The purpose of this essay is to trace the changing representations of female sexuality in popular Hindi cinema or Bollywood, through reading films such as Kuch Kuch Hota Hai (1998), Jism (2003 ), Ishaqzaade (2012), and Gangs of Wasseypur, Part I (2012), published around the first decade of the twenty-first century. Through these visual texts, the essay aims to examine how depictions of heterosexual love, desire and the act of lovemaking or sex in popular Hindi films to this day continue to be depicted more often than not, only in comparison to female body. Although modes of representation have changed over the years, the heroine's body continues to be used by male directors as a site for the projection of the male protagonist and the audience's sexual fantasy and desire. In the event that the presence of the female protagonist is minimalist and her role is limited to the purpose of providing what the pioneering feminist film critic Laura Mulvey (1986, p.202-203) defined 'scopophilic' pleasure as 'erotic object for the characters inside the screen, and… for the spectator inside the auditorium', in a narrative led by men that denies her the representation of her subjectivity, I see the woman's body projected on the screen as a source to read about his life. Using films that I call cultural texts, I would like to show how female bodies and sexuality have been used to generate and perpetuate the gender divide between what constitutes the feminine and the non-feminine, and how this in turn works towards creating, the destruction and restoration of the patriarchal conception of the domestic ideal of "family" and "home". Therefore, I argue that while the first two films I discuss (Kuch Kuch Hota Hai, Jism) posit femal...... middle of paper ......"Performing Postfeminist Identities: Gender Costume and Transformation in Teen Cinema" Women on the screen: feminism and femininity in visual culture Ed. Melanie Acque. NewYork: Palgrave Macmilan, 2011.167-181.Mulvey, Laura. “Visual pleasure and narrative cinema” Feminist film theory: a reader ed. Sue Thornham.New York: New York University Press,1999. 58-69.Smith, Sharon. “The Image of Women in Cinema: Some Suggestions for Future Research” Feminist Film Theory: A Reader's Ed. Sue Thornham.New York: New York University Press,1999. 14-19.Virde, Jyotika. “The Sexed Body” The Cinematic Imagination: Indian Popular Films as Social History. Delhi: Permanent Black, 2003.145-147. Mahadevan, Asha. "Kuch Kuch Hota Hai: Rani Mukherjee's Dress Troubles" Bollywood Life.com. October 10, 2011. October 15, 2012. http://www.bollywoodlife.com/news-gossip/kuch-kuch-hota-hai-rani-mukherjee-dress-woes/