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TAMIL CINEMA: THE CULTURAL POLITICS OF OTHER INDUSTRY PDF, EPUB, EBOOK

Selvaraj Velayutham | 220 pages | 30 Apr 2009 | Taylor & Francis Ltd | 9780415492195 | English | , United Kingdom Verify your identity

The beginnings of this connection started quite early. During the silent era, the popular entertainment was commercial drama that has come to be known as company drama. There were nearly touring drama companies operating at this time in the . As long as cinema remained silent, there was no interaction between the drama artists and the film makers. The drama artists were mostly singers and musicians and there was no place for them in the silent screen. But once sound was introduced in cinema, the world of drama companies moved into the cinema studios. Most of the talkie made during the first decade of the sound era were plays that had proved popular. The normal practice was to engage a drama troupe, make them enact the play and shoot it, head on, in long takes. Remember that we are talking about , when the Civil Disobedience Movement, a major event in 's struggle for freedom, was at its height. The dramatic by Gandhi was part of this movement. Most of the drama companies had already been highly politicized, particularly after the Jallianwalabagh massacre of , in which hundreds of people attending a political meeting were killed by 16 British police, and they supported the cause of freedom struggle through their dramas and songs. Numerous plays were banned. Many well-known actors took part in direct political action and courted arrest. When sound came to south Indian cinema, the politicized, nationalistic group of drama artists moved into the world of films. They brought with them into cinema their ideology and a penchant for political activism. The very first Tamil [1] film, "Kalidas" a mythological film made in , had a song praising Gandhi. This was the beginning of politicization of south Indian cinema. Within a few years, patriotic films were produced and cinema became an instrument of political propaganda. Many film artists began taking direct part in politics and in the process lent their charisma to the nationalist cause. Some went as delegates to National Congress sessions and many appeared with national leaders on political platforms. The artists of the world of entertainment, both from the stage and the screen, gained a new respectability by their political activism. In the wake of the Montague-Chelmsford Reforms, in the Madras Presidency general elections were held in Many film and drama actors campaigned for the Congress Party, which swept the elections and assumed office in six provinces, including Madras. They ruled for two years, until at the behest of Gandhi, the ministries resigned, protesting against India's involvement in the war. During this Congress interregnum, censorship was virtually lifted and a series of patriotic films were made. After India gained independence became a republic, a very popular actress, K. Sundarambal, entered the legislature in in Madras as a Congress nominee, the first film artist to enter an Indian legislature. Thus began the process. However, the Congress leader Satyamurthi, who acted as the link between the world of entertainment-drama and cinema-and the Nationalists died. The other leaders looked down upon cinema and drama and disowned the world of film and drama. The , a reformist movement that was coming up in the s, had started using the stage for propaganda. After Satyamurti's death, the artists, leaderless and directionless, gravitated towards the Dravidian movement, whose leaders offered them recognition and patronage. Many of the leading lights of the movement, including C. Annadurai and M. Karunanidhi, were themselves playwrights and often acted in plays. Later they were to become the chief ministers of the state of Tamilnadu, one after the other. It was they, the Dravidian leaders, and bitter political enemies of Satyamurthi, who eventually inherited the force that he had assiduously nurtured and used in their journey to power, creating the phenomenon of star politicians. Ramachandran, the best known star-politician and later to be the chief minister of Tamilnadu, had in fact acted in nationalistic plays and was a khadi-wearing Congress sympathizer before he joined the Dravidian party. The interaction between cinema and politics in continues. In the June elections to the upper house of the Indian Parliament, two film stars were elected-from two opposing parties-in the state of Tamilnadu. Theodore Baskaran, a film historian who has done extensive research on the interaction of cinema and social movements, spent the fall semester at the U-M as a Hughes Visiting Scholar with the Center for South Asian Studies. The is spoken by 66 million people in the state of Tamilnadu in India and in the Indian diaspora. Madras, the capital of Tamilnadu, has one of the most prolific film industries. So far more than Tamil films have been made. Skip to main content Skip to quick search Skip to global navigation. Quick search:. Home Search Browse Contact. Theodore Baskaran. Volume 9 , Issue 2 , Winter Top of page. Eleftheriotis, D. Eleftheriotis and G. Edinburgh University Press, pp. Ellis, J. Butler ed. Detroit: Wayne State University Press, pp. Gledhill, C. Cook ed. London: BFI. Gokulsing, K. Stoke-on-Trent: Trentham Books. Gopalan, L. Grant, B. Grodal, T. Oxford: Clarendon Press. Hardgrave, R. Kaali, S. Vasudevan ed. Oxford University Press, pp. Lequeret, E. Neale, S. London: Routledge. Pandian, M. Ramachandran in Film and Politics. New : Sage. Prasad, M. : Oxford University Press. Fischer and M. Landy eds , Stars: The Film Reader. London: Routledge, pp. Ramachandran, N. Schweinitz, J. Sebastian, P. Srinivas, R. Nandy ed. New Delhi: Oxford University Press, pp. Srinivas, S. ​ Devadas​ - ​Google Scholar​

This book examines critically the cultural and cinematic representations in . It outlines its history and distinctive characteristics, and proceeds to consider a number of important themes such as gender, religion, class, caste, fandom, cinematic genre, the politics of identity and diaspora. Throughout, the book cogently links the analysis to wider social, political and cultural phenomena in Tamil and Indian society. Overall, it is an exciting and original contribution to an under-studied field, also facilitating a fresh consideration of the existing body of scholarship on Indian cinema. Tamil Cinema : the cultural politics of India's other . N2 - Hitherto, the academic study of Indian cinema has focused primarily on , despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. AB - Hitherto, the academic study of Indian cinema has focused primarily on Bollywood, despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. Postcolonial Studies: Culture, Politics, Economy 4 2 , , Tamil Cinema: The cultural politics of India's other film industry, , Conviviality in everyday multiculturalism: Some brief comparisons between and Sydney A Wise, S Velayutham European journal of cultural studies 17 4 , , Moral economies of a translocal village: obligation and shame among South Indian transnational migrants S Velayutham, A Wise Global Networks 5 1 , , Mga bagong pagsipi sa may-akdang ito. Mga bagong artikulong nauugnay sa pananaliksik ng may-akdang ito. Email address para sa mga update. Tapos na. Aking profile Aking library Metrics Mga Alerto. Mga setting. Mag-sign in. Magkaroon ng sarili kong profile Sinipi ni Tingnan lahat Lahat Simula Mga Pagsipi h-index 17 13 iindex 21 Senior Lecturer, Macquarie University. Mga Artikulo Sinipi ni. Pamagat Pagbukud-bukurin Pagbukud-bukurin ayon sa mga pagsipi Pagbukud-bukurin ayon sa taon Pagbukud-bukurin ayon sa pamagat. European journal of cultural studies 17 4 , , The Economic and Labour Relations Review 24 3 , , Tamil Cinema: The Cultural Politics of India's Other Film Industry - Google Books

Add co-authors Co-authors. Upload PDF. Follow this author. New articles by this author. New citations to this author. New articles related to this author's research. Email address for updates. My profile My library Metrics Alerts. Sign in. Email address para sa mga update. Tapos na. Aking profile Aking library Metrics Mga Alerto. Mga setting. Mag-sign in. Magkaroon ng sarili kong profile Sinipi ni Tingnan lahat Lahat Simula Mga Pagsipi h-index 17 13 iindex 21 Senior Lecturer, Macquarie University. Mga Artikulo Sinipi ni. Pamagat Pagbukud-bukurin Pagbukud- bukurin ayon sa mga pagsipi Pagbukud-bukurin ayon sa taon Pagbukud-bukurin ayon sa pamagat. European journal of cultural studies 17 4 , , The Economic and Labour Relations Review 24 3 , , Journal of ethnic and migration studies 34 1 , , International Journal of Sociology 47 2 , , Overall, it is an exciting and original contribution to an under-studied field, also facilitating a fresh consideration of the existing body of scholarship on Indian cinema. Tamil Cinema : the cultural politics of India's other film industry. N2 - Hitherto, the academic study of Indian cinema has focused primarily on Bollywood, despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. AB - Hitherto, the academic study of Indian cinema has focused primarily on Bollywood, despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. Tamil Cinema the cultural politics of India's other film industry. Department of Sociology. Overview Fingerprint.

Canadian Journal of Film Studies: Vol 19, No 1

Cambridge University Press. Velayutham ed. New York: Routledge, pp. Dudrah, R. Eleftheriotis, D. Eleftheriotis and G. Edinburgh University Press, pp. Ellis, J. Butler ed. Detroit: Wayne State University Press, pp. Gledhill, C. Cook ed. London: BFI. Gokulsing, K. Stoke-on-Trent: Trentham Books. Gopalan, L. Grant, B. Grodal, T. Oxford: Clarendon Press. Hardgrave, R. Kaali, S. Vasudevan ed. Oxford University Press, pp. Lequeret, E. Swamikannu Vincent , an employee of the South Indian Railways in , purchased a film projector and silent films from the Frenchman Du Pont and set up a business as film exhibitor. His tent cinema became popular and he travelled throughout the state with his mobile unit. To celebrate the event of King George V's visit in , a grand exhibition was organised in Madras. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone , made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue. Raghupathy Venkaiah , a successful photographer , took over the equipment after the exhibition and set up a tent cinema near the . Venkaiah, flush with funds, in built a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. The theatre later closed for commercial developments. Swamikannu Vincent , who had built the first cinema of South India in Coimbatore , introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras , called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors. became the hub of studio activity with two more movie studios built in Chennai, Vijaya Vauhini Studios and . Nataraja, who established the India Film Company Limited. Later, some films featuring M. Thyagaraja Bhagavathar were shot in those cities as well. Telugu artists became active with the production of Bhisma Pratighna , a , in The film was directed by Raghupathi Venkaiah Naidu and his son R. In , the first Tamil silent film, , was made by R. Nataraja Mudaliar in In , the industry saw its first major commercial success with Lavakusa. Directed by C. Pullaiah and starring Parupalli Subbarao and Sriranjani in lead roles, the film attracted unprecedented numbers of viewers to theaters and thrust the young film industry into mainstream culture. During the same time, the first talkie , Sulochana , [18] appeared in theatres, followed by Bhakta Dhruva aka Dhruva Kumar. Both Sati Sulochana and Bhakta Dhruva were major successes. But prospective filmmakers in were handicapped by the lack of studios and technical crews. Sati Sulochana was shot in Kolhapur at the Chatrapathi studio; most filming, sound recording, and post-production was done in Madras. It was difficult, as well, to find financial backing for new film projects in the region; thus, very few movies in Kannada were released during the early years of Indian sound cinema. The first talkie in was Balan , released in It was directed by S. Nottani with a screenplay and songs written by Muthukulam Raghavan Pillai. It opened up a new world of vicarious experience to large masses whose span of experience was severely limited by poverty and restrictions on travel. In a way that no other medium had done before, films began to influence public opinion on matters relating to nationalism, social reforms and war. Regular commercial cinema shows began by in Madras, and soon permanent cinema houses came to be built. In the first Indian film, "," was made in and in the first south Indian feature film, "Keechakavatham" The Destruction of Keechakan , was made in Madras. Both were based on stories from well-known myths. The first studio in Madras, India Film Company, was established in While films from America and Britain were flooding the market, the films made in Bombay and Madras were looked upon as completely Indian films and they were the first true Indian representation on the screen. This was the time when nationalistic struggle was gaining a mass basis. The mythological story was one of the reasons for the instant popularity of cinema among people. The films made in Madras began to reflect, however dimly at first, the dynamics of the contemporary social and political currents. As cinema was becoming established as a popular entertainment in south India, the Non- Cooperation Movement aimed against British rule brought about a political awakening and Gandhi emerged as a national leader. Although the silent cinema in Madras did not have any pretension to ideological or political activism, it certainly acquired overtones of political consciousness. For instance, in the film "Baktha Vidur," depicting an episode from the Mahabharatha, one of the main characters is imprisoned and in his cell he is depicted spinning thread and wearing a Gandhi cap, both palpable symbols of nationalism. Political expression in films first appeared with themes of social reforms to which Gandhi had given a prominence in national politics because issues such as eradication of untouchability and emancipation of women formed part of the Gandhian program. While most of the early films were mythological, the first film on a contemporary theme was made in , titled "The Devoted Wife" Dharmapathini. It had a sequence demonstrating how alcoholism could ruin domestic peace. This set the tone for temperance propaganda in films, which was to assume the proportions of an obsession in later years. In fact, in all the social reform films, there was an obligatory anti-drinking scene, which was an important part of Gandhi's program of social uplift. Another film made in , "The Elevation of the Downtrodden," told the story of the untouchable farmhand Nandan and preached against untouchability. Injustice to women was a frequent theme in films with contemporary stories. She suffers much hardship but eventually marries her man. This was one of the earliest apologies in south India films for marriage by choice. The tradition of the socially conscious cinema was slowly developing. These films were not mere entertainment, but were charged with nationalistic ideas. Even as some Indian filmmakers touched upon Gandhian ideas in their films, the British government realized the force of cinema and how it was being used for political propaganda. The British government, in an attempt to prevent the depiction of these ideas in films, tightened film censorship, which had been introduced in The censorship machinery was particularly sensitive to issues such as the Indian princes, labor, communist ideas, the Gandhian program and Hindu-Muslim relations. As a consequence, the filmmaker confined himself to predominantly non-controversial entertainment. This was the origin of the tradition of escapist cinema in India. One of the dominant characteristics of south Indian cinema is its close interaction with politics. Four film stars became chief ministers in two states. The beginnings of this connection started quite early. During the silent era, the popular entertainment was commercial drama that has come to be known as company drama.

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