'Bad' Women of Bombay Films

Saswati Sengupta, Shampa Roy and Sharmila Purkayastha are Associate Professors of English at Miranda House, Delhi University, who explore the social and material relations in cultural narratives. As part of the Miranda House collective they have engaged with a classical Sanskrit text (Revisiting Abhijñānaśākuntalam, Sengupta and Tandon ed., 2012) and a modern Indian novel (Towards Freedom: Critical Essays on Rabindranath Tagore’s Home and the World, Sengupta, Roy and Purkayastha ed., 2007) before turning to the 'Bad' Women of Bombay Films.Outside their collective endeavour, Saswati has contributed to Goddesses:The Oxford History of Hinduism(2018), and her novel, The Song Seekers (2011), was long listed for the DSC award for South Asian Literature. Shampa has published In Zenanas and Beyond (2011) and Gender and Criminality in Bangla Crime Narratives (2017). She also translates earlyBangla crime narratives into English. Sharmila is currently working on women’s prison writings of the 1970s in India and in Latin America.

• 1. Introduction: Breaking Bad.- The Disorderly Presence at Home.- 2. Desire, Deviancy and Defiance in Bombay Cinema (1937-1960).- 3. “haan, haan mein alaida hoon!” (Yes, yes I am different!): the Disorderly Bibi in Sahib, Bibi aur Ghulam (1962).- 4. The Goddess of Mean Things: the Mother-in-law in Hindi Films.- 5. “ek admi tha, usne shadi karli!” (“There was a man who got married!”): Female Agency and Domestication in Omkara (2006).- The Business of the Body.- 6. The Politics of Sanitisation / Sanskritisation: the Court Dancers and Classical Pasts (Rajnartaki, 1941; Chitralekha, 1964; Amrapali, 1966).- 7. Goddess, Saint and Journeying Soul: Courtesans and Religion in Bombay Cinema (1939-2015).- 8. The Prison-House of Performance: the Figure of the Dancing Girl in Bombay Films of the1960s.- 9. Guns, Gangsters and “Gandagi”: the Moll in Hindi Cinema.- 10. Sex Workers in Hindi Cinema: Imagos and Realities.- The Question of Violence.- 11. The Caged Woman: Female Guilt, Desire and Transgression in Bandini (1963).- 12. “itni bhhi mahaan main nahi hoon, raja!” (“I’m not that great, O king”): the Angry Young Woman of the 1970s.- 13. Outcast[e] / Outlawed: The Bandit Queen (1996).- 14. The Female Atankvadi: Gender, Militancy and the Politics of Representation in the late 90s.- 15. Honoured Mother and ‘Honour’ Killing: Ammaji in NH10 (2015).- The Advent  of the New Woman.- 16. Of Pallus and Pants: Fabricating the New Woman of the New Nation.- Andaz (1949), Mr. and Mrs. 55 (1955), Shri 420  (1955).- 17. Consumer Pleasures and Hindi Cinema’s En-gendered Distribution of Moral Capital in Hum Aapke Hain Koun (1994) and Zindagi Na Milegi Dobara (2011).- 18. Twenty-first century Heroines: Modernity in Cocktail (2012), Queen (2014) and Highway (2014).- 19. Curiosity, Consent and Desire in Masaan (2015), Pink (2016), Lipstick Under My Burkha (2016) and Veere Di Wedding (2018).- The Screening of the Actress.- 20. “naye naam nit naye roop dhar” (Don new names and new forms daily): the Figure of the Actress in Hindi Cinema.- 21. Playing Anaarkali: Gender, Morality and Erotica.