Introduction:
As a major component of the cultural industry, no doubt cinema has a significant impact on the subconscious mind of the common masses across the world. Prior to the journey of cinema in 1896, it has been considered as an influential medium reflecting the social identities and cultural values. Film makers’ portrayal of the conventional images and gendered stereotypes has also been subjected to continual evaluation for a couple of decades. Positive changes regarding gender roles in cinema are still phenomenal with usual typecasting.

Significance of woman’s film as a certain genre therefore lies in identifying the women-centered narratives, female protagonists and also designed portrayal of women’s concerns regarding domestic chore, motherhood or the stories of self-sacrifice, romance. Rather than encompassing women filmmakers, women’s films usually mean the films specially made for women, predominantly by men screenwriters, directors or producers.

Although women’s cinema in both Hollywood and Bollywood in the second half of the twentieth century tried to address ground reality of women’s lives; the continuity of this trend disappeared in the sixties. Although productions of the films are done in different countries, so is the exhibition but as a whole mainstream cinema portrays the same stereotype of women. Bollywood along with Hollywood -undoubtedly are two major sources of these stereotypes—which remain prevalent in films of many other countries.

Women in Hollywood and as well as in Bollywood cinema are mostly portrayed as passive objects of desire characterization and it is no different in Bangladeshi films. Exposures of physicality, beautification of girls as sexual objects are the major trend of portrayal of women in these films.

Although glamorization of the female body is the major trend of mainstream cinema in this part of the world, there are independent filmmakers in many countries who made films which portrayed women’s potentiality as human beings. Independent filmmakers of the South Asian region have also made some good films on women.

The content of the films based on women requires having more discussion as well as interaction among the scholars, activists, film critics and also the filmmakers themselves. To serve this very purpose of making women-based cinema better and more relevant the festival has decided to arrange a two day long international conference on women cinema.

A two daylong conference organized by Rainbow Film Society in association with the Department of Women and Gender Studies, Dhaka University will be held on Sunday 16 January and Monday 17 January, 2022 at the Dhaka Club Samson Lounge 2nd floor, Shahbag, Dhaka-1000.

Objective:
To improve the standard and content of women-based cinema and also to create an interaction among the women who are involved in the medium of cinema through exchanging ideas and sharing diverse experiences.

Baishaki Somadder

Conference Director

Humaira Bari Antara

Conference Supervisor

She is a Bangladeshi Film Enthusiast. She has completed Masters in Film and Media from Stamford University, Bangladesh. She has completed her honours in Drama and Theatre Arts from Visva Bharati University, India as an ICCR Scholar. Baiskhaki also has a Diploma in Theatre from Abdul Al-Mamun Theatre School. Her debut film as an actress was ‘O Amar Chele’ by Subhash Datta. She has worked as an actress in Theatre and Electronic Media and also as a director. Baishaki is also a freelance scriptwriter. Her debut film as a director is upcoming called ‘Laila’. Baishaki is the General Secretary of Rainbow Film Society.

She is an active member of Rainbow Film Society with about a decade worth of association with the organization. She holds a MA degree in Economics from Eden Women’s College under Dhaka University. Antara has previously worked as a volunteer for Dhaka International Film Festival and later joined as an official, currently holding the position of a Deputy Manager.