BOLLYWOOD, as the Hindi film industry is popularly known, is still struggling with colour, gender and caste biases, says a recent AI study, while Hollywood has made noticeable progress.
“The $2.1 billion (£1.48bn) film industry continues to associate beauty with fair skin. The concept of beauty has remained consistent through the years in the Bollywood film industry centred in Mumbai,” a report by Kunal Khadilkar and Ashiqur KhudaBukhsh of Carnegie Mellon University (CMU), in Pennsylvania, US, found.
Researchers picked up the biggest hits of the past seven decades and fed their subtitles into automated language-processing AI tools which led to insights about the Hindi film industry's bias towards fair skin in actresses and the dominance of males in the storyline.
“It is a fill-in-the-blank exercise, for example, ‘A beautiful woman should have (_____) skin.’ A language model normally would predict ‘soft’ as the answer but when the model was trained with the Bollywood subtitles, the consistent prediction became ‘fair’,” Khadilkar told the BBC.
The researchers used a metric called Male Pronoun Ratio (MPR), which compares the occurrence of male pronouns such as ‘he’ and ‘him’ with the total occurrences of male and female pronouns. Again, they found that the highest-grossing films in Bollywood in each decade was one with a strong male character, more male characters and very few female characters.
The study also revealed caste bias as an analysis of surnames of doctors showed "a visible upper-caste Hindu bias". While the representation of other religions had increased in recent years, Muslim portrayal remained less than the community's population share, the survey found.
Apart from these findings, the study also shows that certain social issues are now talked about positively in Bollywood. In the 1950s and 1960s, dowries were socially acceptable and openly talked about in films, but that is not the case anymore. By the 1970s, other words, such as ‘consent’ and ‘responsibility,’ began to appear, says the study.
The research revealed that more baby boys’ births were depicted in Bollywood films from the 1950s and 1960s; in today’s films, boy and girl newborns are about evenly split.
For the study, the researchers picked 100 of the biggest commercial hits from each of the seven decades from 1950 to 2020 to analyse films for gender and social biases. To compare Bollywood’s evolution with the rest of the movie industries, the researchers also chose 700 films from Hollywood and 200 critically acclaimed films nominated in the foreign film category at the Oscars.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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