Rape culture,misogyny, and urban anxiety in NH10 and Pink

One of the most pervasive aspects of Delhi’s post-liberalization psychopathology has been everyday violence against women. The city’s rape culture was given an exceptionally sharp global focus after the horrific gang rape of Jyoti Singh on December 16, 2012. Recent Hindi cinema has begun to engage with some aspects of the capital’s misogynist urban ethos. In this paper, I look at how the Delhi subgenre of the “multiplex film” has engaged with rape culture, misogyny, and urban anxiety through a close textual and discursive analysis of two recent films—NH10 (Navdeep Singh, 2015) and Pink (Aniruddha Roy Chowdhury, 2016). Specifically, I identify how the December 16 “trigger event” and Delhi’s notorious misogyny are finding newer modes of representation through the interplay of genre and exhibition space. In what ways do these films position and imagine the “multiplex viewer”? New engagements with the figure of the consuming middle-class woman and the public discourses that surround her sexual safety and navigation of space have taken a central position in understanding the present urban psychosis of the capital. I suggest that these films and the forms of spectatorial identification that they privilege are intricately linked to the gendered spatial politics of the multiplex.