Scholars Program Workshop: Analyzing Popular Media as Cultural Studies - Bollywood Edition
On April 8, 2026, the Department of English and Humanities (DEH) at the University of Liberal Arts Bangladesh (ULAB) hosted a workshop for Scholars Program students on “Analyzing Popular Media as Cultural Studies: Bollywood Edition.” The session, facilitated by Dr. Mushira Habib, Assistant Professor, DEH, centered on a critical analysis of two popular Bollywood films: Dilwale Dulhaniya Le Jayenge (DDLJ) by Yash Chopra, and Hum Dil De Chuke Sanam by Sanjay Leela Bhansali. Both film narratives were analyzed using cultural studies, linguistics, and gender theory to deconstruct Bollywood romance and explore its patriarchal nuances.
The discussion commenced with Dilwale Dulhaniya Le Jayenge (DDLJ), where the characterization of the male and female protagonists highlights unequal gender dynamics within the romantic framework. Simran, the heroine of the film, is presented as introverted, studious, obedient, and scared, especially around her father. She is competent in Hindi, singing, and dancing, and appears confident. However, she acts reserved around men and relatives, which highlights how internalized patriarchy restricts her agency in social settings and limits it to passive resistance. Her few aggressive actions towards the hero are either framed negatively or rendered ineffective, thereby emphasizing the idea that female assertiveness is undesirable. Raj, the hero, contrasts with Simran’s character in that he is extroverted, flirtatious, mobile, and culturally fluid. These deliberate characteristic differences reflect a broader gendered dynamic within NRI (Non-Resident Indian) discourse, where mobility and authority are masculinized while purity and modesty are feminized.
Dr. Habib also gave some examples from the film. In one scene, Simran declares absolute love and trust towards Raj while surrendering her sense of selfhood. This aligns with the patriarchal ideal of devotion. In another scene, Raj refuses to elope with Simran despite her mother’s plea because he prioritizes the consent of her father, Baldev, to marry her in the “proper way.” In this context, female authority is dismissed while male sovereignty is portrayed as the sole legitimizing force.
These observations were further conceptualized through Purnima Mankekar's idea of Indianness in her book, Unsettling India. Mankekar implies that Indianness is not a fixed cultural identity – it is reconceptualized through the lens of gender, morality, and nationalism, especially in diaspora contexts. As observed in the film, NRI masculinity is idealized because heroes like Raj appear modern while adhering to traditional values. They are additionally admitted as “guardians” of the heroines’ cultural and sexual purity. Meanwhile, female mobility, like that of Simran’s, is restricted through family control, gender expectations, and ideas of honor and sexuality. Thus, what appears as a passionate portrayal of love in the cinema is deeply rooted in asymmetrical power structures, with male agency driving the plot and female subjectivity being constantly subordinated.
In the Netflix Docuseries The Romantics, Lily Singh claims to feel a sense of belonging with the story, especially in terms of love and parental approval. However, despite being of Sikh descent and identifying as bisexual, Singh does not recognize the erasure of other Punjabi religions or alternative gender narratives to represent a privileged NRI experience. Hence, her response supports the idea of affective communities in DDLJ, as studied by Purnima Mankekar. Bollywood’s long-standing influence, which has historically prevailed in Bangladesh, has enabled the circulation of “curry traits,” in which repeated cinematic narratives produce shared emotional and cultural responses among audiences. They become “toxic” when they begin to normalize restrictive ideas about romance, family, and identity through repetition.
Yash Chopra, the director of DDLJ, who comes from a “stable upbringing,” portrays his idea of love, values, and family in his films. Therefore, the films represent the elite, secure, family-oriented worldview of their creators, which influences how ideal Indian values are presented and perceived.
The discussion shifted to the next film, Hum Dil De Chuke Sanam, which was inspired by texts such as Na Hanyate by Maitreyi Devi and Bengal Nights by Mircea Eliade. The film’s narrative had previously appeared in Tamil cinema and in Hindi cinema under the title Woh 7 Din. There is also a Dhallywood adaptation of the movie titled Ei Mon Chay Je. The film presents a romantic narrative that appears emotionally intense but is also embedded in cultural and patriarchal expectations.
The female protagonist, Nandini, undergoes a significant character transformation after marriage. In the beginning, she was extroverted, assertive, happy, rebellious, relatively free, and pampered by her father. After marriage, she appears confused, quiet, and vengeful. The transition highlights how marriage has limited her earlier agency. Her two romantic interests, Sameer and Vanraj, act as each other’s foils. Sameer is an extroverted, half-Indian musician with a playful, expressive masculinity. On the other hand, Vanraj, the husband, embodies a more mature and rigid temperament. The contrast between the “soft man,” as in Sameer, and the “hard man,” as in Vanraj, highlights tensions between the heroine’s sense of desire and duty, as well as between diasporic and traditional identities. The film also explores emotional and domestic violence, as well as class and caste-based violence. These elements reveal how love is often intertwined with power, control, and sacrifice.
The workshop was concluded with a brief question-and-answer session. A student inquired about the shift in Bollywood films from portraying rebellious heroes to romantic protagonists as observed in DDLJ. Ms. Mushira Habib explained that earlier Bollywood films resonated more strongly with the previous generations due to their focus on anger, resistance, and social struggle. On the other hand, later romantic narratives catered to younger audiences by emphasizing love, emotional vulnerability, and familial reconciliation. Another student asked if the film Baadshah (1999) shares similar critiques to the movies discussed. Dr. Habib affirmed this perspective, noting that such films often comprise underlying narrative structures grounded in patriarchal values. Finally, the session culminated with a vote of thanks.
Report by Rushnan Aman (231013066)
