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South Asia Multidisciplinary Academic Journal , Free-Standing Articles Madurai Formula Films: Caste Pride and Politics in Tamil Cinema 2
Edinburgh Research Explorer Madurai Formula Films Citation for published version: Damodaran, K & Gorringe, H 2017, 'Madurai Formula Films', South Asia Multidisciplinary Academic Journal (SAMAJ), pp. 1-30. <https://samaj.revues.org/4359> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: South Asia Multidisciplinary Academic Journal (SAMAJ) General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 South Asia Multidisciplinary Academic Journal Free-Standing Articles Madurai Formula Films: Caste Pride and Politics in Tamil Cinema Karthikeyan Damodaran and Hugo Gorringe Publisher Association pour la recherche sur l'Asie du Sud (ARAS) Electronic version URL: http://samaj.revues.org/4359 ISSN: 1960-6060 Electronic reference Karthikeyan Damodaran and Hugo Gorringe, « Madurai Formula Films: Caste Pride and Politics in Tamil Cinema », South Asia Multidisciplinary Academic Journal [Online], Free-Standing Articles, Online since 22 June 2017, connection on 22 June 2017. URL : http://samaj.revues.org/4359 This text was automatically generated on 22 June 2017.
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Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012.
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Indian Scholar
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Tamil Cinema in the Twenty-First Century Caste, Gender, and Technology
Tamil Cinema in the Twenty-First Century Caste, Gender, and Technology Edited by Selvaraj Velayutham and Vijay Devadas First published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 selection and editorial matter, Selvaraj Velayutham and Vijay Devadas; individual chapters, the contributors The right of Selvaraj Velayutham and Vijay Devadas to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book ISBN: 978-0-367-19901-2 (hbk) ISBN: 978-0-429-24402-5 (ebk) Typeset in Times New Roman by Deanta Global Publishing Services, Chennai,
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279 a Aadukalam, 239 Aag, 28, 33 Aaj Tak, 210 Aamir, 13 Aayega
Index A Anand, Vijay, 94 Aadukalam, 239 The Anatomy of National Aag, 28, 33 Fantasy:Hawthorne, Utopia, and Aaj Tak, 210 Everyday Life (Lauren Berlant), Aamir, 13 230n5 aayega aanewala melody, 121–2, see also Andaz, 47, 190–1 Mangeshkar, Lata Anjali, 91 Abachetan, 86n18 antinomies of culinary, 225–8 Abhishapta Chambal (The Accursed Apsara Film & Television Producers Chambal), 22 Guild Awards, 176n32 Abraham, John, 165, 173n3, 213 Apte, Shanta, 52–4 acousmetre, notion of, 134n21 Arabian Nights, 141 action films, 165, 187, 192, 215, Aravindan, G, 244 231n25, 251n5 The Archive and the Repertoire: Performing action-masala film of 1980s, 12 Cultural Memory in the Americas Actress, 140 (Diana Taylor), 40n26 Advani, Nikhil, 237 archiving Bollywood, 218–21 ad world, Hindi film stars migration to, Arroyo, José, 258 97 Art and Agency: An Anthropological Theory Agamavagisa, Krishnananda, 107, 109 (Alfred Gell), 37n10 Agneepath, 12, 172 Arundale, Rukmini, 144 Agyaat, 208 Asoka, 173n3 Ajab Prem Ki Ghazab Kahani, 210 Asperger’s syndrome, 93, see also My Ajnabee, 153 Name is Khan Akhtar, Farhan, 166, 169, 208–9 Athaiya, Bhanu, 48 Akhtar, Zoya, 209, 230n11 Auro, 93, 97, see also Bachchan, Ali, Imtiaz, 222 Amitabh; Paa Allen, Richard, 246 Aurora, Malaika, 216 alternative, sources of, 242–46 Australia, 255 always-graphic image, 25 Avatar, 266n1 Aman, Zeenat, 17n20, 23, 57–8, 152–4 avatars, 259–60 Amar Akbar Anthony, 193 Awara, 47 Amar Jyoti (The Immortal Flame), 141 Aya Toofan (The Typhoon), 144 American Idol, 185 An American in Paris, 220 B Amitabh: The
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Madurai Formula Films: Caste Pride and Politics in Tamil Cinema
South Asia Multidisciplinary Academic Journal Free-Standing Articles | 2017 Madurai Formula Films: Caste Pride and Politics in Tamil Cinema Karthikeyan Damodaran and Hugo Gorringe Electronic version URL: http://journals.openedition.org/samaj/4359 DOI: 10.4000/samaj.4359 ISSN: 1960-6060 Publisher Association pour la recherche sur l'Asie du Sud (ARAS) Electronic reference Karthikeyan Damodaran and Hugo Gorringe, « Madurai Formula Films: Caste Pride and Politics in Tamil Cinema », South Asia Multidisciplinary Academic Journal [Online], Free-Standing Articles, Online since 22 June 2017, connection on 23 April 2019. URL : http://journals.openedition.org/samaj/4359 ; DOI : 10.4000/samaj.4359 This text was automatically generated on 23 April 2019. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Madurai Formula Films: Caste Pride and Politics in Tamil Cinema 1 Madurai Formula Films: Caste Pride and Politics in Tamil Cinema Karthikeyan Damodaran and Hugo Gorringe Acknowledgements: We are immensely grateful to Stalin Rajangam for insightful comments and to the anonymous reviewers of the journal who helped to sharpen the argument. The authors are indebted to the University of Edinburgh and the ESRC respectively for funding the fieldwork that enabled the discussions and observations on which this paper draws. Introduction 1 Addressing a public meeting, the wonderful Communist Party of India (Marxist) orator, N. Nanmaran MLA, once stated that when people in Chennai (formerly known as Madras; the state capital of Tamil Nadu, the southernmost state in India) came to know that he was from Madurai (city in central Tamilnadu) they would invariably—with a mix of curiosity and apprehension—ask; “Do people in Madurai always carry sickles behind their shirts?” This, he concluded, is what Tamil cinema’s representation of Madurai has achieved.
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DIRECTORS: Satyajit Ray Satyajit Ray Directed 36 Films, Including
DIRECTORS: Satyajit Ray Satyajit Ray directed 36 films, including feature films, documentaries and shorts.. Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies, and an honorary Academy Award in 1992. Satyajit Ray's films are both cinematic and literary at the same time; using a simple narrative, usually in a classical format, but greatly detailed and operating at many levels of interpretation. His first film, Pather Panchali (Song of the little road, 1955) established his reputation as a major film director, winning numerous awards including Best Human Document, Cannes, 1956 and Best Film, Vancouver, 1958. It is the first film of a trilogy - The Apu Trilogy - a three-part tale of a boy's life from birth through manhood. The other two films of this trilogy are Aparajito (The Unvanquished, 1956) and Apur Sansar (The World of Apu, 1959). His later films include Jalsaghar (The Music Room, 1958), Devi (The Goddess, 1960), Teen Kanya (Two Daughters, 1961),Charulata (The Lonely Wife, 1964), Nayak (The Hero, 1966), Asani Sanket (Distant Thunder, 1973), Shatranj Ke Khilari(The Chess Players, 1977), Ghare Baire (The Home and the World, 1984), Ganashatru (An Enemy Of The People, 1989) and Shakha Prashakha (Branches Of The Tree, 1991). Agantuk (The Stranger, 1991) was his last film. Mahesh Bhatt Mahesh Bhatt is a prominent Indian film director, producer and screenwriter. Bhatt's early directional career consisted of acclaimed movies, such as Arth, Saaransh, Janam, Naam, Sadak and Zakhm. He was later the writer of numerous commercial films in a range of genres, from dramas like Hum Hain Rahi Pyar Ke and comedies like Duplicate, though he was mostly recognised for thrillers like Inteha, Jism, Murder and Woh Lamhe.
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Volume-9 Issue-2 (2019-2020)
www.queenmira.com 1 2 YAGNA | January 2020 GLOBAL CONNECT “ “ FORMER US PRESIDENT BARACK OBAMA SAYS PARIS CLIMATE DEAL IS STILL THE WAY FORWARD AT 34, “ FINNISH MINISTER SANNA MARIN BECOMES WORLD’S YOUNGEST PM “ “ SAUDI RESTAURANTS NO LONGER NEED TO SEGREGATE“ WOMEN AND MEN NOSTRADAMUS TIMES JANUARY • Pongal Celebration • Marathon - Project ECO - Q Editor In Chief • Sales Day S.HARITHA FEBRUARY Sub Editors KALPANA KARTHICK • Health Camp AYSHA SIDDIKA FEROZE • Grand Parents Day Student Editors MARCH PRAJITH SELVARAJ SHERBOURN ISSAC.S • Aadukalam ANUSHA THENU SUBRAMANIAN CONTENTS MESSAGE FROM THE DIRECTOR-ACADEMICS ..................................................... 8 Q’S OUTREACH PROGRAM ........................................................ 9 COUNSELLOR’S INSTINCT ................................................ 10 HARAPPAN SCRIPTS .................................................................... 11 CONOISSEUR’S EXHORTATION ...................................... 12 MISSION ACCOMPLISHED ................................................... 14 SIXTH SENSE ................................................................................. 16 CAREER CHOICES ...................................................................... 18 PATH THE NAVIGATOR ............................................................ 20 GAITIES & CELEBRITIES ............................................................ 22 AMAZING FACTS & FRESH THOUGHTS ........................ 25 QUASAR KIDS .....................................................................................
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Examining the Race Stereotype of Heroines in Tamil Cinema - Content Analysis
International Journal of Advanced Science and Technology Vol. 29, No. 12s, (2020), pp. 2876-2882 Examining The Race Stereotype Of Heroines In Tamil Cinema - Content Analysis Ansu Elsa Joy Assistant Professor, Department of Visual Communication, SRM Institute of science and technology, Kattankulathur, Chennai ABSTRACT: Cinema acts as a significant communication and entertainment tool for all age groups. In general, the cinema has got a lot of culture and tradition involved in it. These educated the people around them. A message isconstructed and conveyed to the audience. Tamil cinema industry, well known as Kollywood has many sectors, and their slots are being rooted in the Tamil culture. Earlier, most of the films have got male dominance, recently the trend has changed, and female lead roles are given importance to their characters, and many are justifying the character too. However, the media has constructed a stereotype in the minds of people, that females should be fair and beautiful. White colour race acts as beauty in the media industry. May it be a film, series, advertisements, etc. The female lead has to be fair and brown colour denotes ugly. From the beginning of the media era, there is a wrong social construction stating female roles are pleasure objects in the eyes of people. People look for colour, instead of the quality of acting. Because of the media constructions insociety, audiences are being forced to view women from a heterosexual male view. Examples of the male gaze include medium close-up shots of women and scenes that frequently occur, which show a man actively observing a passive woman and so on.
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