Gender Stereotyping in Pakistani Cinema Film Review by Ithaca

A look at gender stereotypes in Pakistani films.
# 151764 | 1,782 words | 9 sources | MLA | 2011 | AE

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This paper analyzes gender stereotypes in Pakistani Cinema, specifically the creation, maintenance and impact of such stereotypes by looking at two of the most famous movies in Pakistani cinema in recent times, 'Majajan' and 'Koi Tujh Sa Kahan'. First, the paper gives a brief history of cinema in Pakistan, particularly noting that some activists argue that women are portrayed as objects in Pakistani film. Then, the paper goes on to examine the two films, especially as they relate to gender roles. It also describes the plot of each film. According to the paper, women are presented as showing much less independence and rights in 'Majajan' as compared to 'Koi Tujh Sa Kahan'. Next, the paper argues that these gender stereotypes are prevalent in Pakistani cinema is because producers cater to a male audience. Finally, the paper states that there is a need for further research on gender stereotypes in cinema in the developing world, especially Pakistan.

From the Paper:

"'Majajan' is a Punjabi film set in a village where the hero of the movie, Shan, who belongs to the Syed clan, falls in love with a 'marasan' (dancer) played by Saima. Shan is already married, however it is not a happy marriage he falls in love with Saima while attending her dancing performances. In rural Pakistani society birth matters a great deal. A Syed, by claiming descent from religious leaders is what is called in the move as 'oonchi zaat' (higher class) or one belonging to a noble birth, whereas a Saima belongs to a 'kammi' (artisanal low caste). Shaan divorces his wife and marries Saima, however the wedding ceremony is interrupted by Shaan's ex wife's family, in the ensuing gun fight Shaan dies and eventually so does Saima."
"'Koi Tujh Sa Kahan' has a complicated storyline. It is a movie about a woman (Reema) who falls in love with a waiter (Moammar Rana) working at her father's hotel. The two marry and at her father's death she makes him the managing director of the family's group of companies. However he has an affair with his secretary; who is shot by an unknown assailant. Reema fearing that she will be accused of the murder runs away from the city."

Sample of Sources Used:

  • Altaf, Waseem. "Birth of Pakistan: Death of Filmistan." View Point No. 118. 14 September 2012 <>.
  • Butler, Judith. Gender Trouble Feminism and the Subversion Identity. New York: Routledge P, 1999. 1-7.
  • Chevannes, Barry. Learning to Be a Man: Culture, Socialization, and Gender Identity in Five Caribbean Communities (Barbados: University of the West Indies Press, 2001) 10.
  • Dawn. 22 Mar. 2001. 9 June 2006 <>.
  • Gazdar, Mushtaq. Pakistani Cinema 1947-1997. Karachi: Oxford UP, 1997. 51-89.

Cite this Film Review:

APA Format

Gender Stereotyping in Pakistani Cinema (2012, September 24) Retrieved March 25, 2023, from

MLA Format

"Gender Stereotyping in Pakistani Cinema" 24 September 2012. Web. 25 March. 2023. <>