Hope this will help you ,Thankyou .

2.  Man in the household has a moral right and
responsibility ,a duty to admonish, chastise
and punish the women for their own benefit
 202

3.  61% women in the state accept at least one
reason as justification for wife beating
 47% justified if the wife neglected the family
 3% justified wife’s natal family does not give
give the expected money or other items
 39%justified if wife showed disrespect to
inlaws

4.  38%justified if wife goes out without telling
her husband
 25%wife does not cook food properly
 22%if wife is unfaithfull to husband
 Overall about half or more woman in all
population subgroups in the state justified
wife-beating for at least one reason.

6.  The emergence of the nationalist movement
and left ideology .
 Religious and caste –based communities
succeeded in initiating a process of
democratization and modernization , though
this also meant moving into emerging
patriarchal, capitalistic economy reorganizing
themselves to fit into the changing times

7.  The fisherman out in the sea and of course
the security and well being of the entire
fishing community are dependent on the
Araya woman’s chastity and fidelity.(folk
tradition)
 The film create a moral space against the
archetypal backdrop of the vast sea
 Sweeps the woman as a distinct category
out of the frame

8.  The typical image of the woman as someone
who is destined to suffer the slings and
arrows of outrageous time with tolerance ,
dignity and grace
 Woman’s body is inscribed with the ideology
of silent and graceful suffering.

10.  THE Masculinity issue
in relation to the
‘laughing movies’of
1990s
 it is important to
remember that they
exist side by side with
a host of very
successful movies of
M M S

11.  Even where you
acknowlege the
unmistakable social
presence of a woman
as police officer,
administrator , lawyer ,
journalist , they have to
be exposed for what
they are ultimately-
MERE WOMAN

12.  After the longstanding
reign of the old time
heroines such as
Sheela,Sarada and
Jayabharati
 Malayalm cinema has
seen a lot of female
actors come and go.
 The males stay , witness
the career of Mammootty
and Mohanlal
 But the females are an
ephemeral category
 No one knows how or
why ?Manju Warrier
made a difference within
the short span of her
career

13.  Passive acceptance to
her strenght and
vibrant charm

14.  Even the strongest
woman has nothing
much to do in the
essentially male world of
action movies.
 And today the woman
who has forced this
realisation on us lives in
pure domesticity and
self-effacing life
 Today our films heroines
have a certain openness
and dynamism that is
quite afreshing for
eg:swapnakkodu song-
ishtamalleda
 Transformation to
‘Istamaneda’,once the
relationship builds up
woman relapses to the
old stereotypes about a
faithful wife and loving
mother.

15.  Therfore,the
contemporary shift has
more to do with the fast
–changing conventions
of film music and dance
than with subtle
transformations taking
place with gender
relations in Kerala
 Neeli in neelakkuyil
 Sheela as karuthamma
 Female beauty that
obtain in our popular
cinema down the ages
have their historical roots
in the formative period
 O Chandu Menon’s
Indulekha (heroines
beauty)

16.  Significantly
participated in the
construction of what
we call a public sphere
 Advent of film music
marks democratisation
of our society