Abstract

Trauma theory of Judith Herman is employed in the process of conducting this investigation to
compare prostitution trauma from two Bollywood movies and are “Gangubai Kathiawadi” &
Chandni Bar directed by Sanjay Leela Bhansali & Madhur Bhandarkar respectively. The films
accompanied are of diverse realities, several women performing sex act. In comparison, the
Chandni Bar showed an alternative form of public victory over communalism as a removal into
solitude by someone immersed in prostitution. These images are also understood in terms of
supporting the trauma theory developed by Judith Herman, which describes their function in
psychology, society, and culture. Among the socio-historical aspect of the nation that talk clearly
through film portrayals of trauma are culture and political instability. If we apply Herman’s
theory, in He cinematographic stories are mirrors; if prostitution were to be created by
structural elements, then numerous questions about decency and comprehensive solutions
would arise. Both films, anchored in the socio-economic contexts of their times, become
powerful sources that promote consciousness and understanding while championing change.
This abstract summarizes the focus of comparative study on trauma presentation, cultural
approaches and its societal outcome reflected in “Gangubai Kathiawadi” & “Chandni Bar”. The
analysis provides a contributing approach to understanding cinematic representation, theory of
traumas and social-cultural phenomena regarding prostitution scene found in contemporary
India.

Introduction/ Theoretical framework

The films directed by Sanjay Leela Bhansali’s “Gangubai Kathiawadi” and Madhur Bhandarkar's "Chandni
Bar" give powerful observations on prostitution in the city of Mumbai. Although these films are made
differently, they raise issues about the changing views of society on sex work in India.

The plot of “Gangubai Kathiawadi” takes place in the 1960s where we find Gangubai Harjivandas
ascending to power over Kamathipura. Based on the novel Mafia Queens of Mumbai by Hussain Zaidi, it
is a story about resilience against oppression from an entire system. Gangubai stands for individual
agency, reflecting on the power structures in Mumbai’s underworld world that also tells a lot about how
things were run back then. Alternatively, “Chandni Bar” focuses on the dirty ghetto of Mumbai showing
life of Chandni as a prostitute. Produced in 2001, the film is a documentary-style representation of sexual
work along with its moral paradoxes and societal stereotypes. It becomes a mirror of the failures in
society and systemic weaknesses that help to maintain practice. The films are reflections of changing
perceptions on sex work in the society. In “Gangubai Kathiawadi” and “Chandni Bar”, prostitution plays
the part of a contrast for women to empower themselves or be victimized. The first portrays a woman
fighting the status quo and rising to power, whereas the latter reveals hardship and public perceptions of
that occupation.

These stories unravel as cautionary tales that make the viewers to think about repetition of trauma faced
by women in prostitution. The movies show different aspects of sex work not only in Kamathipura’s
opulence but also among ordinary people like Chandni and the indecorous streets where her story is set.

Basically, "Gangubai Kathiawadi" and “Chandni Bar”, thus can be said to add another piece on sex work
in the cinematic discourse. The two films inspire reflection and discussion about the intricacies of social
perceptions, institutional oppression, along with personal strength in their media on prostitution.

In her theory, Judith Herman has provided an essential framework for analyzing psychological trauma in
the context of prostitution. Following Herman’s three-stage model, safety, remembrance, and mourning
are discussed in further detail along with the reconnecting of persons engaged in the sex trade. However,
the theory focuses on disenfranchisement but acknowledges agency struggle in forced prostitution.
Herman’s focus on the social and cultural context shows how society makes traumas to continue as
chronic events. The theory also incorporates coping strategies and survival skills in understanding how
people struggle to survive the challenges of prostitution. One of the prominent features of this theory is
orientation into complex trauma, which focuses on the fact that impacts connected to interpersonal
violence have different forms than sex trade. However, Judith Herman’s approach offers a more in-depth
analysis of the trauma related to prostitution.

Literature review

Prostitution, especially in film narratives is a controversial field of study that was found to be essential
for film and social sciences research on cross-trauma experiences among marginalized people. The
following critical literature review highlights several major works that lie in the background of the
comparative case study of trauma in Gangubai Kathiawadi by Bollywood and Chandni Bar.
  • Most of the films about prostitution seemed to be judgmental, accusing girls of slipping into
sex work and almost ignoring emotional aspects of life. Mainly focusing on the historical
development of gender portrayal in movies, Laura Mulvey’s seminal work “Visual Pleasure and
Narrative Cinema” addressed how narrative cinema completes topics that help to construct
public consciousness.

Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6-18.

 The intersectionality of identities is vital in understanding the lives of people involved in sex
work. Crenshaw’s theory of intersectionality made it clear how different identities such as
gender, class and race combine to create experiences with oppression.

Crenshaw, K. (1989). Demarginalizing the Intersection of Race and Sex: In Antidiscrimination Doctrine,
Feminist Theory and Antiracist Politics: A Black Feminism Critique the University of Chicago Legal Forum,
(1989) (Article 8).

 Central to the scope of research is the psychological effects that trauma has on those who
practice sex work. Through her work on trauma, substance abuse and the vicious cycle of
exploitation inherent in sex industry Melissa Farley’s creates important findings regarding
psychosocial nature.

Farley, M., Cotton A. J., Lynne J et al (2003). Prostitution and Trafficking in Nine Countries: An update on
Violence and Posttraumatic Stress Disorder. Journal of Trauma Practice, 2:3–4(2016):38.

 The cinematic presentation of areas considered sensitive can be transformative in a sense that it
shapes public opinion and creates momentum for social change. David Bordwell's exploration of
empathy in cinema, as discussed in "Making Meaning: Emotional Inference and Storytelling,"
offers a theoretical framework for analyzing how choices about narrative can create an
emotional impact by instilling sympathy in society.

Bordwell, D. (1989). Making Meaning: Inference and rhetoric in the interpretation of cinema. Harvard
University Press.

Research Questions:

 How do women react to Trauma in Groups and Isolation as showcased through the films
“Gangubai Kathiawadi” and” Chandni Bar”.
  To what extent does culture and history affect the depictions of women protagonists’ lives in
prostitution in Bollywood, as portrayed by Gangubai Kathiawadiand Chandni Bar?
 How do the traumatic experiences in Bollywood films such as “gangubi kathiawari” and ‘Chandni
bar’ reflect structural factors that drive individuals into prostitution, which means what it has for
society to understand and find out possibilities of change?

Analysis

The strong roots of prostitution in historical society have enabled it to continue propagating gender-
based sentiments and economic needs. The development of sex work ranges from Indus Valley
civilizations to different colonial powers’ influence. There is a need to present the following as more
complicated than has been presented in this section: what was prostitution, how it came into being and
changed over time, its social-cultural framing. Therefore, as per the developmental stage we can
understand how sex work has not only impacted but also been shaped by Bollywood cinema.

Prostitution has been a cultural thermometer that reflected exactly what Bollywood was in its time. This
section contains the discussion of cinematographic prostitution during Indian cinema periods. From
reserved time stylings to the more graphic and faithful representations of rap by cinema, Bollywood has
reflected society’s attitude towards prostitution as well as influenced views within itself. The process of
the transformation in these representations will provide an insight into how this relationship between
film industry and current society is dynamic, leading to a better analysis on post-trauma portrayal
Gangubai Kathiawadi’s characters as well as Chandni Bar.

In solitude and in a group setting, the trauma that women undergo is presented differently as done by
both “Gangubai Kathiawadi” as well as These representations are analyzed through Judith Herman’s
theory of trauma as a psychologically, socially, and culturally phenomenon.

On the contrary, in “Gangubai Kathiawadi” trauma is unified within a shared space-the red-light district.
In the film, only a vision of layers of sex workers who share common issues is provided. The sense of
people working together is indicated by scenes where Gangubai develops connections with associate
associates.

Herman’s theory acknowledges the role of social relations after trauma, and these scenes portray how
women in a group setting can give each other understanding with no intimacy.
 Observation of women’s celebrations also highlights the communal aspect. And the holidays and
celebrations are opportunities to wit, diversion from lives that grow more and more oppressive every
day. This goes against Herman’s statement that restoring, or reconnecting may be a significant element
of recovering from such occurrences. Despite its misery, the red-light district becomes a shelter where
women find comfort and refuge in each other’s friendship.

By contrast, “Chandni Bar” explores Mumtaz’s isolation trauma. The film shows her as one who tries to
crawl through an offending and unyielding terrain. Scenes showing Mumtaz’s life in the city as a single
woman highlight her alienation. Herman’s theory acknowledges that if a traumatic incident takes place
in an unmoderated social milieu, it heightens – the movie “Chandni Bar” supports this phenomenon as
Mumtaz is a lone entity and not socially supported.

In the Movie, her vulnerability is demonstrated when she gets abused and betrayed by herself.
Throughout her revelations of loneliness, this contradicts social shield that one might be provided with
in a film such as “Gangubai Kathiawadi. In such traumatic circumstances, where there is no shared
rejoice nor a sister to mourn beside.

Herman’s theory highlights the social reaction that is critical in defining survivor experience. In the movie
Gangubai Kathiawadi, we discover how a red-light district is a place for distinct subculture which changes
societies values. Being an alternative community, this area allows us to experience ‘home’ and transgress
judgements of others.

Instead, “Chandni Bar” positions Mumtaz as an easy target to a more distanced and universal judgment
by society. The focus on rejection is reflected through her struggle for survival in an unfriendly urban
atmosphere of a city. Mumtaz’s isolation is further emphasized, and the effect of trauma accentuated
out by the lack of community which could support her.

In this manner, the portrayal of trauma as a motif in Bollywood movies that include sentimental films
about female protagonists who work as prostitutes such as” Gangubai Kathiawadi” and “Chandni Bar,”
can be seen to be deeply entrenched within cultural contexts. To fight such a phenomenon, we can apply
the trauma theory of Judith Herman which shows how social-cultural domains define and describe
traumas.

By exploring the coping mechanisms and resilience displayed by both films’ female characters, it is
possible to see these women more clearly. While Gangubai and Chandni are caught in the raging waters
of prostitution, each negotiates these stormy seas differently.
The depiction of Gangubai in “Gangubai Kathiawadi” focuses on the spirit that was fortified through
adversity. The fact that her coping mechanisms are multidimensional is shows that the way she responds
to the trauma she faces is complicated. One of her outstanding attributes is that she holds power despite
the limitations. Though choking, Gangubai manages to climb high in the ladder of power which indicates
magnificent resilience. This is the shielding capability, which makes her believe that she owns its
definition.

On the other hand, Chandni in ‘Chandni Bar’ borrows a completely different set of coping mechanisms.
Her strength is based on emotional toughness and commitment to protect her family. In terms of coping
strategies employed by Chandni, they have to do with sacrifice and stoicism; maternal attitude helps her
face the inhumanity that is found in red-light district. Gangubai’s self agency and Chandni’s sacrificial
resilience juxtaposed highlight different reactions towards trauma on individual levels.

As future studies on Gangubai’s coping mechanisms display, she definitely has a calculating nature. She
playfully coerces sly and cunningly makes her way through a society that seeks only to use and corrupt
what is in their hands. This level of strategic adaptability allows Gangubai to survive, not only but also be
able to build herself in a place where she is powerful. The way in which she commanded the shifting
terrain that was her setting reveals some hardness deeper than simple survival.

Although Chandni’s emotional anchoring is a characteristic mechanism of coping, her resilience also
indicates family orientation and pain transformation. This resilience depends on the kind of love and
safety her choices represent in that they are sacrificial. The complicity of strength is evident in Chandni’s
story as well, showing that resilience does not always mean advancement; force can be a power to
protect the ones you love from the cruelty of society.

The comparison of means of coping with trauma by characters raises interesting questions about the
type of resilience represented. Gangubai’s strength and diplomacy contrasting with the silence of
Chandni, it remains an integral part. Resilience is seen as powerful in both narratives to show that those
who have something in common can respond differently and approach their situations following very
different courses of actions.

As Herman (2015) states in her classical work “Trauma and Recovery,” sociocultural context determines
both prevalence of trauma, as well as its consequences. Herman states that cultural paradigms, historical
events, and generally prevalent stereotypes of society are foundational in influencing how people
answer to traumatic situations Subjecting this framework to the portrayal of trauma from Bollywood
films wherein heroines act as prostitutes will enable us to discuss culturally subtle aspects.

Sex work has a long-standing cultural background in India which is built upon many traditional values,
religious beliefs, and socioeconomic factors. Therefore, the movies Gangubai Kathiawadi are dedicated
to revealing such a true historical figure as Kothewali and Kamathipura red-light district; the values
portrayed in this film stand for public perception towards sex work where women prostitutes suffer with
dehumanization. In this depiction of Gangubai’s trauma, these cultural phenomena are interwoven to
demonstrate how women survive such situations and their capacity.

Similarly, “Chandni Bar” deals with Mumtaz’s life (played by Tabu) who is a bar dancer of Mumbai. This
film is set in a tumultuous city, politically and socially. This, historical factors such as economic
disparities, urbanization and political disruptions resulted in the traumatic events presented at this point.
Events of history influence individual lives; this can be realized from examining the society these women
in which Mumtaz lived.

Herman’s theory also details the type of social reactions to trauma in terms of creating a difference
between public and private spheres. These Bollywood films show that when it comes to a depiction of
trauma, not only is it personal but also acknowledges the public perception concerning this profession.

The films also provide some information about resistance and liberation, which is compatible with
Herman’s vision of a survivor route to the restoration agency. The two women, Gangubai and Mumtaz,
displayed strength in the face of adversity despite negative stereotypes constantly being associated with
their roles. This method of telling a story is an indication that an individual understands trauma beyond
victimization; this meets the current social standards on women’s strengths and potential.

Managing to develop a theory of trauma suitable as a background that can be used in the analysis of
connections between traumatic experiences represented by Bollywood films” Gangubai Kathiawari “and
” Chandni Bar’ concerning prostitution and structural factors leading individuals into becoming victims,
Herman produces a three-stage design comprising safety remembrance.

Being kidnapped and brought to the red-light district makes Gangubai suffer a lot since Herman’s initial
phase of safety Ganubai shows herself in search of commercial sexual exploitation. The movie reveals
the effect of structural variables on her entering into the act and shows how a woman’s life is plagued in
a patriarchal order where economic disparities force them to go for prostitution.
The sequence that depicts Gangubai’s struggles at the start is emblematic of lost opportunities and lack
of control for women soliciting social change seeking gender equality, as well as economic inequality.
Some shots, like for instance, the fight between Gangubai and her oppressor forces and her
determination to create a place despite all structural obstacles can be analyzed by Herman lens that
reveals the safety of empowerment.

Likewise, the film “Chandni Bar” by Madhur Bhandarkar portrays life of a woman Mumtaz played by
Tabu who is trapped into being prostitute against her will. The movie addresses the second phase of
Herman’s model, remembrance, and mourning; Mumtaz tries to cope with traumatic memory. The story
reveals the underlying issues such as poverty, illiteracy and societal negative connotation that reinforce
sex trade.

Some scenes (Mumtaz’s conversations with manipulators, her attempts to save Lisa from the same fate)
are a perfect example of how patterns emerge. When analyzing these scenes with the help of Herman’s
framework, it is crucial to refer to the identification and coping with trauma whether at a personal or a
social level.

Social cognition affects many things. Such movies represent the real picture of inhumane behavior that
these people of such societies had to endure. Through Herman’s theory, nature trauma repetitive trait
can be understood in a broader socioeconomic platform. It emphasizes the common interest in
addressing the causes of prostitution and reforms needed for a safer society.

These issues include economic injustice, matters related to education and skill development and socially
entrenched gender discrimination catalysts. They help shape this conversation on the topic that
heightens awareness and knowledge. It forces society to recognize the painful reality and fight off
necessity for modifications that do not only target victims but also attempt interventions preventing
victimization of ‘vulnerable’ others.

Conclusion

Comparison of Bollywood films, “Gangubai Kathiawadi”, and “Chandni Bar” through trauma
theory as lenses Judith These two movies offer cinematic perspectives that reflect the
emergence of portrayals for sex work in India; they operate almost like the opposite notes
rather than empowerment and being a relief.
Movies demonstrate the variety of ways women cope with trauma. Judith Herman's theory,
which addresses the psychological, sociological, and cultural factors of trauma offers a
wonderful framework to analyze two cases: A narrative is on the collective resistance of
Kamathipura red light area and an individual who was forced to prostitution living alone.

The movies are deeply set in the Indian socio-political and historical backdrop, uncovering how
various aspects of social environment, economic inequality, and societal turmoil influence
heroes’ personal tragedies. Even the depiction of trauma is not a simple story, and it also shows
the relationship between personal pain and societal view.

In addition to this, cinematic narratives force the victimization into oblivion through moments of
resistance and strength. In turn, the resilience is reflected with Gangubai and Mumtaz who
struggle against their reduction to negative stereotypes of their status. This narrative decision
shows the sensitive perception of trauma and, accordingly, represents new views about
women’s independence and domestication.

Judith Herman theory is also in agreement with the structural determinants which forced an
individual to become a prostitute. The movies focus on the importance of change to address
sexual discrimination, class differences, and even socioeconomic attributes such as sex work.
From this broad socioeconomic point of view, films thus become normal channels for sensitizing
and sensitization that would push for such changes altogether.

In other words, a comparison of “Gangubai Kathiawadi” and "Chandni Bar" with Judith
Herman’s trauma theory provides additional insight into the complexity of traumatization in
prostitution. These cinematographic tales, however, are not only about individual
apprehensions but also stimulate intellectual second thoughts on the amount that people owe
to society and whether or if change is possible.