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Drama Industry of Pakistan is glorifying submissive women

   

Added on  2021-06-08

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Drama Industry of Pakistan is glorifying submissive women Literature ReviewIn Pakistan, women's lives are still influenced by the idea of honors and the subsequent speeches.A study by Keady (2018) used Butler's theory of feminism. The feminist history of performativity in Pakistan was made to criticize and analyze women's treatment and the politics of sex in Pakistan. Methodological techniques for the study of content and debate were used to explore the core research issue: How much does traditionalistic honorable discourse require the portrayal of women's positions in modern Pakistani drama series? It would also discuss how women are depicted as 'honorable' women in Pakistani tv drama or fiction. In this way, the honorpresentations appear to be the defining aspect of a woman's life on the television and within Pop cultures amid modernization and increasing female schooling and employment inclusion. Another study by (Mehra & Kusuma, 2015) reveals that some of the most common ideologies affected by honor include marriage, domestic abuse, economic positions, labor involvement, mutilation, and even a religious status of victimizations of sexual assault or rape. The analysis demonstrated the importance of studying these cultural texts in a gendered way and gaining a better understanding of the problems women face in different areas of the world. Gater (2013) carried out a content review in the 54 episodes of two Pakistani TV dramas to analyze the portrayal of women in contrast to men. The aim was to ensure that the main characters, gender roles, and the problems of abuse of women's rights were represented. Under the feminist theoretical paradigm, the results showed that women were portrayed under the philosophy of sexism in submissive gender roles. Paradoxically, it emphasizes the problems of

violations of women's rights that a democratic government, which sees itself as an emancipator and diligent feminist. The laws and initiatives of the ruling elites of women's liberation and women's rights were used to further political and government leaders' interests to maintain hegemony. The study showed that patriarchal theory plays an essential role as a driver of actions and perceptions in women's portrayal as poor, powerless, and humiliated in Pakistani television drama series. Another article was written by Jurik & Cavender (2017) to show a "good" woman and discussed Pakistan's television dramas with unique stereotypes for the good females and the bad. This analysis's idea was that such dramas play a significant role in influencing society's views and beliefs. The qualitative content analysis was performed using purposeful random sampling of six TV shows on three prominent Pakistani television channels in the report. The study showed that Pakistan's patriarchal culture had been strengthened with perceptions of "perfect women" in Pakistan television drama series. They represent the leading female role as younger, extraordinarily slender, and extraordinarily attractive, wearing plain national skirts, least educated, mostly middle-class, humble, home-bonded, and submissive (Ahmed, 2016). They do so for economic reasons because these women need to live. It was also shown that stereotypes for women in the second position are mainly predicted to be brazen, open-minded, highly progressive, highly educated, career-oriented, most of whom belong to the elite class of modern and west clothing. These features underline them as "flawed women." This paper contributed to gender and media research. It does not address gender inequality and equity but highlights women's portrayal compared to other women and contrasts women's features in dramatic series. Four different films produced in Pakistan discussed the subjects of gender, faith, and society. The filmmakers described the complexities of women's inequality, resistance against patriarchal

agents, and choices and strategies for women's liberation. I have examined plots, characterization, dialogues, and visual effects. This project also examined the ideological consequences of the myths built in the aftermath of 9/11 films in the Pakistani culture. This historical background is of importance for this analysis that was done by (Abbas 2018) because Pakistanis have been involved in several debates and national policies in Pakistan over this time that deal with women's rights, religious extremism, and media liberalization. This narrative review indicates that in the films, the overriding debate focuses on a criticism of colonialism and Islamic fundamentalism as the principal conflicting mechanisms of female dominance. In particular, the filmmakers create a female representation who are exploited mostly by men. Another study by Dutoya (2018) focused on dramas that advance criticism of the patriarchy that overlaps the vital vision of religion which is portrayed by traditional male relatives as authorities that, on the basis of religious values, repress women in general, of those traditions linked to Islamic fundamentalism and other cultural rituals as inseparable powers, including forced marriage and honor killings. This debate deploys women as committed actors fighting for the end of the patriarchy within their family and community against patriarchal tradition and religious fanaticism. According to Ahad (2007), Female rights, speaking and reporting to media and courts on the injustices committed against them, and seeking citizenship in Islam are the privileged options forempowerment in films. Filmmaker Mansoor has produced a drama that promotes women in Islam and the Pakistani legal system to seek their rights because his dramas say that the issue is that men misunderstand Islam for the dominance of women. In comparison, Sumar has created rhetoric that depicts women as men's victims, with little to no choice within Pakistan's patriarchaland conservative community. These films have divergent ideological ramifications. Mansoor's

films have perfect endings that open space to women's advancement in current domestic legislative and economic transformations, such as those implemented after 11-September. Sumar's films are more practical, where women are victims, to show that under current systems and organizations, there is no space for emancipation."The rights of women are the rights of human beings." These phrases have become the mantra ofmillions of other women and men around the world who are working tirelessly to demand women's rights (Chang, 2007). Women's rights campaigners have started changing international law and their local societies, not only holding the States accountable but also private players. This method was discussed and monitored in TV dramas of Pakistan. Questions have been raisedover the relevance and utility of the system for human rights, and many voices have been used inthis debate. Feminists from all around the world helped to wonder if civil rights became important to their lives (Signorielli). Some people have decided that it is a useful method for redressing subordinated women's regimes. Some of you have chosen not to. The debate of many feminist scholars such as Hussein (2018) endorsing and contesting the terms of international human rights is described in the first part of this article. Their debate on women's rights with proponents and critics poses critical issues as to how human rights can be extended to international law transformation and to keep the State governments to account for the protection and promotion of women's rights. The present research aims to assess the types of violence that prevail in Pakistan dramas, such as domestic, sexist violence, and male violence, etc., and to identify potential sociological responses. The fundamental principle of such a study done by Bailey (2015) holds that the principal means for growth in the age of globalization is 'human capital' of which women not only makeup half but also are the 'means' for giving birth to the other half and for the

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