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Sexism in Bollywood refers to gender discrimination and stereotyping prevalent in the Hindi film industry of India, commonly known as Bollywood. This includes the portrayal of women in films, gender disparities behind the camera, and broader issues of representation and bias.^[1]

The portrayal of women in Bollywood has evolved significantly since the industry's inception. Early Bollywood films often depicted women in stereotypical and subordinate roles, reflecting the patriarchal values of Indian society at the time.^{[citation needed]}

In the early years of Bollywood, women were often depicted as virtuous and self-sacrificing figures, conforming to traditional gender roles. They were primarily shown as devoted wives, mothers, and daughters who upheld family honor and values.^{[citation needed]} Films like Mother India (1957) exemplified this trend, portraying women as the backbone of the family and the nation.^[2]

The 1970s and 1980s saw a shift towards more complex portrayals of women, although they were still often confined to traditional roles. During this period, women were frequently depicted as suffering silently and enduring hardships, only to be redeemed through male intervention or supernatural means.^[3] Films like Seeta Aur Geeta (1972) and Jai Santoshi Maa (1975) highlighted this trend, portraying women as virtuous and patient figures who ultimately found happiness through conformity to societal norms.^[2]

The 1990s introduced a blend of traditional and modern portrayals of women. While some films continued to depict women in stereotypical roles, others began to show women as more independent and career-oriented, though still often subordinate to men.^[4] Films like Mohra (1994) showcased women in strong roles but often reduced their characters to visual appeal and dance sequences.

In recent decades, there has been a significant shift towards more nuanced and empowered portrayals of women in Bollywood. Female characters are increasingly depicted as strong, independent, and central to the narrative. This change has been driven by the emergence of female filmmakers and actors who have challenged traditional gender norms.^[5] Films like Queen (2014), Pink (2016), and Chhapaak (2020) have highlighted women's issues and showcased female protagonists in leading roles.^{[citation needed]}

Numerous Bollywood actresses have spoken out about the significant pay disparity in the industry. For instance, Lara Dutta has highlighted that actresses are often paid only one-tenth of what male actors earn.^[6] Similarly, Kriti Sanon has expressed her frustration over the significant pay gap, noting that some male actors earn ten times more than their female co-stars, even when their recent performances do not justify such differences.^[7]

Prominent actresses such as Priyanka Chopra and Deepika Padukone have also voiced their concerns regarding pay inequality. Despite their box-office success and international recognition, they have reported being paid significantly less than their male co-stars.^[8] Chopra, for example, revealed that she was paid only 10 percent of what her male co-actors earned.^[9]

The pay gap is not limited to a few high-profile cases but is a widespread issue across the industry. Historical instances, such as Karan Johar dropping Kareena Kapoor from Kal Ho Na Ho for asking for equal pay as Shah Rukh Khan, illustrate the entrenched nature of this disparity.^[8] Actresses like Kangana Ranaut have also demanded equal pay following their successful films, yet the industry has been slow to change.^[8]

The pay gap also affects the production of female-led films. Producers often allocate smaller budgets for films featuring female leads, which can result in actresses taking pay cuts to ensure the film's completion.^[7] This unequal investment further perpetuates the cycle of pay disparity and limits opportunities for female actors to take on leading roles.

There is a growing movement within Bollywood to address and rectify the gender pay gap. Actresses, filmmakers, and activists are increasingly vocal about the need for equitable pay and representation. Some progress has been made, with female-led films achieving box-office success and challenging traditional industry norms.^[8]

Ageism intersects with sexism in Bollywood, with older female actors having fewer opportunities compared to their male counterparts.^[1]

Bollywood films, given their widespread popularity, play a significant role in shaping and reinforcing societal norms and attitudes towards gender roles.^[10]

The portrayal of women in Bollywood has been linked to the promotion of certain beauty standards, including a preference for lighter skin tones.^[11]

In recent years, there has been a rise in woman-centric films that challenge traditional narratives and stereotypes.^[1] Examples include:

• Chhapaak (2020)
• Queen (2014)
• Pink (2016)

There is growing awareness and discussion about sexism in Bollywood, both within the industry and among audiences.^[1]

Activists, filmmakers, and some industry insiders are calling for more diverse representation and equitable practices in Bollywood.^[1]

Several academic studies have examined sexism and gender representation in Bollywood:

• A study analyzing almost 700 movies made between 1950 and 2020 found that gender bias had become less prevalent over time, but there is still significant room for improvement in dialogue and character portrayal.^[10]
• Research using natural language processing methods to study film dialogues noted that "several commercially successful Bollywood movies are riddled with sexist and misogynist dialogues".^[11]
• A comprehensive analysis by researchers from Tata Institute of Social Sciences (TISS) in Mumbai examined major box-office hits and women-centric films, revealing stark gender imbalances in screen time and character representation.^[1]

• Inequality in Hollywood

• Shah, Priya V. (2020). "Representation of Women and Identity in Bollywood Films" (Master's thesis). University of Illinois at Chicago.
• Saikia, Ashima Ahmed. (2021). "The Portrayal Of Women In Bollywood Films". Webology, 18(6), 2506–2507.