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Introduction Matrimonial ads, also known as marriage ads, are a common feature in newspapers and online platforms. They are usually placed by families seeking suitable partners for their sons or daughters. These ads often include information about the age, education, profession, and family background of the individual being sought. However, when it comes to the depiction of women in matrimonial ads, there are some troubling trends that have emerged. Women being placed in boxes based on their size, looks, stature and weight is no new thing. Just when we think we as a society have given up on labeling women based on their physical qualities, the subtlest of indicators of our sexist stereotypes make it to the surface. Reduced to Objects: A Deep Dive into the Types of Matrimonial Ads That Objectify Women 1. "Fair-skinned bride" ads - In some cultures, there is a preference for fair skin, and this is often highlighted in matrimonial ads. Ads that seek "fair-skinned brides" can be seen as objectifying women based on their skin color and perpetuating colorism. 2. "Homely bride" ads - In some cultures, there is an emphasis on women being "homely," which often means they are expected to be submissive and take care of household duties. Ads seeking "homely brides" can be seen as objectifying women by placing emphasis on their domestic abilities rather than their personal qualities. 3. Ads specifying physical attributes - Some matrimonial ads specify physical attributes such as height, weight, and appearance, which can be seen as objectifying women and reducing them to their physical appearance. 4. Ads emphasizing dowry - In some cultures, a bride's family is expected to provide a dowry to the groom's family. Ads that emphasize the dowry can be seen as objectifying women by placing a monetary value on their worth. For instance, "Looking for a fair, slim, and beautiful girl for our handsome son who is working as an engineer in a reputable company. The girl should be well-educated, homely, and willing to relocate to the US. No dowry required." In this example, the focus is on the physical appearance of the woman rather than her personality or qualifications. The ad also suggests that the woman's primary role is to be "homely" and support her husband's career, rather than pursuing her own ambitions. ThisVreinforces harmful gender stereotypes and perpetuates the idea that women's value is primarily based on their looks and domestic abilities. This Viral Matrimonial Ad is proof women are Objectified even now Recently, a matrimonial ad has drawn the ire of the internet with its weird specifications for a bride. The advertisement made by Mr. Aggarwal had specifications including, but not limited to, the woman’s bra, waist, and feet size. The ad was posted by a man seeking a bride on a matrimonial site called Betterhalf.ai and has been widely circulated on social media recently. Ditching the traditional “slim, fair and tall” for a much more specific and equally problematic set of requirements, the man said he was seeking a woman who was “5’2 to 5’6” and measured “32b to 32c, size 12-16 (waist) and size 6-7 (feet).” The demands don’t end there. The man went on to list several “qualities” that his ‘better half’ (indeed!) had to possess. The ad specified that she should be conservative but also liberal, fun but down to earth, and “be into wearing costumes in bed”. The woman should also love dogs and have no children and be anywhere between 18 to 26-years-old. The use of dating apps has become increasingly popular in recent years, with millions of people around the world using them to find potential partners. However, many of these apps use advertising that objectifies women, perpetuating harmful gender stereotypes and promoting unrealistic beauty standards. This is problematic on so many levels as this reveals the man’s misogynistic ideals. Any woman who fits this size shall not always remain within his ‘boundaries’ thus proving that women need to be continuously altered to fit a man’s demands. In a society as progressive as ours, any person would know this is the first red flag, not just for women, but for maintaining a relationship as such. Tailoring a woman for a man is an easy sign of patriarchy and such signs are not subtle at all, which isn’t something to be happy about. This demand only shows that he’s looking, not for a partner, but for someone to be at his beck and call, thus reflecting on his upbringing, as to how he was taught to view women. “Be into wearing costumes in bed”. Following the age-old adage of women satisfying men, this is a red flag no one can ever miss. This is deeply deceptive on so many levels as this agrees with the constraints that women need to be subordinate to men and their self-acceptance is only in making a man feel pleasured. “have no children” This is a problematic statement that is prevalent in many households. Not the fact that he dictates her to not have children, but the fact that he thinks he has the right to decide her preference to become a mother or not. Women have always been molded into three important characters: a daughter, a wife, and a mother. If she fails to oblige to be one, she’s immediately termed unethical or unlawful and it is saddening to know that not many women even know that such branding of their identity is wrong. When you teach women that their identity is only useful to a male counterpart, they fail to realize that they have a purpose otherwise. Fitting women into sizes, roles, statuses, looks are subtle indicators that we as a society, still give in to patriarchy and a thin lining of tradition is to blame too. Tradition dictates our women to be ‘goddesses,’ ‘mothers’ and the ‘kula vilaku’ (light of the clan) in so many households and thus, unknowingly, women are idealized to be a particular shape, size, and person. We need to realize that women’s shape, body, bust size, or even ability to conceive children aren’t what makes women ideal. An ideal woman knows to split her identity from her purpose. Understanding of a woman’s roles and powers and even the tiniest ray of consent requires a good upbringing, an unbiased mode of education, and definitely an open mindset. Are we, as a society, ready to raise our women better? Are we ready to teach men to treat our women better? Conclusion The objectification of women in matrimonial advertisements is not only harmful to women, but also to men and to society as a whole. It perpetuates gender inequality, reinforces harmful stereotypes, and can contribute to negative attitudes towards women. It is important for dating app companies to recognize the harm caused by objectifying women and to take steps to eliminate it from their advertising. This includes using more diverse and inclusive imagery, avoiding language that objectifies women, and promoting healthy and respectful attitudes towards all genders.

Introduction Gym campaigns are a popular marketing strategy for fitness-related products and services. They often feature images of people working out, showing off their toned bodies and promoting the idea that achieving a certain physical appearance is the ultimate goal of fitness. Unfortunately, these campaigns often objectify women, reducing them to mere objects of male desire and perpetuating harmful stereotypes about beauty and femininity. One of the most common ways that women are objectified in gym campaigns is through the use of sexualized imagery. Ads often feature women wearing revealing clothing, posing in sexually suggestive positions, or being depicted as objects of male desire. This not only reinforces harmful gender stereotypes, but it can also create unrealistic beauty standards that can be damaging to women's self-esteem and body image. From Strength to Sex Appeal: Gym Ads that Objectify Women and Perpetuate Harmful Stereotypes There have been many instances where gym ads have been criticized for objectifying women. Here are a few examples: Protein World "Beach Body Ready" Ad - In 2015, Protein World released a controversial ad featuring a bikini-clad model with the slogan "Are you beach body ready?" Many people found the ad to be sexist and body-shaming, and it sparked a backlash on social media. Equinox "Commit to Something" Campaign - In 2016, luxury gym chain Equinox released a series of ads featuring provocative images of women and men with slogans such as "Commit to Something" and "It's not fitness, it's life." Some people found the ads to be objectifying and promoting unhealthy body ideals. David Lloyd Clubs "Welcome to the Family" Ad - In 2019, David Lloyd Clubs released an ad featuring a woman's body with the tagline "Welcome to the Family." The ad was criticized for objectifying women and promoting unhealthy body ideals. Fit4Less "Body Goals" Ad - In 2019, budget gym chain Fit4Less released an ad featuring a woman's body with the slogan "New Year, New Body Goals." The ad was criticized for promoting an unrealistic and unhealthy body ideal. However, there have been several instances where gym ads and campaigns have faced legal action as a result. One example of this is a 2019 lawsuit filed by the National Eating Disorders Association (NEDA) against popular gym chain, Life Time Fitness, for their "commitment day" ad campaign. The campaign featured images of women's bodies with slogans such as "commit to something, even if it means sacrificing everything," which many people found objectifying and promoting unhealthy body ideals. Another example is a 2016 lawsuit filed against Gold's Gym by a franchise owner who was appalled by the gym's "dumbbell ad" featuring a woman's body with the tagline "this is no shape for a girl." The lawsuit claimed that the ad was discriminatory and harmful to women. "The Price of Perfection: Exploring the Psychological Effects of Sexualized Fitness Advertising on Women" Sexualized fitness advertising has become increasingly common in recent years. Many advertisements for fitness products and services feature images of women with highly sexualized poses, attire, and themes. These advertisements can have a significant impact on women's psychological well-being, including their self-esteem, body image, and sexual attitudes. One of the most significant psychological effects of sexualized fitness advertising is the negative impact it can have on women's self-esteem. Women who are exposed to sexualized advertisements may begin to feel that their value is based solely on their physical appearance and their ability to conform to narrow beauty standards. This can lead to feelings of inadequacy, low self-esteem, and even depression. Sexualized fitness advertising can also contribute to negative body image among women. Ads that feature highly sexualized images of women often promote an unrealistic and unattainable beauty ideal. Women who are exposed to these images may begin to feel that their bodies are inadequate and that they should strive for a more "perfect" physique. This can lead to unhealthy behaviors such as disordered eating and excessive exercising, which can further damage their physical and mental health. Moreover, sexualized fitness advertising can also have an impact on women's sexual attitudes and behaviors. Advertisements that present women as sexual objects may contribute to the normalization of objectification and the acceptance of sexual harassment and assault. Women who are exposed to these advertisements may also begin to view their own sexuality through a narrow and objectified lens, leading to feelings of shame or discomfort around their own bodies and sexual desires. Celebrating the Body Female Athlete Endorser Showing Mental Benefi ts of Exercise Sexualizing the Body While it is now more normal for women to be portrayed as strong and successful athletes, females are still commonly presented as a sexual object, which is shown as the reason for their achievements. One content analysis found that 81% of women portrayed in advertisements were partially unclothed or sexualized (Grau, Roselli, & Taylor, 2012). Bissel's study (2004) on collegiate athletes' social comparisons to elite athletes revealed that sexualized images negatively influenced collegiate athletes' satisfaction with their body. Conclusion The objectification of women in gym campaigns is not only harmful to women but to society as a whole. It reinforces harmful gender stereotypes, promotes unrealistic beauty standards, and can contribute to negative attitudes towards women. It is important for gym companies and marketers to recognize the harm caused by objectifying women and to take steps to eliminate it from their advertising. This includes using more diverse and inclusive imagery, avoiding language and stereotypes that objectify women, and promoting healthy and respectful attitudes towards all genders.

Introduction Tobacco companies have a long and controversial history of using women in their advertising campaigns. For decades, tobacco ads have depicted women as glamorous, sophisticated, and liberated smokers, perpetuating the notion that smoking is an empowering and desirable behavior for women. The use of women in tobacco ads can be traced back to the early 1900s, when tobacco companies began targeting women as a new market for their products. At the time, smoking was seen as a taboo behavior for women, and tobacco companies needed to find a way to overcome social stigma and make smoking more acceptable. Vintage Ads: Sexualising women The use of women in tobacco ads can be traced back to the early 1900s, when tobacco companies began targeting women as a new market for their products. At the time, smoking was seen as a taboo behavior for women, and tobacco companies needed to find a way to overcome social stigma and make smoking more acceptable. One of the most iconic examples of women in tobacco ads is the "Marlboro Man," a rugged cowboy who became the face of Marlboro cigarettes in the 1950s. However, as the popularity of filtered cigarettes grew in the 1960s and 1970s, tobacco companies shifted their focus to marketing to women. In the 1960s, tobacco companies began using female models to promote their brands, portraying them as confident, fashionable, and glamorous smokers. The ads featured women in a variety of settings, from cocktail parties to outdoor adventures, and often included slogans like "You've come a long way, baby" and "The greatest taste around." Case study: Old gold cigarettes When they started printing images of ladies in costumes on the sheet of cardboard used to hold the shape of the cigarette pack — a forerunner to baseball cards — the tobacco business started employing such strategies in the 1880s. 1. In this 1939 ad, who is “worth hooking up with”? Betty Petty or Old Gold cigarettes? 2. In 1940, Betty Petty became a redhead 3. This 1940 cigarette ad is an excellent example of using sex appeal to sell. 4. In 1950, Old Gold claimed their cigarettes were a “treat” and that they didn’t cause health complications. Conclusion While these ads may have been effective in attracting women to smoking, they also had negative consequences. Studies have shown that the use of women in tobacco ads is associated with increased smoking rates among women and girls, as well as the perpetuation of harmful gender stereotypes. In response to these concerns, many countries have implemented regulations to limit the use of women in tobacco advertising. In the United States, for example, tobacco ads featuring women have been banned since 1998. Despite these regulations, tobacco companies continue to use women in their marketing campaigns in some parts of the world. This has led to ongoing debates about the ethics of using women in tobacco advertising and the impact it has on public health.

Introduction The portrayal of women in alcohol ads has been a subject of controversy and debate. Some ads have been criticized for objectifying women, using sexual imagery and innuendos to promote alcohol products, and promoting harmful drinking behaviors. Research has shown that the depiction of women in alcohol ads can have a negative impact on both men and women, reinforcing gender stereotypes and promoting risky drinking behaviors. Some studies have found that exposure to alcohol ads featuring women can lead to increased alcohol consumption among both men and women. Alcohol advertisements, in particular, routinely portray women as sexual objects and often link alcohol consumption to sexual success; therefore, exposure to such content may be negatively associated with people’s intentions to intervene in alcohol-facilitated sexual assault situations. Print ads of alcohol companies 1. Original Red Objectifies a woman’s body as an object in this ad. A woman's body is used to represent the shape of a bottle in the hands of a man. 2. Three Olives Objectifies a woman’s body as a drink to be consumed. Presents women as something to have and own and consume. The woman also isn’t covered up very much, exposing her body. 3. Four Loko This is objectification in its most basic form. Her breasts are conflated with the cans. Also her face isn’t even shown, placing more emphasis on her body. “Now Available Legally” printed across her chest is the worst part! 4. Budweiser Uses the bathing suits that the three women are wearing in this ad to blend directly with the brands’ label, making the woman connect to and become the object in representation- the beer. 5. Skyy Vodka This beer ad illustrates the body of a woman as a bottle of beer. This ad perpetuates the idea of women as an object and as something to be “consumed” by men. Impact Alcohol ads can influence men and women to sexually coerce partners An experimental study found that objectification of women in alcohol advertisements prompted some male and female college students to manipulate others for sex. Young men and women who displayed strong gender stereotype ideas were more likely to engage in sexual coercion, according to the study, which was conducted under the direction of academics at Washington State University. Young men who watched alcohol advertisements with highly objectified female models were more susceptible to this association. The researchers also discovered that women who aspired to look like the female models in the advertisements were more likely to express plans to persuade another person into having sex without even drinking. Lead author Stacey Hust, a professor at WSU's Murrow Faculty of Communication, asserted that alcohol commercials have consequences beyond just persuading viewers to drink. There was an intriguing link between wishful identification and compulsion without alcohol for women. The study evaluated various alcohol advertisements on roughly 1,200 college students and was published in the Journal of Interpersonal Violence. One group of subjects viewed actual commercials that heavily fetishized women by using models in scant or no clothing. Another group watched advertisements that had been altered to decrease the objectification, such as dressing up a model who had worn a bikini in the original advertisement. Two advertisements were used in the experiment: a genuine Bacardi ad (left) and one that had the female model's objectification reduced (right). The participants responded to questions regarding their opinions of the advertisements, their acceptance of gender stereotypes, their expectations regarding sex and alcohol, and their own intents to coerce others into having sex with or without alcohol. A variety of bad and prohibited activities fall under the category of sexual coercion, including lying to someone, verbally pressuring them, and offering them alcohol in exchange for having sex. For instance, one of the study's questions questioned participants if they would fake liking someone simply to have sex with them or if they would still engage in sexual activity with someone even though they thought it would make their partner feel used. It's interesting that the researchers discovered that not all individuals' intentions to use sexual coercion were influenced by the alcohol advertisements. Instead, they only had a detrimental effect when the participants held particular views, such a bias against women or a desire to identify as the female role models. The result supports earlier research that links sexual coercion and other sexually violent behaviours to gender stereotypes that portray men as sexually aggressive and women as submissive. “Most programs that talk about sexual violence focus on consent or bystander intervention, which is good, but there’s a wealth of studies out there that also show a tie to gender stereotypical beliefs,” said Hust. “If we start prevention programs that debunk gender stereotypes when kids are young, then hopefully over time we can impact these negative behaviors.” Starting earlier with media literacy education would help too, Hust added, noting that ads for non-alcoholic beverages often use similar appeals and strategies to those used by alcohol ads. “We don’t have to wait until young people are of drinking age to help them be more critically aware of advertisements,” she said. “If we start in the elementary years, then it’s a natural transition for them to apply those tools to products that are more dangerous.” Conclusion In recent years, there has been a growing movement to challenge the way women are portrayed in alcohol advertising and to promote more responsible and gender-sensitive advertising practices. Some companies have responded to these concerns by adopting more inclusive and respectful advertising strategies. Overall, it is important for advertisers to be mindful of the potential impact of their advertising on consumers, including the ways in which they portray gender roles and promote drinking behaviors.

Introduction "The male gaze" is a term used in film theory and criticism to describe the way in which the camera and the narrative of a film are often designed to cater to a male audience, objectifying and sexualizing women in the process. "Emily in Paris" is a TV series that has been criticized for its portrayal of women and its use of the male gaze. However, it is possible for "Emily in Paris" to subvert or challenge the male gaze at times. For example, the show's protagonist, Emily, is a young, confident woman who is not afraid to speak her mind and take charge of her own life. In some scenes, the camera lingers on Emily's body, but it is not always presented in a sexualized or objectifying manner. In fact, some scenes deliberately undercut the male gaze, such as when Emily confronts a male colleague who has been making inappropriate comments about her appearance. The perfume commercial controversy Emily criticizes a perfume commercial where a woman walks naked across a bridge under the gaze of three men, Sylvie tells her: “I don’t have such a simplistic way of seeing men and women.” Sylvie, being bold and independent, is convinced that through the male gaze, women acquire power and sexual liberation. The male client also goes on to explain how the model is wearing nothing but the perfume, which is meant to empower her by giving her sex appeal. Emily then asked if the idea of this male gaze is ‘sexy or sexist?’ This shows how much one’s cultural background influences one’s interpretation of feminism and the role of men and women. In addition, some of the show's supporting characters—including Emily's supervisor Sylvie and her friend Mindy—are shown as complicated, fully-formed people with their own goals and objectives rather than as objects for the masculine gaze. As a result, even if "Emily in Paris" has drawn criticism for how it portrays women, there are times when it subverts or confronts the masculine gaze. The female perspective on this series comes from Sylvie, Emily's boss and the head of the Parisian marketing agency "Savoir." She is a capable supervisor who understands what she is doing, completes her work on time, is strict, and takes the initiative. We would perceive a guy with those qualities as a powerful and effective leader, but because we have a tendency to assume that women are always kind and soft, we are trained to perceive Sylvie and other women like her as negative characters. She just seems to me to be much more professional. She does act as Emily's supervisor in a number of instances, and she also gives Emily the advice to "Live and make errors" in Paris. Also, we may relate to the characters because of their gray tones. Everyone is not black and white, just like in real life. Treating exploitation and disrespect as jokes The #MeToo movement was intended to draw attention to all the ways that women are often placed in dangerous and exploitative situations. The discomfort and risk are satirised by Emily in Paris as though they no longer exist if we take ownership of them. The programme displays a distinct and unhealthy pattern. Women begin appearing to be at ease when we make fun of them for being uncomfortable with unwanted sexual advances. Because of their lack of "prudence," they are "respected," which is actually rather demeaning. The implication is that true empowerment, such as recovering gendered French nouns, could be the focus if we could just learn to take the improper less seriously. The issue with Emily in Paris isn't its humorous approach, its ostentatious costumes, or even its erroneous portrayal of Parisian life. The issue is that, even in the context of "guilty pleasure" television, women should be treated with respect. Criticizing the sexualization of women in the media while downplaying sexual harassment and non-consensual sex is more than just a pointless, dumb script. That isn't the worst of it. Like adding poison to your cafe latte, adding toxic scripts to an ideal French tale. If women can't expect respect in a silly, entertaining programme like Emily in Paris, what hope do we have for real life? Conclusion In India, male and female characters are not generally portrayed similarly in terms of sexuality in the media and in movies. Typically, a man's extremely liberated lifestyle is lauded, and having several lovers is accepted as natural since "ladke toh aese hee hote hain" (Men will be men). In "Emily in Paris," this is not the case; she is never chastised for kissing or having affairs with other guys. Her actions aren't praised either, they're just not talked about. I believe these ideas of feminism may vary, just as we know how subjectively different cultures interpret the word "shame." The show, in my opinion, has more to offer than just Chanel handbags, Parisian culture, and baguettes!

Introduction Various local OTT platforms (such as ALT Balaji and MX player) in India boast high viewership figures for mature content—a genre that is witnessing heavy investment and is slated to grow further. In a society that has historically shied away from overt or explicit depictions of sex, is the growth in easily accessible adult content a sign of normalising conversations around sex, or a further reinforcement of regressive gender norms? Does it indicate sexual liberation or a double-down on taboos? Has the male gaze shifted at all? One particular point of contention related to this has been visual media’s role in depicting gender and sexuality—specifically the portrayal of women. This is especially evident in content that has sexual undertones, in particular, pornography and erotica. Various feminist authors argue that female depictions reinforce archaic stereotypes such as, being weak and sexually submissive, which is measured mostly by physical beauty and appearance. Such characterisations play into stereotypes and, in effect, do not create critical friction required to further the feminist cause. Thereby making it difficult to drive contemporary female narratives. With the rise of local and global OTT platforms, there has been a significant increase in the production as well as consumption of mature content. In order to truly understand its role and impact, it is important to place it in the context of other forms of media, as well as understand what it is truly depicting. Is it taking us forward or backward when it comes to conversations on gender and sexuality? Why do web series objectify women in the first place? Web series, like other forms of media, can objectify women for a variety of reasons, including cultural and historical factors, the influence of the male gaze, and the profit-driven nature of the entertainment industry. One factor is the historical context of the entertainment industry, which has a long history of objectifying women in order to appeal to male audiences. This objectification can take the form of sexualization, objectification, and the use of harmful stereotypes. Another factor is the influence of the "male gaze," which refers to the way in which media is often created from a male perspective, with the camera and narrative designed to cater to a male audience. This can result in the sexualization and objectification of women, as they are often portrayed in ways that cater to male fantasies and desires. Finally, the profit-driven nature of the entertainment industry can also contribute to the objectification of women in web series. Many media companies prioritize profit over social responsibility, which can result in the creation of content that objectifies women in order to attract viewers and generate revenue. From the portrayal of female characters to the use of camera angles and framing, OTT platforms objectify women in several ways One way in which web series objectify women is through the portrayal of female characters. Women are often depicted as one-dimensional characters whose sole purpose is to serve as love interests or sexual objects for male characters. They may be dressed in revealing clothing or engage in sexual behavior solely for the purpose of titillating male viewers. Another way in which web series objectify women is through the use of camera angles and framing. Shots may be framed to emphasize a woman's body or sexualize her in a way that is not necessary to the plot. This can include shots of a woman's breasts, legs, or buttocks, or shots that linger on her body for an extended period of time. The presentation of sexual content can also contribute to the objectification of women in web series. Sexual encounters may be depicted in a way that prioritizes male pleasure and ignores female pleasure or consent. Women may be portrayed as passive recipients of male desire, rather than active participants with their own desires and agency. Impact There are several potential negative impacts of sexual content on OTT platforms on women. Firstly, sexual content on OTT platforms often portrays women in a stereotypical or objectifying manner, perpetuating harmful gender norms and expectations. Women may be depicted as sexual objects for the pleasure of male characters or the audience, and their agency and autonomy may be diminished or ignored. Secondly, the normalization of sexual content on OTT platforms can contribute to a culture of sexualization, where women are valued primarily for their physical appearance and sexual appeal rather than their talents or achievements. This can lead to increased pressure on women to conform to unrealistic beauty standards and to engage in sexual behavior that they may not be comfortable with. Thirdly, excessive exposure to sexual content on OTT platforms can lead to desensitization and normalization of sexual violence and harassment, which can have serious consequences for women's safety and well-being. Finally, the over-representation of sexual content on OTT platforms can crowd out other representations of women in media, reducing opportunities for women to see themselves in diverse and empowering roles. Conclusion Overall, the impact of sexual content on OTT platforms on women highlights the need for media creators to be more thoughtful and responsible in their portrayal of gender and sexuality. It is also important for individuals to be critical consumers of media, and to seek out content that promotes healthy and respectful relationships between all genders. It is also important for viewers to be critical of the media they consume and to support media that represents women in a positive and inclusive way.

Going back to the roots The sexualization of women in video games began in the early days of the industry, as video games were primarily marketed towards teenage boys and young men. The early arcade games featured male protagonists and focused on themes such as violence and competition, which were seen as more appealing to male audiences. Female characters were often added as secondary characters or love interests for the male protagonist, and were often portrayed as damsels in distress who needed to be rescued by the male hero. As video games became more popular, the role of female characters in video games began to shift. Female characters started to become more sexualized and were often designed to cater to male fantasies and desires. Female characters were given exaggerated physical features such as large breasts and thin waists, and were often dressed in revealing clothing that accentuated their sexuality. These characters were often presented as submissive and obedient, reinforcing gender stereotypes and perpetuating harmful messages about women. Games that sexualised women like anything One of the most iconic examples of the sexualization of women in video games is the character of Lara Croft from the Tomb Raider series. Lara Croft was designed to be visually appealing to male players, with her exaggerated physical features and revealing clothing. While Lara Croft was a strong and capable character, she was also objectified and sexualized in a way that reinforced gender stereotypes and perpetuated harmful messages about women. The sexualization of women in video games continued to be a prominent feature in many popular games, such as Grand Theft Auto and Dead or Alive. These games featured female characters who were sexualized and objectified, reinforcing harmful gender stereotypes and perpetuating messages about women that were both damaging and inaccurate. How to stop objectification of females in video games In recent years, there has been a growing awareness of the harmful effects of the sexualization of women in video games, and many game developers are starting to create more diverse and inclusive games. This includes games that feature strong female protagonists who are not sexualized or objectified, and games that are more inclusive of different genders and identities. Involve women in game development The video game industry should make a conscious effort to involve more women in game development. This can help to ensure that female perspectives and experiences are reflected in game design and can lead to a more inclusive and respectful approach to game development. Promote positive portrayals of women It's important to support games that feature positive portrayals of women, whether it's through their depiction as strong and capable characters or the inclusion of female protagonists. By supporting these games, we can help to promote a more positive and inclusive gaming culture. Hold game developers accountable Finally, it's important to hold game developers accountable for the content they produce. This can involve speaking out against games that objectify women, boycotting games that perpetuate harmful stereotypes, and supporting games that promote diversity and respect. Encourage diversity and representation The inclusion of diverse and well-rounded female characters in video games is key to combating objectification. Game developers should strive to create characters that represent a range of experiences and perspectives, and avoid reducing women to mere sex objects. Create more female protagonists By creating more female protagonists, game developers can help shift the narrative away from male dominance and create more inclusive and diverse games. Provide more options for character customization Game developers should provide more options for character customization, such as allowing players to choose the gender of their character and to customize their appearance without sexualizing them. Educate players Game developers should provide education and information about the harmful effects of the objectification of females in video games. This can include tutorials on how to create inclusive games and information about the importance of diversity in game development. Conclusion The sexualization of women in video games began as a result of the gaming industry's focus on catering to male audiences and perpetuating harmful gender stereotypes. However, there is a growing awareness of the harmful effects of this practice, and many game developers are starting to create games that are more diverse, inclusive, and respectful of all genders and identities. Stopping the objectification of females in video games requires a concerted effort from game developers, players, and society as a whole. By increasing diversity, avoiding sexualized representations of female characters, creating more female protagonists, providing more options for character customization, educating players, holding game developers accountable, and supporting games that promote diversity and inclusion, we can create a gaming culture that is more respectful and inclusive of all genders and identities.

Introduction Sexualized video game characters are not a new phenomenon, and it's well-known that teenagers make up a significant portion of the gaming population. With that in mind, the effect of sexualized video game characters on teenagers is a topic of considerable concern. Sexualization of female video game characters is common in many video games, and the depiction of women as objects of desire is a well-established trend in the gaming industry. The trend often extends to male characters too, but to a lesser degree. The effect of sexualized video game characters on teenagers can be complex and multi-dimensional. On the one hand, it's worth noting that not all teenagers will react to sexualized video game characters in the same way. Some may be entirely unfazed, while others may be more susceptible to their impact. Why does this happen in video games? One reason is that the gaming industry is largely male-dominated. According to a study by the International Game Developers Association, 74% of game developers identify as male. This means that many video games are created by men, for men. As a result, female characters are often created to cater to male fantasies and desires. These characters are designed to be visually appealing to men and to provide them with a sense of power and control. Another reason for the objectification of women in video games is the historical context in which video games have developed. Video games have their roots in arcade culture, which was primarily geared toward teenage boys. The early arcade games featured male protagonists and focused on themes such as violence and competition. As the gaming industry evolved, these themes remained dominant, and female characters were often added as secondary characters or love interests. Over time, the role of female characters in video games shifted from supportive roles to sexualized objects, which perpetuated harmful stereotypes. Impact The objectification of women in video games has a significant impact on women and society. It perpetuates harmful stereotypes and reinforces gender inequality. Moreover, the objectification of women in video games can have negative psychological effects on women. Studies have shown that exposure to sexualized images of women can lead to negative body image, low self-esteem, and depression in women. It can also contribute to the development of eating disorders and other mental health problems. At the same time, it's clear that sexualized video game characters can have a profound impact on some teenagers. In particular, they may contribute to negative body image and self-esteem issues, as well as the reinforcement of harmful gender stereotypes. Negative Body Image and Self-Esteem Issues One of the primary concerns about the effect of sexualized video game characters on teenagers is the potential for negative body image and self-esteem issues. Research has consistently shown that exposure to unrealistic and idealized body types can be harmful to both boys and girls. When it comes to video games, the issue is often compounded by the fact that many of these games present an unattainable standard of beauty. Female characters are often depicted with impossibly large breasts, tiny waists, and exaggerated proportions, while male characters are portrayed with chiseled abs and broad shoulders. Exposure to these kinds of images can be particularly damaging to teenagers who are still developing their ow sense of self and body image. Teenagers who already struggle with body image issues may be particularly susceptible to the negative effects of sexualized video game characters. Reinforcement of Harmful Gender Stereotypes Another significant concern about sexualized video game characters is the potential for the reinforcement of harmful gender stereotypes. In many video games, female characters are often relegated to secondary roles and are frequently depicted as submissive, weak, and overly sexualized. This sends a message that this is how women should be treated in real life. This contributes to a culture of misogyny, where women are not seen as equals and are treated as objects rather than human beings. This type of characterization can have a profound impact on teenagers, particularly young girls who may internalize these messages and come to believe that their worth is tied to their physical appearance and sexual desirability. At the same time, male characters are often portrayed as aggressive, dominant, and hypermasculine. These stereotypes can be harmful to young boys, who may feel pressure to conform to these ideals and develop unhealthy ideas about what it means to be a man. Potential for Desensitization to Sexual Violence Finally, there is some evidence to suggest that exposure to sexualized video game characters may contribute to desensitization to sexual violence. While this is a complex issue that is not entirely understood, some studies have found that exposure to sexualized video game characters can lead to a reduction in empathy toward victims of sexual violence. This is an alarming finding, and it highlights the need for more research into the potential negative effects of sexualized video game characters on teenagers. Conclusion In conclusion, sexualized video game characters can have a profound impact on teenagers. While not all teenagers will be affected in the same way, it's clear that exposure to unrealistic and idealized body types can contribute to negative body image and self-esteem issues. Additionally, the reinforcement of harmful gender stereotypes and the potential for desensitization to sexual violence are significant concerns that must be taken seriously. As parents, educators, and game developers, we have a responsibility to ensure that the video games we create and promote do not contribute to these negative outcomes. By promoting more realistic and diverse representations of gender in video games, we can help to mitigate the negative effects of objectification.

Objectification in movie roles Throughout its inception, Bollywood has used overt misogyny in its storylines. There is a strong, commanding male lead and a devoted, subservient female. There is one item song that is extremely objectifying. The lead female character is referred to as "a firecracker or a piece of flesh." She is handled and touched by the hero. The common stories that we assume to be benign often contain overtly sexist implications. For instance, the way the male protagonist frequently pursues the girl is in no way constructive. A few of the ways in which actresses encounter sexism in the business are discussed in the Bollywood Diva Song. There aren't a lot of strong female leads in movies. Stereotypes abound. The careers of actresses who defy convention ultimately fail. It's simple to replace. Strong female roles are scarce, as was already mentioned. It is important to note that the fact that a substantial majority of Indian moviegoers are men may be the cause of the dearth of female-focused films and strong roles. Movies are helped by single cinemas to surpass the $100 billion mark. The gender split is reversed in these. Many forms of sexism exist in the Bollywood industry, and women there encounter it firsthand. In addition, the sector supports sexism against women. Bollywood sexism translated in reality Actresses may face ridicule. Some can contend that films are merely entertainment and have nothing to do with maintaining the objectification of women. Nonetheless, the reality remains that film is a soft medium with the power to greatly affect people's attitudes. The huge number of crimes against women that are reported in India each year is proof of this. This is demonstrated by the fact that male Indians, in particular, believe it acceptable to post sexist polls and queries on actresses' bodies. They have no issues tweeting sexist comments in response to random ladies. The way that women are portrayed in Bollywood films as weak and ready to fall into the arms of males is the cause of this online abuse of women. This is a dangerous narrative that Bollywood continues to put forward simply in order to maximize profits. As was already said, the typical storyline frequently portrays the hero's "stalking" of the woman as something natural and even welcomed. But, this is terrifying in real life. Women don't want to go through this. Women don't want this. The sexual harassment and objectification that are depicted in Bollywood films are representative of how guys act in real life. Even if there isn't a direct link between films and crimes against women in India, films mirror our culture and online assaults frequently escalate to real ones. According to society, women must defer to men. There is a lot of victim-blaming going on, with women being told that they should have covered up, not stayed out so late, etc. This is virtually always addressed at women, seldom at men. The plotline lapped up by the audience rarely plays out in real life. The failure of Bollywood Bollywood fails to acknowledge this. All women who contact the industry are negatively impacted by sexism, which permeates every aspect of it. Rarely do actresses get the chance to play powerful, independent female characters. They play roles for the male gaze, and if they dare to rebel, they are replaced and criticized. Bollywood is ruthless when it comes to India's female population. It affects the 1.2 billion people who live there in terms of how women should behave and be treated. If adjustments are not made to the roles that are offered and the treatment that females receive, objectification in Bollywood will continue. As a result, the fundamental consensus must be altered.

Introduction The Bollywood Diva Song would keep you thoroughly entertained if your feminist ear was offended and irritated by the popularity of the sexist Badshah songs playing at every wedding and tea shop while you questioned its racist and objectifying themes. The later song makes use of the chorus "Coz I Have Vagina Re" and criticises the wage and role inequality between male and female actors in the Bollywood industry. Even if you put your name before the hero's, your paycheck will still have more zeros. In AIB's parody, a "modern ladki" is depicted as having lovers, smoking cigarettes, and offering "gaalis," which is a hypocritical and inaccurate representation of a "contemporary young Indian woman" in movies. They still require item tunes for their movies, though. One cannot possibly assume that the "kamar shot," seen from a male viewpoint, can liberate women? If only they would quit peddling myths about how item music celebrate women's bodies. The Bollywood Diva Song, a soon-to-be-viral video starring Kangana Ranaut, attracted a lot of attention for a variety of reasons. One of them involved bringing attention to Bollywood's pervasive objectification of women. Let's briefly address this in relation to the video. The entire parody dance sequence demonstrates the stereotypical treatment of female actors in the Bollywood industry. Despite being a physicist, Ranaut's character receives insulting lines for the upcoming dance routine, and the director fires her for bringing up the issue. When the male actor raises the same issue, the director doesn't appear to be bothered. It is obvious how each actor is treated in a radically different manner. The problem of sexism in Bollywood is not new; rather, it has existed for a long time and is frequently ignored. There are several ways that sexism manifests in Bollywood. Three will be examined in greater detail in this article: the media, cinematic depictions, and the transfer of sexism from Bollywood to other cultures. This is not a song about a Bollywood diva. Really, this describes the state of the film industry. The majority of movies do not use actresses as glamour. Due to female beauty and male muscle, people used to go see movies. Sexism in the media Hollywood sexism is nothing new for Bollywood stars. They are constantly subjected to news stories, online criticism, and pointless press conference inquiries. For example, a renowned Indian newspaper believed it was appropriate to tweet a snap of Deepika Padukone's cleavage, calling it "OMG! Deepika Padukone's cleavage show". Padukone replied back in a befitting reply, confirming that yes, she has cleavage and that she is a lady. That conversation alone is instructive. Men are rarely objectified in such detail by high-profile media outlets, whereas women frequently receive the reverse approach. Men's chests are something to drool over. After then, unless it's for a man's amusement, then woe betide any woman trying to claim her body. Press conferences proceed in a predictable, consistent manner. Questions about a performer's weight, romantic relationships, etc. are asked. This supports the stereotype that women have no brains beneath their attractive exterior. Male co-stars are not subjected to the same weight, marital, and relationship-related queries that Anushka Sharma is. Conclusion A particularly rich source of sexist people who appear to have been born in the 18th century can be found on Twitter. On social media, you can discover people objectifying actors and comparing their butt sizes. If an actress dares to express their own thoughts or disagree with something, you get users who resort to sexist slurs. The casual sexism directed at actors that is spread on social media by regular people is rife. It is alarming. As a result, it emphasises how objectified actresses are, even at the most basic level.

Introduction In the past, the "man gaze" has plagued film all around the world. You might be wondering what the masculine gaze is. Indeed, it's quite easy. The term "male gaze" describes how men look at things on screens. From being a masculine gaze, this has changed into what is presented to a man on screen. The act of portraying women and the world from a masculine perspective that reduces them to mere sexual objects is known as the "male gaze," and it occurs in both the visual arts and literature. Since men are nearly always the target audience, the way in which women are portrayed in movies makes female viewers regard the content as secondary to themselves. Yet, hey! Don't you think that since these theories were proposed, the world has advanced significantly? Nonetheless, it is profitable to portray women as sexual objects. It enables producers to make money. It benefits business. Thus, damn equality and women's empowerment! Women are still frequently depicted in movies as things used to fulfil a man's unquenchable needs. This trend was criticised by the feminist film theory. According to the argument, traditional film portrayed women in stereotypical ways. It promotes the idea of women playing the lead roles. It demands that the movie business be dismantled and then reconstructed fairly. Have moviemakers everywhere learned their lessons? in a large way. Have Indian filmmakers learned anything from the travesty that is Bollywood? Actually, no. What went wrong with bollywood? Indian movies consistently include gorgeous women, and up to 35% of these female characters are nudified in some way, according to a UN-sponsored global study of female characters in popular films around the world. According to the study, sexualization of female characters is far more common in Indian films, and these films perform poorly when it comes to showing women as engineers and scientists as well as in speaking roles. India tops the list for the percentage of its films that feature gorgeous women, at 25.2%. In contrast, female producers, writers, and directors in Bollywood continue to be a green oasis in a barren wasteland. It’s all about portrayal How have women historically been depicted in Indian films? Helpless victims of molestation, eve-teasing and assault, right? That is until the famed ‘hero’ swoops in and saves his princess, of course. By far, women have been shown being saved by male lead characters, or them becoming the reason why a male protagonist embarks on a ruthless revenge campaign against the evil-doers. When the Indian film industry did not show women getting molested or avenged, it made ample use of their abilities to shake a leg on a commoditising song, or what in India is referred to as the ‘item dance’. The ‘item’, of course, is the woman – dancing to the tunes of a director without any autonomy or liberty to say ‘no’. Conclusion The twentieth century saw a change in times. Nonetheless, "item dances" from the twenty-first century like "MunniBadnaam," "ChikniChameli," "Sheila Ki Jawaani," and "Fevicol Se," among others, continue to haunt us. Even awards have been given out for these tunes. Of course, Indian film awards are useless—the majority of them have even been purchased. But the basic problem of women being portrayed as sexual objects has only just been acknowledged! Interestingly, Bollywood currently asserts that it supports feminism and women's empowerment.

Everyone in Bollywood is a "feminist," right? They do. At the very least, they want us to believe that. Who cares if they're all secret mind-players feeding sexualized rubbish to Indian audiences just to make more money? At least they identify as "feminists," don't they? The claim is the crucial phrase here. However, claiming to be feminists won't make them any money. And money is required to purchase those awards, right? Hence, despite the fact that everyone in Bollywood supports women's empowerment, they are all equally guilty of objectifying women and depicting them as little more than sexual objects. Can female actresses escape the blame for encouraging such anti-woman behaviour in Bollywood? No. They are unable in any way. Female performers within the industry continue to silently observe as Bollywood objectsifies women. Even though they are professing to be the voice of an everyday Indian woman, they actively participate in such depictions. Swara Bhaskar, a Bollywood actress who also doubles as an activist, is one such example of a woman with a guilty conscience. She was quoted by the Hindu in 2014 as saying, "There are times when I have to make concessions too. I turn down filthy film offers and fairness cream advertising. I made the writers aware that I had a problem with the misogyny in my movie Raanjhanaa. Although Prem Ratan Dhan Payo lived in a society that was conservative in social issues. However, I made up for it by acting in Tanu Weds Manu and currently performing Nil Battey Sannata, which addresses the topic of education. The following film is Anarkali Aarawali, in which I portray a performer for an orchestra who sings obscene music. So, in addition to actively participating in Bollywood's orgy-fest of misogyny, Swara Bhaskar also believes that portraying a singer in an orchestra who performs sex songs is somehow uplifting for women. Bollywood's issue is that it is rife with phony activists who are actually complicit in the crimes committed by the business. The current state of the Bollywood industry must be destroyed in order to clean out the systematic misogyny present there.