Tamil cinema : the cultural politics of India's other film by Selvaraj Velayutham
By Selvaraj Velayutham
The cultural heritage and politics of South Indian Tamil cinema / Selvaraj Velayutham --
A solid girl, an excellent lady : Tamil cinema's girls / C.S. Lakshmi --
The Tamil movie heroine : from a passive topic to a fulfilling item / Sathiavathi Chinniah --
Bringing the Amman into presence in Tamil cinema : cinema spectatorship as sensuous apprehension / Kalpana Ram --
Politics and the movie in Tamil Nadu : the celebrities and the DMK / Robert L. Hardgrave, Jr. --
The nurturing hero : altering photos of MGR / Sara Dickey --
Tamil cinema within the public sphere : the evolving paintings of banner ads in Chennai / Preminda Jacob --
Encountering a brand new artwork : writers' reaction to cinema in Tamil Nadu / S. Theodore Baskaran --
Cinema within the geographical region : well known Tamil movie and the remaking of rural existence / Anand Pandian --
Imaginary geographies : the makings of South in modern Tamil cinema / Rajan Krishnan --
Encounters with India : (ethno)-nationalism in Tamil cinema / Vijay Devadas and Selvaraj Velayutham --
The diaspora and the worldwide flow of Tamil cinema / Selvaraj Velayutham.
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Extra info for Tamil cinema : the cultural politics of India's other film industry
The last shot of the film leaves her on the road that is where a liberated woman ends up. This final visual detail reveals the entire content of the film. The independent woman who makes a choice to assert her sexuality is always seen as a cultural freak in Tamil cinema. If a woman’s behaviour can leave the daughter psychologically damaged (any woman talking of freedom or liberation is considered damaged), in the case of a son, a mother who is deemed characterless will turn her son into a psychopath as in Bharathi 26 C.
2006) ‘Problematizing Received Categories: Revisiting ‘‘Folk Hin duism’’ and Sanskritization’, Current Sociology 54 (1): 98 111. Sivathamby, Karthigesu. (1971) ‘Politicians as Players’, The Drama Review 15(2): 212 220. Introduction 15 (1981) Tamil Film as a Medium of Political Communication. Madras: New Century Books. Soudhamini. (2005) ‘Tamil Cinema: The Significant Other’, in Johan Manschot and Marijke De Vos (eds) Behind the Scenes of Hindi Cinema. Amsterdam: Kit Publishers. Srinivas, K. Ravi.
The real queen and son succeed finally and the temptress is punished. In his screenplay, Karunanidhi introduced elements that characterised the queen as the true Tamil woman. The temptress who has enticed the king also has a son but he is a coward implying that an impure woman cannot have a warrior for a son. Manoharan goes to war to retrieve the sword and the throne of his grandfather from an enemy king. His mother, the true Tamil woman, applies the vermillion mark to his forehead, sends him to war, and asks him to return as a victorious warrior who would bring joy to his mother.