“There is a Fabulous Play in the House of Cards:” Gender and Memory-Mapping in the Film Tasher Ghawr

Abstract

The pandemic's collective memory features large-scale destruction in the public and private realms. This paper studies the latter by speculating on the complex interrelationship between gender, media, and collective memory. By foregrounding the potential of fictional experientialities to engage with real-life phenomena, the paper analyzes the movie Tasher Ghawr as an epitome of women’s experience of the COVID-19 lockdown. This movie was selected pertaining to its current relevance. The paper undertakes a qualitative investigation through a textual analysis of the movie’s narrative. The researchers use theories such as collective memory, gender performativity, affect, and counter-memory to illustrate how the protagonist Sujatha’s individual gendered memory constantly constructs and deconstructs the collective memory of women as it pertains to the pandemic. The notion of collective memory is highlighted as complexly entangled and dialogically engaged with the memories of the individuals. This paper demonstrates this by constructing Sujatha as a subject defined by the norms embedded in the female collective memory and then shedding light on her subversive brilliance in questioning the stronghold of these discourses. This act of subversion produces a new strand of collective memory where women are no longer simply victims. The results of this study indicate that while women are constructed as subjects through collective memory processes, they also demonstrate a potential to subvert and question the stronghold of this collective memory that presupposes their submissiveness and servility. For future researchers, this movie provides ample critical space to discuss the notion of traumatic memory.