A Prospective Study on Portrayal of Rural Theme in Selected Tamil Films
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A PROSPECTIVE STUDY ON PORTRAYAL OF RURAL THEME IN SELECTED TAMIL FILMS Shreya Gupta Registered Number: 1324049 A dissertation submitted in partial fulfilment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree: Department of Media Studies II Christ University Department of Media Studies This is to certify that I have examined this copy of a master‟s thesis by Shreya Gupta Registered Number: 1324049 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee has been made. Committee Members: _____________________________________________________ _____________________________________________________ Date: __________________________________ III IV I, Shreya Gupta, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: Signature V VI Abstract A prospective study on portrayal of rural theme in selected Tamil films Shreya Gupta MS in Communication, Christ University, Bangalore Tamil film industry is popularly known as Kollywood. It has its own unique elements which makes it different from other film industry in Indian cinema. The researcher has tried to find out if there is any kind of rural element in the films which she has chosen in chronological manner. The researcher has analyzed based on certain concrete parameters. Keywords: Kollywood, Tamil films, Rural theme VII VIII ACKNOWLEDGEMENTS My sincere gratitude to my Guide, Shantaraju S for his constant guidance encouragement and support. I also thank my course coordinator Fr. Biju K. Chacko, Naresh Rao, Suparna Naresh, Aasita Bali, Amutha Manavalan, Rajesh A and Kannan S for their valuable feedback and restless assistance in bringing out this research. I also would like to thank Ujwal Hrudhay Raj and my family for the encouragement and devotion, without whom this thesis would never have been completed. IX X DEDICATION To my parents and friends XI XII TABLE OF CONTENTS Chapter 1 INTRODUCTION ................................................................................................ 1 Chapter 2 REVIEW OF LITERATURE ............................................................................. 3 2.1 People and Language ............................................................................................... 5 2.2 Sangam Classics ....................................................................................................... 6 2.3 Bhakthi or Devotional Literature ........................................................................... 6 2.4 Morals ........................................................................................................................ 7 2.5 Move .......................................................................................................................... 7 2.6 Socio-Culture ............................................................................................................ 8 2.7 Tamil film culture .................................................................................................. 10 2.8 Caste and Religion in Rural Tamil Nadu ............................................................ 12 Chapter 3 METHODOLOGY ............................................................................................. 16 3.1 Step 1 ....................................................................................................................... 16 3.2 Step 2: Define the Unit of Analysis ..................................................................... 16 3.3 Step 3: Develop Categories and a Coding Scheme ........................................... 17 3.4 Characterization ..................................................................................................... 17 3.5 Narrative .................................................................................................................. 19 3.6 Close Analysis: Production Elements ................................................................. 20 Chapter 4 ANALYSIS ......................................................................................................... 23 4.1 Paruthiveeran (2007) ............................................................................................. 23 4.2 Kumki (2012) ......................................................................................................... 29 4.3 Aadakulam (2011) ................................................................................................. 34 4.4 Subhramaniapuram (2008) ................................................................................... 37 4.5 Mynaa (2010) ......................................................................................................... 44 4.6 Findings ................................................................................................................... 49 CONCLUSION ..................................................................................................................... 50 REFERENCES ...................................................................................................................... 51 XIII XIV LIST OF FIGURES Figure 1: Village scene ...................................................................................................... 24 Figure 2: Low angle shot ................................................................................................... 26 Figure 3: Crane shot ........................................................................................................... 26 Figure 4: Natural lighting................................................................................................... 27 Figure 5: Priyamani‟s acting .............................................................................................. 28 Figure 6: The Jog falls ....................................................................................................... 29 Figure 7: Relationship between Bomman(Elephant) and Manickam ................................ 31 Figure 8: Top angle shot .................................................................................................... 32 Figure 9: Birds eye view .................................................................................................... 32 Figure 10: Rooster fight scene ........................................................................................... 34 Figure 11: Scene from Aadakulam .................................................................................... 36 Figure 12: Natural lighting................................................................................................. 37 Figure 13: Madaurai city view ........................................................................................... 38 Figure 14: Azhagar‟s look ................................................................................................. 39 Figure 15: Establishing shot............................................................................................... 40 Figure 16: Low angle shot ................................................................................................. 42 Figure 17: Festival ............................................................................................................. 43 Figure 18: Mynaa‟s look .................................................................................................... 44 Figure 19: Madurai ............................................................................................................ 45 Figure 20: Suruli‟s violence scene ..................................................................................... 46 XV XVI Chapter 1 INTRODUCTION Tamil silver screen has normal roots with and obtains from other national and provincial film customs, and hence imparts a few attributes to those conventions. It likewise, then again, draws from a tasteful history particular to India and its southern areas, and has created formal and story traditions of its own. Movies have been demonstrated in India since July 1896, when the Lumière siblings presented their cinematography six months after its unique uncovering in Paris. Generation of Indian movies started presently from there on. Indian motion pictures have held some outside impacts since those first days, yet have likewise created a style and organization that are one of a kind. The indigenous attributes of prevalent film that appear to be most eminent to the western viewer incorporate the required consideration of tunes, moves, and battle scenes, the accentuation on acting, and the evident concentrate on these components at the cost of story and verisimilitude. Huge numbers of the tasteful traditions of Tamil and other Indian film seem to get from the different society and traditional emotional exhibitions that went before film. Kollywood is the term used for the cinema industry based in Tamil Nadu. The term