yes!!! Absolutely! I think it’s also really fascinating bc so much of their choices are on purpose but don’t necessarily land how they want and then sometimes the best parts are accidental? Aru being able to cook and something that reminds her of mom is also related to the provider part/emotional nourishment which is super important. It’s also related to moral agency for both people to have good relationships with one another (bringing in my own anthropology background here). Now that she’s finally at a point in her life to actually acknowledge aryans beauty, it’s really interesting to see what will happen next. Because she called him pretty back in pagdandiya! So she’s aware of him as an attractive person but it’s not until the scenes you listed and the food thing that she subconsciously labels him as attractive to her. In other shows we might have the FL teased by a sister or cousin in law and she’ll blush but we have none of that here, so we only see how she sees him when there’s super key moments in their relationship. Her shock when he came out in the raj outfit, when he didn’t let her leave when they returned from pagdandiya for example. I don’t know anything about the adilie equation but I wonder if they ever showed her doing the same with him? (And thank you!!!!)Originally posted by: Deltablues
Firstly, congraaaaaaats!
Secondly, yes, Aryan being the hypermasculine archetype that is deconstructed with his feminism (cue my thesis from few days back). And, yes, at men dominating the direction scene.
But I think we are talking two very different things here. Or, rather approaching the same thing from two different ends. I was more specifically talking about how the discourse of female attractiveness is located within the female body and its consumption by the assumed male hero/audience. The camera is his gaze.
I am thinking more of scopophilia and Sartre :
"The recognition of the fact that I am indeed that object which the Other is looking at and judging. I can be ashamed only as my freedom escapes me in order to become a given object (Sartre 1992, 350)"
So, while, yes, the female gaze is also constructed through the same male gaze of the camera, but it's rare when the supposed attractiveness of the hero is located in the male body as well instead of being shrouded under more traditionally sociopsychic roles assigned to them (protector, provider, guide etc etc etc.)
Bah! We know Aru is great because he is the absolute antithesis of Imlie's abuser, but narratively just seeing Imlie consuming Aryan's body through her gaze is honestly amazing. I mean, her attraction has never clearly been enumerated in physical terms. Even if she sees the dexterity of his hands in kneading dough and associates it with ungliyon me jaadu hai elsewhere, that is still a more concrete expression of her attraction than the ambiguous dost references.
Heroines don't need a personality for the man to get attracted to them lol. The camera tells exactly how they are consuming the heroine's beauty.
See RHTDM, Khushi-Arnav's first interaction.
Do I make sense? Ahhhhhh
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