Challenges of Patriarchal Ideologies in Pakistani Cinema: A Case of Feminist Depiction in Films
Challenges of Patriarchal Ideologies in Pakistani Cinema: A Case of Feminist Depiction in Films
Abstract
influential, constant and a perfect coordination of filmic communication. It endorses also reality
truthfulness or unreality and total falsehood. Movies are the most prevalent medium of show
business. Big screen play an energetic role in the construction of civilization. This role becomes
more significant in a nation who have low reading ability rate. Therefore the films in Pakistan
have become a standard and influential medium of entertainment. This Study examines the
Pakistani movies; Bol, Dukhtar, Bachana and Khuda ke liye, particularly from the feminist
perspective and patriarchal ideologies. Descriptive analysis is the method used by the
researchers for this study. After analyzing the selected films the researchers find that the theme
of the films is very courageous, sensitive and very important in today’s situation. The subject of
the movies is no doubt very bold and challenging the patriarchy also feminist ideology is
portrayed very beautifully. The films create lot of queries in viewer’s mind and are a thought
provoking. The researchers find that the film directors and producers of the selected movies have
projected feminism very strongly and also challenged the patriarchal ideologies in our society.
In our society women are not treating equally. The examination of the movies shows that liberal
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Introduction
In the modern world of technology and media, the significance of media as information
dissemination tool is magnified and it serves interest of specific group or class and shape
ideology according to authoritarian control. In overall power game, media have a strategic place
propaganda and opinion formation. The role of the cinema in the modern world cannot be
underestimated. Cinema has perhaps the greatest potential to be the most effective mass media
instrument. Cinema has certainly some clear advantages over other media. It combines primarily,
both audio and video and is thus very appealing to the eyes and the ears (Elsaesser, 2002). With
the development of color cinematography, and stereophonic sound, it is certainly one up on other
media.
Pakistani film industry known as Lollywood established itself with limited resources
after partition, as earlier India was hub of film industry. Since its beginning, Pakistani film
producers and director used cinema to depict social realities and hundreds of remarkable films
focusing on social, political and religious issues were produced. Till 1980s, during the golden
period of cinema in Pakistan, average 80 films were produced annually (Gazda, 1997). Later due
to numerous factors, film industry in Pakistan dwindle. With the passage of time, many changes
occurred and subject of films also framed accordingly, such as at one time Urdu family oriented
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romantic stories were dominant, then Punjabi films were produced and “ghandasa” culture
remained dominant till the time when Syed Noor dared to produce Urdu film, Bulandi in early
1990s. So the new wave of Urdu films began, but whatever medium or dominant theme was
adopted, the women remained underrepresented in films. From lovely and fragile heroin of
romantic films to Punjabi “Heer”, women are sexually objectified and reinforced the social
status of women as sub-ordinate to men, ready to please and serve men, in Punjabi film an extra-
ordinary powerful role was shown by Anjuman but it was exaggerated and far off from reality.
On international level, feminism waves also had huge effects on Pakistani film industry,
the film “Aurat Raaj” show hegemonic position and role of women. Since Pakistani society is
patriarchal and male dominancy is ensured and reinforced by the media as well and accepted as
conventional ideology. Buckland (2011) righty said that all produced films in the world depict
real ideologies.1 Oxford dictionary define ideology as political, religious, social and economical
ideas held by a certain group of people or community. Similarly films reflect, promote and
propagate some ideologies. Any diversion to acknowledged ideologies, incite debates and after
the revival of cinema in Pakistan brought drastic changes in production techniques and story
lines. Mostly films addressed social issues as after 9/11 internationally terrorism became major
theme for film industries around the globe where Muslims are shown as terrorists. In 2007,
“Khuda Kay Lye” by Shoib Mansoor was produced to encounter misconception about Muslims
and Islam. After a big gap and collapse of Pakistani Film industry (Rodriguez, 2009), in 2011
on ward a series of films were produced and majority were about social issues such as
extremism, male chauvinism, feminism, rights and status of woman, religion, illiteracy, culture,
1
Buckland, Wasran. (2011). Rreview of Richard Rushton, The Reality Film: Theories of Filmic Reality, New Review of
film and television students, 9(3), 390-394
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concept of prostitution, patriarchy, corruption and unisex. So a new chapter in Pakistani cinema
opened and audience started watching films in cinema theatre. Through films patriarchal culture
Cinema fulfills the desire for visual pleasure2 (Studlar, G.1984) and explicit visualizations of
sex, violence and crime has made entertainment industry a capital machine. The moral values are
eroded and celebrities are commodified. Hegemonic ideologies are represented and identity of
power is reinforced. The portrayal of women in classical cinema shows the fragile, vulnerable,
Laura Mulvey (1975) examined and described that how unconsciously patriarchal society
form film industry. She pointed out film production techniques which focused on women as
object and structure male gaze which indicate male dominancy and power. Therefore, films
produced in South Asia i-e Bollywood and Lollywood have always been problematic and
reflected the socially accepted ideology of male supremacy. The stereotypical representation
resulted in more firm believe in socially constructed roles of gender as male or female.
The moral values conveyed through the medium of cinema have a lasting effect on the
audience. The audience also has a moral, demonstrative involvement in the course of events and
the roles of various characters, their language and style of speaking does leave an impression on
the spectators. The realization of this fact is, perhaps the reason for setting up a censor board
which scrutinizes all the scenes that are not likely to corrupt the wells of social morality. But this
precaution could not be of any significance today, when we are exposed to the internet where
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you can treat your eyes to all possible vulgarity and mean, obscene and even pornographic films
indiscriminately to the young and the old alike. It is considered as a tool for the production and
dissemination of the ideology that serves the interests of the groups that exercises social and
political control. Cinema occupies a strategic place in the game of power relation with in a social
formation (Bingham, 1999). Film is very important media which can bring change in society and
is best source of entertainment. However it is also used for information and education. Film is a
combination of selected facts from life that is constructed around one’s emotions and performs a
meaningful job. They create a small world based on logic and psychological truth, which seems
beautiful to the viewers, while training them emotionally. Film is the most popular medium of
entertainment and plays a vital role in the construction of an organized civilization (Moti, 2004).
This role becomes more important in a society having low literacy rate. Most of the producers
are of the opinion that this is a simple and low cost medium that provide entertainment to the
people who want to escape from their day to day worries. Moreover, the collective experience of
film as art renders it a wholly distinct leisure activity. The unique properties of attending the
cinema can have decisively positive effects on mental health. Cinema attendance can have
independent and robust effects on mental wellbeing because visual stimulation can queue a range
of emotions and the collective experience of these emotions through the cinema provides a safe
environment in which to experience roles and emotions we might not otherwise be free to
experience. The collective nature of the narrative and visual stimulation makes the experience
enjoyable and controlled, thereby offering benefits beyond mere visual stimulation. Moreover,
the cinema is unique in that it is a highly accessible social art form, the participation in which
generally cuts across economic lines. At the same time, attending the cinema allows for the
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exercise of personal preferences and the human need for distinction. Their finding holds even
when other forms of social engagement are controlled, suggesting that social engagement
Problem Statement
Pakistani film industry is not so much old. Before partition Lahore and Mumbai were the main
cities of film making. In Pakistan the cinema industry faced many ups and down due various
reasons such as Government policies, lack of innovative ideas, absence of trained personals
destroy the image of industry. And sectarianism and fight culture turned the audience towards
other mode of culture entertainment. Thus the big screen in Pakistan has become a popular and
powerful medium of showbiz (Rizvi, W. 2011). Then after a long time audience and cinema
theaters of Pakistan got movies well plotted on so many social issues like terrorism, extremism,
male dogmatism, feminism, civil rights, status of female, moral values, religious conviction,
illiteracy, art, music, literature, concept of prostitution, patriarchy and bribery. Films and women
are an important and attractive field of research for the broadcasting experts as well as for the
social researchers. Since our study belongs to the studies which aim to find out the appearance of
Literature Review
Steeves and Smith (1987) describe that there is excessive depiction of women in entertainment
programs. Feminist socialists argue that sex, class and gender are more discussed issues on mass
media. They discuss that liberal feminist approach is not the true illustration of most females’
concern. It deals only with upper and middle class women and hetero sexuality. Radical
feminists just focus on the text and pay no attention towards contextual considerations. The
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researcher recommends socialist concept of feminism as the one who serves the best. As it has a
comprehensive framework to research on speech, film, theater, drama, arts, literature and
feminist theory. Weiner (1994) suggests three principles as a guide, feminist research involves a
commitment to advance life chances for girls and ladies; it involves a critique of unexamined
assumptions about women and central form of knowing and doing; it is concerned with
developing equitable professional and personal practices. So it can be inferred that feminist
research is a critical, political and Praxis-oriented research. Reinharz (1992) observes that
feminist study is an approach and a perception. It is to examine the unexamined and neglected
perceptions of human life. It has a great impact and contribution to the development of many key
methodological ideas. It commences many critical inquiries in gender relations and society.
Reinharz has raised ten claims for feminist research. She observes that feminist research is not a
guided by feminist theory and it aims at creating social change. In the same vein, portrayal of
women in films is analyzed from a feminist perspective. Zatlin (1998) says that Spanish Cinema
Josefina Molina is famous and on the top in film directors because of her much feministic
approach. In her movies there is best representation of feminism, the text chosen by her is female
oriented. Butler (2004) writes that in British Films, French women were portrayed as more
passionate and with much sexual appeal. In movies most of the women are presented as
housewives only. Films produce a concept among young girls that the true happiness and
satisfaction can be found while staying at home. Nandakumar, (2011) conclude that only
directors and story writers could think of films from the point of view of women a little more
frequently than they do right now, it might break the vicious cycle of stereotyping and monotony
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that Indian commercial cinema is mitted in. Over time this might condition masses to expect
different story lines and encourage directors to conceive newer stories, improving the overall
quality of story- telling. Cinema is a highly impressionistic medium and it is important for this
medium to be an instrument that enables people to think differently and empathize with
alternative perceptions of reality. Ali, (2012) examines the representation of women in Pakistan
feature film Urdu language and Punjabi language during 1988 to 1999 and it is a critical
evaluation of forty eight films in Pakistani cinema. He explores the characters of women
portrays in Urdu and Punjabi film of Pakistan by using content analysis technique. He concludes
that the depiction of women in Urdu and Punjabi movies is not reflective of exact Pakistani
women rather this depiction presents a harmful image of Pakistani women in the viewer's mind.
These pictures do not discourse the women's problems nor do they present explanations to these
difficulties confronted by Pakistani women. So far as the conclusion shows that the depiction of
women in Urdu and Punjabi language movies are not free from masculine prejudices and these
movies do not depict the correct communal and political role done by real Pakistani women. The
study shows that the depiction of women in Urdu and Punjabi language movies is grounded on
Literature on cinema studies is very limited, particularly liberal feminist ideologies in the
Pakistani cinema are not addressed yet and few works on stereotypical representation of women
in film is available. This study would be opening new avenues in cinema research and feminist
approach that challenge patriarchal ideology would be baseline study and would add up into
limited literature. It will facilitate media students and researchers to examine cinematic
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representations of women, the projection of ideology and eventually educating the masses
through films. At this time when new stories are shown and diverse roles are being played by
women, then how cinema is challenging strongly held ideology of patriarchy in the country, that
Research Objectives
Films are cultural artifact of social reality, if women are given power and voice then it would be
reflected by cinema as well. Previously conducted studies were mainly focused on gender
The core objective of the study was to examine the women representation in the film
which challenges patriarchy (traditional power of men in family) and how cinema is challenging
strongly accepted social ideology of male dominancy. Another objective is to identify how
language is used and how meaning are decoded which is against the accepted ideology of male
chauvinism.
Method
This study provides insight with the cinematic representations of women, the projection of
ideology and eventually educating the masses through films. This study is descriptive research in
nature. In this research descriptive analysis technique was used to see the challenges of
patriarchal ideologies in Pakistani movies and feminist depiction in the big screen. There are so
many issues and ideologies highlighted in the selected movies like illiteracy, poverty,
male, marital problems, high birth rate, carelessness of the ruling classes, role of television and
film, etc. which are difficult to analyze collectively. So the study is focused only to the feminist
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depiction, challenges of patriarchy and its representation. The study is intended to focus on the
The researchers watched the films again and again for identifying and recording
dialogues, scenes and context which reflect feminism and how it is presented against patriarchal
society?
Film: Bol
Bol is an Urdu feature film directed and produced by Shoaib Mansoor in 2011. The film stars are
Mahira Khan, Humaima Malik, Atif Aslam, Iman Ali, Shafqat Cheema, Manzar Sehbai and Zaib
Rehman in the lead roles. It concerns a religious Muslim family facing financial difficulties
caused by too many children and changing times with a major plot involving the father's desire
to have a son and his rejection of his existing transgender male-assigned-at-birth daughter. Bol
has a commercial success and became one of the highest grossing Pakistani films of all time.
This film was part of an entertainment education project by The Johns Hopkins University
Center for Communication Programs which entered in a partnership with Shoaib Mansoor's
Shoman Productions in 2009. The objective of the project was to advocate for women's rights by
bringing the focus of media and the elite of Pakistan to family planning and gender issues. The
country representative of JHU.CCP, Fayyaz Ahmad Khan, served as the executive director of the
movie. The film was reviewed by the Central Board of Film Censors in Lahore on 8 November
2010 and received its approval the next day. Bol is set in Lahore and many students from
National College of Arts filmmaking department assisted Shoaib Mansoor on it. The film starts
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by showing the protagonist, Zainab (Humaima Malick), about to be hanged. She tells her story to
media right before this happens. She grew up with six sisters, a mother and a father. The father
always wanted a son so that the son could help with the financial issues of the family; the father
doesn't believe in women being gainfully employed. They have a transgender child named Syed
Saifullah Khan or Saifi (Amr Kashmiri). The father (Hakim) doesn't like Saifi since he is
transgender. Saifi is deeply loved by the rest of her family. Zainab is married to a guy who keeps
harassing her for not giving birth. Hence, she comes back to her father's house. Zainab's mother
keeps having babies that are born dead. Zainab arranges a tubal ligation for her. When Hakim
(Manzar Sehbai) finds out, he becomes very angry. One day, Zainab sees Saifi dressed in
womens' clothes and gets very disturbed. Hakim owns a small traditional pharmacy and is
approached by a man who asks him to teach The Quran to kids, since Hakim is a very religious
man who has bonds with the mosque. Hakim initially refuses because the man, Saqa (Is-haq), is
running a brothel. Meanwhile the mosque gives him some money to keep, since they have faith
in him to be reliable. Mustafa (Atif Aslam), a fellow citizen gets Saifi a job at a place where they
decorate trucks. There, Saifi is harassed because others victimize against her identification. One
day Saifi is raped. Another transgender person, played by Almas Bobby (who in real life is a
transgender person), finds her and takes her home. Hakim hears Saifi telling her mother and
Zainab what occurred. Afterward when everyone is sleeping, Hakim chokes Saifi to death with a
plastic bag. He must bribe the police officer to keep it a secret with two lakhs. Hakim is forced to
take cash out of the masjid funds. The masjid relevant person asks for the funds, and Hakim
doesn't have sufficient money. He is forced to go to the Saqa's house to get it. Teaching children
The Quran is not giving him enough cash, so Saqa gives him another option. Hakim must marry
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and have a baby girl with Meena (Iman Ali) who is one of the prostitutes and is Saqa's (Shafqat
Cheema) eldest daughter. Hakim keeps having girls, and Saqa tells him that it is the man who
creates the femininity. In the meantime, Zainab gets Ayesha (Mahira Khan) and Mustafa married
since Hakim found another man at the masjid and wanted to get Ayesha married to that man.
Simultaneously, Hakim marries Meena. When Hakim finds out about Ayesha's marriage, he is
furious but can't do anything about it. Meena has her baby, and it is a girl meaning Saqa gets to
keep it. Hakim begs Meena to give him the baby so that the child doesn't have to face a
horrifying future. Saqa hears and kicks Hakim out. Later on, Meena comes to give Hakim's
family the baby. At night, Saqa comes to take Meena's daughter, since Meena was not supposed
to give it to Hakim. Hakim tries to kill the daughter to keep her from a horrible future. He is
killed by Zainab with a fatal knock on the head. They hide the baby. Zainab tells Saqa that
Hakim killed the baby and threw her out somewhere; she tells him that she killed Hakim, which
is why she is being given the death penalty. Back in the present, a reporter keeps trying to prove
that she is innocent but is unable to. Zainab ends by asking that why is only killing an evil. Why
is not giving birth, without any family planning a sin. Then she is hanged. The President (Rashid
Khawaja) sees the reporter's newscast that ends with that question and schedules a meeting with
the topic as the same as the question. In the end, the rest of the daughters open up a restaurant
Film: Dukhtar
Dukhtar is a Pakistani drama thriller picture directed by Afia Nathaniel in 2014. The stars are
Mohib Mirza, Samiya Mumtaz, Asif Khan, Saleha Aref, Samina Ahmad, and Ajab Gul. The film
is Afia Nathaniel's feature directorial presentation and she also wrote and produced the film as
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well. It is the story of a mother and her ten year old daughter, who leave their home to save the
girl from an arranged marriage to a tribal leader. Geo Films released the picture in all over
Pakistan on 18 September 2014. At the age of fifteen, Allah Rakhi (Samiya Mumtaz) was given
in marriage to the much older tribal group leader Daulat Khan (Asif Khan), who took her from
her family in Lahore to live with him in the mounts. Now two decades later, Daulat Khan is
presented with the opportunity to make peace with rival tribe leader Tor Gul (Abdullah Jaan) and
he shields the deal by offering his fellow tribal chief his and Allah Rakhi's ten-year-old daughter
Zainab (Saleha Aref) in marriage. Plagued at the prospect that her daughter's life might be a
replication of her own, Allah Rakhi flees with the oblivious young girl in tow. Followed by
Daulat Khan and Tor Gul's henchmen and knowing that she is highly visible as a single-handed
woman on a mountain road, Allah Rakhi manages to get a lift for her and Zainab by lying to a
sympathetic truck driver, Sohail (Mohib Mirza). When Sohail learns of the real reason for Allah
Rakhi's flight, he is forced to decide whether he will endanger his own life to deliver mother and
Film: Bachaana
Bachaana is a romantic thriller film starring Sanam Saeed and Mohib Mirza and is directed by
Nasir Khan as well as produced by Rizwan Saeed. The film was released on 26 February 2016
under the production banner Big Film Entertainment. A bubbly Indian girl named Aalia (Sanam
Saeed) in trouble is forced by conditions encompassing her husband Jhangir (Adeel Hashmi) to
place her faith in a Pakistani cab driver, Vicky (Mohib Mirza) who she meets by chance in
Mauritius Airport, who then takes it upon himself to make Aalia's safe return to India possible.
Along the way, the two find themselves in a whirlwind of doubt, narcotics, criminally fast
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driving, secrets and of course, romance (Bachaana, 2016). The film was a feature directorial
Khuda Kay Liye is a drama film directed by Shoaib Mansoor and film stars Shaan, Fawad Khan,
Iman Ali in essential starring role with a special appearance by Naseer Uddin Shah. The film
follows Mansoor and Sarmad, role played by Shaan and Fawad Khan, two singers whose lives
changes after the happening of terrorist attacks in USA and misjudged the teachings of Jihad.
Khuda Kay Liye was released on 20 July 2007 in Pakistan as well as the screenings at various
global film festivals. The film consequently won a number of honors for its acting, particularly
Roberto Rossellini Award, Silver Pyramid Award at Cairo International Film Festival, Italy and
Fukuoka Audience Award at Fukuoka International Film Festival, Japan. Apart from
international tributes, Khuda Kay Liye received diversified appraisals with critics praising the
story and acting. Commercially the film became the highest-receiving Pakistani film of 2007
domestically, was declared super hit by the Pakistani cinema box office. The story starts,
Mansoor and Sarmad, the two successful singers from Lahore. Sarmad eventually gets
influenced by an Islamic activist Maulana Tahiri, as he begins to practice Islamic way of living
and gives up his music career as it is measured "haraam" by the Islamic community. Maryam
(Mary), a westernized British Pakistani girl, falls in love with Dave from the British society.
However this dissatisfies her daddy, who is hypocritical, despite himself having a live-in
relationship with a British lady. In the meantime Mary's dad plans to take her for a trip to
Pakistan to meet Sarmad and Mansoor. While touring FATA, she gets deceived by her father to
marry her cousin Sarmad. Mary forcefully gets married and abandoned in her household. In an
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escape effort, Mary attempts runs from the village but gets caught by Sarmad. He eventually
consummates their marriage by force as a sort of punishment so that Mary would not escape
again. Mansoor goes to a musical school in Chicago, where he meets Janie. They both eventually
fall in love with each other and Janie even leaves alcohol for him. Though soon after the events
of terrorists attacks, Mansoor gets arrested by FBI, due to his Islamic background and gets
imprisoned for a year. Mary is rescued by Sarmad's father under the protection of the British
government. A devastated Mary takes her father and cousin to court in Pakistan. Wali
(Naseeruddin Shah) a Maulana, then explains to the court how Islam is being misused in the
name of war and hatred, conveying the religion forward in a believable and peaceful manner.
Distressed by all the suffering he has seen and caused Sarmad withdraws from the case. He also
realizes the damage that he was made to do in the name of faith. Mary is now free and returns to
the village where she was kept convict so she can educate the girls there. In the meantime,
Mansoor is still in FBI custody after a year of torment, the last torture session having inflicted
permanent brain damage. After a failed rehab attempt, he is deported and reunited with his
Findings
The semiotic analysis of selected films indicated that women were not generally presented in
authoritarian and dominant manners but in selected films through dialogues, scene and context
patriarchy was challenged. Women were not presented as expectations by male partners. The
stereotypical representation was not used and it was step forward to show independent and
The character performed by Humaima Malik was central and courageous to speak out
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against any discrimination. She stood up and despite severe beating, she never give up. The
outstanding performance, solid character and dialogues all in all represent a very powerful role
of women.
In Dukhter, the role of mother, who is living in dangerous area but the brutality cannot
stop her. Only a mother (women) can protect her children from any discrimination and in
patriarchal social structure, the mother till enjoys the power. When father decided marriage of
her 10 years old daughter to 60 years old man, she took this girl and face all hardship to protect
her daughter. The dominant role of women as mother was shown against the social crime that is
child marriage.
The courageous role of girl in Bachana indicates the constant struggle of her life and she
despite all problems she keeps on. The story show that if a girl is trapped then how she can
survive and can bring actualities to world. The most used tagline “Larki Larki hoti hai”, in film
apparently indicate a chauvinistic stance that a man can only save a girl. In fact, the film features
a gloriously spunky heroine who is both athletic and intelligent. She runs and jumps faster than
male counterpart and intelligently plan her escape from any danger. In one scene, she saves the
The film “Khud Kay Lye” was primarily focused on misconception against Islam but the
remarkable role of Iman Ali against her forced marriage imprints on the mind of audience.
Films have a uniquely powerful ubiquity within human culture. Cinema has become a powerful
vehicle for culture, education, leisure and propaganda. The influence of films is countless, the
narrative and representational aspects of film make it a wholly unique form of art. Film is a
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reflection of society, both present and past and its innovations sometimes have to catch up to
society but sometimes it leads society too. Movies are stories; movies are people who come out
with ideas about something they want to say something they want to tell someone. Movies are a
form of communication and that communication comes from societies not just where society is
presently and what it’s doing now but where society has been. It’s been that way for as long as
movies have been around. There is no gain in saying that films have a tremendous influence in
the society. Cinema has perhaps the greatest potential to be the most effective mass media
instrument. Besides proving cheap entertainment for masses, it can easily become a means of
mass instruction and mass education. Movies have proved to be one of the best mediums of mass
communication. You can escape in a wonderland and forget your worries for those brief three
hours when you see the workings of terrorist operations or just get that good old feeling of being
surrounded and supported by your loved ones. Directors and producers of the films, they’re
good, they’re bad but they do leave you thinking for a while. Today Pakistani cinema has
changed the concept of traditional women in society and challenged the patriarchal ideologies in
films. The selected movies have covered so many social issues to break the stereotype thinking
of Pakistani society. In selected movies the story has been changing the society. Bol, Dukhtar,
Bachana, Khuda ke liye are the bold movies thus some will find it hard to confess that they have
seen it. The subject of the movies is no doubt very bold, challenging the patriarchy and feminist
ideology is portrayed in it beautifully. After analyzing the selected films the researchers find that
the theme of the films is very courageous, sensitive and very important in today’s situation. The
films create lot of queries in viewer’s mind and are a thought provoking. The Researchers have
conducted a descriptive analysis of the movies focusing on patriarchy and feminist philosophy.
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The researchers find that the film directors and producers of the selected movies have projected
feminism very strongly and also challenged the patriarchal ideologies in our society. In our
society females are not treating equally. The examination of the movies shows that liberal
feminist ideology and patriarchal issues is the base of the script. Such as liberal feminism is the
movement which voices for the rights of women. These rights include political rights,
reproductive rights, basic human rights, economic rights; realization of self, etc. The analysis
shows the symbolic place of women in the material displayed in films and the analysis of
selected movies shows that female characters in the movie represent liberal feminism and
patriarchal issues very strongly. Language used by all female characters reflects that they are
well aware about their identity and abilities. The analysis of the selected movie shows that
characters in the film either male or female are projecting certain ideologies. The male characters
are presenting concept of patriarchy, male domination yet their gestures, beliefs, language and
controlling attitude are projecting the ideologies of the patriarchal character strongly. To show
the patriarchal thought, they are shown with a complete control over their household and taking
all the decisions from birth to death. Instead characters of female are projecting different
feminist ideologies and are the representation of liberal feminism. They are challenging
patriarchal beliefs, fully confident women who have a complete realization of self. Bol, Dukhtar,
Bachaana, Khuda ke liye have set a new precedent in filmmaking in Pakistan. The films
powerful story is met with equally strong visuals that collectively showcase what Pakistani talent
is all about. Bol, Dukhtar, Bachaana, Khuda ke liye highlight various subject that desperately
needs attention in our society. As a harbinger to the much touted 'Revival of Pakistani Cinema',
Bol, Dukhtar, Bachaana, Khuda ke liye highlight the strengths of the Lollywood industry. A
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strong plot, fabulous music, good actors and sound direction has made the revival possible in
Pakistani cinema industry. Bol, Dukhtar, Bachaana, Khuda ke liye are hard hitting movies and it
has lot of margin for research as it is based on many social issues. Although the movies also
receive a huge criticism nevertheless the level of gratitude is higher than censure. Bol, Dukhtar,
Bachaana, Khuda ke liye are based on many social issues like corruption, concept of prostitution,
lack of education, patriarchy, status of women as well as then their justification with religious
* Dr. Zahid Yousaf is the Chairman Centre for Media and Communication Studies, University of
Gujrat.
* Dr. Malik Adnan is an Assistant Professor at the Centre for Media and Communication
* Iffat Ali Aksar is an Assistant Professor Media Sciences, Shaheed Zulfikar Ali Bhutto Institute
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