1

The Phenomenon of Female

Gaze in Indian
Advertising/Media
This dissertation is submitted for the partial fulfillment
of the Masters Degree in Applied Linguistics of this
University.

Submitted by
Sandhya Raghavan

Guided by
Dr. Pratima Dave Shastri
Post Graduate Department of Applied
Linguistics
SNDT Womens University
Mumbai 400020
(2013-2014)

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This dissertation entitled-
The Phenomenon of Female Gaze in
Indian Advertising/Media
is submitted for the partial fulfillment of the
Masters Degree in Applied Linguistics of
SNDT Womens University
Mumbai 400020

Dr Pratima Dave Ms Sandhya Raghavan
Guide Student


Post Graduate Department of Applied
Linguistics
SNDT Womens University
Mumbai 400020
May, 2014

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CERTIFICATE
This is to certify that Miss Sandhya
Raghavan, student of M.A. in Applied
Linguistics, has successfully completed her
research on The Phenomenon of Female
Gaze in Indian Advertising/Media under
the guidance of Dr Pratima Dave. This study
is submitted to the department of Applied
Linguistics, SNDT Womens University in
partial fulfillment of P.G. Degree in Applied
Linguistics. This dissertation has not been
submitted for any other degree of the
University or any other university



Students sign
We recommend that the dissertation be
placed before examiners for evaluation
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Dr Pratima Dave Dr Shashi Kashyap
Guide I/C Head of Department

















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ACKNOWLEDGEMENTS
I take pleasure in expressing my gratitude to all those who have contributed in the
completion of this dissertation.
I extend my gratitude to my guide Dr Pratima Dave, for her patience guidance,
constant feedback and encouragement and invaluable help in the study.
I also extend my sincere gratitude to the university library staff for letting me use
the library and cooperating with me by extending their help and providing
necessary literature.
Words and deeds are not enough to thank my family members for giving me the
opportunity to reach so far and for their moral support and constant
encouragement, and also to all my friends for their patience and understanding
and timely help which have contributed to the successful completion of the
dissertation.
Above all I thank the Almighty Lord for his Blessings.

Sandhya Raghavan









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Contents
Research proposal............................... 8
Chapter 1............................................16
Theory
Chapter 2............................................27
Review of Literature

Chapter 3............................................30
Analysis part I Films, Analysis part II Advertisements, Analysis
part III Magazine covers.
Conclusion..........................................86
Bibliography and Reference..............89
Webliography ....................................90







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Research Proposal
Abstract
The topic of the research would be The Phenomenon of Female Gaze in Indian
Media/Advertisements. Female gaze is the ideological other to the traditional
Male gaze. It deals with the instances of objectification of male bodies in the
media and popular culture to attract the admiring gazes of the female viewers.
This study aims to conduct a qualitative review on the phenomenon of female
gaze and male objectification in the Indian advertising, media and films. The
theory of the gaze was propounded by Laura Mulvey. In this project we aim to
deconstruct the phenomenon by conducting an in depth analysis of advertisements
and films that seem to showcase male bodies for the viewing pleasure of female
eyes. By the means of this study, we seek to understand the power play of gender
versus sex. The role of the objectifier versus that of the objectified
For a very long time, feminists all over the world have taken an objection to the
presentation of female bodies to the assailing gaze of the male viewers. There is
something inherently demeaning about the male gaze. According to Mulvey, it
reduces the female to just an image or an object which has to be gazed upon
without looking deeper into her identity as a human being.
Female gaze as a phenomenon has been studied recently. In simple terms, the
male and the female gaze may seem ideologically similar, but nothing can be
further from the truth. The power play between the genders is the focal point of
gaze studies. We are here to ascertain whether the balance of power between the
gazer and the gazed stays the same in both the cases. Suzanne Moores and Susan
Bordos observations have been instrumental in this research.


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Problems addressed/ Objectives.
The problems to be addressed are as follows:
-Do the males being objectified suffer from the loss of power when they are at the
receiving end of the gaze?
-Do the gender dynamics remain the same in the case of female gaze?

- Is the role of the woman that of a powerless gazer?
-How are men portrayed by the media?
-Is it a display of their physical attractiveness or power?

-Whom do the advertisers cater to by employing the female gaze?

-Are men portrayed to be objects of womens scopophilia?

The main purpose of this project is to determine whether the objectification of
men in the Indian media seeks to serve the same purpose as the objectification of
women. It seeks to answer whether the dynamics, which seems to favour one
gender over the other, is still intact when it comes to using the male body,
ostensibly by women, for voyeuristic pleasure.







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Background
The third wave feminism has opened issues related to womens freedom in terms
of sexual choices. This revolution was fanned by the winds of the second wave of
feminism which laid the foundation for economic freedom of women. Women
have become a formidable demographic. The rising female voice from the fringes
is finally being heard. Businesses have decided to cater to their various needs and
have vied for their attention. This has coincided with the rising trend of presenting
images of men in Adonis-like fashion.
Literature Review
No research regarding the female gaze has happened in the Indian context, but
there are some which give us a global perspective on this phenomenon.
1) Eva-Maria Jacobsson who analysed the movie Fatal Attraction for
instances of female gaze
2) Equal Opportunity Objectification? The Sexualization of Men and
Women on the Cover of Rolling Stone by Erin Hatton and Mary Nell
Trautner.

Samples
Pictures and stills taken from films, advertisements, and magazines cover
constitute the sample list. A total of 30 samples have been used by the researcher.
These images contain representations of men in visually appealing forms and
have been selected for the same reason.
Films
The late 90s brought an era of the bare chested, shirtless men. The movement
was pioneered by Salman Khan who raised many eyebrows in his movie Pyar
Kiya Toh Darna Kya, where he appeared shirtless in a song sequence. This
marked the advent of the Fit Hero in Indian movies. The male actors were also
prescribed certain ideals of beauty to which they had to adhere to. Six-pack abs
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and bulging triceps were a norm. Even to this day, hitting the gym instead of
acting school is the first step in an aspiring actors rule book. Actors like Salman
Khan , Hrithik Roshan and Sanjay Dutt who were used to playing action oriented
alpha males made the trend mainstream. Soon, even actors like Sharukh Khan and
Amir Khan who were used to playing the sensitive, thoughtful lovers joined the
bandwagon. The young generation of actors such as Ranbir Kapoor, Imran Khan
and Shahid Kapoor entered the industry with a well developed physique. The
phenomenon is here to stay.
For the purpose of analysis of female gaze in Indian media, ten films have been
chosen. These are mainstream Bollywood films which reflect the common
sentiments of the masses and also cater to the mainstream audience. The portrayal
of men in these films in songs, film sequences and in the promotional posters is
being studied.
1. Dostana
2. Aiyyaa
3. Sawariya
4. Zindagi Na Milegi Dobara
5. Desi Boyz
6. Force
7. Veer
8. Ramleela
9. Om Shaanti Om
Advertisements

The hyper-sexualization of Indian advertisements has resulted in the
objectification of not just women, but also men. Though the norm has always
been female objectification, the early 90s saw the rise of strong sexual theme in
advertisements. The opening of economy in 1991 and the advent of cable TV was
a factor that contributed to the above phenomenon.It was an intermediate period
where the media was introducing the idea of the naked male image, but it was
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juxtaposed along with an equally risque female image. Advertisements of the
early 90s included the controversial Tuff shoes ad featuring two naked
supermodels, the M.R Coffee ad and the Kamasutra Ads. Soon brands like Denim
Aftershave and Z talcum powder started television ads featuring male models.
The brand identity of these products was highly masculine.
The samples chosen for analysis are advertisements of the following products.
1. Live In jeans
2. VIP underwear
3. Old Spice
4. Axe Deodorant
5. Wildstone Deodorant
6. Cinthol
7. Denim Aftershave
8. Savage Aftershave
9. Nerolac Paints
10. Dollar Club underwear

Magazines covers
The cover page of the magazine is what attracts the readers to it. What is placed
on the cover is therefore of great importance to the sellers as well as the
subscribers. Using beautiful women has been the tradition for magazine covers
even if it is aimed at men. Today the trend is reversing, we find men gracing the
covers of magazines meant for women. The semiotics of magazine covers will
help us answer the problems proposed through this research. Ten magazine covers
have been chosen from ten different brands. Womens magazines, mens
magazines and film magazines have been chosen for this research.
1. Femina
2. Vogue
3. Mens Health
4. Stardust
5. Mandate
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6. The Man
7. Cosmopolitan
8. Hi blitz
9. Mens World
10. Movie Mag

Methodology

A qualitative approach has been undertaken by the researcher of this project. Each
image is analyzed for parameters such as exposure of body parts, pose, facial
expressions, clothes, and how they appear in contrast to the women in the same
frame. Laura Mulveys parameters in Visual Pleasure and Narrative Cinema have
been used to test the presence of objectification. The attempt is to uncover the
subversion of her principles through male-female role reversal as her work is
centered on female objectification.
Suzanne Moores observations in Heres Looking at You Kid based on the
representation of men in popular culture and Susan Bordos work Beauty (Re)
discovers the Male Body has been used for the analysis of the images. Her Rock
and Leaner parameters are applied to the still images.
The samples are segregated into three catagories- Films, Advertisements and Film
magazines.

Expected results
The analysis of the vast corpus of data will help us understand whether the
phenomenon of female gaze has the same implications as male gaze. Whether
female eyes objectifying the male form renders the male powerless like it does
when the women are at the receiving end from the men. It will also help to
ascertain if the aesthetic male form is that of a passive object or an active one.



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Reference.

Visual Pleasure and Narrative Cinema by Laura Mulvey

Beauty (Re)defines the Male Body by Susan Bordo

Heres looking at you kid by Suzanne Moore, 1988






















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When I return to the street with the ancient legacy of longing coiled in my DNA,
and the residues from a thousand generations of patriarchs silting my brain, I
encounter women whose presence strikes me like a slap of wind in the face. I
must prepare a gaze that is worthy of their splendor
- Scott Russell Sanders, Looking at Women













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Chapter 1
Theory






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Theory
What is gaze?
The phenomenon of gaze was brought into popular usage by Jacques Lacan, a
Psychoanalyst. He described it as a feeling of anxiety brought upon by the notion
that one could be viewed. According to him,in the Mirror Stage ,one is made
aware that ones body is vulnerable not only to the view of others, but also to that
of oneself. This anxiety stems from the perceived loss of autonomy over the self.
The child viewing its own reflection in the mirror becomes aware of its
perceivable physical self who is subjected to the gaze of others and that of
itself.



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Lacan extrapolates his theory the example of Hans Holbeins painting, The
Ambassador. In the painting we can see two courtiers standing against a backdrop
of a green curtain and leaning against a cabinet containing arbitrary articles like
globes, diary, and a lute.

On examining the paining, one sees a distorted image at the bottom which is in
turn gazing back at the viewer. The image is that of a distended skull which is
placed so subtly that the viewer is suddenly taken aback by its gaze.
Lacan uses the painting to explain the Freudian Spaltung, or splitting, which is
caused by the encounter of a signifier with the real. This encounter results in
gaze our sudden awareness of being watched from a field of vision which is
external. This phenomenon is jarring to the one viewed. According to Lacan, the
skull-blot of the painting signifies this gaze to which the viewer is subjected to.



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Gaze and Feminism according to Laura Mulvey
Though gaze has its origins in Lacanian psychoanalysis, it was Laura Mulvey
who used it first in the feministic context. In her essay, Visual Pleasure and
Narrative Cinema . Mulvey dealt with gaze as a phenomenon that causes women
to be mere spectacles in film. According to Mulvey, films reflect a patriarchal
view. Women are nothing but objects, the other to the man. The basic foundation
on which patriarchy rests is the notion of sexual difference. The woman is the one
gazed at, a part of the male unconscious that is available only as a passive image.
She has to be talked to, but she will never talk herself.
Woman then stands in patriarchal culture as signifier for the male other
bound by a symbolic order in which man can live out his phantasies and
obsessions through linguistic command by imposing them on the silent image
of woman still tied to her place as bearer of meaning, not maker of meaning.
Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey

Her argument was the product of second-wave feminism. It was a period
concerned with womens equality in the workplace as well as psychological
implications of sexual stereotyping. Mulvey's argument comes as a product of the
time period in which she was writing. "Visual Pleasure and Narrative Cinema"
was written in 1973 and published in 1975.
From the vantage point of psychoanalysis, Mulvey states that Scopophilia or love
of viewing provides the spectator with visual pleasure helps him associate with
the male actor. She states that the psychoanalytical theory helps us in the
understanding why film causes women to be viewed as sexual objects rather than
sentient beings by the society. Mulvey also discusses Phallogcentrism, or a world
view which is strictly male centric. In other words, it believes that the penis in its
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figurative and literal sense is the defining centre of meaning. Meaning is
therefore dictated by men who use their masculine power to control and define
reality.
This male centric view and voyeurism together has compounded the present
situation.
Additionally, Mulvey also says that it is the very presence of the woman that
reminds the man of his power. Without the woman, the man and his power as the
controller of visual pleasure are both rendered insignificant. Patriarchy, according
to Mulvey, exists solely because of women.
Mulvey names three perspectives or looks that occur in films.
1) Perspective of the male character- How the male perceives the female.
2) Perspective of the audience- How the audience perceives the female.
3) The joint perspective of the male character and the male audience- How
the male spectator views the woman through the eyes of the male
character in the film.
The third perspective causes the male spectator to consider the woman in the film
as his own personal object of sexual desire by identifying himself through the
male character in the film.
She also lays down the parameters for the Male Gaze Theory
1) Representation of women in a sexual fantasy form
2) Scopophilia or pleasure of looking
3) Objectification of characters
4) Patriarchal point of view
5) Active male and passive female
6) Men controlling subjects
7) Women as image

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Gaze and Objectification
Gaze as a notion is often tantamount to objectification, which is one of the
centeral notions of feminist theory. Roughly or rather literally defined as seeing or
treating a person as an object. Gazing upon a person is therefore plainly an act of
objectification. Martha Nussbaum in 1995 identified seven features of
objectification, which we will use in the analysis of the samples collected for the
study.
1. Instrumentality: The treatment of a person as a tool for the
objectifier's purposes;
2. Denial of autonomy: The treatment of a person by denying
them the right to control themselves and their bodies.
3. Inertness: Treating the person as a stationery object.
4. Fungibility:Treating the person as replacement for an actual
object.
5. Violability: Disrespecting the persons sense of mental and
physical integrity
6. Ownership: Treating the person like a object which is owned
by the objectifier and sold at his own discretion.
7. Denial of subjectivity: Treating the person as if their feelings
and emotions arent real to be counted as something important..
8. Reduction to body: Treating an individual as the sum total of
only his or her body parts or only referring to him or her by
names of body parts
9. Reduction to appearance: Treating a person on the basis of
their looks. Their sensual appeal but not their intellectual or
emotional appeal.
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10. Silencing: Treating the objectified as someone without a voice
of his or her own.

Age of women and Female Gaze
In Visual pleasure and Narrative Cinema, Laura Mulvey reiterates that female
gaze, as a concept, is impossible. Yet these days the international media is rife
with instances of objectification where the men are on the receiving end. Sinewy
bodies and handsome faces are put on display for the visual pleasure of an
audience they deem to be women.
The third wave feminism that swept the world in the 1990s was brought about by
the monumental efforts of the women who achieved economic and professional
power and status through the second wave. New vistas were opened up for
women and feminist awareness starting spreading to the corners of the world
thanks to the revolution in communication technology. The birth of generation X
scholars and activists has also contributed to this kind of progress womankind
made.
The professional freedom achieved by women also paved way for their economic
independence with the second wave.Women no longer depended on a male bread
winner and were bringing home the bacon. They started standing at par with
women and demanded equal rights and fair wages at workplace.
As a result of these developments, the traditional social institutions like marriage
started getting redefined. The dynamics of the husband-wife relationship was also
altered largely and women no longer depended on their earning husbands. The
efforts of the second wavers brought about organisation of feminists into groups,
questioning of sexual division of labour in the households, empowerment and self
awareness among women and gave birth to a whole new generation of highly
powerful, articulate and ambitious women.
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This kind of freedom ensured that the shackles of patriarchy would be broken.
Battles were fought against the redefinition of moral and sexual barriers. Irony
was a powerful weapon. Violence was answered with stories of grit and survival.
Perhaps the most important feature of the third wave of the inversion of certain
sexists practices putting men at the receiving end. Women chose to subvert the
system than becoming a part of the system themselves. There was a shift in the
perceptions and notions towards the sexes. Traditional ideas of womanhood and
gender were questioned and redefined. What is essentially feminine? What is
masculine? These questions came to be subverted. The concept of a gender
continuum was recognised where a person need not be confined into water tight
compartments of gender.
The Third Wave is buoyed by the confidence of having moreopportunities and
less sexism (Baumgardner & Richards, 2000, p. 83).
EmiKoyama (2003) summarized some of these feminist concerns in The
TransfeministManifesto. (a) to define ones own identity and to expect society
to respect itand (b) to make decisions regarding ones own body (Koyama,
2003,pp. 245247). Transfeminists believe that individuals should be given the
freedom to construct their own gender identities as they see fit and that neither the
medical establishment nor cultural institutions at large should intervene. Finally,
they resist essentialist notions of identity in particular
( Krolokke and Sorensen,Gender Communication Theories and Analyses, 2006)
Sexual Liberation and the rise of the gay community
The breaking of the shackles of morality was an eventual consequence of
womens financial liberation. This caused many to reject social institutions like
marriage. The notion of men providing for women started changing as women
started bringing home the bacon. With financial freedom came sexual freedom.
The liberty to choose their own mate and to decide the nature of the relationship
finally became the prerogative of women.
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Women became a formidable group in the demographics who had to be catered
to. They carved their own niche in the big market of consumers. Products and
services started getting streamlined to suit her tastes and needs. From razor blades
to magazines, women became a priority for advertisers, corporations and the film
makers. They became important factors in deciding the business strategies for
corporations. Advertisers reach out to them by learning which screens they watch
and what social media they use. Film makers have created a genre that caters to
the taste of women- The chick flicks.
Schroeder and Zwick (2004) state that Gender remains central to the world of
advertising and consumptionit is difficult to conceive of most products without
male and female target markets. By the virtue of this fact, the media has resorted
to eroticised portrayals of men and women to sell products and services.
With the third wave, women have become more aware of their sexuality. There is
a sense of intrepidity in the way women approach their sexual needs. She is
unabashedly enjoying her sexual freedom which leaves her with a power to
pursue what she likes. This includes things that cater to her visual pleasure.
She has the power today so it is no wonder that men and women are portrayed in
exaggerated displays of masculinity and femininity to sell merchandise, ideas and
services. Strategic advertising employs sexuality because of course, sex sells.
Homosexuals, namely gays, as a part of demographics have also started gaining
recognition in the recent years. People voicing their support for the gay
community and fighting for the rights of the Lesbian, Gay, Bisexual and
Transgender community has made possible the discussion of such erstwhile taboo
topics.
Sexual explicitness has been on the rise in the given years. Female bodies,
showcased for the purpose of visual pleasure, were commonplace in the media.
Before the mid-1990s hardly any research was done in the area of male
objectification in the media. The objectification of women and male gaze was the
centrepiece of many a gender theory studies. Today, one cannot ignore the sudden
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influx of sexual explicitness of men that has made its way into the media,
international and Indian.
Female gaze in the media same as male gaze?
The rising phenomenon of the female gaze has led many to question whether the
it can be equated with male gaze or not. Although the phenomenon is palpable,
one cannot state for a fact that the dynamics that operate behind the male gaze is
the same for female gaze. The inherent power play exists between the subject and
the object. There is the active one which gazes and the passive one which gets
gazed on. When men gaze at women, these roles are defined. The same cannot be
said once the tables are turned.
Suzanne Moore (1988) stated that there is an active female gaze present in the
media. The cultural changes since the 1980s had made possible the phenomenon
of female gaze. Movies such as American Gigolo and Top Gun ushered in the age
of pin up men in the 80s. Levis advertisements also presented men in various
states of undress which invited the active female gaze to ogle at these images.
Two things changed fundamentally according to Moore (1988)
1. The male images were styled upon traditional female images like
undressing, teasing and seductively staring
2. This sexualizing of male images was prevalent in mediums such as
magazines, cinema and television.
However, on closer analysis, one cannot state that the female gaze is the
equivalent of male gaze. Moore states that the concept of women ogling at men
creates a kind of amusement but men doing the same to women is hardly a
novelty. This is testimony to the fact that female gaze is not a part of our socio-
cultural fabric, but male gaze is.
She also states that the male narcissism is what separates female gaze from male
gaze. Images of naked and semi naked men appear in domains meant for men
rather than women, for example, naked men usually grace the cover of magazines
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meant for men rather than women. Contrasting with this is images of women
being used to sell products which are usually aimed at men, for example alcohol
or perfume.Images 1 and 2 explain this phenomenon.
A man baring his torso is shown having a bath. The product advertised is Dove
men care, a product clearly aimed at men.
1 2


Product mentioned is Tom Ford fragrance for
men, but the visuals used are predominantly
that of women.
Susan Bordo (1999) classified these images of men in the media as the Rock
and the Leaner types. This is described as, models who
stare coldly at the viewer, defying the observer to view them in any way other
than how they have chosen to present themselves: as powerful, armored, and
emotionally impenetrable. I am a rock (their bodies and sometimes their
genitals) seem to proclaim (pg 203 paragraph 2).

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Chapter 2
Review of
Literature


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1) A Female Gaze? by Eva-Maria Jacobsson
Eva-Maria Jacobsson who analyzed the movie Fatal Attraction for instances of
female gaze. She uses Laura Mulveys theory to questioning the practice of
objectifying women for the male gaze. She goes on to question if there is a chance
of a reversal of gaze. i.e the women looking at men in the way men look at
women in films.
The film Fatal Attraction was analyzed and Mulveys theory and Freudian
psychoanalytical theory were applied by the researcher to the narrative of the
film.
The conclusion was in support of Mulveys ideas about the male gaze. The fact
that it couldnt be obliterated is reinforced. Psychoanalytical theory still triumphs
when it comes to explaining the patriarchal order of the films narratives.
Through the analysis of the film, the researcher states that though it held out
promises of a gynocentric order earlier, it went back to establish the
phallogocentrism that is common to our canonical narratives.
Ultimately it goes back to secure patriarchy as the gaze swayed back to male
gaze.
The views of Eva-Maria Jacobsson were crucial in providing direction for this
research. The purpose of this research is also to investigate the prevalence of the
patriarchal order in narratives and images even if it promises a gynocentric view.




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2 Equal Opportunity Objectication? The Sexualization of Men and Women
on the Cover of Rolling Stone
By Erin Hatton Mary Nell Trautner
This was an quantitative research undertaken to understand the frequency and
intensity of sexualisation of male and female images. They used a longitudinal
content analysis of images of men and women on the Rolling Stone cover. They
used 40 years worth of sample for the analysis(19672009). They used a unique
system to that measure both the frequency and intensity of sexualisation.
The research findings state that though men and women are both sexualized,
women tend to get hypersexualized over a period of time as compared to men.
The research also points to a narrowing of acceptable ways in which femininity is
represented in the popular media.
The research and its findings helped provide a direction to this work. The
placement of masculinity in power as compared to femininity is also a feature of
this work.









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CHAPTER 2
ANALYSIS









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Analysis Part I
Films
1) Dostana
This movie was released in 2008 .It created a stir among the Indian cinema goers
mainly for its broaching the topic of homosexuality. It was for the first time that a
mainstream Hindi movie did not shy away from making homosexuality its
dominant theme. It was lauded by progressive cinema goers and the gay
community.
Few visuals from the movie have been used:
1












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2.

In pictures 1 and 2 we see shots of John Abraham clad in nothing but a pair of
yellow swimming trunks. Picture 1) shows him emerging from the sea and his
body is glistening due to the water. His upper body is exposed and his sinewy
physique is displayed for the audience to see. Picture 2) shows him in a more
provocative way. He pulls down his swimming trunks suggestively to reveal the
upper portion of his buttocks.







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3

Picture 3 is the promotional poster for the movie Dostana. The male actors and on
the bed and the female actor is seated in between. The female seems to be the
dominating one in the picture as she is seated in the centre with her legs crossed.
Her demeanour suggests that she is the dominant one. The fact that she is flanked
by two men on either side denotes that she is the one in control.
3.The men, as compared to the women, are in a more vulnerable state. The one of
the left is wearing only a vest, which is an undergarment and the one on the right
is bare torso-ed. The one on the right has also draped a bed sheet around his chest
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which is reminiscent of canonical images where women cover their bosom.

But it is also interesting to note that Priyanka Chopra is clad in a flimsy
nightdress, leaving her vulnerable to the male gaze as well.
4





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5

As a movie, Dostana relied heavily on its homosexual theme during its promotion.
The broadening of Indian mindset has seen the percolation of homoerotic images
into the Indian media. The homosexuals or the gay men of India were finally
getting acknowledgment from the media. The otherwise conservative space of the
Indian cinematic narrative has made a bold move towards incorporating the
marginalised narratives of the gay Indian male.
In picture 5 and 6, we see instances of homoeroticism where men are paired with
men. There is a scene in the movie (picture 5) where both the men are coaxed by
their friends to kiss in front of the audience, a feat they perform albeit reluctantly.
The move is not only a bold one, but also a pioneering one as homosexuality has
never been presented in such a brazen manner in Indian cinema before.
Picture 6 is one of the many instances where the men are shown in a sexualized
manner, making physical contact in an erotic sense. The first picture shows them
in a semi embrace and the second one shows them kissing each other.
The visuals may be directed mainly at the homosexual audience who may have
the pleasure of watching two attractive men in an erotic scenario.

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Observation
The images 1 , 2 , 4 and 5 used in the movie show men in an erotic fashion.The
objective is to reach out to the gazes of women and the homosexual men who
admire the muscular male form and the sight of two men in a amorous situation.
Mulveys parameters for gaze are reversed here: Representation of women in a
sexual fantasy form. Instead of representing women, the movie makers have
decided to present the male form in a rather overtly sexualized manner.
Despite the fact he is exposed to the gaze, the stance taken by John Abraham in
the shots is a very active one. He is shown emerging out of water and running
towards the shore. He is not exactly the defenceless victim of lecherous stares His
show of muscles imply power.
In picture 3 the men are shown as more vulnerable; passive objects to the
onslaught of the female gaze, but Priyanka Chopra in a flimsy night dress also
leaves her in a vulnerable spot making her available to the male gaze.









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2. Aiyyaa
Aiyya is a 2012 movie dealing with a womans irrepressible attraction
towards a handsome youth. Rani Mukherjee plays a Maharashtrian girl
who is drawn to Prithviraj Sukumaran not just for the way he looks, but
also for the way he smells. His presence affects her at a biological level.
He causes her to swoon and palpitate.
Till now instances of female gaze has been subtle. We had to rigorously
scan through the images to find a speck of an instance. Aiyyaa is one
movie where the staring, leching, fawning and swooning is as obvious as a
circus parade.
Let us analyse its visuals 1

Here the female is seen admiring the male form. The male actor pours
water on his bare, muscular torso. The glistening water flowing down his
sculpted stomach is the focal point of this image. This is akin to various
images of women shown in Indian media from time in memorial.
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The female actress is standing transfixed by the sight of the male actor.
Her gaze is fixated on him and he is looking away from the camera

2


Another shot from the movie Aiyya shows the actor flexing his muscles to
display his sculpted form. There isnt any other visual on the screen apart
from his. He makes direct eye contact with the viewer. The stance is quite
aggressive and his stare is direct and piercing.
3

In the above picture, the female character touches the male character
provocatively. Her gaze is on his body and not his face.

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Observation
The film Aiyyaa was lauded by the media for its intrepid portrayal of a
woman lusting for the man. Many factions of critics hailed it as a iconic
movie for establishing the concept of female gaze. Throughout the movie,
the female character is shown fawning over the male. In no instance does
she brazenly make an aggressive move towards him. All her attempts to
seduce him only happen in her fantasies where she is shown dancing with
him. The idea of female gaze in the movie is a rather passive one; the male
does not willingly throw himself in front of her lecherous gaze. He is the
one calling the shots while she retires into her dream sequence to know
what it is to actually be next to him.
While analysing the images 1 and 3, we see that the woman brazenly
stares at the man and even touches him. In image 1, she looks at him pour
water over himself and enjoys the erotic pleasure of viewing a male body
made vulnerable in front of the female.
In image 2 the male actor stands flexing his muscles. The stance is
assertive and active and his stare is fixated on the viewer. One cannot
ignore the apparent show of brawn in the image. He may be exposed, but
he is certainly not vulnerable, much like the Rock types (Bordo,1999)
Mulveys idea of the active male and passive female is reversed as Rani
Mukherjee boldly defies the demureness associated with her gender and
touches the male body.
On closer analysis, Suzanne Moores (1988) contention that female gaze is
a lot more passive than male gaze seems true. The male character, though
bare torso-ed, is usually seen taking stances that denote strength and
aggression. This means that he is not entirely at the mercy of the female
gaze; he has the power to walk away from the gaze.




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3 Sawariya (2006)
Sawariya the movie is particularly important to this study because back in
2006 it created some waves owing to a controversial scene. The reason
was a song sequence featuring Ranbir Kapoor that was accused of being
risqu in nature.
1


In the above sequence, in the first panel we see Ranbir Kapoor facing
away from the camera as he unties his towel. Using deft techniques, the
director has obscured his frontal nudity but the shadow play on the towel
is very obvious.
Ranbirs character represents the young generation of lovers who have
idealistic notions of love. There is a sheer sense of innocence in the way
41


he is portrayed. The cloth he wears around his waist is white to represent
the purity of innocence of his feelings.
Suzanne Moore (1988) states that most of the mens poses in films and
advertisements are modelled around images of women to mimic the effect
objectification. Ranbirs stance in the songs is reminiscent of classical
paintings of beautiful women
1) Botticellis Venus painting


2


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There is a demureness to the images which lends it a feminine quality.
Ranbir is presented as a thing of beauty to the female viewers.

Observation
The aesthetic presentation of Ranbir Kapoor in a demure manner is
reminiscent of classical paintings of beautiful women. The Scopophilic
tendencies of the viewers, as suggested by Laura Mulvey, are brought to
the fore through this presentation.
He is almost Adonis like, a nubile young man in the prime of his youth.
At the same time his muscular physique plays a foil to his demure image.
The image is of a man who is ethereal in his beauty but also brawny and
strong.

4 Zindagi Na Milegi Dobara 2010
Zindagi Na Milegi Dobara is a 2011 coming of age film dealing with the
lives of three youngsters who decide to take a roadtrip. It gained a lot of
attention due to its casting, especially the male star cast. Despite the
presence of two female actors, the film entirely revolved around the lives
of the three male characters. Hrithik Roshan, Farhan Akhtar and Abhay
Deol are the three main male characters. Hrithik and Farhan already have
a reputation for being eye candy or being physically appealing to the
female audience.









43


.


This is the main poster for the movie, Zindagi Na Milegi Dobara. The
image shows the three men walking down an asphalt surface. Hrithik
Roshan occupies the central space, flanked by Farhan Akhtar on the left
and Abhay Deol on the right. The bare torso of Hrithik is what stikes the
viewer first. It appears in stark contrast with the other two who are
clothed. The colour scheme of the poster merits importance mainly for the
juxtaposition of yellow against a dull background. The men are seen
walking on a road that does not have vegetation on either side. The overall
picture is that of a dry, tough land reminiscent of the Texan landscapes in
spaghetti western movies. The get up of the actors is also worth
mentioning : Farhan Akhtar is dressed in brown vest and blue jeans with a
red scraf tied around his neck; Abhay Deol in a light blue t shirt and a bag;
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Hrithik roshan is bare chested and is also seen wearing a blue pair of
jeans. Farhan has a hat in his hand; Hrithik has a helmet and a trebuchet;
Abhay is shown walking with his hands in his pocket
Observation
Everything about the image is fundamentally masculine. The grey asphalt
road and three muscular men in a walking stance suggest a degree of
movement in the picture. The men are in a state of motion; they are
ambulant. Hrithiks expression, where he bites his lower lip, is suggestive
of repressed aggression. The fetching men draw the appreciative glances
of the female viewer, but they are not in a submissive role. The pose they
strike shows movement and action. Again, they are ready to shake off the
female gaze and walk away from the frame. The female viewer is again
rendered powerless, left only to gaze at the male forms.
Much has to do with the gaze of the woman in this film because the
director is a woman, Zoya Akhtar. So it is natural that one gets to view
these handsome forms from a very feminine vantage.















45



4 Desi Boyz
This movie is pictured around the characters played by Akshay Kumar and
John Abraham. They play male escorts in the film who are paid by women
to make them happy. The fact that they are male escorts highlights the
relevance of their looks to the story of the film. We shall analyze two
posters from the movie
1

In this poster the two women stand in an assertive manner with a firm
chokehold on the men. The women are both clothed but the men are
shown naked.










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2

In the second picture the same pair is shown, but here the semiotics are
somewhat less harsh. The women stand against their men with their hands
on the hips of each of the men. As in the above picture, the women are
clothed and the men are dressed rather scantily. One is wearing a vest and
the other is bare-chested. The background in both the posters is pink in
colour.
Observation
In the first picture the women are holding the men in a choke hold
exhibiting superiority and strength. The aggressive stance taken by the
women seems to suggest their control over the men. One of Laura
Mulveys parameters for objectification is subverted. Instead of men
controlling women, it is women who are physically controlling the men
which put them in power.
The analysis of men in the image points to a different phenomenon; the
men are smiling in the picture despite being seemingly strangled by the
women. The expression on the mens face seems to suggest that the
47


strangling is done in jest or that the men are not bothered by the womens
acts. The semiotics in the picture suggests that the men are still in power
and are infact humouring the women by playing along.
Its a confusing imagery where strong men are supposedly yielding to the
aggressive moves of the petite women and smiling while they do so.

5.Ghajini
In the movie Ghajini, Amir Khan plays an avenger who wrecks havoc in
the lives of the people who killed his lover. His short term memory loss
problem causes him to tattoo information about the killers on his body lest
he forgets. So the baring of Amir Khans body has a functional purpose in
the movie.
1


The poster of the 2009 movie Ghajini shows Amir Khan stooping with his hands
clasped in front of him. His face has a menacing expression to match the
ferociousness of the character he is portraying. The muscles of his upper body are
flexed to give them a more defined look.
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2

In picture 2 Amir is standing upright which gives the viewer a better view of his
body as compared to the previous picture. The muscles on his arms and torso are
glistening and one can see tattooed words and pictures on his body. The look on
his face is menacing as before. The background of both the pictures 1 and 2
contains pictures, details and scribbling in keeping with the story of the film.
In both the cases the actor is the focal point of the picture. The projection of soft
light illuminates the actors body lending it an aesthetic appeal.
Observation
Amir Khans images are in stark contrast with Ranbir Kapoors in Sawariya. In
the latter the male form presented a rather delicate picture with frames similar to
classical paintings, but the former presents a picture that is both dark and
dangerous. The image is that of an angry avenger. Amir Khans bare torso has an
important role to play in the movie: The torso serves as a writing pad for him to
jot down important information which he would otherwise forget due to his
memory loss. Words, names and numbers are tattooed on it urging the viewers
gaze at the torso. His stare is intense as he looks right back into the viewers eyes.
49


There is an invitation for aggression in his look is by no means a docile, feminine
subject trying to avert the gaze of the lookers.
Amir aggressive stance combined with the presentation of his body in a visually
appealing manner results in an image that invites the female gaze, but instead of
being a passive object, Amirs character appears in control. He seems as if he
could lunge at the viewer in anger. Mulveys parameter where she propounded
Men being active and women being passive gets effectively challenged when
men become the object of womens gaze. Though the men are objectified, they
refuse to be docile images capable only. This reinforces the notion that images of
masculinity are oriented towards the active.

6. Bhaag Milkha Bhaag
Bhaag Milkha Bhaag is a biopic on the athlete Milkha Singhs life where the
titular character was played by Farhan Akhtar. Being a biopic, the lead actor was
expected to resemble the titular character. Here is a comparative image of the
athlete and the actor.
1

50



2


In picture 1 we can see the images of the real Milkha Singh juxtaposed with the
image of Farhan Akhtar as Milkha Singh. Though the facial resemblance between
the two is uncanny, the same cannot be said about the physique.
In picture 2 the actor is seen bare-chested standing in the rain. He wears a piece of
garment on his lower body but the upper body is bare and the muscles of the
upper body on display for the viewer.




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3

In picture 3, the actor is seen bare-chested in the rain with his eyes closed. His
head is tilted upwards. This pose is taken from canonical Lone girl in the rain
imagery of Indian films.
For example:

52


Observation
As evident from the first picture, the facial resemblance of the two people does
not translate to resemblance of the physique. The real Milkha Singh is a far cry
from what Farhan Akhtar chose to portray.Milkha the athlete is a lean bodied
runner; Farhan on the other hand sports a rather bulky physique. There is nothing
particularly attractive about Milkhas physique but Farhans picture ended up
gracing the posters of the film. It is clear that the film makers wanted to cash in on
his fetching form to cater to the audience.
In pictures 1 and 2, the male object of the gaze is in an active stance. He is in the
midst of an exercise in 1 and he is standing in the rain in the second one. Both
fulfill the notion of the active male who displays power rather than being a
passive object.
In the 3
rd
picture, the actor is facing the sky with his eyes closed in the rain. This
image is reminiscent of the images of women in rain. His body language is
passive and almost feminine. The smile of his face is disarming and is in sharp
contrast to the chiseled physique.









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7.Force
Force is a movie starring John Abraham and Vidyut Jamval. The former plays the
role of an avenger and the latter is the primary antagonist of the movie. The scene
to be considered for analysis is the final combat that happens in the climax of the
movie.


The above picture shows both the protagonist and the antagonist locked in an
instance of hand-to-hand combat. The two have clasped their hands and are bare-
chested. They are looking deep into each others eyes with a look of belligerence
in them. The muscles on their arms are bulging due to strain and there are visible
veins on the arms of Vidyut Jamval.



54



Observation
The picture seems to showcase the physical beauty of two good-looking men even
though they are locked in combat. The viewer cannot dismiss the fact that there is
an attractive quality about the picture mainly because of the presence of the men
and due to the display of skin and muscle. However, like the previous pictures we
have analyzed, this too falls into the realm of beautiful powerful men who are
busy in a game of who stares the longest
The body language of both the men is aggressive because they are in a combative
state. It is a very obvious show of machismo and they have steered clear of
feminizing the image.
8 Veer
Veer is a romantic period film modeled on a fictious hero.
1




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2

In both the images, we can see the display of Salman Khans sinewy arms. In the
second picture he is bare-chested. In picture 1 he is on a horse wearing a vest
like garment that exposes his arms. His gaze is averted from the viewer and he
looks away at a distance. In picture 2 He his right leg is slightly ahead and arms
are seemingly swinging. This indicates that he is walking. His gaze, like in the
previous picture, does not meet the viewers and is instead fixated on a point
which is not visible in the image.
Observation
Both the images seem to suggest the scopophilic tendencies of the picture. The
film maker has exploited the actors pulchritude and showcased it for the viewer.
The body language of the actor in both the pictures shows aggression. The actor
not meeting the viewers gaze implies a disconnect with the gazers. The body
language does not show vulnerability; instead it shows strength and might.
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9 Ramleela
Ramleela is an adaptation of romeo and juliet set in Gujrat. The visuals used are
images of actor Ranveer Singh in a song sequence

The picture is self explanatory in many ways. The actor is standing in the center
of a beavy of women with his upper body exposed. He is wearing a pair of
tattered jeans and his body is glistening with oil. His upper body appears sculpted
and he seems to be in the midst of a dance routine. The women around him are
excited. Albeit dressed in a traditional garb, they arent behaving like the
traditional coquettes. They are clicking pictures and fawning over the young man
who is happy to pose for them.
The song is centered on the male actor Ranveer Singh who is introduced in the
movie through this sequence. The entire song is in fact about the physical beauty
and demeanor of Ram


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Observation
In the above picture, the signs speak for themselves. He is in the midst of a dance
sequence surrounded by women, who are excited in his presence. His body
language looks self assured and assertive. He seems like an object of scopophilia
not only for the women in the song, but also for the viewers who gaze at his
physical form. The application of oil on his body gives it an added lustre which
makes it eye catching and draws the gazes of the lookers.
There is no show of strength in the above picture, but at the same time it is not a
picture of a passively starting coquette. His dances moves are very raunchy which
are suggestive by nature. So even though he is a thing of great beauty, Ranveer
Singh exudes power and aggression.
The women in the sequence are fawning over the actor but none has made any
overt moves to touch him. The condition of the women in the image is similar to
that of the viewer. Both the parties are equally, passively watching the subject of
attraction instead of making overtures.
10 Om Shaanti Om
The dance sequence hailed as a male item number from the film is taken for
analysis. The name of the song is Dard-e-disco and is centered on Sharukh Khan.
He had famously acquired a set of six-pack abs for it. Following is a sequence
taken from it which shows him in three different poses and garbs.





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1

In image 1 he is seen standing with his shirt open baring his torso. The shirt does
not seem to cover his body at all as the bare torso and his upper arms are visible.
The expression on his face is menacing and he stares back at the viewer by
squinting his eyes slightly. The idea may have been to give the viewer a tough
look. The airy background looks like a battlefield and has two flags on the side
2

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In image 2 he is shown wearing a construction workers hard hat and has a rope
in his hand and a tool belt around his waist. His body is glistening and he has the
same serious expression on his face. His body not directly facing the camera,
instead it is tilted at an angle. His hands are employed, with one hand he holds his
hat, and with the other he holds a rope. There is a utility belt on his hips. The
actor gives an impression of a handyman or an odd job worker
Observation
Shahrukhs stance in the song sequence is assertive. He tilts his body at sharp
angels which gives him a masculine feel. His facial expressions are also
consistent with his manly body language. The
song sequence is featured on a narcissistic
flamboyant character he plays in the movie, so
it is natural that he exudes confidence. His
gaze is fixated on the viewer. In image 2 he is
dressed up as a handyman, which is a common
trope that is associated with womens sexual
fantasies. Erotic movies and literature made for
women often revolve around the idea of the
attractive handyman, namely the plumber. It is
someone who associated with strength but
belonging to the lower rungs of social class.


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(An example of erotic literature for women centered on the handyman theme)








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Analysis Part II
Advertisements
The sample featured
here is a vintage
advertisement of an
aftershave brand. The
model is actor
Jackie Shroff. The
face is the focal point
of the advertisement.
The name of the
product is Savage
Aftershave. The
target audience for
this product has
therefore has to be
men, and the
demographic targeted
is also male.
The above print advertisement showcases the actors face in an attractive manner.
His stare is soft but direct and it meets the gaze of the looker. His hair is falling on
his forehead and on his left eye. His face is youthful and the expression on his
face is of anticipation, as if he were to utter something. The lips are slightly parted
and the viewer gets to see his bare neck and the top of his chest. There is slight
hint of wirey chest hair and the rest of his body is obscured by his shirt.
The words in the print advertisment read:
The Macho After Shave is here
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Rugged! Fiercely savage! The macho after shave youve been waiting for.
Masculine, Virile, Unforgettable. Use after every shave, after anything.
Observation
The above advertisement cashes on the beauty of the models face. The squinty
stare and the falling hair on his face imparts a romantic look. His parted lips
combined with the eager eyes gives an impression of sexual invitation. Jackie
himself was known as an unconventionally good looking actor who belonged to
the era of manly mustachioed hero(The other being Anil Kapoor) So the theme of
masculinity, which has been reiterated through the heading and body copy of
the advertisement, compliments the image of a macho looking man. Words like:
macho, masculine, rugged, fiercely savage, virile etc sets the theme for the
advertisement.The image of the actor also seems to have been drawn upon the
feminine pictures of women with parted lips and secductive gaze. For example

2 Nerolac Paints.
The following is a print ad for Nerolac Paints featuring Shahrukh Khan. The
demographics targeted here may be difficult to ascertain, it could be men or
women as both have a say in deciding . Sharukh may have been roped in due to
his appeal and popularity that cuts across all ages.
The print ad shows Shahrukh wearing a vest and a pair of pants with a wet paint
brush in his hands. There is a step ladder behind him and couple of buckets of
paint.
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Observation
There is a hint of sexualization of the imagery owing to a few reasons. The
product such as paint need not use sexual appeal or marketing, despite this fact
there is a hint of sexualization in this advertisement.
Shahrukhs gaze at the camera merits special importance because the look on his
face is sultry. He intensely makes eye contact with the person looking at him as he
dribbles the thin stream of pain dripping from the paint brush in his hand. Also,
there are paint stains on his person. He wears a sleeveless vest which puts his
sculpted arms on display for the viewer. This picture is modeled on images of
women who appear sexually inviting.

3 Old Spice
The new old spice advertisement is a perfect example of using male imagery
blatantly for the purpose of marketing a product. A sequence of the television ad
is used for analysis. The male model in question is Milind Soman who appears to
be naked in the picture with a bottle of Old Spice deodorant. He has a gold chain
64


with the word MAN on it. He wears a pair of aviator sun glasses and speaks
about his favourite fragrance in a laudatory and a self congratulatory way. The
exact words are as follows:




Observation
Milind Soman being naked could be an allusion to the Tuff Shoes advertisement
of the 1990s. The erstwhile supermodel extols the bottle of Old Spice and by that
extension himself. He uses words such as mantastic to reiterate the masculine
brand imagery of the product. His own association with the product reasserts its
macho-ness. The chain with the word MAN is in keeping with the masculine
theme of the advertisement.
The oppositional gaze of the object is steady as he back at the camera with an
unwavering gaze and maintains it throughout. His rhetoric revolves around the
65


macho man image that old spice often tries to base its ad campaigns on. He knows
he is attractive and makes an unabashed declaration of the same.

4 Live In Jeans
The follow image is a sequence of a Television advertisement for mens jeans.
The theme of the campaign seems to be a word play on the name of the product-
jeans one can live in. The model is Dino Morea who wakes up from his sleep and
goes about with his routine. He walks up to the washing machine in order to wash
his clothes. He removes his vest but hesitates to remove his jeans. He ponders for
a split second after which we see the washing machine rumbling. From inside the
machine emerges the model, soaking wet and still wearing his jeans. The central
idea is that the pair of jeans is so comfortable that one wouldnt want to get out of
it.


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Observation
The camera follows the model as he wakes up from his sleep and goes about with
his daily routine in a voyeuristic manner. He does not acknowledge the gaze on
him as he goes about getting up, drinking coffee, and washing his clothes. He
wears a white vest with his muscular arms showing. His upper body is bared as
he strips the vest to reveal a chiseled physique underneath.
The camera momentarily focuses on his face as he ponders whether to remove his
jeans or not. The focus then shifts to his waist and hips as he is seen fidgeting
with his button. The chiseled abs can be seen in this shot. The next frame shows
him emerging out of water with water droplets on his body.
This advertisement reminds the reader of Mulveys theory on camera playing a
substitute to the viewers eyes showing them what they need to see. The man here
is viewed as if he is in captivity. He is oblivious to the prying eyes of the people,
but his body language is confident and assertive.

5 Axe Chocolate Deodorant
The Axe Chocolate ad features a man entirely made of chocolate travelling
through the city delighting and amusing women as he goes. He is seen walking
through hordes of women who stare lustily at him and even touch him. His
chocolate body makes him irresistible to women who cant help touching him,
feeling him, and consuming him.

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Observation
There is a literal objectification happening in his advertisement. The man is
equated with the chocolate. He is shown to be made entirely of chocolate.
Mulveys parameter of treating women like objects is reversed as it is the man
who is at the receiving end.
The man is completely passive in the advertisement as women grab him and
assault him as they please. He seems to have no power over the women who
happen to the aggressive ones in the ad He seems to be playing out on womens
ultimate fantasymen and chocolates. Women are known to go weak knee for
chocolate, so it is obvious that a man made entirely of chocolate would be next to
perfection. His irresistibility causes these women to act in berserk. They chase
him down the street, get distracted from the gymming routine, and feed on his
ears and nose as they please and even take a big bite out of his buttocks.
He also plays out the fantasy of the sensitive man as he willingly lets the women
have their way. He even regales them by going out for movies with them and
hosting a chocolate tasting party for them.
Despite his obvious and literal objectification, the man seems to be smiling
throughout the ad He is happy to be objectified and to be treated like a giant living
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chocolate bar. The very fact that it is a deodorant ad targeted at men shows that
the ad makers are holding out a tacit benefit from the usage of the product
women going berserk over them. While the female fantasy revolves around
chocolate and men, the male fantasy ostensibly is being objectified by hordes of
women.
6 VIP underwear
VIP is an undergarment manufacturing company of India who specializes in
mens vests and underwear. The following print ad for mens underwear is self
explanatory, and single handedly proves the hypothesis of this research. The print
ad features a male model sitting with his legs parted. The sculpted body glistens
in the light and his pectoral and abdominal muscles are therefore highlighted. He
wears shades over his
eyes which he
maneuvers with his
index finger of his left
hand. His stare is
piercing and his
expression suggests a
bold invitation.
Observation
The man in the picture
dons only a pair of
underwear and sits
with his legs apart. His
hands are on the sides
of the chair. His head
is cocked in front as he
adjusts his shades with
his index finger. His
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body language is consistent with regality. His wide-spread legs give an
impression of breadth and power; He is seated like a king on the throne. His
posture, on close observation, resembles the letter X which is name of the brand
advertised.
The image attempts to foreground the underwear on the model, therefore the rest
of the background is beige to highlight the red underwear against its backdrop.
This inevitably brings the viewers gaze to the groin of the model.
The look on his face is inviting, but at the same time it is haughty and self
assured.
7 Dollar club undergarments
Six print ads have been taken for analysis for Dollar Club. It is a brand of
undergarments meant for men. The brand identity, like many other products
targeted for men, is toughness. The brand ambassador is Akshay Kumar who is
usually associated with daredevilry in movies.

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Observation
Akshay Kumar is clad in a white vest and blue jeans performing various physical
activities such as playing with a basketball and exercises such as pushups, bicep
extensions. The soft light accentuates the ripples of his bicep and the picture
presented thusly is pleasing to the eyes. His poses are all athletic (therefore action
oriented) and his facial expressions are serious.
8 Denim After Shave
Denim After Shave advertisement aired in India in the early 1990s. The TVC
featured a woman rubbing cologne on a man. She caresses his face and neck and
eventually, her hand travels along his chest to his abdomen when she tries to
move her hand inside his shirt. In a quick swift move, the man stops the womans
hand by grasping it suddenly. The voiceover for the ad can be transcribed as:
When a woman puts Denim on her man, he knows, the more she puts on the
more life takes offDenim. For a man who doesnt have to try too hard

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Observation
The slogan for Denim After Shave is, For a man who doesnt have to try too
hard . Meaning it is meant for a man who never has to try too hard to win a
womans attention. It capitalizes on the Freudian desires of men, because
ultimately that is the pivot of mans endeavors according to psychoanalysts.
The sexual undertones of the ad are obvious as the woman sensually tries to apply
the aftershave. It seems to the viewer that the woman is in control, until she tries
to open his shirt and put her hand inside. The mans heavy hand suddenly grabs
her hand and stops her thus proving it is ultimately the man who is in power.
Mulveys theory of reducing the object into body parts is observed here. The male
is reduced to a chin and chest and the woman is represented through an attractive,
well manicured hand. Despite that, the man is the one wielding power over the
woma
9 Wildstone Deodorants
The sample is one of the many ads of Wildstone the common leitmotif is that of a
woman leching at an attractive man. Though the scenarios change, the theme is
the same. This one particular TVC features an attractive woman in an Indian garb
who suggestively eats a slice of watermelon while leching at the man. She eats the
wedge of the melon in a rather messy manner wiping her mouth in a provocative
fashion, all the while fixing her gaze on the man. the man on the other hand seems
to be amused by the womans behavior, He smiles at her but does not engage her
any further. The advertisement ends with the male model spraying the deo on his
bare torso.

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Observation
The semiotics of the advertisement showcases heavy sexual undertones. The
messy eating of the melon and the lusty stare is towards the man is indicative of
this. The man is amused, but dismissive. The womans antics seem to tickle him a
bit but ultimately, he wields the power and decides to walk away.
The female gaze here is passive; she does not have the power to make any
overtures. The male on the other hand appreciates her admiration, but being the
active male he refuses to being objectified.
10 Cinthol
This Cinthol TVC features Hrithik Roshan who is shown bathing with the soap in
one sequence and standing atop a building with arms wide open in another. The
bathing scene is the focus for analysis. He is shown standing in the shower and
rubbing the soap sensuously over his body. his gaze is averted as he does not
make eye contact with the viewer. The water droplets are show splashing against
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his skin and multiple shots of the same scene is taken from various angles.

Observation
Hrithik Roshan is shirtless in the entire sequence; the TVC obviously wanted to
cash in on his attractive form. Even when he is shown clothed, his shirt
unbuttoned to reveal his torso. A hint of his undergarments are shown over his
pants. The rest of the sequence shows him engaged in manly activites such as
water sports and horse riding. A significant part of the ad focuses on his bathing.
The angles of his body show power and strength, but the template of the bathing
scene is borrowed from the ones featuring women.So there is a juxtaposition of
masculine undertones with feminine ones.




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Analysis Part III
Magazine covers
1 Mandate
The first magazine cover to be analysed is Mandate, which is a mens lifestyle
magazine. The sample features a male model flanked by two women on either
sides. There are lipstick stains on his face. He wears a white jacket but his chest is
bare. His stare is fixated on the camera and not on the women who are by his side.
The caption on the cover says Mirror Mirror on the wall, whos the hottest of
them all? this line is taken from the fairy tale Snow white and the seven dwarfs.
The line is modified as the fairest is replaced by the hottest .It is a line
commonly associated with vanity.
Observation
The male model occupies the
central position of the magazine
cover. He is therefore the subject of
the picture and the object of the
viewers gaze. He gazes back at the
viewer with a smirk on his face.
The lipstick stain on his face
suggests that he was kissed by the
women in the picture. The smug
expression on his face on his face
puts him on a position of power.
This means, even on being
manhandled by the women in the
picture, the male is self assured, confident and seemingly enjoying the attention.
Such a picture with a role reversal would be difficult to digest. Since it is the man
who is at the receiving end of the gaze, the story is very different
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The vanity aspect of the picture is highlighted with the help of the caption which
says whos the hottest of them all. This line is associated with the evil queen in
the Snow White fairy tale. She routinely asks this question to her magic mirror in
an insecure fashion. The association of the line with the image is deliberately
done to equate vanity with men. The evil queen has been replaced by the male
model
2 Stardust
In this sample of Stardust, we see picture
of John Abraham shirtless against a
white background. He is shown looking
directly into the camera with a slight
smile. His right hand rests on the back of
his head and the left hand is on his waist.
His left palm is very close to his groin
and his entire body is bent in a very
feminine S shape.
Observation
Here we see the feminization of a
macho image by making the male model pose in styles that are usually common
to women pin-ups. For example the picture on the left with the woman is a
classical pose meant for pin up girls. This
feminization does not resonate well with the
image of the male model. He is macho looking
and sinewy. So the image of a very strong
macho man posing in a manner associated with
pin up girls gives an impression of irony.
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Susan Bordo in Beauty (Re)discovers the Male Body calls such posers leaners
because their pose is more feminine and more passive.
3 Filmfare
Through this we revisit the analysis of our first sample where John Abraham
struck a similar pose. This particular analysis however may be different from the
first one owing to the change of medium and also because of the text that
surrounds the image on the cover.
The description of the picture is the
same, he poses sideways with his head
turned towards the viewer. He has a
sheepish smile on his face and his
swimming trunks are pulled low to
reveal considerable amount of skin.
His body is well chiseled and sinewy.
The soft light gives an attractive
quality to the picture. The text is of
special importance to us which may
give us an idea as to why the
magazine chose to use this image as
its cover picture.
On the extreme left we see the word Homosexuality and on the right, big red
and white font say Men make passes at me all the time Johns sizzling
confession
Observation
Johns pose shows vulnerability as he pulls his pants low to reveal skin. Such
poses are associated with female pin up models. The picture is extremely
provocative and raunchy by Indian standards. His pose also shows assertiveness
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as evident from the smile on his face. The body is well defined and the soft light
highlights the contours of his muscles implying strength and power.

The text that is used in the cover is worthy of attention. It reads Homosexuality
and Men make passes at me all the time. For many, magazine cover becomes a
decisive factor in buying a magazine. The words on the cover imply that they seek
attention from the homosexual readers as well.
4 Cosmopolitan
In this sample we see Shahid
Kapoor standing upright with
one hand in his pocket and the
other hand by his side. His face
has a hint of a smile and his gaze
is straight, direct, and piercing.
He wears a white shirt with a
grey jacket and blue jeans. The
top buttons of the shirt and open
and a small part of his chest is
revealed. The background of the
picture is white and colours like
orange and black are used. The
words on the cover say Are men the new women?
Observation
Shahid Kapoors pose and demeanor is of prime importance in this observation.
The face and the body communicate assertiveness. There are no traces of
sensitivity or vulnerability on his face or body language. The placing on the hand
on the hip is a tell tale sign of showing macho superiority. It suggests attention to
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the hip region and by that extension the phallus. The picture suggests a show of
power if not aggression.
He is completely clothed as opposed to the other samples observed till now, but
the partial chest show is consistent with the others.
The line on the cover Are men the new women? is confusing and ambiguous. It
may be meant for a corresponding story inside.
5 Vogue
The sample features a picture of Hrithik Roshan. He wears a white jacket and a
shirt with its buttons undone. His chest is bare and his hands are in the pant
pockets. The pair of pants
is white to match with the
shirt and the background.
His stare is direct and there
is a hint of smile on his
face. The white
background of the picture
is offset by the yellow and
black fonts on the cover.
Observation
Hrithiks pose is smiliar to
Shahid Kapoors in the
previous sample, but
instead of one hand
,Hrithik has both hands in
his pockets. This sign
according to body language experts is to bring the attention to the hips and the
groin area. It is a reassertion of the power of the phallus and a show of might and
male superiority. The buttons of the shirt and kept open and the chest and the
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abdomen are on display. The skin glistens in the soft light giving it a sensual
appeal. His well developed muscles and body give an impression of strength.
6 Hi Blitz
The sample features Ranbir Kapoor as the model on the cover. He is seen
wearing a black strap on
his upper body, it could
be a black vest which has
been pulled over his
head. His torso is bare
and his abdominal
muscles are on display.
He wears a pair of shades
on his eyes. There are
chains and bracelets on
his right hand.
His underwear is visible
over his blue jeans and he
has his right hand in his
pocket. He is seen
leaning on a tree. His
facial expression is smug with one raised eyebrow.
Observation
This posture of the model qualifies as Susan Bordos leaner type. In this type
the model typically leans against a wall or any other surface giving him a relaxed
look. The show of muscles and skin entices the female gaze but at the same time,
the object is in a position of power. The muscles and the stance points to the
fact that he is in control. The facial expression needs to be noted: The raise right
eyebrow gives his face a rather smug look which reinforces his confidence and
strength.
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7 Movie Mag
In this sample, John Abraham
stands bare-chested with a scarf on
his neck. He wears his pants very
low to reveal the top part of his
underwear. His body is chiseled and
bulky. On his face, he wears a pair
of sunglasses.
His body language is confident. He
turns his head and there is a smile
on his gaze. His gaze is obscured
because of the shades. His hands are
at a distance from his body. though
his head is turned away, his body faces the viewer. The words on the left side say
Johns too confident of his sexuality to worry and Gay fever hits Bollywood.
Observation
In the picture, the models masculinity is made evident not only through the show
of brawn but also through his posture. he looks away averting the gaze of the
viewer to make it seem like he doesnt care or that he doesnt acknowledge the
gaze of the viewer. Despite him not meeting our gaze we can see his show of
strength through the pose; his arms are at a distance from his body giving him an
illusion of width and by that extention, power. There is some light stubble on his
chin and his cheeks which looks macho. The yellow/green colour of his scarf may
be a mismatch to his strong, masculine image but even that works in an ironic
fashion: It highlights his masculinity by contrast.
The words Johns too confident of his sexuality to worry reasserts his strength.
The words Gay fever hits Bollywood is also deliberately put there for attention
from the homosexual subscribers of the magazine. The fact that he is very
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confident about his preferences doesnt cause him to worry about the rising tide of
homosexuality in Bollywood.
8 Femina
The sample chosen for analysis features actor/director Farhan Akhtar standing
against a pale white background wearing a white shirt and blue jeans. His right
hand is straight and his left
hand is bent at the elbow.
He touches with his left
hand the intersection
between his forearm and
arm.
He is shown smiling ear to
ear.The words on the cover
worth mentioning are
Found! Indias hottest
men, What he really
thinks of your bedroom
moves




Observation
Unlike the other samples investigated so far, this one stands out mainly because
there is no show of skin. The model wears a basic white shirt with blue jeans. His
face is pleasant with no signs of aggression or power. His folded shirt sleeves
give him a relaxed and casual look. His well defined body is hid from the prying
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female gaze but yet there is an attractive quality to the picture which inevitably
invites the looker to admire it. The allure of an attractive clothed man is more,
especially because he is wearing a white shirt with denims. The average female
reader relates to the picture and she sees a man-next-door which has its own
magnetism. The smiling face of the model also renders a sense of beauty to the
picture.
Farhans posture and smile is indicative of his amusement. He does not mind
being looked at. Even though he is covered fully and does not showcase any skin,
the bulge of his muscles is discernable through the shirt. The posture exudes
confidence and assertion.
The words on the side Found! Indias hottest men, What he really thinks of
your bedroom moves invite the readers to grab a copy and read. The magazine is
meant for women, and the promise of finding Indias hottest men inside is a
testimony to the fact that they want the men to be ogled at. The risqu words
juxtaposed with a modestly dressed man is quite a contrast.










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9 Mens World
In this sample, Shahid Kapoor
stands with his left hand
obscured. His shoulders are
tilted. His gaze is direct and
looks straight into the camera.
His chest is visible through the
shirt as he has kept the top
buttons open. His legs are parted
in such a manner; it gives an
impression of movement. The
facial expression is pleasant as
there is a hint of smile on his
face.
Observation
The body language of the person suggests movement. The legs are parted as if in
a stride. The left hand is obscured to make it seem like he is reaching for
something in his pocket, or he could be adjusting his jacket to aid better
movement while walking. The some portion of the chest is bare, it is also trimmed
and clean of chest hair. Despite him being clothed, the baring of the chest makes
him available for the female gaze. The smile, the stubble, the gait are all
consistent with confidence and macho-ness.
The seemingly expensive suit is indicative of of his financial status. The semiotics
of his clothes seems to give away his superior social status. It is yet another way
of showing his might.



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10 GQ
The last sample features Shikar Dhawan as the model on the cover page. He
wears a blue jacket with a black vest with white details underneath. His facial
expression is serious and menacing. His right eyebrow is cocked and his eyes are
narrowed. He sports a handlebar
moustache and there is a
considerable amount of facial
hair. He stands with one hand
akimbo and the other hand tossing
a cricket ball.

Observation
Shikar Dhawans picture exudes
extreme machismo. His
expression suggests belligerence.
The eyebrows and the narrowed
eyes indicate aggression as if he
has tosses a challenge to an
opponent. The handlebar moustache and his facial hair is an indicator of his
masculinity. He is in a state of motion as he tosses the ball up and down. His left
hand is on his hip, which is a classical pose of intimidation. It makes the body
appear wider and hence more menacing and powerful.
The expensive suit also plays a role in the semiotics of this picture. He also
happens to wear an expensive watch and a wrist ornament. These are indicators
of his social status.
The picture immediately strikes off as one filled with pure antagonism. He comes
across as a villain. But one cannot ignore the aesthetics of the picture as well,
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Shikar Dhawans pulchritude is seems very obvious to the viewer despite his
show of might and intimidation.
This picture is a classical example of a handsome man showing off a lot more
than his physical might, he also displays his opulent attire and by that extension,
his financial status.

















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Conclusion
To conclude this research, we have to make a section-by-section analysis of the
representation of male bodies for female gaze. The original problems faced by the
research prior to the investigation of this phenomenon should be asked again.
Overall observation
Films
1) All samples show attractive, strong men
2) Men are shown in motion or in any form of masculine show of aggression. Eg
Bhaag Milkha Bhaag, Force, Ghajini,Veer.
3) Mens poses are modeled on womens traditional poses, but they are
masculinized rather than feminized. Eg. Sawariya
4) Womens gaze seems passive. No overt instances of women actually touching
or making advance at the men. Aiyya being the only exception to the rule, but
only in Rani Mukherjees imagination.
Advertisements
1) All advertisements are directed at men. This proves Suzanne Moores
contention (1988) that men look good more as a narcissistic need rather than to
impress women.
2) They all show men in assertive and strong stances. They are in control of their
bodies.
3) They enjoy being objectified and ogled at.
4) They are not disempowered like the women in the advertisements, they play
active role.

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Magazines
1) The magazines sampled are a heterogeneous lot, some are mens magazines,
some are womens, and some are meant for both. Presenting attractive men on the
cover would imply that the gaze is invited from the men and the women.
2) Men are physically strong, not passive things vulnerable to the gaze.
3) They exude not only physical power but also financial and social power.
4) Poses are related to aggression, movement or they qualify as Rock or
Leaner type
Do the males being objectified suffer from the loss of power when they are at
the receiving end of the gaze?
Women are ideally portrayed as vulnerable beings, helpless and hapless, subjected
to the male gaze much against their will. The representation of men is not the
same. Almost all the images and instances studied showed men in a state of power
and movement. According to studies (Moore,1988), these men are sinewy and
well built and capable of walking out of the prying gaze of the women
. It does not replicate a monolithic and masculinized stare, but instead involves a whole
variety of looks and flances- an interplay of possibilities
(Moore in Gamman and Marshment,59)
Do the gender dynamics remain the same in the case of female gaze?
Sex is related to a persons biology, whereas gender is a social construct. In the
power play of gender versus sex, the men win inevitably. The one in power is the
male, so the gender dynamics of the objectifier versus the objectified is in the
favour of the men. The women are passive gazers.
Is the role of the woman that of a powerless gazer?
It is safe to say yes, the role of the woman is not a very active one mainly because
they are not gazing at powerless objects but images of men who refuse to be
objectified. Even if they are, the men enjoy it and do not show offense at being
gazed at.
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How are men portrayed by the media?
All the images of men used in the study show power and strength, either physical
or financial. They all adhere to the standards of male beauty. All of the subjects of
study have well developed bodies and are portrayed as irresistible to the women.

Is it a display of their physical attractiveness or power?
In the images used for study, almost all the subjects come across as good-looking
and powerful. It is safe to say that the image portrayed by the media of men is the
one of masculinity, attractiveness, and power. Models coldly stare at the viewer in a
locked in a tacit battle of power. It defies the observers to view them in ways other than
how the intended to present themselves. They present a shield that is powerful to the gaze
of the (Bordo, 1999,pg 203 paragraph 2).

Are men portrayed to be objects of womens scopophilia?
We can say that the men portrayed are images of Scopophilia, but not necessarily
of women. They could also be aimed at gay men or at women. It is evident by the
magazines that included stories pertaining to homosexuality next to an image of
John Abraham or the movie Dostana which was pitched as a gay friendly movie.

The phenomenon is here to stay: Pictures of scantily clad, attractive men are
going to be commonplace in the Indian media, but how much does it change
gender dynamics is uncertain. Through the study of the images in the Indian
media, we can say that the female gaze cannot be equated with male gaze.





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BIBLIOGRAPHY AND REFERENCES
1) Laura Mulvey, Visual Pleasure and Narrative Cinema: Visual and Other
Pleasures ,1975
2) Suzanne Moore, "Here's Looking at You, Kid!," The Female Gaze: Women as
Viewers of Popular Culture, Ed. Lorraine Gamman and Margaret Marshment,
Women's Press, 1988
3) Susan Bordo, Beauty (Re)discovers the Male Body, 1999
4) Martha C. Nussbaum Philosophy & Public Affairs Vol. 24, No. 4 (Autumn, 1995), pp.
249-291 Philosophy & Public Affairs Vol. 24, No. 4 (Autumn, 1995), pp. 249-291
5) Gender Communication Theories and Analyses From Silence to Performance
Charlotte Krolokke andAnne Scott Sorensen, SAGE Publications, Inc, 2006.
6) Overcoming Objectification: A Carnal Ethics by Ann J Cahill, Taylor &
Francis, 07-Dec-2010









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WEBLIOGRAPHY
1) http://plato.stanford.edu/entries/feminism-objectification/
2) http://www.cla.purdue.edu/english/theory/psychoanalysis/lacangaze.html
3) http://www.litencyc.com/php/stopics.php?rec=true&UID=1617
4)
https://www.caluniv.ac.in/Global%20mdia%20journal/Students'%20Research/SR
4%20NIDHI.pdf
5)
http://www.public.asu.edu/~kleong/eroticizing%20men%20in%20advertising.pdf
6) http://nipccd.nic.in/reports/ehndbk10.pdf
7) http://plover.net/~bonds/objectification.html