When Bollywood movies show women being oppressed or restrained, they usually reflect the weakness and powerlessness of women through the tall and strong external buildings, and place women in the middle of the frame or the center of tall buildings to express them daily life.
Symmetrical composition on the one hand can express the restriction of external force on women or the restraint of women on themselves, on the other hand it conveys a sense of order, depression and solemnity. In " Akbar the Great " (Athothofen Govalik, 2008), when showing the plight of Princess Zhuda, she repeatedly used symmetrical composition to express her repressed and restrained situation.
The Rajput king, in order to ensure his monopoly on the throne, made Juda a condition for making peace with the Mughal dynasty. The father unilaterally decided Zhuda's marriage. Although their religious beliefs were relative, anything could be sacrificed in order to consolidate the kingship.
When Zhuda was told that she wanted to marry the Mughal dynasty, she cried and refused, but she had no choice but to place it with her father like a chess piece. Whether it was the previous engagement with the prince of the state or the engagement with the Mughal dynasty this time, she was the one who was informed of the outcome and had no right to choose. She seemed to exist only to consolidate her father's regime.
At this time, the Zhuda shown in the picture is placed in the foreground, and the close-up medium shot makes her standing space extremely cramped, and she is compressed in the foreground of the picture together with the sofa in the medium shot and the pillar in the background , the head is almost flush with the top frame, showing the depression of the living space of the characters.
When she tries to write to her brother for help, Zhuda is placed in the center of the picture, and the environmental decorations on both sides are almost completely symmetrical.
"Analysed from the perspective of visual form, this composition makes the picture simple and clear, and the focus is clear, directing the audience's attention to the center of the picture, making the narrative focus leave a deep impression on the audience's mind; from emotional From the perspective of expression, a strictly symmetrical composition can make people feel dignified, solemn and even depressed and tense."
Zhuda in the center of the picture is surrounded by vermilion curtains, the maid's clothes, the bed in front of her, the eyes Almost everywhere is vermilion, and the ubiquity of this important color symbolizing kingship is a metaphor for the fate of the characters who have nowhere to escape.
The tall and tidy pillar in the background framed Zhuda's entire body in it, and the low-level upside-down shot highlighted the order and the king's oppression of the body.
Symmetrical composition is used many times in " Empire " (Sanjay Lila Pensari, 2015), showing the background of the story through the majestic palace, the neat, solemn and gorgeous palace in symmetry The composition presents a timeless beauty, but also shows the suppression and restraint of the characters.
heroine Mastani's amazing dance in the palace of mirrors caught the attention of Emperor Peshwar. She was dressed in a gorgeous sari , sang and danced softly to the beat of the drums, showing the audience a wonderful visual feast.
's low-level upside-down shot highlights Mastani's crescent head, hair like clouds, and the golden palace seems to have become her foil. When she felt the pleasure of appreciation brought by Mastani, the orderly and orderly buildings behind her not only presented the beauty, but also limited the characters' bodies within the frame.
Mastani is placed in the center of these buildings, and her head almost overlaps the top of the picture. Like Zhuda, the living spaces of the characters are cramped. The opposing religions of Mastani and Peshwar have hindered their union from all sides, and when the queen intends to frame Mastani, the panorama of the palace is presented in the picture.
The tall and solid palace fills the picture in the dark night, except for a gap in the middle of the sky. The palaces on both sides are neat and tidy. The high-level aerial shot highlights the restraint and oppression of people by the external space that symbolizes order and kingship. Characters fight against fate environmentThe weakness of the power of the queen, and the figure of the queen on the tall building in the dark tones cast an ominous shadow over the future fate of the two.
" Hinduism believes that a woman is an object of worship (as a mother), but she can also defile religious ceremonies (during menstruation, having a baby, being a widow). Ancient menstrual taboos dictate that women leave the house and isolate themselves outside the house. Three days. Even today, many orthodox Indian families have this rule: Menstruating women can't enter the kitchen, touch salt, go to temples, or participate in any religious ceremony."
" India Partner " ( R. Barki, 2018), the heroine Gyatri, as a representative of traditional Indian women, recognizes that menstruation is shameful, and practices the teachings, sticking to the set of norms that the patriarchal society entrusts to women.
director almost always uses framing diagrams when she appears, always placing her in the frame of the window, in the frame of the corridor, or in the barbed wire in front of the balcony, implying that she has long accepted the traditional concept that makes her. Has been bound in the shackles of feudal tradition. Facing her husband Lakshmi's request to go back to the house for dinner, she rejected her husband with "this is a custom and is not clean" and begged him not to bother her again.
At this time, Gloria in the picture is framed in a window with religious decorations. Although the background is bright, the viewer's sight is isolated. Together with the window frame in the foreground, Gloria is confined to a small and narrow space. In the space, and the gesture of prayer is the root cause of her confinement in this small world, and she directly targets religion.
In the face of traditions that harm their own health, women have instead become staunch defenders of these traditions. "There is no awakening of women in the whole theme of feminism. On the contrary, it is a man who is always awake. The biggest resistance in this feminist movement is women themselves." Most of the women in the
film are full of shame about their menstrual period, and Gyatli has been drying the used menstrual cloths in a hidden place, believing that "the pure heart will not get sick"; Lakshmi gave the handmade pads He was scolded for being shameless when he gave it to his sister, and he was banned from visiting her house in the future; two younger sisters who were studying also avoided him, and his mother said he had gone mad.
If women can't face their bodies and respect themselves, the status of women in India will never improve. Although Gyatli is a representative of traditional women, she is not completely unacceptable to change. Facing Lakshmi's persuasion, she is also willing to try his experimental sanitary napkins. From these details, it can be seen that she has certain characteristics. The spirit of breaking the shackles, but the action is subject to the social reality at that time.
This kind of restraint is manifested in her divided and obscured body. The frame diagrams that appear many times in the film only show a part of her body, "This position is aimed at their unfortunate fate, which is a portrayal of their life situation. And expression.
They can't even show their complete body in front of the camera, they can only show a small part of themselves, tiny characters can't control their own destiny, they can only be cut and suppressed by the big era, the huge silent background oppresses them, urging them It separates them and separates them, causing their main destiny and feelings.”
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