario.

Observation

The images 1 , 2 , 4 and 5 used in the movie show men

in an erotic fashion.The objective is to reach out to

the gazes of women and the homosexual men who admire

the muscular male form and the sight of two men in a

amorous situation. Mulvey’s parameters for gaze are

51

reversed here: “Representation of women in a sexual

fantasy form.” Instead of representing women, the movie

makers have decided to present the male form in a

rather overtly sexualized manner.

Despite the fact he is exposed to the gaze, the stance

taken by John Abraham in the shots is a very active

one. He is shown emerging out of water and running

towards the shore. He is not exactly the defenceless

victim of lecherous stares His show of muscles imply

power.

In picture 3 the men are shown as more vulnerable;

passive objects to the onslaught of the female gaze,

but Priyanka Chopra in a flimsy night dress also leaves

her in a vulnerable spot making her available to the

male gaze.

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2. Aiyyaa

Aiyya is a 2012 movie dealing with a woman’s

irrepressible attraction towards a handsome youth.

Rani Mukherjee plays a Maharashtrian girl who is

drawn to Prithviraj Sukumaran not just for the way

he looks, but also for the way he smells. His

presence affects her at a biological level.

He causes her to swoon and palpitate.

Till now instances of female gaze has been subtle.

We had to rigorously scan through the images to

find a speck of an instance. Aiyyaa is one movie

where the staring, leching, fawning and swooning

is as obvious as a circus parade.

Let us analyse its visuals 1

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Here the female is seen admiring the male form.

The male actor pours water on his bare, muscular

torso. The glistening water flowing down his

sculpted stomach is the focal point of this image.

This is akin to various images of women shown in

Indian media from time in memorial.

The female actress is standing transfixed by the

sight of the male actor. Her gaze is fixated on

him and he is looking away from the camera

2

54

Another shot from the movie Aiyya shows the actor

flexing his muscles to display his sculpted form.

There isn’t any other visual on the screen apart

from his. He makes direct eye contact with the

viewer. The stance is quite aggressive and his

stare is direct and piercing.

3

In the above picture, the female character touches

the male character provocatively. Her gaze is on

his body and not his face.

55

Observation

The film Aiyyaa was lauded by the media for its

intrepid portrayal of a woman lusting for the man.

Many factions of critics hailed it as a iconic

movie for establishing the concept of female gaze.

Throughout the movie, the female character is

shown fawning over the male. In no instance does

she brazenly make an aggressive move towards him.

All her attempts to seduce him only happen in her

fantasies where she is shown dancing with him. The

idea of female gaze in the movie is a rather

passive one; the male does not willingly throw

himself in front of her lecherous gaze. He is the

one calling the shots while she retires into her

dream sequence to know what it is to actually be

next to him.

While analysing the images 1 and 3, we see that

the woman brazenly stares at the man and even

touches him. In image 1, she looks at him pour

water over himself and enjoys the erotic pleasure

of viewing a male body made vulnerable in front of

the female.

In image 2 the male actor stands flexing his

muscles. The stance is assertive and active and

his stare is fixated on the viewer. One cannot

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ignore the apparent show of brawn in the image. He

may be exposed, but he is certainly not

vulnerable, much like the “Rock” types

(Bordo,1999)

Mulvey’s idea of the active male and passive

female is reversed as Rani Mukherjee boldly defies

the demureness associated with her gender and

touches the male body.

On closer analysis, Suzanne Moore’s (1988)

contention that female gaze is a lot more passive

than male gaze seems true. The male character,

though bare torso-ed, is usually seen taking

stances that denote strength and aggression. This

means that he is not entirely at the mercy of the

female gaze; he has the power to walk away from

the gaze.

3 Sawariya (2006)

Sawariya the movie is particularly important to

this study because back in 2006 it created some

waves owing to a controversial scene. The reason

was a song sequence featuring Ranbir Kapoor that

was accused of being risqué in nature.

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1

In the above sequence, in the first panel we see

Ranbir Kapoor facing away from the camera as he

unties his towel. Using deft techniques, the

director has obscured his frontal nudity but the

shadow play on the towel is very obvious.

Ranbir’s character represents the young generation

of lovers who have idealistic notions of love.

There is a sheer sense of innocence in the way he

is portrayed. The cloth he wears around his waist

58

is white to represent the purity of innocence of

his feelings.

Suzanne Moore (1988) states that most of the men’s

poses in films and advertisements are modelled

around images of women to mimic the effect

objectification. Ranbir’s stance in the songs is

reminiscent of classical paintings of beautiful

women

1) Botticelli’s Venus painting

2

59

There is a demureness to the images which lends it

a feminine quality. Ranbir is presented as a thing

of beauty to the female viewers.

Observation

The aesthetic presentation of Ranbir Kapoor in a

demure manner is reminiscent of classical

paintings of beautiful women. The Scopophilic

tendencies of the viewers, as suggested by Laura

Mulvey, are brought to the fore through this

presentation.

He is almost Adonis –like, a nubile young man in

the prime of his youth. At the same time his

muscular physique plays a foil to his demure

image.

The image is of a man who is ethereal in his

beauty but also brawny and strong.

4 Zindagi Na Milegi Dobara 2010

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Zindagi Na Milegi Dobara is a 2011 coming of age

film dealing with the lives of three youngsters

who decide to take a roadtrip. It gained a lot of

attention due to its casting, especially the male

star cast. Despite the presence of two female

actors, the film entirely revolved around the

lives of the three male characters. Hrithik

Roshan, Farhan Akhtar and Abhay Deol are the three

main male characters. Hrithik and Farhan already

have a reputation for being “eye candy” or being

physically appealing to the female audience.

.

61

This is the main poster for the movie, Zindagi Na

Milegi Dobara. The image shows the three men

walking down an asphalt surface. Hrithik Roshan

occupies the central space, flanked by Farhan

Akhtar on the left and Abhay Deol on the right.

The bare torso of Hrithik is what stikes the

viewer first. It appears in stark contrast with

the other two who are clothed. The colour scheme

of the poster merits importance mainly for the

juxtaposition of yellow against a dull background.

The men are seen walking on a road that does not

62

have vegetation on either side. The overall

picture is that of a dry, tough land reminiscent

of the Texan landscapes in spaghetti western

movies. The get up of the actors is also worth

mentioning : Farhan Akhtar is dressed in brown

vest and blue jeans with a red scraf tied around

his neck; Abhay Deol in a light blue t shirt and a

bag; Hrithik roshan is bare chested and is also

seen wearing a blue pair of jeans. Farhan has a

hat in his hand; Hrithik has a helmet and a

trebuchet; Abhay is shown walking with his hands

in his pocket

Observation

Everything about the image is fundamentally

masculine. The grey asphalt road and three

muscular men in a walking stance suggest a degree

of movement in the picture. The men are in a state

of motion; they are ambulant. Hrithik’s

expression, where he bites his lower lip, is

suggestive of repressed aggression. The fetching

men draw the appreciative glances of the female

viewer, but they are not in a submissive role. The

pose they strike shows movement and action. Again,

they are ready to shake off the female gaze and

walk away from the frame. The female viewer is

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again rendered powerless, left only to gaze at the

male forms.

Much has to do with the gaze of the woman in this

film because the director is a woman, Zoya Akhtar.

So it is natural that one gets to view these

handsome forms from a very feminine vantage.

4 Desi Boyz

This movie is pictured around the characters

played by Akshay Kumar and John Abraham. They play

male escorts in the film who are paid by women to

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make them happy. The fact that they are male

escorts highlights the relevance of their looks to

the story of the film. We shall analyze two

posters from the movie

1

In this poster the two women stand in an assertive

manner with a firm chokehold on the men. The women

are both clothed but the men are shown naked.

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2

In the second picture the same pair is shown, but

here the semiotics are somewhat less harsh. The

women stand against their men with their hands on

the hips of each of the men. As in the above

picture, the women are clothed and the men are

dressed rather scantily. One is wearing a vest and

the other is bare-chested. The background in both

the posters is pink in colour.

Observation

In the first picture the women are holding the men

in a choke hold exhibiting superiority and

strength. The aggressive stance taken by the women

seems to suggest their control over the men. One

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of Laura Mulvey’s parameters for objectification

is subverted. Instead of men controlling women, it

is women who are physically controlling the men

which put them in power.

The analysis of men in the image points to a

different phenomenon; the men are smiling in the

picture despite being seemingly strangled by the

women. The expression on the men’s face seems to

suggest that the strangling is done in jest or

that the men are not bothered by the women’s acts.

The semiotics in the picture suggests that the men

are still in power and are infact humouring the

women by playing along.

It’s a confusing imagery where strong men are

supposedly yielding to the aggressive moves of the

petite women and smiling while they do so.

5.Ghajini

In the movie Ghajini, Amir Khan plays an avenger

who wrecks havoc in the lives of the people who

killed his lover. His short term memory loss

problem causes him to tattoo information about the

killers on his body lest he forgets. So the baring

of Amir Khan’s body has a functional purpose in

the movie.

1

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The poster of the 2009 movie Ghajini shows Amir Khan

stooping with his hands clasped in front of him. His

face has a menacing expression to match the

ferociousness of the character he is portraying. The

muscles of his upper body are flexed to give them a

more defined look.

2

68

In picture 2 Amir is standing upright which gives the

viewer a better view of his body as compared to the

previous picture. The muscles on his arms and torso are

glistening and one can see tattooed words and pictures

on his body. The look on his face is menacing as

before. The background of both the pictures 1 and 2

contains pictures, details and scribbling in keeping

with the story of the film.

In both the cases the actor is the focal point of the

picture. The projection of soft light illuminates the

actor’s body lending it an aesthetic appeal.

Observation

Amir Khan’s images are in stark contrast with Ranbir

Kapoor’s in Sawariya. In the latter the male form

presented a rather delicate picture with frames similar

to classical paintings, but the former presents a

picture that is both dark and dangerous. The image is

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that of an angry avenger. Amir Khan’s bare torso has an

important role to play in the movie: The torso serves

as a writing pad for him to jot down important

information which he would otherwise forget due to his

memory loss. Words, names and numbers are tattooed on

it urging the viewer’s gaze at the torso. His stare is

intense as he looks right back into the viewer’s eyes.

There is an invitation for aggression in his look is by

no means a docile, feminine subject trying to avert the

gaze of the lookers.

Amir aggressive stance combined with the presentation

of his body in a visually appealing manner results in

an image that invites the female gaze, but instead of

being a passive object, Amir’s character appears in

control. He seems as if he could lunge at the viewer in

anger. Mulvey’s parameter where she propounded “Men

being active and women being passive” gets effectively

challenged when men become the object of women’s gaze.

Though the men are objectified, they refuse to be

docile images capable only. This reinforces the notion

that images of masculinity are oriented towards the

active.

6. Bhaag Milkha Bhaag

70

Bhaag Milkha Bhaag is a biopic on the athlete Milkha

Singh’s life where the titular character was played by

Farhan Akhtar. Being a biopic, the lead actor was

expected to resemble the titular character. Here is a

comparative image of the athlete and the actor.

1

2

71

In picture 1 we can see the images of the real Milkha

Singh juxtaposed with the image of Farhan Akhtar as

Milkha Singh. Though the facial resemblance between the

two is uncanny, the same cannot be said about the

physique.

In picture 2 the actor is seen bare-chested standing in

the rain. He wears a piece of garment on his lower body

but the upper body is bare and the muscles of the upper

body on display for the viewer.

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3

In picture 3, the actor is seen bare-chested in the

rain with his eyes closed. His head is tilted upwards.

This pose is taken from canonical “Lone girl in the

rain” imagery of Indian films.

73

For example:

Observation

As evident from the first picture, the facial

resemblance of the two people does not translate to

resemblance of the physique. The real Milkha Singh is a

far cry from what Farhan Akhtar chose to portray.Milkha

the athlete is a lean bodied runner; Farhan on the

other hand sports a rather bulky physique. There is

nothing particularly attractive about Milkha’s physique

but Farhan’s picture ended up gracing the posters of

the film. It is clear that the film makers wanted to

cash in on his fetching form to cater to the audience.

In pictures 1 and 2, the male object of the gaze is in

an active stance. He is in the midst of an exercise in

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1 and he is standing in the rain in the second one.

Both fulfill the notion of the active male who displays

power rather than being a passive object.

In the 3rd picture, the actor is facing the sky with

his eyes closed in the rain. This image is reminiscent

of the images of women in rain. His body language is

passive and almost feminine. The smile of his face is

disarming and is in sharp contrast to the chiseled

physique.

7.Force

75

Force is a movie starring John Abraham and Vidyut

Jamval. The former plays the role of an avenger and the

latter is the primary antagonist of the movie. The

scene to be considered for analysis is the final combat

that happens in the climax of the movie.

The above picture shows both the protagonist and the

antagonist locked in an instance of hand-to-hand

combat. The two have clasped their hands and are bare-

chested. They are looking deep into each other’s eyes

with a look of belligerence in them. The muscles on

their arms are bulging due to strain and there are

visible veins on the arms of Vidyut Jamval.

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Observation

The picture seems to showcase the physical beauty of

two good-looking men even though they are locked in

combat. The viewer cannot dismiss the fact that there

is an attractive quality about the picture mainly

because of the presence of the men and due to the

display of skin and muscle. However, like the previous

pictures we have analyzed, this too falls into the

realm of beautiful powerful men who are busy in a game

of “who stares the longest”

The body language of both the men is aggressive because

they are in a combative state. It is a very obvious

show of machismo and they have steered clear of

“feminizing” the image.

8 Veer

Veer is a romantic period film modeled on a fictious

hero.

1

77

2

78

In both the images, we can see the display of Salman

Khan’s sinewy arms. In the second picture he is bare-

chested. In picture 1 he is on a horse wearing a vest –

like garment that exposes his arms. His gaze is averted

from the viewer and he looks away at a distance. In

picture 2 He his right leg is slightly ahead and arms

are seemingly swinging. This indicates that he is

walking. His gaze, like in the previous picture, does

not meet the viewers’ and is instead fixated on a point

which is not visible in the image.

Observation

Both the images seem to suggest the scopophilic

tendencies of the picture. The film maker has exploited

the actor’s pulchritude and showcased it for the

viewer. The body language of the actor in both the

pictures shows aggression. The actor not meeting the

viewers gaze implies a disconnect with the gazers. The

body language does not show vulnerability; instead it

shows strength and might.

9 Ramleela

Ramleela is an adaptation of romeo and juliet set in

Gujrat. The visuals used are images of actor Ranveer

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Singh in a song sequence

The picture is self explanatory in many ways. The actor

is standing in the center of a beavy of women with his

upper body exposed. He is wearing a pair of tattered

jeans and his body is glistening with oil. His upper

body appears sculpted and he seems to be in the midst

of a dance routine. The women around him are excited.

Albeit dressed in a traditional garb, they aren’t

behaving like the traditional coquettes. They are

clicking pictures and fawning over the young man who is

happy to pose for them.

The song is centered on the male actor Ranveer Singh

who is introduced in the movie through this sequence.

The entire song is in fact about the physical beauty

and demeanor of “Ram”

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Observation

In the above picture, the signs speak for themselves.

He is in the midst of a dance sequence surrounded by

women, who are excited in his presence. His body

language looks self assured and assertive. He seems

like an object of scopophilia not only for the women in

the song, but also for the viewers who gaze at his

physical form. The application of oil on his body gives

it an added lustre which makes it eye catching and

draws the gazes of the lookers.

There is no show of strength in the above picture, but

at the same time it is not a picture of a passively

starting coquette. His dances moves are very raunchy

which are suggestive by nature. So even though he is a

thing of great beauty, Ranveer Singh exudes power and

aggression.

The women in the sequence are fawning over the actor

but none has made any overt moves to touch him. The

condition of the women in the image is similar to that

of the viewer. Both the parties are equally, passively

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watching the subject of attraction instead of making

overtures.

10 Om Shaanti Om

The dance sequence hailed as a male “item number” from

the film is taken for analysis. The name of the song is

Dard-e-disco and is centered on Sharukh Khan. He had

famously acquired a set of six-pack abs for it.

Following is a sequence taken from it which shows him

in three different poses and garbs.

1

82

In image 1 he is seen standing with his shirt open

baring his torso. The shirt does not seem to cover his

body at all as the bare torso and his upper arms are

visible. The expression on his face is menacing and he

stares back at the viewer by squinting his eyes

slightly. The idea may have been to give the viewer a

tough look. The airy background looks like a

battlefield and has two flags on the side

2

83

In image 2 he is shown wearing

a construction worker’s hard

hat and has a rope in his hand

and a tool belt around his

waist. His body is glistening

and he has the same serious

expression on his face. His

body not directly facing the

camera, instead it is tilted at

an angle. His hands are

employed, with one hand he

holds his hat, and with the other he holds a rope.

There is a utility belt on his hips. The actor gives an

impression of a handyman or an odd job worker

Observation

84

Shahrukh’s stance in the song sequence is assertive. He

tilts his body at sharp angels which gives him a

masculine feel. His facial expressions are also

consistent with his manly body language. The song

sequence is featured on a narcissistic flamboyant

character he plays in the movie, so it is natural that

he exudes confidence. His gaze is fixated on the

viewer. In image 2 he is dressed up as a handyman,

which is a common trope that is associated with women’s

sexual fantasies. Erotic movies and literature made for

women often revolve around the idea of the attractive

handyman, namely the plumber. It is someone who

associated with strength but belonging to the lower

rungs of social class.

85

(An example of erotic literature for women centered on

the handyman theme)

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Analysis Part

II

Advertisements

The sample featured here is a vintage advertisement of

an aftershave brand. The model is actor Jackie

Shroff. The face is the focal point of the

advertisement. The name of the product is Savage

Aftershave. The target audience for this product has

therefore has to be men, and the demographic targeted

is also male.

87

The above print advertisement showcases the actors face

in an attractive manner. His stare is soft but direct

and it meets the gaze of the looker. His hair is

falling on his forehead and on his left eye. His face

is youthful and the expression on his face is of

anticipation, as if he were to utter something. The

lips are slightly parted and the viewer gets to see his

bare neck and the top of his chest. There is slight

hint of wirey chest hair and the rest of his body is

obscured by his shirt.

The words in the print advertisment read:

The Macho After Shave is here…

Rugged! Fiercely savage! The macho after shave you’ve been waiting for. Masculine, Virile, Unforgettable. Useafter every shave, after anything.

Observation

The above advertisement cashes on the beauty of the

model’s face. The squinty stare and the falling hair

on his face imparts a romantic look. His parted lips

combined with the eager eyes gives an impression of

sexual invitation. Jackie himself was known as an

unconventionally good looking actor who belonged to the

era of manly mustachioed hero(The other being Anil

Kapoor) So the theme of “masculinity”, which has been

reiterated through the heading and body copy of the

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advertisement, compliments the image of a macho looking

man. Words like: macho, masculine, rugged, fiercely

savage, virile etc sets the theme for the

advertisement.The image of the actor also seems to have

been drawn upon the feminine pictures of women with

parted lips and secductive gaze. For example

2 Nerolac Paints.

The following is a print ad for Nerolac Paints

featuring Shahrukh Khan. The demographics targeted here

may be difficult to ascertain, it could be men or women

as both have a say in deciding . Sharukh may have been

roped in due to his appeal and popularity that cuts

across all ages.

The print ad shows Shahrukh wearing a vest and a pair

of pants with a wet paint brush in his hands. There is

a step ladder behind him and couple of buckets of

paint.

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Observation

There is a hint of sexualization of the imagery owing

to a few reasons. The product such as paint need not

use sexual appeal or marketing, despite this fact there

is a hint of sexualization in this advertisement.

Shahrukh’s gaze at the camera merits special importance

because the look on his face is sultry. He intensely

makes eye contact with the person looking at him as he

dribbles the thin stream of pain dripping from the

paint brush in his hand. Also, there are paint stains

on his person. He wears a sleeveless vest which puts

his sculpted arms on display for the viewer. This

picture is modeled on images of women who appear

sexually inviting.

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3 Old Spice

The new old spice advertisement is a perfect example of

using male imagery blatantly for the purpose of

marketing a product. A sequence of the television ad is

used for analysis. The male model in question is Milind

Soman who appears to be naked in the picture with a

bottle of Old Spice deodorant. He has a gold chain with

the word “MAN” on it. He wears a pair of aviator sun

glasses and speaks about his favourite fragrance in a

laudatory and a self congratulatory way. The exact

words are as follows:

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Observation

Milind Soman being naked could be an allusion to the

Tuff Shoes advertisement of the 1990s. The erstwhile

supermodel extols the bottle of Old Spice and by that

extension himself. He uses words such as “mantastic” to

reiterate the masculine brand imagery of the product.

His own association with the product reasserts its

macho-ness. The chain with the word MAN is in keeping

with the masculine theme of the advertisement.

The oppositional gaze of the “object” is steady as he

back at the camera with an unwavering gaze and

maintains it throughout. His rhetoric revolves around

the macho man image that old spice often tries to base

its ad campaigns on. He knows he is attractive and

makes an unabashed declaration of the same.

4 Live In Jeans

The follow image is a sequence of a Television

advertisement for men’s jeans. The theme of the

campaign seems to be a word play on the name of the

product- jeans one can live in. The model is Dino Morea

who wakes up from his sleep and goes about with his

routine. He walks up to the washing machine in order to

92

wash his clothes. He removes his vest but hesitates to

remove his jeans. He ponders for a split second after

which we see the washing machine rumbling. From inside

the machine emerges the model, soaking wet and still

wearing his jeans. The central idea is that the pair of

jeans is so comfortable that one wouldn’t want to get

out of it.

Observation

The camera follows the model as he wakes up from his

sleep and goes about with his daily routine in a

voyeuristic manner. He does not acknowledge the gaze on

93

him as he goes about getting up, drinking coffee, and

washing his clothes. He wears a white vest with his

muscular arms showing. His upper body is bared as he

strips the vest to reveal a chiseled physique

underneath.

The camera momentarily focuses on his face as he

ponders whether to remove his jeans or not. The focus

then shifts to his waist and hips as he is seen

fidgeting with his button. The chiseled abs can be seen

in this shot. The next frame shows him emerging out of

water with water droplets on his body.

This advertisement reminds the reader of Mulvey’s

theory on camera playing a substitute to the viewers’

eyes showing them what they need to see. The man here

is viewed as if he is in captivity. He is oblivious to

the prying eyes of the people, but his body language is

confident and assertive.

5 Axe Chocolate Deodorant

The Axe Chocolate ad features a man entirely made of

chocolate travelling through the city delighting and

amusing women as he goes. He is seen walking through

hordes of women who stare lustily at him and even touch

him. His chocolate body makes him irresistible to women

94

who can’t help touching him, feeling him, and consuming

him.

Observation

There is a literal objectification happening in his

advertisement. The man is equated with the chocolate.

He is shown to be made entirely of chocolate. Mulvey’s

parameter of “treating women like objects” is reversed

as it is the man who is at the receiving end.

The man is completely passive in the advertisement as

women grab him and assault him as they please. He seems

to have no power over the women who happen to the

aggressive ones in the ad He seems to be playing out on

women’s ultimate fantasy—men and chocolates. Women are

known to go weak knee for chocolate, so it is obvious

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that a man made entirely of chocolate would be next to

perfection. His irresistibility causes these women to

act in berserk. They chase him down the street, get

distracted from the gymming routine, and feed on his

ears and nose as they please and even take a big bite

out of his buttocks.

He also plays out the fantasy of the sensitive man as

he willingly lets the women have their way. He even

regales them by going out for movies with them and

hosting a chocolate tasting party for them.

Despite his obvious and literal objectification, the

man seems to be smiling throughout the ad He is happy

to be objectified and to be treated like a giant living

chocolate bar. The very fact that it is a deodorant ad

targeted at men shows that the ad makers are holding

out a tacit benefit from the usage of the product –

women going berserk over them. While the female fantasy

revolves around chocolate and men, the male fantasy

ostensibly is being objectified by hordes of women.

6 VIP underwear

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VIP is an undergarment manufacturing company of India

who specializes in men’s vests and underwear. The

following print ad for men’s underwear is self

explanatory, and single handedly proves the hypothesis

of this research. The print ad features a male model

sitting with his legs parted. The sculpted body

glistens in the light and his pectoral and abdominal

muscles are therefore highlighted. He wears shades over

his eyes which he maneuvers with his index finger of

his left hand. His stare is piercing and his expression

suggests a bold

invitation.

Observation

The man in the

picture dons

only a pair of

underwear and

sits with his

legs apart. His

hands are on

the sides of

the chair. His

head is cocked

in front as he

adjusts his

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shades with his index finger. His body language is

consistent with regality. His wide-spread legs give an

impression of breadth and power; He is seated like a

king on the throne. His posture, on close observation,

resembles the letter ‘X’ which is name of the brand

advertised.

The image attempts to foreground the underwear on the

model, therefore the rest of the background is beige to

highlight the red underwear against its backdrop. This

inevitably brings the viewers gaze to the groin of the

model.

The look on his face is inviting, but at the same time

it is haughty and self assured.

7 Dollar club undergarments

Six print ads have been taken for analysis for Dollar

Club. It is a brand of undergarments meant for men. The

brand identity, like many other products targeted for

men, is toughness. The brand ambassador is Akshay Kumar

who is usually associated with daredevilry in movies.

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Observation

Akshay Kumar is clad in a white vest and blue jeans

performing various physical activities such as playing

with a basketball and exercises such as pushups, bicep

extensions. The soft light accentuates the ripples of

his bicep and the picture presented thusly is pleasing

to the eyes. His poses are all athletic (therefore

action oriented) and his facial expressions are

serious.

8 Denim After Shave

Denim After Shave advertisement aired in India in the

early 1990s. The TVC featured a woman rubbing cologne

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on a man. She caresses his face and neck and

eventually, her hand travels along his chest to his

abdomen when she tries to move her hand inside his

shirt. In a quick swift move, the man stops the woman’s

hand by grasping it suddenly. The voiceover for the ad

can be transcribed as:

“When a woman puts Denim on her man, he knows, the more

she puts on the more life takes off—Denim. For a man

who doesn’t have to try too hard”

Observation

The slogan for Denim After Shave is, “For a man who

doesn’t have to try too hard” . Meaning it is meant

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for a man who never has to try too hard to win a

woman’s attention. It capitalizes on the Freudian

desires of men, because ultimately that is the pivot of

man’s endeavors according to psychoanalysts.

The sexual undertones of the ad are obvious as the

woman sensually tries to apply the aftershave. It seems

to the viewer that the woman is in control, until she

tries to open his shirt and put her hand inside. The

man’s heavy hand suddenly grabs her hand and stops her

thus proving it is ultimately the man who is in power.

Mulvey’s theory of reducing the object into body parts

is observed here. The male is reduced to a chin and

chest and the woman is represented through an

attractive, well manicured hand. Despite that, the man

is the one wielding power over the woma

9 Wildstone Deodorants

The sample is one of the many ads of Wildstone the

common leitmotif is that of a woman leching at an

attractive man. Though the scenarios change, the theme

is the same. This one particular TVC features an

attractive woman in an Indian garb who suggestively

eats a slice of watermelon while leching at the man.

She eats the wedge of the melon in a rather messy

manner wiping her mouth in a provocative fashion, all

the while fixing her gaze on the man. the man on the

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other hand seems to be amused by the woman’s behavior,

He smiles at her but does not engage her any further.

The advertisement ends with the male model spraying the

deo on his bare torso.

Observation

The semiotics of the advertisement showcases heavy

sexual undertones. The messy eating of the melon and

the lusty stare is towards the man is indicative of

this. The man is amused, but dismissive. The woman’s

antics seem to tickle him a bit but ultimately, he

wields the power and decides to walk away.

The female gaze here is passive; she does not have the

power to make any overtures. The male on the other hand

appreciates her admiration, but being the active male

he refuses to being objectified.

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10 Cinthol

This Cinthol TVC features Hrithik Roshan who is shown

bathing with the soap in one sequence and standing

atop a building with arms wide open in another. The

bathing scene is the focus for analysis. He is shown

standing in the shower and rubbing the soap sensuously

over his body. his gaze is averted as he does not make

eye contact with the viewer. The water droplets are

show splashing against his skin and multiple shots of

the same scene is taken from various angles.

Observation

Hrithik Roshan is shirtless in the entire sequence; the

TVC obviously wanted to cash in on his attractive form.

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Even when he is shown clothed, his shirt unbuttoned to

reveal his torso. A hint of his undergarments are shown

over his pants. The rest of the sequence shows him

engaged in manly activites such as water sports and

horse riding. A significant part of the ad focuses on

his bathing. The angles of his body show power and

strength, but the template of the bathing scene is

borrowed from the ones featuring women.So there is a

juxtaposition of masculine undertones with feminine

ones.

Analysis Part III

Magazine covers

1 Mandate

The first magazine cover

to be analysed is

Mandate, which is a

men’s lifestyle

magazine. The sample features a male model flanked by

two women on either sides. There are lipstick stains on

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his face. He wears a white jacket but his chest is

bare. His stare is fixated on the camera and not on the

women who are by his side.

The caption on the cover says “Mirror Mirror on the

wall, who’s the hottest of them all?” this line is

taken from the fairy tale “Snow white and the seven

dwarfs. The line is modified as “the fairest” is

replaced by “the hottest “.It is a line commonly

associated with vanity.

Observation

The male model occupies the central position of the

magazine cover. He is therefore the subject of the

picture and the object of the viewer’s gaze. He gazes

back at the viewer with a smirk on his face. The

lipstick stain on his face suggests that he was kissed

by the women in the picture. The smug expression on his

face on his face puts him on a position of power. This

means, even on being manhandled by the women in the

picture, the male is self assured, confident and

seemingly enjoying the attention. Such a picture with a

role reversal would be difficult to digest. Since it is

the man who is at the receiving end of the gaze, the

story is very different

The vanity aspect of the picture is highlighted with

the help of the caption which says “who’s the hottest

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of them all”. This line is associated with the evil

queen in the Snow White fairy tale. She routinely asks

this question to her magic mirror in an insecure

fashion. The association of the line with the image is

deliberately done to equate vanity with men. The evil

queen has been replaced by the male model

2 Stardust

In this sample of Stardust,

we see picture of John

Abraham shirtless against a

white background. He is

shown looking directly into

the camera with a slight

smile. His right hand rests

on the back of his head and

the left hand is on his

waist. His left palm is very close to his groin and his

entire body is bent in a very feminine S shape.

Observation

Here we see the “feminization” of a macho image by

making the male model pose in styles that are usually

common to women pin-ups. For example the picture on the

left with the woman is a classical pose meant for pin

up girls. This feminization does not resonate well with

the image of the male model. He is macho looking and

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sinewy. So the image of a very strong macho man posing

in a manner associated with pin up girls gives an

impression of irony.

Susan Bordo in Beauty (Re)discovers the Male Body calls such

posers leaners because their pose is more feminine and

more passive.

3 Filmfare

Through this we revisit

the analysis of our first

sample where John Abraham

struck a similar pose.

This particular analysis

however may be different

from the first one owing

to the change of medium

and also because of the

text that surrounds the

image on the cover.

The description of the picture is the same, he poses

sideways with his head turned towards the viewer. He

has a sheepish smile on his face and his swimming

trunks are pulled low to reveal considerable amount of

skin. His body is well chiseled and sinewy. The soft

light gives an attractive quality to the picture. The

text is of special importance to us which may give us

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an idea as to why the magazine chose to use this image

as its cover picture.

On the extreme left we see the word “Homosexuality” and

on the right, big red and white font say ‘“Men make

passes at me all the time” Johns sizzling confession’

Observation

John’s pose shows vulnerability as he pulls his pants

low to reveal skin. Such poses are associated with

female pin up models. The picture is extremely

provocative and raunchy by Indian standards. His pose

also shows assertiveness as evident from the smile on

his face. The body is well defined and the soft light

highlights the contours of his muscles implying

strength and power.

The text that is used in the cover is worthy of

attention. It reads “Homosexuality” and “Men make

passes at me all the time”. For many, magazine cover

becomes a decisive factor in buying a magazine. The

words on the cover imply that they seek attention from

the homosexual readers as well.

4 Cosmopolitan

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In this sample we see Shahid Kapoor standing upright

with one hand in his pocket and the other hand by his

side. His face has a hint of a smile and his gaze is

straight, direct, and piercing. He wears a white shirt

with a grey jacket and blue jeans. The top buttons of

the shirt and open and a small part of his chest is

revealed. The background of the picture is white and

colours like orange

and black are used.

The words on the cover

say “Are men the new

women?”

Observation

Shahid Kapoor’s pose

and demeanor is of

prime importance in

this observation. The

face and the body

communicate

assertiveness. There are no traces of sensitivity or

vulnerability on his face or body language. The placing

on the hand on the hip is a tell tale sign of showing

macho superiority. It suggests attention to the hip

region and by that extension the phallus. The picture

suggests a show of power if not aggression.

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He is completely clothed as opposed to the other

samples observed till now, but the partial chest show

is consistent with the others.

The line on the cover “Are men the new women?” is

confusing and ambiguous. It may be meant for a

corresponding story inside.

5 Vogue

The sample features a picture of Hrithik Roshan. He

wears a white

jacket and a shirt

with its buttons

undone. His chest

is bare and his

hands are in the

pant pockets. The

pair of pants is

white to match

with the shirt and

the background.

His stare is

direct and there

is a hint of smile

on his face. The white background of the picture is

offset by the yellow and black fonts on the cover.

Observation

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Hrithik’s pose is smiliar to Shahid Kapoor’s in the

previous sample, but instead of one hand ,Hrithik has

both hands in his pockets. This sign according to body

language experts is to bring the attention to the hips

and the groin

area. It is a

reassertion of

the power of the

phallus and a

show of might and

male superiority.

The buttons of

the shirt and

kept open and the

chest and the

abdomen are on

display. The skin

glistens in the

soft light giving it a sensual appeal. His well

developed muscles and body give an impression of

strength.

6 Hi Blitz

The sample features Ranbir Kapoor as the model on the

cover. He is seen wearing a black strap on his upper

body, it could be a black vest which has been pulled

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over his head. His torso

is bare and his

abdominal muscles are on

display. He wears a pair

of shades on his eyes.

There are chains and

bracelets on his right

hand.

His underwear is

visible over his blue

jeans and he has his

right hand in his pocket. He is seen leaning on a tree.

His facial expression is smug with one raised eyebrow.

Observation

This posture of the model qualifies as Susan Bordo’s

“leaner” type. In this type the model typically leans

against a wall or any other surface giving him a

relaxed look. The show of muscles and skin entices the

female gaze but at the same time, the “object” is in a

position of power. The muscles and the stance points to

the fact that he is in control. The facial expression

needs to be noted: The raise right eyebrow gives his

face a rather smug look which reinforces his confidence

and strength.

7 Movie Mag

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In this sample, John Abraham stands bare-chested with a

scarf on his neck. He wears his pants very low to

reveal the top part of his underwear. His body is

chiseled and bulky. On his face, he wears a pair of

sunglasses.

His body language is confident. He turns his head and

there is a smile on his gaze. His gaze is obscured

because of the shades. His hands are at a distance from

his body. though his head is turned away, his body

faces the viewer. The words on the left side say

“John’s too confident of his sexuality to worry” and

“Gay fever hits Bollywood”.

Observation

In the picture, the model’s masculinity is made evident

not only through the show of brawn but also through his

posture. he looks away averting the gaze of the viewer

to make it seem like he doesn’t care or that he doesn’t

acknowledge the gaze of the viewer. Despite him not

meeting our gaze we can see his show of strength

through the pose; his arms are at a distance from his

body giving him an illusion of width and by that

extention, power. There is some light stubble on his

chin and his cheeks which looks macho. The yellow/green

colour of his scarf may be a mismatch to his strong,

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masculine image but even that works in an ironic

fashion: It highlights his masculinity by contrast.

The words “John’s too confident of his sexuality to

worry” reasserts his strength. The words “Gay fever

hits Bollywood” is also deliberately put there for

attention from the

homosexual

subscribers of the

magazine. The fact

that he is very

confident about

his preferences

doesn’t cause him

to worry about the

rising tide of

homosexuality in

Bollywood.

8 Femina

The sample chosen

for analysis features actor/director Farhan Akhtar

standing against a pale white background wearing a

white shirt and blue jeans. His right hand is straight

and his left hand is bent at the elbow. He touches with

his left hand the intersection between his forearm and

arm.

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He is shown smiling ear to ear.The words on the cover

worth mentioning are “Found! India’s hottest men, “What

he really thinks of your bedroom moves”

Observation

Unlike the other samples investigated so far, this one

stands out mainly because there is no show of skin. The

model wears a basic white shirt with blue jeans. His

face is pleasant with no signs of aggression or power.

His folded shirt sleeves give him a relaxed and casual

look. His well defined body is hid from the prying

female gaze but yet there is an attractive quality to

the picture which inevitably invites the looker to

admire it. The allure of an attractive clothed man is

more, especially because he is wearing a white shirt

with denims. The average female reader relates to the

picture and she sees a man-next-door which has its own

magnetism. The smiling face of the model also renders a

sense of beauty to the picture.

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Farhan’s posture and smile is indicative of his

amusement. He does not mind being looked at. Even

though he is covered fully and does not showcase any

skin, the bulge of his muscles is discernable through

the shirt. The posture exudes confidence and assertion.

The words on the side “Found! India’s hottest men,

“What he really thinks of your bedroom moves” invite

the readers to grab a copy and read. The magazine is

meant for women, and the promise of finding India’s

hottest men inside is a testimony to the fact that they

want the men to be ogled at. The risqué words

juxtaposed with a modestly dressed man is quite a

contrast.

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9 Men’s World

In this sample, Shahid

Kapoor stands with his

left hand obscured.

His shoulders are

tilted. His gaze is

direct and looks

straight into the

camera. His chest is

visible through the

shirt as he has kept

the top buttons open. His legs are parted in such a

manner; it gives an impression of movement. The facial

expression is pleasant as there is a hint of smile on

his face.

Observation

The body language of the person suggests movement. The

legs are parted as if in a stride. The left hand is

obscured to make it seem like he is reaching for

something in his pocket, or he could be adjusting his

jacket to aid better movement while walking. The some

portion of the chest is bare, it is also trimmed and

clean of chest hair. Despite him being clothed, the

baring of the chest makes him available for the female

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gaze. The smile, the stubble, the gait are all

consistent with confidence and macho-ness.

The seemingly expensive suit is indicative of of his

financial status. The semiotics of his clothes seems to

give away his superior

social status. It is

yet another way of

showing his might.

10 GQ

The last sample

features Shikar Dhawan

as the model on the

cover page. He wears a blue jacket with a black vest

with white details underneath. His facial expression is

serious and menacing. His right eyebrow is cocked and

his eyes are narrowed. He sports a handlebar moustache

and there is a considerable amount of facial hair. He

stands with one hand akimbo and the other hand tossing

a cricket ball.

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Observation

Shikar Dhawan’s picture exudes extreme machismo. His

expression suggests belligerence. The eyebrows and the

narrowed eyes indicate aggression as if he has tosses a

challenge to an opponent. The handlebar moustache and

his facial hair is an indicator of his masculinity. He

is in a state of motion as he tosses the ball up and

down. His left hand is on his hip, which is a

classical pose of intimidation. It makes the body

appear wider and hence more menacing and powerful.

The expensive suit also plays a role in the semiotics

of this picture. He also happens to wear an expensive

watch and a wrist ornament. These are indicators of

his social status.

The picture immediately strikes off as one filled with

pure antagonism. He comes across as a villain. But one

cannot ignore the aesthetics of the picture as well,

Shikar Dhawan’s pulchritude is seems very obvious to

the viewer despite his show of might and intimidation.

This picture is a classical example of a handsome man

showing off a lot more than his physical might, he also

displays his opulent attire and by that extension, his

financial status.

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Conclusion

To conclude this research, we have to make a section-

by-section analysis of the representation of male

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bodies for female gaze. The original problems faced by

the research prior to the investigation of this

phenomenon should be asked again.

Overall observation

Films

1) All samples show attractive, strong men

2) Men are shown in motion or in any form of masculine

show of aggression. Eg Bhaag Milkha Bhaag, Force,

Ghajini,Veer.

3) Men’s poses are modeled on women’s traditional

poses, but they are masculinized rather than feminized.

Eg. Sawariya

4) Women’s gaze seems passive. No overt instances of

women actually touching or making advance at the men.

Aiyya being the only exception to the rule, but only in

Rani Mukherjee’s imagination.

Advertisements

1) All advertisements are directed at men. This proves

Suzanne Moore’s contention (1988) that men look good

more as a narcissistic need rather than to impress

women.

2) They all show men in assertive and strong stances.

They are in control of their bodies.

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3) They enjoy being objectified and ogled at.

4) They are not disempowered like the women in the

advertisements, they play active role.

Magazines

1) The magazines sampled are a heterogeneous lot, some

are men’s magazines, some are women’s, and some are

meant for both. Presenting attractive men on the cover

would imply that the gaze is invited from the men and

the women.

2) Men are physically strong, not passive things

vulnerable to the gaze.

3) They exude not only physical power but also

financial and social power.

4) Poses are related to aggression, movement or they

qualify as “Rock” or “Leaner” type

Do the males being objectified suffer from the loss of

power when they are at the receiving end of the gaze?

Women are ideally portrayed as vulnerable beings, helpless and hapless, subjected to the male gaze much against their will. The representation of men is not the same. Almost all the images and instances studied showed men in a state of power and movement. According to studies (Moore,1988), these men are sinewy and well

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built and capable of walking out of the prying gaze of the women

. “It does not replicate a monolithic and masculinizedstare, but instead involves a whole variety of looks and

flances- an interplay of possibilities”

(Moore in Gamman and Marshment,59)

Do the gender dynamics remain the same in the case of

female gaze?

Sex is related to a person’s biology, whereas gender is

a social construct. In the power play of gender versus

sex, the men win inevitably. The one in power is the

male, so the gender dynamics of the objectifier versus

the objectified is in the favour of the men. The women

are passive gazers.

Is the role of the woman that of a powerless gazer?

It is safe to say yes, the role of the woman is not a

very active one mainly because they are not gazing at

powerless objects but images of men who refuse to be

objectified. Even if they are, the men enjoy it and do

not show offense at being gazed at.

How are men portrayed by the media?

All the images of men used in the study show power and

strength, either physical or financial. They all adhere

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to the standards of male beauty. All of the subjects of

study have well developed bodies and are portrayed as

irresistible to the women.

Is it a display of their physical attractiveness or

power?

In the images used for study, almost all the subjects

come across as good-looking and powerful. It is safe to

say that the image portrayed by the media of men is the

one of masculinity, attractiveness, and power.  Models coldly stare at the viewer in a locked in a tacit battle of

power. It defies the observers to view them in ways other

than how the intended to present themselves. They present a

shield that is powerful to the gaze of the (Bordo, 1999,pg

203 paragraph 2).

Are men portrayed to be objects of women’s scopophilia?

We can say that the men portrayed are images of

Scopophilia, but not necessarily of women. They could

also be aimed at gay men or at women. It is evident by

the magazines that included stories pertaining to

homosexuality next to an image of John Abraham or the

movie Dostana which was pitched as a gay friendly

movie.

The phenomenon is here to stay: Pictures of scantily

clad, attractive men are going to be commonplace in the

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Indian media, but how much does it change gender

dynamics is uncertain. Through the study of the images

in the Indian media, we can say that the female gaze

cannot be equated with male gaze.

BIBLIOGRAPHY AND REFERENCES

 1) Laura Mulvey, Visual Pleasure and Narrative Cinema: Visual and

Other Pleasures ,1975

2) Suzanne Moore, "Here's Looking at You, Kid!," The

Female Gaze: Women as Viewers of Popular Culture, Ed. Lorraine

Gamman and Margaret Marshment, Women's Press, 1988

3) Susan Bordo, Beauty (Re)discovers the Male Body, 1999

4) Martha C. Nussbaum Philosophy & Public Affairs Vol. 24, No. 4 (Autumn,

1995), pp. 249-291 Philosophy & Public Affairs Vol. 24, No. 4

(Autumn, 1995), pp. 249-291

5) Gender Communication Theories and Analyses From Silence to

Performance

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Charlotte Krolokke andAnne Scott Sorensen, SAGE

Publications, Inc, 2006.  

6) Overcoming Objectification: A Carnal Ethics by Ann J Cahill, Taylor & Francis, 07-Dec-2010

WEBLIOGRAPHY

1) http://plato.stanford.edu/entries/feminism-objectification/

2) http://www.cla.purdue.edu/english/theory/psychoanalysis/lacangaze.html

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3) http://www.litencyc.com/php/stopics.php?rec=true&UID=1617

4) https://www.caluniv.ac.in/Global%20mdia%20journal/Students'%20Research/SR4%20NIDHI.pdf

5) http://www.public.asu.edu/~kleong/eroticizing%20men%20in%20advertising.pdf

6) http://nipccd.nic.in/reports/ehndbk10.pdf

7) http://plover.net/~bonds/objectification.html