Pub Date : 2023-01-24DOI: 10.1080/01296612.2023.2170053
Payel Pal, Goutam Karmakar
{"title":"Masculinity, media, and public image: review of the film An Action Hero","authors":"Payel Pal, Goutam Karmakar","doi":"10.1080/01296612.2023.2170053","DOIUrl":"https://doi.org/10.1080/01296612.2023.2170053","url":null,"abstract":"","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48178228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-23DOI: 10.1080/01296612.2023.2170038
Goutam Karmakar, Payel Pal
{"title":"Delinking gendered hierarchies and mediated representations: review of the film Doctor G","authors":"Goutam Karmakar, Payel Pal","doi":"10.1080/01296612.2023.2170038","DOIUrl":"https://doi.org/10.1080/01296612.2023.2170038","url":null,"abstract":"","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42291106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-03DOI: 10.1080/01296612.2022.2163548
Avneesh Kumar, Lakhan Raghuvanshi
Bollywood movies dominate the Indian film industry. A typical Bollywood movie revolves around comedy, action, song, and dance sequences, as well as over-the-top drama. The “ habituated audience ” has embraced this movie culture that provides entertainment throughout the duration of the film (Srinivas, 1998). In recent years, several experimental filmmakers have strived for challenging this movie culture and the domination of Bollywood-style movies.
{"title":"Patriarchy and the music industry: review of the film Qala","authors":"Avneesh Kumar, Lakhan Raghuvanshi","doi":"10.1080/01296612.2022.2163548","DOIUrl":"https://doi.org/10.1080/01296612.2022.2163548","url":null,"abstract":"Bollywood movies dominate the Indian film industry. A typical Bollywood movie revolves around comedy, action, song, and dance sequences, as well as over-the-top drama. The “ habituated audience ” has embraced this movie culture that provides entertainment throughout the duration of the film (Srinivas, 1998). In recent years, several experimental filmmakers have strived for challenging this movie culture and the domination of Bollywood-style movies.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"662 - 665"},"PeriodicalIF":0.0,"publicationDate":"2023-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45476399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/01296612.2022.2162678
Danilo Araña Arao
Given the preponderance of disinformation and denialism, research plays a vital role in truth-telling and shaping public opinion. While opinions have objective and subjective elements, what proves to be crucial in avoiding baseless claims is educated perception. The rightness or wrongness of perceptions may be determined by cognitive (knowledge), conative (actions) and affective (feeling) aspects (Walgito, 2010). In media practice, editorial decisions should be based on the right information coming from reliable sources. This is much easier said than done as “fake news” has become an industry (Ong & Caba~ nes, 2018). Vosoughi et al. (2018) also stressed that lies, misinformation, and disinformation tend to spread faster than the truth. That there are certain groups and individuals who deny basic truths on issues like human rights violations and climate change make the task of truth-telling even more challenging and even frustrating. May we all be armed with the right education and perception in fighting disinformation and denialism.
{"title":"Educated perception","authors":"Danilo Araña Arao","doi":"10.1080/01296612.2022.2162678","DOIUrl":"https://doi.org/10.1080/01296612.2022.2162678","url":null,"abstract":"Given the preponderance of disinformation and denialism, research plays a vital role in truth-telling and shaping public opinion. While opinions have objective and subjective elements, what proves to be crucial in avoiding baseless claims is educated perception. The rightness or wrongness of perceptions may be determined by cognitive (knowledge), conative (actions) and affective (feeling) aspects (Walgito, 2010). In media practice, editorial decisions should be based on the right information coming from reliable sources. This is much easier said than done as “fake news” has become an industry (Ong & Caba~ nes, 2018). Vosoughi et al. (2018) also stressed that lies, misinformation, and disinformation tend to spread faster than the truth. That there are certain groups and individuals who deny basic truths on issues like human rights violations and climate change make the task of truth-telling even more challenging and even frustrating. May we all be armed with the right education and perception in fighting disinformation and denialism.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"1 - 3"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45096091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-28DOI: 10.1080/01296612.2022.2157114
Avishek Suman, D. S. Poornananda
Abstract Films from Northeast India, a region that exemplifies diversity in language as well as culture, have gained global recognition over the years and are thriving artistically, yet they remain largely unexplored. Although a lot of studies have been done on gender inequality in Indian mainstream films, regional films, especially films from the northeast, have received very little attention. The current study investigates the representation of women in films from Meghalaya, a region known for its unique matrilineal social structure. The top ten most viewed films from each of the three tribal languages of Meghalaya were selected to examine women’s on-screen presence and the nature of the portrayal. Results indicate that despite Meghalaya society being matrilineal, women are underrepresented and are portrayed more in stereotypical character types. It is indicated that women in Meghalaya’s cinema experience symbolic annihilation through representational absence, condemnation, and trivialization.
{"title":"Matrilineality and the portrayal of women in Meghalaya cinema","authors":"Avishek Suman, D. S. Poornananda","doi":"10.1080/01296612.2022.2157114","DOIUrl":"https://doi.org/10.1080/01296612.2022.2157114","url":null,"abstract":"Abstract Films from Northeast India, a region that exemplifies diversity in language as well as culture, have gained global recognition over the years and are thriving artistically, yet they remain largely unexplored. Although a lot of studies have been done on gender inequality in Indian mainstream films, regional films, especially films from the northeast, have received very little attention. The current study investigates the representation of women in films from Meghalaya, a region known for its unique matrilineal social structure. The top ten most viewed films from each of the three tribal languages of Meghalaya were selected to examine women’s on-screen presence and the nature of the portrayal. Results indicate that despite Meghalaya society being matrilineal, women are underrepresented and are portrayed more in stereotypical character types. It is indicated that women in Meghalaya’s cinema experience symbolic annihilation through representational absence, condemnation, and trivialization.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"418 - 439"},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46820293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-27DOI: 10.1080/01296612.2022.2161183
Debashrita Dey, P. Tripathi
has poignantly
已经深刻地
{"title":"Spousal bereavement and media intervention: review of the film Goodbye","authors":"Debashrita Dey, P. Tripathi","doi":"10.1080/01296612.2022.2161183","DOIUrl":"https://doi.org/10.1080/01296612.2022.2161183","url":null,"abstract":"has poignantly","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"655 - 661"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59056116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-22DOI: 10.1080/01296612.2022.2159154
Doris Treviños-Rodríguez, Paloma Díaz-Soloaga
Abstract This article seeks to discover the prevalent ideal of feminine beauty proposed by Korean cosmetic brands on their Instagram profiles. Using content analysis, 433 female figures extracted from 320 photos and videos published on their Instagram profiles by five brands Hera, Innisfree, Nature Republic, Missha and The Face Shop were analyzed. The results portray a recurring aesthetic ideal in the form of a young, slim woman with a flawless white complexion, a small V-shaped face, a small nose and almond-shaped eyes with double eyelids. Likewise, it was observed femininity, confidence, composure, a healthy countenance and a neat, genuine and non-sexualized appearance are attributes related to the beauty of the most of the protagonists of images. Finally, although the aesthetic profile is similar in all brands, the beauty ideals proposed by each one present differences, above all depending on the attitudes and attributes of inner beauty that the female figures reflect.
摘要本文试图发现韩国化妆品品牌在其Instagram个人资料中提出的普遍的女性美理想。通过内容分析，对五个品牌Hera、Innisfree、Nature Republic、Missha和The Face Shop在其Instagram个人资料上发布的320张照片和视频中提取的433位女性形象进行了分析。研究结果描绘了一个反复出现的审美理想，一个年轻苗条的女人，拥有完美的白色肤色，一张小V型脸，一个小鼻子和一双杏仁状的双眼皮眼睛。同样，人们观察到，女性气质、自信、沉着、健康的面容以及整洁、真诚和非性化的外表与大多数图像主人公的美丽有关。最后，尽管所有品牌的审美形象都是相似的，但每个品牌提出的美的理想都存在差异，最重要的是取决于女性形象所反映的内在美的态度和属性。
{"title":"Ideal feminine beauty according to Korean cosmetic brand’s Instagram profiles","authors":"Doris Treviños-Rodríguez, Paloma Díaz-Soloaga","doi":"10.1080/01296612.2022.2159154","DOIUrl":"https://doi.org/10.1080/01296612.2022.2159154","url":null,"abstract":"Abstract This article seeks to discover the prevalent ideal of feminine beauty proposed by Korean cosmetic brands on their Instagram profiles. Using content analysis, 433 female figures extracted from 320 photos and videos published on their Instagram profiles by five brands Hera, Innisfree, Nature Republic, Missha and The Face Shop were analyzed. The results portray a recurring aesthetic ideal in the form of a young, slim woman with a flawless white complexion, a small V-shaped face, a small nose and almond-shaped eyes with double eyelids. Likewise, it was observed femininity, confidence, composure, a healthy countenance and a neat, genuine and non-sexualized appearance are attributes related to the beauty of the most of the protagonists of images. Finally, although the aesthetic profile is similar in all brands, the beauty ideals proposed by each one present differences, above all depending on the attitudes and attributes of inner beauty that the female figures reflect.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"440 - 457"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45950505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-14DOI: 10.1080/01296612.2022.2153464
Swikrita Dowerah, Adrika Raj
Indian cinema, since its very beginning, has experimented with many forms, each dominating a specific timeframe in history. While mythological films dominated the early years of Indian cinema, historical films based on the Sultanate era and family dramas that promoted Indian culture, values, and tradition were equally popular. Post-independence, as Jawaharlal Nehru took oath as the first Prime Minister of India, socialist films dominated the cinematic landscape (Bakshi, 1998; Roy, 2017; Sardar, 1998). Although romance and family dramas were an integral part of Indian film culture during this period, they also addressed social issues and mixed entertainment with a cause. The uncertainty and anticipation that marked this transitory phase of the newly independent nation were therefore ingrained in the romance and family dramas of this phase (Virdi, 2003). On the other hand, the 1970s and 1980s saw a series of gangster and action films that were representative of the prevailing social tensions of the decades like the India–Pakistan war, the Indian Emergency and the anti-Sikh riots (Dhar, 2000; Kazmi, 1998). Romance and family dramas that started dominating the scene in the later part of the 1980s carried the vestiges of the old socio-political structure and highlighted re-adjustments with the changes ushered in by globalization in the 1990s (Virdi, 2003; Dowerah, 2019). Between 1970 and 1980, many filmmakers tried new and innovative filmmaking techniques in response to commercial Bollywood cinema to give wings to the Indian New Wave movement. Led by an enthusiastic bunch of Indian filmmakers, these films resisted mainstream Bollywood formula and embarked on exploring the raw realities of Indian society through the medium of cinema (Majumdar, 2021). In the book Indian Indies: A Guide to New Independent Indian Cinema, Ashvin Immanuel Devasundaram traces Indian cinemas’ journey. Organized into six chapters, Devasundaram (2022) asserts that there is a revival of socially driven storylines in many films after 2010. This change has ushered in what he calls the new wave of independent Indian cinema or the new Indian indies (Devasundaram, 2022). The complications in defining the new Indian indies, the challenges they face in the Bollywood-dominated multiplex culture, and the
印度电影从一开始就尝试了多种形式，每种形式都在历史上占据了特定的时间框架。虽然神话电影在印度电影的早期占据主导地位，但以苏丹国时代为基础的历史电影和促进印度文化、价值观和传统的家庭戏剧同样受欢迎。独立后，随着贾瓦哈拉尔·尼赫鲁宣誓就任印度第一任总理，社会主义电影在电影界占据主导地位(巴克希，1998;罗伊,2017;Sardar, 1998)。虽然爱情剧和家庭剧是这一时期印度电影文化不可分割的一部分，但它们也涉及社会问题，并将娱乐与事业结合起来。因此，这个新独立的国家在这一过渡阶段的不确定性和期待在这一阶段的浪漫和家庭戏剧中根深蒂固(Virdi, 2003)。另一方面，20世纪70年代和80年代出现了一系列黑帮和动作电影，这些电影代表了几十年来普遍存在的社会紧张局势，如印巴战争、印度紧急状态和反锡克教徒骚乱(Dhar, 2000;伤势严重,1998)。20世纪80年代后期开始占据主导地位的浪漫和家庭戏剧带着旧社会政治结构的残余，并突出了20世纪90年代全球化带来的变化的重新调整(Virdi, 2003;Dowerah, 2019)。1970年至1980年间，许多电影人尝试了新的和创新的电影制作技术，以回应商业宝莱坞电影，为印度新浪潮运动插上了翅膀。在一群热情的印度电影人的带领下，这些电影抵制了主流的宝莱坞模式，并开始通过电影媒介探索印度社会的原始现实(Majumdar, 2021)。在《印度印度:新独立印度电影指南》一书中，Ashvin Immanuel Devasundaram追溯了印度电影的历程。Devasundaram(2022)分为六个章节，断言在2010年之后，许多电影中都有社会驱动的故事情节的复兴。这种变化带来了他所谓的印度独立电影的新浪潮或新印度独立电影(Devasundaram, 2022)。定义新印度独立电影的复杂性，他们在宝莱坞主导的多元文化中面临的挑战，以及
{"title":"Contextualizing independent films: review of the book Indian Indies by AI Devasundaram","authors":"Swikrita Dowerah, Adrika Raj","doi":"10.1080/01296612.2022.2153464","DOIUrl":"https://doi.org/10.1080/01296612.2022.2153464","url":null,"abstract":"Indian cinema, since its very beginning, has experimented with many forms, each dominating a specific timeframe in history. While mythological films dominated the early years of Indian cinema, historical films based on the Sultanate era and family dramas that promoted Indian culture, values, and tradition were equally popular. Post-independence, as Jawaharlal Nehru took oath as the first Prime Minister of India, socialist films dominated the cinematic landscape (Bakshi, 1998; Roy, 2017; Sardar, 1998). Although romance and family dramas were an integral part of Indian film culture during this period, they also addressed social issues and mixed entertainment with a cause. The uncertainty and anticipation that marked this transitory phase of the newly independent nation were therefore ingrained in the romance and family dramas of this phase (Virdi, 2003). On the other hand, the 1970s and 1980s saw a series of gangster and action films that were representative of the prevailing social tensions of the decades like the India–Pakistan war, the Indian Emergency and the anti-Sikh riots (Dhar, 2000; Kazmi, 1998). Romance and family dramas that started dominating the scene in the later part of the 1980s carried the vestiges of the old socio-political structure and highlighted re-adjustments with the changes ushered in by globalization in the 1990s (Virdi, 2003; Dowerah, 2019). Between 1970 and 1980, many filmmakers tried new and innovative filmmaking techniques in response to commercial Bollywood cinema to give wings to the Indian New Wave movement. Led by an enthusiastic bunch of Indian filmmakers, these films resisted mainstream Bollywood formula and embarked on exploring the raw realities of Indian society through the medium of cinema (Majumdar, 2021). In the book Indian Indies: A Guide to New Independent Indian Cinema, Ashvin Immanuel Devasundaram traces Indian cinemas’ journey. Organized into six chapters, Devasundaram (2022) asserts that there is a revival of socially driven storylines in many films after 2010. This change has ushered in what he calls the new wave of independent Indian cinema or the new Indian indies (Devasundaram, 2022). The complications in defining the new Indian indies, the challenges they face in the Bollywood-dominated multiplex culture, and the","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"646 - 650"},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41898429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1080/01296612.2022.2153462
H. Wahyuni, M. Rum, Theresia Octastefani, Andi Awaluddin Fitrah
Abstract This article aims to analyze multi-layered communication responses to maritime disasters in Indonesia using two significant cases, namely the tidal flooding in Semarang and the tsunami in Banda Aceh. Reducing the risk of disaster is not only a technical matter but also strongly associated with communication issues. Therefore, there has been much research into disaster communication. However, research on multi-layered communication responses to diverse disasters must still be done. Data were collected through interviews with the people, journalists, and government officials in Semarang and Banda Aceh. These data were complemented by field observations and reviews of local media news and government policies. The results show that communication response in the two regions involved a complex triangle of science, religion, and politics. This means that the community, media, and government of these regions communicated these two types of disasters as involving science, religion, and politics to varying degrees. This article also finds that the local media was unable to optimally play its central role as an intermediary actor in disaster communication in the two regions.
{"title":"Between science, religion, and politics: multi-layered communication responses to maritime disaster in Indonesia","authors":"H. Wahyuni, M. Rum, Theresia Octastefani, Andi Awaluddin Fitrah","doi":"10.1080/01296612.2022.2153462","DOIUrl":"https://doi.org/10.1080/01296612.2022.2153462","url":null,"abstract":"Abstract This article aims to analyze multi-layered communication responses to maritime disasters in Indonesia using two significant cases, namely the tidal flooding in Semarang and the tsunami in Banda Aceh. Reducing the risk of disaster is not only a technical matter but also strongly associated with communication issues. Therefore, there has been much research into disaster communication. However, research on multi-layered communication responses to diverse disasters must still be done. Data were collected through interviews with the people, journalists, and government officials in Semarang and Banda Aceh. These data were complemented by field observations and reviews of local media news and government policies. The results show that communication response in the two regions involved a complex triangle of science, religion, and politics. This means that the community, media, and government of these regions communicated these two types of disasters as involving science, religion, and politics to varying degrees. This article also finds that the local media was unable to optimally play its central role as an intermediary actor in disaster communication in the two regions.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"355 - 372"},"PeriodicalIF":0.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44525208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-28DOI: 10.1080/01296612.2022.2148913
Rohit Dey, Neerja Vyas
Double XL (Satram, 2022) is a film about obese women who are shamed because of their body weight. The lead characters in this film are portrayed by Sonakshi Sinha (as Saira Khanna) and Huma Qureshi (as Rajshree Trivedi). Except for Dum Laga Ke Haisha (Katariya, 2015) which is also referenced in the current film, female body stereotyping in mainstream Hindi Bollywood movies has not been widely discussed until the release of Double XL. In the beginning of the film, the audience get a few glimpses into the lives of these two women and their stories eventually intersect, changing their journeys and outlook about themselves and the world around them. Rajshree Trivedi, a 30-year-old Meerut woman, has always dreamt to be a sports presenter since childhood. She even dreams of dancing with the Indian cricketer Shikhar Dhawan in one scene. Though a graduate from Kanpur University’s mass communication program, she has not been able to realise her dreams. Despite Rajshree’s disinterest, her mother’s main concern is marrying her overweight daughter as she herself has been a victim of body shaming. When Rajshree is shortlisted for an audition to become a sports presenter for a Delhi-based media organization, the media head (Jimmy Shergill) rejects her photographs because she is overweight. In one of the initial scenes, Rajshree mentions having a few thousand social media followers. Though she says this with pride, the statement is ironic. In India, where females creating cringe worthy obscene content can have millions of followers, it is sad that Rajshree could not boast of it since the public might not want to see a female talking sense because she is fat and considered unattractive. The other lead character Saira Khanna is a London-born woman who moved to India with her mother and older brother after her father’s death. She is a Delhi-based fashion designer who finds herself at a standstill after breaking up with her model boyfriend. Without the latter’s help, she is clueless as to how she can make her dream of a fashion shoot come true. The main reason of this split is portrayed as her being obese and her boyfriend cheating on her with a slimmer girl who is considered more beautiful and sexually attractive.
Double XL (Satram, 2022)是一部关于肥胖女性因体重而感到羞耻的电影。这部电影的主角由Sonakshi Sinha(作为Saira Khanna)和Huma Qureshi(作为Rajshree Trivedi)饰演。除了《Dum Laga Ke Haisha》(Katariya, 2015)也在这部电影中被引用，直到《Double XL》上映，主流印度宝莱坞电影中的女性身体刻板印象才被广泛讨论。在电影的开头，观众对这两个女人的生活有了一些了解，她们的故事最终交汇在一起，改变了她们的旅程，改变了她们对自己和周围世界的看法。30岁的密鲁特妇女拉杰什里·特里维迪从小就梦想成为一名体育节目主持人。她甚至梦想在一个场景中与印度板球运动员Shikhar Dhawan跳舞。虽然她毕业于坎普尔大学大众传播专业，但她一直没能实现自己的梦想。尽管Rajshree不感兴趣，但她的母亲主要关心的是嫁给她超重的女儿，因为她自己也一直是身体羞辱的受害者。当Rajshree入围德里一家媒体组织的体育节目主持人的试镜名单时，媒体负责人(吉米·谢吉尔饰)拒绝了她的照片，因为她超重了。在最初的一个场景中，Rajshree提到他在社交媒体上有几千名粉丝。虽然她说这话时很自豪，但这句话却很讽刺。在印度，女性制作令人尴尬的淫秽内容可以拥有数百万粉丝，令人遗憾的是，Rajshree不能吹嘘这一点，因为公众可能不想看到一个女性说话，因为她很胖，而且被认为没有吸引力。另一位主角Saira Khanna是一位出生于伦敦的女性，在父亲去世后，她与母亲和哥哥一起搬到了印度。她是一名居住在德里的时装设计师，在与模特男友分手后，她发现自己陷入了停滞状态。没有后者的帮助，她不知道如何才能让她的时尚拍摄梦想成真。分手的主要原因被描述为她太胖，而她的男朋友出轨了，和一个更苗条、更漂亮、更性感的女孩在一起。
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