क्या हिंदी सिनेमा वैश्य सबाल्टर्न महिलाओं के लिए बोलता है?

Dr. Avantika; Annu Thakran; Dr. Dipika Sharma

doi:10.29121/shodhkosh.v4.i2.2023.2771

Authors

Dr. Avantika Assistant Professor, Department of Political Science, University of Delhi, Delhi 110007
Annu Thakran Research Scholar, Department of Political Science, University of Delhi, Delhi 110007
Dr. Dipika Sharma Assistant Professor, Delhi University

DOI:

https://doi.org/10.29121/shodhkosh.v4.i2.2023.2771

Keywords:

Subaltern, Hindi Cinema, Vaishya Women, Rights, Nationalism, Ideal Woman, Patriarchy

Abstract [English]

Nation building is a historical creation and it has not been created outside its premises. By examining history, it is seen that the nation is formed in the interest of certain castes and certain linguistic-regional-cultural communities. It remains a multi-faceted campaign to fulfill the demands of these particular castes. If nations are symbols of progress and freedom, then for many they can also become sources of oppression. Scholars associated with the subaltern studies had declared that they would try to turn history in this direction by writing history from the point of view of the people, Ranjit Guha was the first to take the initiative in this. Cinema is an emerging form of literature, it is a medium to bring stories into existence by adopting the society itself. With time and history, Hindi cinema has presented the subaltern class and group in front of the audience. Those who were not given a place in the society and were not accepted. One such class is: - Vaishya women, who were never given any status in the society except as sex objects! Through this research paper, we will study and analyze whether Hindi cinema has become the 'heart voice' of Vaishya subaltern women and has been able to convey their words, exploitation, and struggle to the audience. How does Hindi cinema present their voice through its dialogues and conversations? For this study, Hindi films Begum Jaan (2017) and Gangubai Kathiawadi (2022) and other films made in contemporary times have been included as per the study objective. It is clear that Hindi cinema, along with being a medium of expression, is helpful in presenting the everyday struggle on the platform and speaks for the rights of Vaishya women by becoming their heart voice.

Abstract [Hindi]

राष्ट्र निर्माण एक ऐतिहासिक रचना है और इसकी रचना, इसके अहाते के बाहर नहीं हुई हैं। इतिहास की छानबीन करके यह दृष्टांकन होता है कि राष्ट्र कुछ ख़ास वर्णों और कुछ भाषाई-इलाकाई-सांस्कृतिक समुदाय के हित में बनता हैं। इन्हीं ख़ास वर्णो की मांगो को पूरा करने की बहुरूपी मुहिम-सा बनकर रह जाता है। राष्ट्र अगर प्रगति और आजादी के प्रतीक होते हैं तो कई के लिए अत्याचार के स्रोत भी बन सकते हैं। निम्नवर्गीय प्रसंग (सबाल्टर्न स्टडीज) से जुड़े विद्वानों ने यह घोषणा की थी कि वे जनता के नजरिए से इतिहास लिखकर इतिहास को यही दिशा में मोड़ने का प्रयास करेंगें, रंजीत गुहा ने इसकी पहल प्रथम की थी। सिनेमा साहित्य का ही एक उभरता रूप है,यह समाज को ही अंगीकृत करते हुए कहानियों को अस्तित्व में लाने का माध्यम हैं। समय के साथ-साथ इतिहास को अपने में समेटे हुए हिंदी सिनेमा ने सबाल्टर्न वर्ग, समूह को दर्शकों के सामने प्रस्तुत किया हैं। जिन्हें समाज में जगह नहीं दी गई और न अपनाया गया। ऐसा ही एक वर्ग हैं:-वैश्य महिलाओं का, जिनका समाज में कभी कोई दर्जा नहीं रखा गया सिवाय यौनकर्म वस्तु के! इस शोध पत्र के माध्यम से हम यह अध्ययन व विश्लेषण करेंगे कि क्या हिंदी (सिनेमा वैश्य सबाल्टर्न महिलाओं की 'मर्म आवाज’ बनकर, उनकी बात, शोषण, उनके संघर्ष को दर्शकों तक रख पाया है।हिंदी सिनेमा कैसे अपने संवादा, वार्ता द्वारा इनकी आवाज प्रस्तुत करता है। इस अध्ययन के लिए समकालीन समय में बनी हिन्दी फ़िल्म बेगम जान (2017) और गंगूबाई काठियावाड़ी (2022) व अन्य फिल्मों को अध्ययन उद्देश्य अनुसार शामिल किया गया हैं।यह बात स्पष्ट हैं कि हिंदी सिनेमा अभिव्यक्ति का माध्यम होने के साथ-साथ रोजमर्रा की कश्मकश को पटल पर प्रस्तुत करने में सहायक हैं और वैश्य महिलाओं की मर्म आवाज बनकर उनके हक के लिए बोलता हैं।

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