Analysing gender diversity in Indian entertainment
India is producing more entertainment content than ever before. With the advent of streaming services and a digital surge impelled by the pandemic, this is the opportune moment for idea-driven storylines.
As art and culture transform on the back of technological advancements, this report seeks to understand whether women, both on and behind the screen, are considered critical members of this progress. If not — what steps can we take to build a more inclusive entertainment industry.
Stories inspire, connect, nurture, unite and generate empathy. Stories help carry the history, culture and values of a civilization forward. Therefore, we believe in the transformative role that media can play in influencing, inspiring and helping people form their identity in relation to the gender. The Indian media and entertainment (M&E) industry has the potential to be a torchbearer for improving gender representation in a rapidly evolving world. From providing equal opportunities and support across technical and creative job roles to changing the narrative through the power of stories, streaming and the wider entertainment industry, can be a positive influencer of change.
I believe that gender parity and equality are the fundamental blocks for building a truly collaborative, progressive and an inclusive society. Therefore, it is not just a pleasure but an honour for us at Prime Video India to support Ormax Media and Film Companion as they push the envelope with the second edition of O Womaniya! The in-depth analysis of this report highlights that women in decision making roles hire more women and digital is blazing the trail. This is reassuring and we must continue the good work. In fact, advocacy based on data is far more impactful – it helps us make the invisible, visible. This report will help us encourage dialogue and build support systems for women across the board. It is heartening to see the widened scope of the report to cover theatrical and digital content, and the collaboration and support that the report has received this year from several industry bodies.
I am certain that this report will draw attention to and generate more meaningful conversation on gender sensitive and gender transformative content that can help break stereotypes and pave the way for a truly diverse, equitable and an inclusive industry.
150 PROPERTIES
83
AJAGAJANTHARAM
AKHANDA
ANNAATTHE
ANTIM: THE FINAL TRUTH
ARANMANAI 3
BELL BOTTOM
BHAJARANGI 2
CHAKRA
CHAL MERA PUTT 3
CHANDIGARH KARE AASHIQUI
CHECK
DOCTOR
EESWARAN
ENEMY
GOLONDAAJ
HONSLA RAKH
JAN-E-MAN
JATHI RATNALU
JHIMMA
KAAVAL
KARNAN
KODIYIL ORUVAN
KOTIGOBBA 3
KRACK
KURUP
LOVE STORY
MAANAADU
MADHAGAJA
MARAKKAR : ARABIKADALINTE SIMHAM
MASTER
MOST ELIGIBLE BACHELOR
MUMBAI SAGA
ONE
PANDU
POGARU
PUAADA
PUSHPA: THE RISE - PART 1
QISMAT 2
RANG DE
RED
ROBERRT
ROOHI
RUDRA THANDAVAM
SALAGA
SEETIMARR
SHYAM SINGHA ROY
SOORYAVANSHI
SREEKARAM
SULTHAN
TADAP
THE PRIEST
UPPENA
VAKEEL SAAB
WILD DOG
YUVRAATHANAA
AJEEB DAASTAANS
ATRANGI RE
BHOOT POLICE
BHUJ: THE PRIDE OF INDIA
BOB BISWAS
CHHORII
CINEMA BANDI
COLLAR BOMB
DHAMAKA
DRISHYAM 2
DYBBUK
HASEEN DILLRUBA
HUM DO HAMARE DO
HUNGAMA 2
IKKAT
JAGAME THANDHIRAM
JAI BHIM
JOJI
KAAGAZ
LIFT
MAESTRO
MALIK
MANDELA
MEENAKSHI SUNDARESHWAR
MIMI
MINNAL MURALI
NARAPPA
PAGGLAIT
RADHE: YOUR MOST WANTED BHAI
RASHMI ROCKET
RATHNAN PRAPANCHA
SANAK
SARDAR UDHAM
SARPATTA PARAMBARAI
SHERNI
SHERSHAAH
SHIDDAT
SILENCE
STATE OF SIEGE: TEMPLE ATTACK
THE BIG BULL
THE GREAT INDIAN KITCHEN
TOOFAAN
TRIBHANGA
TUCK JAGADISH
1962: THE WAR IN THE HILLS
3 ROSES
30 WEDS 21
AARYA S2
ARANYAK
ASPIRANTS
BOMBAY BEGUMS
BYOMKESH S6
CALL MY AGENT: BOLLYWOOD
CANDY
CHACHA VIDHAYAK HAIN HUMARE S2
CITY OF DREAMS S2
DECOUPLED
DHINDORA
EK THI BEGUM S2
FIRST KISS
GRAHAN
GULLAK S2
HELLO MINI S3
HELLO S3
HOSTEL DAZE S2
INDORI ISHQ
INSIDE EDGE S3
JEET KI ZID
KATHMANDU CONNECTION
KOTA FACTORY S2
KUDI YEDAMAITHE
LITTLE THINGS S4
LIVE TELECAST
MAHARANI
MATSYA KAAND
MUMBAI DIARIES 26/11
NAVA RASA
NOVEMBER STORY
OK COMPUTER
OKA CHINNA FAMILY STORY
OUT OF LOVE S2
PARAMPARA
RAY
ROCK PAPER SCISSORS S2
SAMANTAR S2
SHANTIT KRANTI
SPECIAL OPS 1.5
SUNFLOWER
TABBAR
TANDAV
THE EMPIRE
THE FAMILY MAN S2
THE LAST HOUR
THE LEGEND OF HANUMAN
CREATIVE TALENT CONTENT
CREATIVE TALENT
It’s not just on-screen representation that matters.
It takes a village to make a movie or series, and what we finally see on-screen is a direct reflection of the numerous decisions made by creative leaders behind it.
To understand the extent to which female leadership is represented in creative roles, we looked at female representation in key Head of Department (HOD) positions across our selected 150 properties.
FEMALE REPRESENTATION ACROSS HOD POSITIONS
FEMALE HOD REPRESENTATION AS DETERMINED BY THE GENDER OF COMMISSIONING IN-CHARGE
Not even one theatrical film (out of 56) was directed or edited by a woman.
Representation of female HODs is also low in streaming, but still five times higher than theatrical films (just 3%).
Not even one HOD position across 34 Malayalam, Kannada, Marathi, Punjabi, and Bengali properties, was held by a woman.
Not even one theatrical film (out of 56) was directed or edited by a woman.
Representation of female HODs is also low in streaming, but still five times higher than theatrical (just 3%).
Not even one HOD position across 34 Malayalam, Kannada, Marathi, Punjabi, and Bengali films, was held by a woman.
All 150 properties were evaluated on the Bechdel Test, which is an Internationally-accepted measure of female representation in cinema.
In order to pass the test, a film must have at least one scene where two named women are talking to each other about something other than a man.
For streaming series, given their longer runtime, the criterion was modified to ‘at least three scenes’.