Abstract
Men are shown the most dominant humans in societies and film industries, while women are confined to being the best homemakers, kind mothers and sisters. On the one hand, women have always been marginalised; on the other hand, there is no end to the plights of marginalised women. Dalit women, one section of the marginalised, have been suffering in the patriarchal society of India. Their representation in cinema is not free from flaws. The representation of Dalit women has been grossly victimised in the history of Indian cinema. As Dalit filmmakers have entered the film industry, the role of Dalit women on the screen has changed. However, it is slow-paced. Based on Gayatri Spivak’s theory of ‘Can the subaltern speak’, the present study attempts to understand and analyse the representation of the marginalised. By qualitatively analysing the films— Achhut Kanya, Sujata, Ankur, Sadgati, Bandit Queen, Bawandar, Chauranga, 200 Halla Ho, Madam Chief Minister, Geeli Pucchi and Jhund, the research work tries to navigate the timeline study of the changing roles of marginalised women, Dalit women.
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