Spoofs and the Politics of the Film Image's Ontology in Tamil Cinema
Spoofs and the Politics of the Film Image’s Ontology in Tamil Cinema * Constantine V. Nakassis All Film Spoofs, No Spoof Films Commercial Tamil cinema has long been a travesty of itself, its textuality woven from so many citational allusions, homages, and self-parodies; and yet, until recently there was no such recognized genre of the spoof film, only “comedy tracks” trailing in the shadows of the grandiose hero and his more serious narrative, parodying his potent image here and there, most often through scenes of comically inverted or failed heroism (Nakassis 2010:209–221). In 2010, this was seen to have changed, with the release of a surfeit of spoof films—Venkat Prabhu’s Goa, Simbudevan’s Irumbu Kottai Mirattu Singam, and, most importantly for this paper, C. S. Amudhan’s aptly titled Thamizh Padam, or ‘Tamil Movie.’1 And then of course, there was that unwitting spoof hero, the self-proclaimed “Power Star,” Dr. S. Srinivasan, who entered the scene in 2011 with his unbel- ievably absurd, yet ambiguously self-serious, film (Lathika) and public persona (figure 1).2 Industry insiders and film enthusiasts often explain this seeming par- adox that Tamil cinema is all spoof with no spoofs by pointing to the self- seriousness of the industry—that is, that it can’t take a joke; or alter- natively by pointing to its cultural and historical particularity—that is, that “spoofs” are a foreign genre. But what is so notable is that the ind- ustry has long made jokes at its own expense. Think, for example, of Nagesh’s memorable comedy track from Sridhar’s classic 1964 romantic comedy Kadhalikka Neeramillai (‘No Time for Love’), which turns on Nagesh’s nascent film production: a parody of the film producer, Nagesh * Constantine V.
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