Representation Redefined: The Tawaif in Sanjay Leela Bhansali’s Devdas and Heeramandi

Abstract

Indian cinema has undergone a significant transformation in its form and ideology under the sway of globalization, digitalization, and feminist discourse. In recent years, amid the growing prominence of the OTT platforms, narrative freedom has expanded, enabling filmmakers to reimagine marginalized identities beyond Bollywood’s melodramatic conventions. In this evolving mediascape, the tawaif- once an iconic cultural figure who were later reduced to a tragic courtesan- serves as a critical lens for examining the shifting grammar of women\u27s representation. This paper analyses Sanjay Leela Bhansali’s Devdas (2002) and Heeramandi (2024) through Stuart Hall’s theory of representation to explore the paradigmatic shifts in narrative, visuality, and performance. This study further identifies a transformation of the tawaif from objectified and tragic figures in Devdas to empowered and multilayered characters in Heeramandi. Ultimately, it contributes to media representation debates by demonstrating how evolving platforms reshape cultural narratives and recuperate marginalized voices