Post-millennial Tamil cinema

2020 ◽  
pp. 161-178
Author(s):  
Swarnavel Eswaran
Keyword(s):  
Tamil Cinema

Watching From an Arm's Length: The Foreign Hand in Tamil Cinema

2015 ◽  
Vol 9 (2) ◽  
pp. 231-249 ◽  
Author(s):  
Preeti Mudliar ◽  
Joyojeet Pal
Keyword(s):  
Tamil Cinema

Cinematography and the poetics of 1950s Tamil cinema: Maruthi Rao and visual style

Screen ◽  
2017 ◽  
Vol 58 (1) ◽  
pp. 73-81
Author(s):  
Swarnavel Eswaran Pillai
Keyword(s):  
Visual Style ◽  
Tamil Cinema

Voicing the Voiceless

2020 ◽  
pp. 197-210
Author(s):  
Tamilselvi Natarajan
Keyword(s):  
Sexual Minorities ◽  
Visual Representation ◽  
Future Generation ◽  
Political Leaders ◽  
Digital Platforms ◽  
The Third ◽  
The Future ◽  
Third Gender ◽  
Tamil Cinema

Cinema always represented the society, and any visual representation about ‘not so commonly discussed' topics becomes crucial as they are the image blocks for the future generation. The power of cinema is high among Tamil audience, which is evident from the emergence of two great political leaders who are byproducts of it. It is essential to understand how sexual minorities are represented in a culture-specific society. In India, representation of the third gender was insensitive, and Tamil cinema is no exception. These representations cannot be ignored as ‘just in screen' as screen represents reality. Nevertheless, few fair images are making a significant impact on the audience about transgender. Studying representations about sexual minorities in Tamil cinema is important in today's context, where young minds are exposed to digital platforms. This chapter explains the description of the transgender community in Tamil cinema and analyses its impact on society.

What is Tamil about Tamil cinema?

2010 ◽  
Vol 8 (3) ◽  
pp. 213-229 ◽  
Author(s):  
Stephen Putnam Hughes
Keyword(s):  
Tamil Cinema

The ontological politics of the spoof image in Tamil cinema

2019 ◽  
Vol 17 (4) ◽  
pp. 423-455 ◽  
Author(s):  
Constantine V. Nakassis
Keyword(s):  
Tamil Cinema

'Tamil Cinema: History, Culture, Theory', Chennai, India, 15-19 August 1997

Screen ◽  
1998 ◽  
Vol 39 (2) ◽  
pp. 196-200
Author(s):  
L. Gopalan
Keyword(s):  
Culture Theory ◽  
Tamil Cinema

scholarly journals “He made me fall at the feet of a woman”: Masculine Anxieties and Dysfunctional Romance in Tamil Cult Film Subramaniyapuram (2008)

2021 ◽  
Vol 13 (2) ◽  
Author(s):  
Divya A ◽  
Keyword(s):  
Tamil Nadu ◽  
Hegemonic Masculinity ◽  
Female Identity ◽  
Critical Discourse ◽  
Indian States ◽  
Tamil Cinema ◽  
Point Of Departure

Tamil Cinema is “one of India’s largest, most prolific and increasingly significant cinemas” (Velayutham 2008, pp.1-2). Madurai genre in Tamil films is popularly known as 3M films (Murder, Mayhem and Madurai) (Damodaran Gorringe 2017, p.9). Subramaniyapuram (Sasikumar, 2008) is a Madurai film that attained cult status in both the Indian states of Tamil Nadu and Kerala since its release in 2008. A collection of essays on Subramaniyapuram edited by anthropologist Anand Pandian was published in 2013, a rare honour to be bestowed on a Tamil film in recent times. Significantly, the film’s problematic gender narrative—especially the entangled relation between the romantic plot and the masculine “plots”—is not the central subject of exploration of any of the essays in this edited collection, nor has it been discussed in depth in any critical discourse on the film so far. In this article, using Laura Mulvey’s theoretical lens as a point of departure, I argue that the female identity is crucial to the narrative functioning of the various plots of Subramaniyapuram. The film’s ultimate narrative desires, I illustrate, are in affirmation of masculine supremacy, hegemonic masculinity, and the women as femme fatales.

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