This thesis examines gendered visual political communication on social media within the context of electoral politics in the state of West Bengal (WB) in India. Digital visual politics is an expanding field in communications research. Yet, in non-Western contexts, its practice remains underexplored from critical socio-cultural perspectives. By focusing on a specific cultural and societal setting in South Asia, my research explores how women political candidates construct and negotiate their digital identities and visibilities as a form of non-verbal political performance. My study adopts a critical realist approach to frame visual political performance through a ‘two bodies’ formulation, thereby considering exchanges of meaning between the physical and social body. Through two complementary investigations, I firstly examine the 2021 election campaign for the state legislature in West Bengal on social media platforms. Here, I combine qualitative and quantitative visual content analysis to examine visual artefacts posted on Facebook and X by the four major parties contesting this election and their two most followed female candidates. My second investigation examines perspectives of those producing these visual artefacts through semi-structured interviews, with twenty-four female politicians in the state and reflexive thematic analysis of these testimonies. These two investigations reveal how female political candidates navigate a complex relational field between constituents, party leadership, and public expectations. They bring to light contemporary, embodied reconstitutions of the bhadramahila, a social construct of the good woman drawing from Bengal’s complex colonial and post-colonial experience. Finally, I show how female politicians balance societal expectations, party interests, and personal aspirations, while navigating intense forms of public scrutiny that simultaneously makes them hyper-visible and invisible. By thus centring a culture-specific approach in the study of visual politics on digital media, my research shows that the political visibility of women remains deeply embedded within societal power relations. It reveals the persistence of colonial and postcolonial societal norms in non-verbal political communication mediated by digital technology, and the plural constructions of acceptable femininity (the good woman) in a non-Western electoral context. The conceptual apparatus my study employs and its findings, I argue, have wider implications on expanding study of visual political communication through novel, de-westernised modes of inquiry, whose relevance extends far beyond the South Asian context.