Periyar Visual Theory: Demand, Dispute And
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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, Tamil 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 national cinema. 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 India, 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.