PERIYAR VISUAL THEORY: DEMAND, DISPUTE AND DISPOSITION OF DRAVIDIAN CINEMA (Dr.) Subramanian Natesan (Assistant Professor, Department of Visual Communication, Hindusthan College of Arts and Science, Coimbatore, Tamil Nadu)

Abstract : Respect Movement, Dravidian Cinema, , Aryan Images, Velaikkari, Parasakthi. This research examines the impact of cinema, in the Indian subcontinent, Introduction: especially in the Dravidian society. It is a two-phased qualitative content analysis The human life is surrounded by using the methodology of grounded theory, narrations, which are transformed by either through the interpretation of structuralism. its basic institution or social group. The Phase-I is Theorization:Conceptualizing process of narration is intended to educate Periyar's views on cinema and Phase-II is and inform the progenies to preserve the Classification:Finding the roots of the term social system, folkways, and taboos; in ‘Dravidian Cinema’. The first phase analyses short, it functions as a cultural agent. Oral the demand of the ‘Self-Respect’ movement communication became a permanent record in the cinema of 1929,and to develop ‘Periyar when it was turned into written form on a Visual Theory’ on the Aryan dominated visual surface. The ideas transformed from caves to culture, through the depth of his words coined wood, paper, film, and now a digital device to in his research article in 1944. The second record social interactions. Narration and its phase examines the ‘Criticisms’ set by the surface that are connected with the evolution bourgeois and people at power, on the works of science and technology, have expanded of Periyar's followers C.N. Annadurai and from the traditional surface to the modern M. Karunanidhi, such as Velaikkari (1949) scientific surface as photographic images and Parasakthi (1952), thereby attempting during the middle of the 19th century. to determine the classification within Tamil The collective phenomena of projecting, cinema. screening, and viewing the ‘motion picture’/ movie created the event of ‘Cinema’. The Keywords: 20th century’s marvellous form of ‘Cinema’, is a contemporary dynamic narrator for every ‘Periyar Visual Theory’, Aryan myth, Self- society.

11 Cinema, Society and Politics: national integration, hope, and new paths for people. After World War I:At the dawn of the 20th century, cinema was adopted by When the country was divided into two, the nations, as a medium of entertainment. The structures of cinema in North Korea developed development of cinema and its uses varies into a communist ideology that was very according to the cultural, political, and weak. However, the new government was economic conditions of each country. After keen to create its . In 1962, World War I, the American public experienced emergency law was passed requiring film an exalted position, where cinema was a new companies to produce at least 15 films a year. source of entertainment. But South American Unable to produce new-minded films, North people were exploited by colonial cinema. Korea kidnapped South Korean director Shin Russia proclaimed cinema as a scientific form Sang-ok during the 1970s and ordered him to of social progress, by using it as a tool to make films for their nation.On the other hand, tap into people’s emotions. While the French after the Cuban revolution, the Latin American enjoyed cinema as a beautiful poetic form, thinkers began an intellectual war against the Spain was subjected to military repression until cinemas of the United States of America and 1931, and hence it was unable to develop its Europe, which dominated the continent of cinema. While Arab cinemas grew parallel to Latin America.The result of amalgamation was Egyptian cinema, many countries in Africa did ‘Third Cinema’ for decolonization and liberation not even have cinema sheds/ space for people from oppression. In the united states of , to sit and watch. Japan, which had cinematic after independence, the Films Division was cultures similar to those of the United States, launched by the Congress government during subjugated its dominancein Korea and China the 1950s for the development of film culture to the point of not learning the art of cinema. and was engrossed in national integration In colonial India, aside from the quest for through films like ‘Bhakra Nangal’ and ‘Good liberation, people were enjoying myths and manners’, while the Dravidian intellectuals religious content through cinema. used cinema for their historicity, cultural identity, and ethnicity. Thus cinema, which has After World War II:The modern narrator, become an essential fragment in the formation cinema, known as the world's greatest of modern society, is desired by thinkers and entertainment device, became an 'Intellectual ideologues in many parts of the world. Apparatus' after World War II. The world powers began to abandon their colonial rule. Tamil Cinema, Dravidian Society and Many countries used cinema to seek their own Politics: identity, to formulate national policies, and to support nationalism. One of the examples Tamil Cinema in the Silent Era:The of cinema for nation-building and asserting history of Tamil cinema has a strong connection oppressed rights, include Korean cinema, with Tamil drama and politics. The ‘Suguna which stands as an example to understand Vilaasa Sabha' started by Pammal Sambandha cinema and nationalism. Korea was beginning Mudaliar in 1891, was staging stage-plays to breathe the air of freedom and sought to all over Tamil Nadu, while the people of the shape the modern society through cinema country enjoyed the movies of the Lumiere during the 1950s.The films directed by brothers in the 1890s. Vincent Samikkannu, renowned director Shin Sung-ok showed a Tamilian, screened many films and spread

12 the cinematic film experience all over South 30), joined as an associate editor in ‘Kudiarasu’ India from 1905 onwards. weekly magazine and ‘Viduthalai’ newspaper associated with the same movement. In 1943 'Keesaka Vadam' was the first Tamil film M. Karunanidhi (aged 19) joined as a sub- produced by Nadaraja Mudaliar in 1916. A editor in ‘Kudiyarasu’ magazine. political movement named ‘South Indian Liberation Federation’ emerged in the same At the 18th provincial conference of ‘Justice year to oppose Brahmin hegemony, and the Party’, which was held in Salem in 1944, the movement was popularized and called as ‘Justice Party’ and ‘Self-Respect’ movement ‘Justice Party’. The trained actors from ‘Suguna were merged and re-named as ‘Dravidar Vilasa Sabha’ and ‘Boys Drama Company’ took Kazhagam’ (DK) by Periyar, on a resolution part in film production companies during the proposed by C.N. Annadurai (hereafter Anna). midof the 1920s. The films produced during Anna became the general secretary of the the period were meant to reflect mythology. ‘Dravidar Kazhagam’.

Self-Respect Movement/Dravidar After the independence of India, Anna Kazhagam (DK) and its genealogical formed a new political party - ‘Dravida strands: DMK (Dravida Munnetra Munnetra Kazhagam’ - DMK in 1949. Under Kazhagam) and AIADMK (All India the headship of Anna, a few more leaders Anna Dravida Munnetra Kazhagam): from DK, including ‘Kalaignar’ M. Karunanidhi (hereafter Kalaignar) joined the DMK and The leader of the Madras Presidency unit carried forward the philosophy of ‘Self- of the Indian National Congress Party, who Respect’ and leveraged political power through actively participated in the Satyagraha and public meetings and cinemas. Anna and Non-Cooperation Movements, a social activist, Kalaignar used cinema as an effective tool to political philosopher, Erode Venkata Ramasamy make political consciousness on the public. (1879-1973), affectionately called ‘Periyar’by The actor M G Ramachandran (MGR) shined Tamil people(hereafter Periyar), observed that as a protagonist of the DMK cinema. DMK the motto of the party was concerning the assumed power in 1967. After the sudden interest of the Brahmins. He opposed the stand demise of Anna, the AIADMK party was formed of Congress, as it only expected freedom from by MGR. The DMK and AIADMK governments the British rule to obtain political power, rather have been alternating in Tamil Nadu in the than exterminating the humiliation of castes path of ‘Self-Respect’ thoughts. The DK has and social evils from the society. been serving firmly for social upliftment in the united states of India and abroad. Periyar left the Congress Party and founded the ‘Self-Respect’ movement in 1925. The Tamil Cinema in the Talkie’s Era:The ‘Self-Respect’ movement’s first provincial first Tamil talkie, ‘Kalidas’ released on 31st conference was held in Chengalpattu in 1929 October, 1931contained 50 songs. N.S. and thirty-four resolutions were passed. Krishnan (NSK) was a pioneer of influencing Subsequent conferences took place in Self-Respect thoughts with vernacular forthcoming years respectively at Erode and descriptions in mainstream Tamil cinema, Viruthunagar in 1930 and 1931. Periyar was through comedy stripes along with the plot, elected as the head of the ‘Justice Party’ in Ex. The film ‘Uthama Puthiran’ (1940). The 1938. In the same year, C.N. Annadurai (aged activists of the ‘Dravidian Movement’, Anna

13 and Kalaignar were instrumental for the “The five censor boards formation of forward-thinking apparatus (Bombay, Madras, Calcutta, on the concrete of ‘Self-Respect’/Dravidian Rangoon, and Lahore) examined Movement’s thoughts. The narrative form films separately, and each had of Anna was based on contemporary social its own set of rules and local issues, with literary etiquette and rhythmic pressures. Often, a title passed by Tamil prose. Velaikaari (1949), Nallathambi one would be rejected by another” (1949), Or Iravu (1951) are milestones of (Abbas, 1970). Tamil-Dravidian cinema. His literary etiquette on Velaikaari, set a new path for the Tamil According to the column of Baburao Patel, it film world, and Self-Respect thoughts with a seems that the hegemony of Hindi is conceived literary flair were enjoyed by cinema-goers for from the beginning of the talkies. the first time. After 1954 his screen journey ended due to serious political involvement. “In the Bombay Calling Despite this, his stories were used by many column in February 1949 issue of filmmakers in the future days. Though FilmIndia, Baburao Patel praised Kalaignar’s career began as a scriptwriter in his combative way, a recent in Rajakumari (1947), Abimanyu (1948), his development: “We have been talent emerged in Marudha Nattu Ilavarasi asking for this for the last 15 (1950) and Parasakthi (1952).His narrations years," he wrote of the move to illustrated the roots of social problems and centralize film censorship” (Bhatia, suggested solutions. His contribution to the 2018). Tamil cinema continued from Rajakumari (1947) to Ponnar Sankar (2012). By the After the re-organized Central Board of Film influence of these two legends, Directors Censor, the narrations of Dravidian intellectuals Muktha Srinivasan, Bharathiraja, T. Rajender, met with fierce opposition from the Congress K. Bhagyaraj, and other shave narrated party. Despite having a rich tradition of ‘Dravidian Ideology’ via their films. film culture in the Madras presidency, the Board has been considering Tamil cinema Background of this research: as regional cinema, after independence. Emphasizing Hindi cinema as national cinema, After independence, in the discourse of is connected with linguistic imperialism. From a ‘Hindi-nation’, the Congress government an international perspective on Indian cinema, immediately absorbed the autonomous framed through the window of Hindi cinema, boards of regional censor centres: Madras, the contribution of other cinemas of India Calcutta, and Bombay, into ‘The Bombay became marginalized. On this perspective, Board of Film Censors’ (1947), later Selvaraj Velayutham (2008) gives a strong changed to ‘Central Board of Film Censor’ point to the contribution of Madras cinema. by the Cinematograph Act of 1952, to control the three varied cultural cinemas “‘When cinema arrived in British into a single umbrella as ‘Indian Cinema’. India in the late 1890s, it took root Writer and film director K.A. Abbas recalled in the three major metropolises, in an interview about the uniqueness of Bombay, Calcutta, and Madras. The the censor boards that existed before cultural hegemony and dominance independence. of within the Indian film

14 industry, have both marginalized ideas to eradicate superstitions and Aryan and erased the rich complexities myths.A strong protest by the ruling Congress and ethno-linguistic cinematic party was made against their narrations, traditions of India. The Tamil film particularly the ‘criticisms’ on Velaikkari (1949) industry begins about the same and Parasakthi (1952) respectively by ‘Kalki’ time as Hindi and Bengali cinema Krishnamoorthy, the editor of ‘Kalki’ - a Tamil in the second decade of the 20th magazine and C. Rajagopalachari (Rajaji), century. Although the Tamil film the then chief minister of Madras Presidency. industry was less known and These two cinemas were distinguished from acknowledged, it rapidly emerged the mainstream Tamil cinema. as a key player within Indian cinema”. In this case, this study looks at the structuralist, scientific inquiry on the On the other hand, Bengali cinema produced observations of Periyar, Kalki, and Rajaji. films to satisfy ‘Bhadurloke’ (the Educated Therefore after ‘The Demand of 1929’ in the middle-class audience), as an extended silent era and the ‘Article of 1944’ in the talkies medium for expressing their artistic, poetic, era, ‘Criticism’ against Velaikkari (1949), literature-valued imageries under the subject Parasakthi (1952) are subject to rational of Poverty and Partition of Bangladesh. This analysis. It is a two-phased analysis: 1) was recognized around the world under the Periyar’s ‘Demand of 1929’ &‘Article of 1944’ to banner ‘Indian cinema’. But Luis Ospina, the be analysed in Phase-I and 2) the ‘Criticisms’ iconic filmmaker of observed the of Kalki & Rajaji in Phase-II. filmmakers from the third world countries and states that: Analysis:

“Some of the third world Phase-I: Periyar’s ‘Demand of 1929’ filmmakers peddle the third And ‘The Article of 1944’ world poverty and misery at festival sites in Europe and North The art form of cinema gives two kinds of America and do not approach experiences to the audience. First, it gives their craft as a tool for social the viewer emotional satisfaction. Second, it transformation”(Ospina,1978). stimulates the intellectual ability to re-think. Periyar approached cinema through the second This brilliant point - ‘craft as a tool for social of these two aspects in mind, considering it transformation’ - means that cinema is not to be a stimulator for intellectuality. To do so, only for artistic expression but also for social he demanded in 1929 at the Chengalpattu change. The same was advocated by Periyar conference that (in the silent era), that the filmmakers should reflect on ‘Rational thinking’ and ‘Self-Respect’ “The principles of Self-Respect should thoughts in cinema. After the ‘Article of 1944’ emerge in Tamil Cinema and Drama” (in the talkies era), the Dravidian intellectuals (Rathinagiri, 1997, pp45). and followers of ‘Anna’ and ‘Kalaignar’ expressed the importance of The world's first film educational institution and the legacy of Tamil history through their - Moscow Film School, established in 1919, narrations. Out of such attempts, were born used cinema as a tool for social change and

15 produced notable works only after 6 years “Can bhajan songs and God’s lascivious of its establishment. But, Periyar demanded scenes be the solution for this country and its cinema for social change in the 4th year of people, who are so deficient and disgraceful”? the foundation of the Self-Respect Movement. (Periyar,1944). While the American USC School of Cinematic Arts (1929), Italy Centre for Experimental His expression of ‘eradication of cinema Cinematography(1935), German Film Academy and drama’ is not in a general sense, but Babelsberg (1938) were started after Moscow, it emphasizes the ‘visual settings’. It shows they only taught the techniques of producing that there are misconceptions in ‘visual cinema. It can be established that Periyar was settings’. And he mentions that the ‘sound’ the first to sow the idea of using cinema for from the musical systems of cinema and social change in colonized India and second drama are poisonous, despite the way after Russia. people enjoy them. He further explains the collective form of cinema, that ‘when He published an important article on music ‘music’ and ‘scene’ combine, it mixes with and cinema titled: ‘What should Tamil music the blood’. Cinema functions in two ways to and the Art of acting do next?’. This article was attract the audience. The first one is a tool written 15 years later in 1944,after his previous for emotional satisfaction and the second demand at the Chengalpattu conference in one is a stimulator for intellectualism. Periyar 1929.The article begins with the contemporary observed that, most of the Tamil cinemas syndrome of ‘music and acting forms’ of cinema function only as entertainment operas, for and drama, and then explains the cause for emotional satisfaction with reflections of the the social problem, and then concludes with Aryan guileful myths. solutions and finally ends with, “This is what I found after my research”. This research article “In the first six years (talkies shows that the Indian cinema has not done the era) of Tamil cinema, ninety- job for social change, that Periyar expected. nine films were made, of which, as many as eighty-eight were The Contemporary Syndrome of ‘Music and based on well-known episodes Acting forms’: from various mythologies’…“The choice of mythological subjects Periyar’s article begins by pointing out that: also resulted in the popularity of cinema as an entertainment form “The ‘visual systems’ of cinema as it dealt with a subject which and drama which is worse than was familiar to the people and music, are detrimental to the Tamil appealed powerfully to their sense people”, “it would be better if both of religious piety”(Bhaskaran, were eradicated from Tamil Nadu”. 2013).

“Music poisons the body Traditionally, the musical performances through the ear, but ‘acting style of the Devadasis happened at the premises combined with music’ spreads of the temples and other private places. The the toxin into the bloodstream general public was restricted to enter those through both the ears and the programs according to the long-rooted rule eyes” of Varnashrama established by most of the

16 Aryans. When the same settings became minutes, Periyar did in just a few.” images and visual culture in the performing (, 2016) art, Periyar indicated that it is a poison to the ears, a toxin in the blood, and a detrimental Periyar had an academic view on the syndrome for the development of the society. structure of cinema like the present-day That underlines the impact of ‘sound and academicians. As he had an in-depth analytical image’ in our everyday activities, turning into connotation on cinema, he identified that sub conscious action. Periyar has brilliantly the impact of ‘sound’ and ‘image’ among observed that, at a time when contemporary the audience is connected with the actual problems are prevalent in the society, instead living experience. He argued that, as the of resolving them,mere portrayal of Aryan Aryans’ guileful myth influenced our physical God’s libidinous scenes and bhajan songs, environment, in oral and written forms when will lead towards submission to myths and not watching the drama or cinema, those forms towards the development of society. Even in are consumed as visuals by the audience. the 1940s, he had so much understanding to interpret the impact of cinema. Periyar's view The Cause for the Syndrome and on cinema seems to be consistent with the Development of Periyar’s Theory: film historian and theorist professor Susan Hayward, from the University of Exeter, UK. Periyar has observed that the reflective effects of visuals in the minds of the “Cinema constructs a ‘reality audience will lead them to be ignorant,and out of selected images and sound” immerse themselves happily in those scenes, ….. “An interpretive claim involves without understanding what truly caused a more complex intellectual them their misery. He divides the visual response than descriptive claim. language effects into two–1) the place Interpretive claims present an where the action takes place, and 2) the argument about a film’s meaning place where the consequences occur. He and significance. These claims interprets two types of actions at the scene. address a film’s themes and The first one is libidinous scenes of Aryan abstract ideas”. (Hayward, 2006). Gods, and the second is the reflection of incarnate characters. He notes that Another evidence of Periyar’s interpretive when these scenes occur on stage/screen, calibre on cinema, is the comment he made the audience react too according to the on the 100th Day Success Ceremony of the ‘Performed Visuals’. When the gods film "Suriyakanthi"- held at in the indulge in a libidinous manner (tŸËia¢ Rajeswari wedding hall in 1973. Muktha R¥ãukÂa‹ fhjȤJ fhjš nr£il Srinivasan, the director of the film shared a brŒí« nghJ.. (Periyar, 1944), this desire few titbits about the incident, infects both men and women, and lascivious gestures occur particularly among those who “He hardly watched films, but have fixed the space for their craving.And agreed to come. His message when Gods appear as incarnate characters at the function—about the (ÉZQöÂÈUªJ btËtU«nghJ suppression of women’s talents— k¡fŸ ifT¥ã¡ F«ãL»wh®fŸ (Periyar, met with great response. What I 1944) the audience worship the screen by had tried to convey in around 150 raising their hand in cusps.

17 “While the Aryan mythology is Sigmund Freud’s discussions of the portrayed in drama and cinema, libido drives and Jacques Lacan’s the viewers’ hands bow when the of the mirror stage to explain how Gods are portrayed as incarnate film works at the unconscious level” Purushas, and while the Gods (Hayward, 2006). are doing their libidinous acts, many men and women look at The British feminist film theorist, Laura each other.This will give any Mulvey has described the libidinous behaviour kind of pleasure, happiness, and of the spectator, in her essay ‘Visual Pleasure satisfaction to any age. This is and Narrative Cinema’ (1975) on the Freudian natural. Can this be made a habit idea of phallocentrism and the political use for children and young people who of Psychoanalysis. She argues that the idea are exposing the adult content of images of women and corresponding and do not have enough strength narrations are inadvertently built in the to protect themselves?The patriarchal society. But Periyar described people are using theatre sheds that the patriarchal environment is created or cinemas, making it a convenient through the ‘Reflective’ forms of incarnate place to settle a love affair to characters, and the ‘Libidinous’ behaviours some extent and to enjoy a bit of of Aryan gods that were deliberately implanted romance.Psychologists may say by the Aryan’s guileful myths. that the people need these kinds of pleasures. Don't you want to First, the myths were formed in the external change that performance to a little environment through oral and written forms, bit of rationality and respect while to suppress the Dravidian society. Then the doing so”? (Periyar,1944). myths were formed as visuals in temples and performed as music, drama, and cinema. Thus, Periyar presents a psychological Periyar argues from a psychological perspective perspective between the stage/screen and the that - (k¡fS¡F ïªj ï‹g« mtáa« v‹W audience. He refers to the above-mentioned kndhj¤Jt Ãòz®fŸ brhšy¡TL«. libido action and reflective action as follows: m¥go¢ brŒtjhdhY« mâÈUªJ á¿J “The lustful orgies and the incarnate characters m¿î« khdK« bgW«goahf mªj eo¥ig¤ of Aryan myths”. Also, the fact when he talks âU¥g nt©lhkh? (Periyar, 1944) -it may about the impact of the ‘Performed Visuals’ give a kind of ‘pleasure to the audience’ but and the ‘Audience Space’- shows that Periyar there is also a need for an alternative form in had been researching the stage/screen and the performances according to contemporary its effects on the audience since the 1930s. social issues, instead of mere visual pleasure. But it was not until the1970s that Western researchers began to study the relationship According to the argument of Periyar, between the Screen and the Audience. I have coined the term “Periyar Visual Theory” with the connotation of the ‘Libido “Film theorists Baudry, Bellour, Action and Reflective Action’model.Periyar Metz, Mulvey (all 1975) making mentions that Aryan works of literature in psychoanalytic readings of the whatever form they arrive, “it is all our foes”. dynamic between the screen and The term ‘whatever form’ shows that, they the spectator have drawn on arrive via two forms - external and internal.

18 concept through the experience of external and internal contexts. The Spectator's Interpretation & Judgments are perceived according to the factors of Internal and External influences with the Performed Visuals.

Affected by the aforementioned circumstances, these contexts manifest themselves in arts under people’s beliefs. When viewers see erotic scenes through cinema, they are transformed by the feelings they have inside. Similarly, they clasp their hands when God appears as incarnate Purushas on the screen. When they see appropriate visual settings, they bow down and believe the visual as God. It is The External / Environment: shows the because of all these, Periyar argued that the natural surroundings of an individual and the Aryan myths are of greater danger to us, in web of social settings. The consequences the form of drama and cinema than in the of Aryan literature and mythologies in the written form. society, create inequality at birth and thereby divides human beings: to make manoeuvres Periyar’s Solution for the syndrome: to be always at the top of the socio-economic ladder, to create and propagate philosophies Cinematic screen studies using Sigmund in the name of religion, and to fabricate the Freud's sexuality, and Jacques Lacan’s mirror same as tradition. stage philosophy, were done by Western researchers. Periyar also emphasizes the need The Internal / Psychological: interferes for psychologically oriented cinema. Here I with one's mood, values, beliefs, purpose, relate Lacan's term "méconnaissance" which anticipation, interest and training. The implies a false recognition; the product of word ‘Libido’ is used by Sigmund Freud for misunderstanding in the mirror stage of a child sexuality, sexual desire, or the drive of sex, (Lacan, 1962) can be compared with Periyar's and ‘Reflection’ is extracted from Jacques view on child’s exposure to adultery scenes; Lacan’s mirror stage philosophy. he mentions “how children and the vulnerable cannot protect themselves when they watch Drama is a non-staging art form and these mythological scenes”. At this point, he Cinema is a projecting art form. These arts, demands that a change is needed in those cinema and drama, are created with external visual settings. Though the Cinematograph Act and internal contexts, as well as those who of 1918 was implemented for film censorship watch cinema and drama and understand its in British India, it only controlled content

19 that was against the Crown. The censor plays and cinemas against Aryans. He wanted certification with grading, was issued after a pure sense of Tamil-ness in the literature and several meetings with higher officials, after the art forms in Dravidian land. the amendment of the Cinematography Act 1952 as follows: “If we are not aware that the myths and scriptures of • U: Unrestricted public exhibition Aryan literature have been subtly (Suitable for all age groups) inserted into Tamil literature, especially in musical drama and • U/A: Parental guidance for children under cinema, that is a huge closure. So, age 12 we must destroy Sanskrit stories and epics in whatever form they • A: Restricted to adults (Suitable for 18 are inserted. Will untouchability years and above) be eliminated by the history of Nandanar? Take a closer look at • S: Restricted to a specialized group whether the moral / non-moral of people, such as engineers, doctors or qualities grow / decrease due to scientists. the Thiruvilaiyadal Puranam Leela? Will prostitution increase It can be seen in the diagram of ‘Periyar or decrease due to Krishna Leela? Visual Theory’ that the libido action that Periyar Let me tell you the truth, realize had mentioned, led to this graded certification that Tamils can never live with system, before the independence of India. human rights and dignity, unless Despite insisting on children's cinema, his main these stories are eradicated, aim seems to be, to prevent the Aryan influence no matter what form they take, from being imposed on the minds of the Tamil or whether they have entered people. In particular, the main purpose of his automatically or inserted by Tamil article was to clarify on the sense of language, people themselves.To the best of and to preserve the Tamil literature from Aryan my knowledge and research I have influence. This is because Periyar, despite his concluded that: the Aryan myth lifelong efforts to eradicate superstitions, has being in Tamil literature, is harmful written in detail in the conclusion, about how than being in Sanskrit, and they the cunning story systems of the Aryans have are more harmful in the form of been impregnated into Tamil literature. art, music, drama and cinema than in the form of mere story, epic and The Conclusion of Periyar’s Research: myth” (Periyar, 1944).

This essay on cinema and drama, in the Therefore, Periyar emphasizes that it is light of literary emphasis, has also given equal necessary to reject Aryan myths, if Tamils importance to literature. Periyar’s reference are to live with dignity and human rights. He here is to prevent a mixture of Aryan stories advocates bringing alternative ideas in cinema from entering Tamil literature. Therefore, if and drama and the need for new changes Tamil literature must be preserved, Aryan in the art of acting, which transforms the literature is to be destroyed. Not just that, but theatrical and cinematic use of ideas free from he aimed to create a Dravidian identity in the Aryan influences.

20 Phase-II: The Criticism on Velaikkari in Tamil Nadu. The reasons for (1949) And Parasakthi (1952) its speciality are the following features; many ideas in the Periyar's essay on the demand for preservation story will captivate the minds of Tamil language and in fulfilment of his idea of the general public. A story on alternate forms should be produced against about the cruelty of the rich Aryan myths, ‘Anna’ and ‘Kalaignar’ created towards the poor. They have stories incorporating Dravidian ideals. It is spoken in traditional Tamil with important to note here, that Periyar’s passion emotion appropriate to that to preserve Tamil language,were at a time, situation. They have taken the when struggles against Hindi hegemony were picture using good technique. aggressive in Tamil Nadu. The camera &soundtrack are top-notch. The strongest opposition to the narrations of Anna and Kalaignar arose from the Aryan press Opposite opinion: Most of and the ruling class. Two of them, Velaikkari the scenes in the film, carry (1949) and Parasakthi (1952) were seen by a outa campaign against the team of government officials and subjected to Hindu religion. But as an atheist harsh criticism. Therefore, the purpose of this propaganda, I consider this study is to revisit those two movies, through attempt a great failure. I have no the lens of those harsh criticisms, and inquire hope that the atheist campaign its content with the ‘Periyar Visual Theory’ to would succeed via this film. Our identify the disposition of the narration. Hinduism is not such a feeble religion. Hinduism has withstood Criticism on ‘Velaikkari’ (1949): anti-campaigns thousand times stronger than this and has survived ‘Kalki’ Krishnamurthy, the editor of Kalki Tamil to this day”. magazine, criticized Velaikkari (1949) in the same magazine published on 19th June 1949, In the general opinion, Kalki talks about as a general opinion and objection as follows: the plot, and mentions that it shows the suffering of the poor vs. the rich. This “Complaints were made view shows that the story is structured about the ‘Velaikkari’ being an around the basic tenets of the Self-Respect objectionable film that promotes movement, that economic and cultural atheism. Due to these complaints, oppression must be fought. In the opposite two ministers of the Madras opinion, Kalki opines that the ideology government saw the film. I of the story, emphasizes the emergence happened to watch the film with of anti-Hindu propaganda. It is already them too. Before discussing the proved that the demerits of Hinduism, complaint, I would like to say have been narrated in the perspective a few things about the film in of Self-Respect principles against the general. monolithic structure (Manu), which must be eradicated, as it is a great force that General opinion: Velaikkari sows inequality in society, and degrades is one of the best films released people by birth.

21 Both Kalki's general and negative opinions Rajaji, who was waiting for the film to be distinguish Anna's ‘Velaikkari’ (1949) from banned, was shocked at the statement given the mainstream Tamil cinema into the by the intelligence unit. The shock was that, Dravidian ideological product. He says that the they wrote in praise of ‘Parasakthi’. The praises technology of the film and the phonetic of the of the people, even government intelligence language are of high standards. He adds on officers, are true historical records for the the elegance of the acting also. So Dravidian Dravidian Cinema. Cinema is not just about disseminating its ideas,but the progression of technological and The Report of the Intelligence Team: linguistic developments. "The dialogues for the film have been Since Kalki’s opposite opinion reveals specially written in a forceful manner by that the content of the narration is against Sri M Karunanithi, the well-known leader Hinduism and atheist propaganda, it satisfies of Dravidian Progressive Federation... The the expectation of Periyar, in the context of film graphically describes the sufferings the resolution passed at the Chengalpattu and hardships that a young-widow, with Conference in 1929. Anna's ‘Velaikkari’ (1949) her baby in her arms, has to face due to should be called 'Dravidian cinema' which poverty and how cruelly the society treats embodies the principles of the Self-Respect her, or illtreats her", "The substance of the movement. story by itself is not at all objectionable. The plot is interesting and the story has a Criticism on 'Parasakthi' (1952): powerful moral appeal, namely that there will be ups and downs in a man's life and Ten days after Parasakthi was released, the that chastity is the most precious jewel of secretary of State for Madras, O. Pulla Reddy womanhood". made a plea to the Government Intelligence officers, to review the film 'Parasakthi' and 'Objectionable' features of Parasakthi: to give details about it to the Madras Police Commissioner J.S. Devasakaya. Accordingly, “The dialogues for the story written by Sri M on 27th October1952, a group of intelligence Karunanithi, however, are full of subtle satire. officers reviewed the film 'Parasakthi'. The dialogues cleverly veiled the criticisms against the government, the exploitation Government officials and intellectuals of the Tamilians by the North Indians, and had to view ‘Parasakthi’due to a series of chicanery of persons who dupe people in the complaints made about the film to Rajaji, name of religion, god, etc. The famine and the then Chief Minister of Madras. Wealthy poverty in the country are attributed to the people who were known as the upper castes indifference and lack of proper handling by in the society, caste-based organizations the government. The one scene that appears that uphold caste sentiments, supporters of to be out of place and rather strange is that the Congress, and those who were holding of the 'poojari' trying to seduce the helpless government posts, protested and pressured girl in the precincts of the Parasakthi Temple. the government to ban the film 'Parasakthi' A section of the public feels that such alleged which denigrates Hinduism. The magazines rascality by a poojari is only one in a thousand, run by the Brahmins lashed out at ‘Kalaignar’ and that giving prominence to such a scene on this issue. is likely to reflect generally on places of

22 worship, temples, and the priests in-charge. Rajaji realized that, although the report The scene appears to be essential and it does submitted by intelligence officials had two not appear as though any such conclusion parts - appreciation and opposition, they both could be derived. The film contains a lot of reinforced to appreciate the film's concept. Dravida Kazhagam ideals and sentiments, in Therefore, he did not accept the report, but a cleverly camouflaged manner which may rather states his criticism as follows. not easily strike a casual film-goer. There appears to be no anti-Gandhian propaganda “Rajaji noted that: I do not think we except when Gunasekaran taking the law should honor this cheap attempt to destroy into his own hands and attacking the poojari, the faith of the people by elaborating the with a statement alleging that Gandhiji review of high personages. The position himself has recommended 'mercy killing' - is clear enough. It is the introduction of in the case of certain incurable ailments in a fictitious incident to show that rascality animals. The other veiled criticisms against is practiced in high places &by 'holy' men. North Indians are (1) the scene depicting People write cheap stories, long &short, the North Indian camp officer refusing how lawyers cheat, how doctors practice admission to maimed Tamilian refugees, fraud, and how men and women poison and while he admits hale and healthy refugees kill. These incidents are not true but on from Delhi. (2) A North Indian dealer in them, literature is built. Reading does not second-hand clothes running his own impress so much on readers, as pictures business in Madras, offering only eight do on picture viewers. This is what makes annas for a good pair of tweed pants, and people object. There is nothing to be (3) A north Indian using harsh words to gained by our sense of seeing the picture. Kalyani to collect money due to him for That it is designed by wicked people is provisions supplied to her (Pandian,1991). obvious, but the course of freedom cannot be damned now. These things must go on Although the above is said to be until people themselves learn that these the oppositional opinion for the film are worthless”. ‘Parasakthi’, the film still expresses the misery of Tamil society. It has been said Rajaji points out that Parasakthi's story that the dialogues of ‘Kalaignar’ created structure is inferior, untrue, and fictitious. an in-depth meaning of condemning But in the Dravidian point of view, it is a the power, that the ordinary cinema fan truthful narration. The purpose of the scene could not understand.It shows that the in which the temple priest tries to mislead Dravidian activists have taken cinema to the widow, is to reveal the truth i.e.,how the a place of knowledge, as it was evidenced temple stands as a sad symbol, of how women by the report of the intelligence officers. have been made ‘Devadasi’s and enslaved The report against Parasakthi is like in temples for years and the long-standing praising the film without going against it. atrocities perpetrated on Tamil women.So, While the anti-government rhetoric, the it is not a mere fiction, but a revolutionary dominance of the North, etc. may sound Dravidian narration against injustice. Through anti-national, it is still the voice of the Parasakthi, Periyar's principles are further common people.‘Parasakthi’ seems to have strengthened by the fact, that social events fulfilled Periyar's intention to use cinema are slowly getting symbolized, instead of mere for social change through intellectualism. Aryan myths.

23 Conclusion: References:

The powerful art form of the twentieth 1. Asokan. K. (2018). Therkilrunthu Oru century – cinema, is used by many countries Sooriyan, KSL Media Limited, Chennai. around the world as a story telling weapon, and as an excellent form for enriching people’s 2. Baker, C. J. (1976). The Politics of awareness, and to create a well-organized South India, 1920-1937 (Vol. 17). Cambridge society. Periyar wanted Dravidian principles to University Press. emerge in cinema,and cinema should be used for social change. When his expectations were 3. Bala, A. (2011). Ulaga Cinema Varalaru. not met, he also voiced the need to change Puthiya Konam, Chennai. the nature of cinema in Tamil Nadu, through his article in 1944. Through the analysis of 4. Baskaran, S. T. (1996). The eye of Phase-I, the influential ideas of Periyar’s article the serpent: An introduction to Tamil cinema. caused to coin the term ‘Periyar Visual Theory’. East-West Books (Madras).

The word ‘Dravidian Cinema’ has been 5. Bergan, Ronald, (2011). The Film stated by a few scholars here and there. Book, A complete guide to the world of It can also be seen in recent times, that a cinema, Dorling Kingsley Limited, London. few Tamil film historians are writing history, to uncover the contribution of Dravidian 6. Binford, M. R. (1983). New Indian Cinemas.The term is used by writers to refer cinema: A filmography. to the films made by those associated with Dravidian politics. AVP Asaithambi ran a 7. Subagunarajan, V M S, (2009), weekly magazine called ‘Dravida Cinema’.On Dhiravida cinema, Kayal Kavin Books, Chennai. that basis, a book contains the contribution of Dravidian filmmakers - written by R. Pavendan 8. Eswaran. S, & Thirunavukarasu. and V.M.S. Subagunarajan, and was published (2020). Tamil Cinema Vimarsanagal: 1931- in 2009 under the title ‘Dravida Cinema’. 1960. Nizhal – Pathiyam Film Academy, Chennai. Phase-II of this research was aimed to apply and study the term ‘Dravidian Cinema’ 9. Jansen, Charles R, (1986). Studying on ‘Velaikkari’ (1944) and Parasakthi’ (1952) Art History, Prentice-Hall, New Jersey. through the ‘Periyar Visual Theory’ and to fit them into the Dravidian ideological frame. 10. Hardgrave Jr, R. L. (1973). Politics and As these two films were subjected to severe the Film in Tamilnadu: The Stars and the DMK. criticism by ‘Kalki’ and ‘Rajaji’, which in turn only Asian Survey, 13(3), 288-305. strengthens the Dravidian ideology, it seems that these two films are taproots for Dravidian 11. Hughes, S. (2006). House full: Silent Cinema. In this context, it is clear that these film genre, exhibition, and audiences in South two films have brought about a change in social India. The Indian Economic & Social History environment. The stories of both the cinemas Review, 43(1), 31-62. talk about social trauma and show that a change is taking place, as the ‘Periyar Visual Theory’ 12. Mulvey, Laura, (1975). Visual Pleasure rightly refers to the situation of the society. and Narrative Cinema, Screen,16, (3),6-18.

24 13. Pandian, M. S. S. (1991). Parasakthi: 20. https://www.thehindu.com/features/ Life and times of a DMK film. Economic and cinema/%E2%80%98Jayalalithaa-lived-the- Political Weekly, 759-770. role%E2%80%99/article14640080.ece

14. Pillai, S. E. (2015). Madras Studios: About the Author: Narrative, Genre, and Ideology in Tamil Cinema. SAGE Publications India. (Dr.) Subramanian Natesan is an Assistant Professor at the Dept. of Visual 15. Rathinagiri, R. (2015), Thanthai Periyar Communication,Hindusthan College of Arts Vaazhvum Thondum, National Book Trends, and Science, Coimbatore, Tamil Nadu. He India. graduated in Visual Communication and Mass Communication and is currently pursuing 16. Solanas, F., & Getino, O. (1997). his Ph.D. in film studies at the Bharathiar Towards a third cinema: notes and experiences University. He has also taught at the GDR for the development of a cinema of liberation College of Science, Coimbatore. in the Third World. New , 1, 33-58. Subramanian has hands-on industrial experience as a layout artist at many Offset 17. Vasudevan, R. S. (2017). Geographies institutions, FM Radio & Television (Doordarshan of the Cinematic Public: Notes on Regional Kendra, Coimbatore). He is also a Freelance National and Global Histories of Indian Writer, TV News Reader, Graphic Designer and Cinema. Portrait Photographer. He is a resource person for Visual Art, Graphic Production, and Film 18. Willis, Tom., & Pramaggiorem, Maria. Aesthetics. He is also an actor and director of (2018). Film a critical introduction, Laurence street plays and a folk singer for albums on social King Publishing Ltd,UK. awareness programs.

Web references: Subramanian has been awarded the DIGI GURU award (Top Ten Digital Media Teachers 19. https://www.livemint.com/Leisure/ at the National Level) by the ICT and Ministry j8SzkGgRoXofpxn57F8nZP/100-years-of-film- of Human ResourceDevelopment,Government censorship-in-India.html of India.

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