精选马拉雅拉姆语电影《印度大厨房》和《Jaya Jaya Jaya Hey》中的性别脆弱性和反抗性

Sumathra Subramani, Rashmi Rekha Borah
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摘要

在全球范围内,亲密伴侣暴力给妇女造成了隐秘的创伤。本研究旨在分析精选的马拉雅拉姆语电影《印度大厨房》(2021 年)和《Jaya Jaya Jaya Hey》(2022 年)中的亲密伴侣暴力和妇女的反抗。以往的文献概括了全球范围内父权统治下对妇女的剥削。本研究希望探索的研究空白是妇女的自卫本能和忍耐力,以质疑家庭暴力和父权恐怖主义的暴行。在进行论证时,作者讨论了儿媳通过沉默和分离来抵制性别陈规定型观念,从而增强其自主性的能力。本研究采用详细的定性文本分析方法,强调了马拉雅拉姆语精选电影《印度大厨房》(2021 年)和《贾亚-贾亚-贾亚-嘿》(2022 年)中女性角色反抗异性恋父权制社会统治地位的声音。作为分析框架,研究人员借鉴了埃文-斯塔克(Evan Stark)的 "强制控制 "理论和哈格林(Hagelin)的 "抵抗脆弱性 "概念,以展示家庭关系中的性别差异和父权制的权力政治。研究结果强调了儿媳们通过能动性对父权制胁迫的反抗。本文仅关注受过教育的已婚妇女,尤其是儿媳受到的压制,而没有关注在父权制下受苦受难的其他女性角色。
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Gender Vulnerability and Resistance in Selected Malayalam Movies The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hey
The insidious trauma of intimate partner violence affects women in the global context. This study intends to analyse the intimate partner violence and resistance of women in the select Malayalam movies The Great Indian Kitchen (2021) and Jaya Jaya Jaya Jaya Hey (2022). Previous literature encapsulates the exploitation of women under patriarchal dominance in the global context. The research gap that the study wants to explore is the element of self-defence instinct and endurance in women to question the atrocity of domestic violence and patriarchal terrorism. In pursuing the argument, the authors discuss the daughters-in-law’s ability to resist gender stereotypes through silence and separation to enhance their autonomy. This study uses a detailed qualitative textual analysis method to underscore the rising voice of female characters against the dominance of hetero-patriarchal society in the select Malayalam movies The Great Indian Kitchen (2021) and Jaya Jaya Jaya Jaya Hey (2022). As an analytical framework, the researchers draw upon Evan Stark’s theory of Coercive Control and Hagelin’s Concept of Resistant Vulnerability to demonstrate the gender disparities and power politics of patriarchy in familial relations. The results underline the resistance of the daughters-in-law to the coerciveness of the patriarchy through agency. This article limits its focus only on the suppression of educated married women, especially daughters-in-law, and not on other female characters who are suffering under patriarchy.
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