Tamil Cinema Research Articles

POLYCHROMATIC PARADIGMS: THE SEMIOTICS OF COLOUR IN TAMIL CINEMATIC NARRATIVES

Colour plays an essential role in the visual narrative of Tamil cinema, not only enhancing the aesthetic appeal but also acting as a symbolic tool that conveys deeper emotional, cultural, and thematic meanings. Rooted in Tamil Nadu’s rich cultural traditions, the colours used in Tamil films often carry symbolic meanings derived from religion, folklore, and socio-political themes. This research paper explores the application of colour theory in Tamil cinema, examining how directors employ colour to evoke emotions, highlight socio-political contexts, and reflect cultural values unique to Tamil audiences. By studying specific colours and their repeated motifs across films, this paper investigates how Tamil cinema translates cultural symbolism into visual narratives that resonate deeply with audiences.Through case studies of iconic Tamil films such as Alaipayuthey, Paruthiveeran, Super Deluxe, Kaaka Muttai, Vada Chennai and Asuran, this paper decodes the language of colour in Tamil cinema, highlighting how directors like Mani Ratnam, Ameer Sultan, Thiagarajan Kumararaja and Vetrimaaran use colour palettes not only to define characters but also to convey underlying social commentary. The paper further explores the impact of digital technology in transforming colour grading and its effect on the stylistic choices available to filmmakers. By analyzing these films and colour usage, this study provides insights into how Tamil cinema integrates traditional cultural cues with modern filmmaking techniques, offering a visual language that enhances narrative depth and audience engagement.

DIRECTORS AS DJ: AN ANALYSIS ON THE USAGE OF OLD SONGS AS A NARRATIVE TO AUGMENT THE EMOTIONAL DEPTH IN LOKESH CINEMATIC UNIVERSE

Tamil film songs are always fresh and evergreen in the minds of the audience and always enjoy a separate fanbase. Famous Tamil film songs from previous films have been used in Tamil films for a quite long time; often in situations and scenes which are similar to the situations in which they had originally been sung. Interestingly, Lokesh Kanagaraj who is one of the well-known Tamil film directors in the Tamil film industry today, is very well known for re-using old Tamil film songs in his films which have become a recurring feature of his makings. However, unlike the other such instances, the old film songs have often been used in action scenes in his films which are totally unrelated to the contexts in which they had been written and sung originally. Thus, this style of re-using previous film songs in completely different contexts creates a new type of intertextuality for the audience and forces them to think about their association and nostalgia with these songs in a very different way and thus alters the personality of the sequence. This study will be analyzing this style of intertextuality in his films and also how Lokesh uses Tamil film songs in his films which constitute a part of the universe of the common characters in his film, Lokesh Cinematic Universe (LCU). It will also analyze the differences in the original contexts of such film songs in the films and the contexts of their placements in these respective films to understand how they have been used in the films. This study will adopt a methodology consisting of content analysis of the pre-existing songs in some selected films of Lokesh Kanagaraj along with their original video songs to understand and analyze their original context and situation and how they have been used in the films constituting a part of the Lokesh Cinematic Universe (LCU).

TAMIL FILM AND SUSTAINABILITY: A NEW TURN FROM ILLUSION TO REALITY - AN ANALYSIS

Gender-based discrimination, climate change catastrophes, and expanding populations are the most concerning factors of the twenty-first century. The entire world requires rapid action to control the current challenge. To meet the world's population's needs and to improve the lives of every living being, there must be a disciplined livelihood to deal with the problems that man creates. The benefits of the seventeen sustainable goals structured by the United Nations General Assembly in 2015 bring an admirable global notice to society. Each is distinct in its way and extremely valuable and beneficial to humans and other living beings. Artists of various kinds contribute a lot to achieving these sustainability goals through their artistic creations. Congenially, a participatory outlook on these goals is more prominently seen in many regional film industries in Indian cinema. Among them, the Tamil film industry has recorded these 17 targeted concepts at different times and in variant ways of life. Eliminating poverty, providing quality education, reducing inequality, establishing good health and well-being, and other SDG themes can be appropriately traced in Tamil cinema from its early days. This paper analyses the SDG as depicted in two female-centric Tamil films, 36 Vayadhinile (2015) and Raatchasi (2019). Both films portray refreshing characters battling towards a strong hope for sustainable societal growth and uncover the major SDG goals on the screen for the audience's cognizance. The core possibilities of pursuing Sustainable Development Goals likely with tangible results are identified in the paper with a thorough study of the several SDG plans portrayed in the films.

REVISITING TITLE DESIGN IN VERNACULAR CINEMA: A CINE SEMIOTIC ANALYSIS

Indian cinema is a term that refers to films made in India since time immemorial and has greatly influenced world cinema. Indian Cinema includes various regional languages and among them is Tamil cinema that produces films in the Tamil language with a very wide audience. It showcases varied and interesting patterns of visual culture. Film posters play a vital role in exhibiting these visual cultures and serve as the essence of a film’s soul. Film posters have a deep-rooted relationship with Indian cinema and one of the important parts of these posters is the title design. Title designs are synonymous with the story of the film with a view to create a visual force. The title designs have a modern facelift in the digital era. The use of new graphic techniques, expressive typography, composition, and color creates a lasting impact particularly in new age film title designs. The current research aims to examine the title designs in Kollywood film posters using a semiotics approach. Analysis is done based on the following aspects such as structural parameters, relationship with the theme of the film, context of use and production techniques.

Latent Objectives: A Study on Narratology in the Tamil Film Captain Miller

Narratology is the study of narrative frame work, a theoretical foundation for discovering and sharing tales through various media. Tzvetan Todorov, a Bulgarian narratologist, introduced the term ‘narratologie’ from French. Tamil cinema plays a significant role in shaping Tamil society’s life and culture, but few films have addressed and eliminated casteism. Captain Miller, a 2024 Indian Tamil action, adventure film, is a 2024 film directed by Arun Matheswaran, set in the 1930s during the British Raj. The film incorporates Todorov’s narrative theory of equilibrium. The film also incorporates Ambedkarism, a philosophy followed by Dr. Ambedkar, focusing on fraternity, democracy, communal electorates, and conversion out of Hinduism. The hero, Captain Miller, prefers the name given by the British, reflecting the role of colonial influence in their lives.

FREEDOM OF EXPRESSION: STRUGGLES AND CHALLENGES OF RATHAKANNEER

The notion of freedom of expression, in Tamil films unsimilar to other film industries is a frequently debated topic. Tamil cinema has encountered controversies and obstacles concerning the aspect of freedom of expression over years. Lately there has been an increasing recognition and discussion, about the importance of freedom of speech in Tamil cinema. This struggle for freedom of Expression isn’t that new to Tamil cinema that the dates back to decades before. That is when the wave of Dravidian cinemaemerged the Tamil cinematic sphere faced the notable adherent struggles and challenges for expressions on screen. This research delves into the complexities of freedom of expression in Indian cinema, focusing on M.R. Radha's "Rathakanneer". Employing qualitative analysis, the study explores the challenges faced by the film due to its progressive ideas, enduring censorship, and controversies. Radha's Theatre of Cruelty intensified societal critiques. It underscores art's power to challenge conventions and navigate political and societal pressures, revealing the intricate interplay between cinema, socio-political influences, and cultural heritage.

EMPOWERING ARTISTIC EXPRESSION: THE INFLUENCE OF OTT PLATFORMS ON TAMIL CINEMA, WITH A FOCUS ON THE FILM 'VIDUTHALAI'

In recent years, Over-The-Top (OTT) platforms have emerged as a transformative force in the realm of cinematic storytelling, redefining the boundaries of artistic expression and democratizing access to global audiences. This research paper explores the impact of OTT platforms on Tamil cinema, with a specific focus on the critically acclaimed film 'Viduthalai.' The study investigates how OTT platforms have provided Tamil filmmakers with newfound freedom of expression, enabling them to address socially relevant and often sensitive topics. 'Viduthalai,' a powerful and thought-provoking film, serves as a compelling case study, exemplifying the artistic liberties afforded by digital distribution channels. By employing qualitative analysis, this research evaluates the narratives of 'Viduthalai' in theatrical and OTT spheres, shedding light on the unique opportunities, challenges and freedom of expression faced by the filmmaker in the OTT era. Ultimately, the findings underscore the profound influence of OTT platforms in promoting diverse narratives and empowering cinematic voices that might otherwise remain unheard.

VISUALIZING CASTE IDENTITY: AN ANALYSIS OF 'PARIYERUM PERUMAL' TAMIL MOVIE

Cinema is the most significant form of art and the most profound communication tool. Pariyerum Perumal is a thought-provoking Tamil film directed by Mari Selvaraj. This film looks deeply into the persistent caste myths in Indian society, particularly on the suffering of the Dalit group (formerly known as "untouchables"), the story of Pariyan, a young Dalit student who wants to be a lawyer. Pariyan struggles with the harsh reality of prejudice and caste-based discrimination in a rural Indian setting while he pursues his education. In the story, Pariyan is isolated from his upper-caste colleagues in college and experiences violence and humiliation due to the sharp caste-based division pervasive in society. The film Pariyerum Perumal shows underprivileged groups' tenacity and struggle to claim their identity and dignity. Pariyan is adamant about overcoming trials and obstacles to achieve his goals and free himself from caste oppression. The movie fiercely refutes the idea of caste superiority and exposes the sneaky prejudices based on caste, even among those who appear progressive. This article focused on how Pariyerum Perumal portrays the caste-based problems afflicting modern India painfully and realistically. It sparks crucial dialogues on caste prejudice, violence, and the pressing need for societal transformation to destroy the antiquated caste myths that still exclude and oppress millions of people in the nation.

Kaala, a counter-narrative to Hindutva from an Ambedkarite perspective

ABSTRACT The right-wing extremists, BJP and RSS, have a long-term mission to construct a Hindu nation bound by Ramrajya, a political model derived from the epic Ramayana. In its nationalistic project, the Hindutva desires to incorporate Dalits. For achieving the same, it usurps Dalits by appropriating Ambedkar – through strategically eroding his radicalism. Additionally, it uses Ramayana as a cultural tool to de-ideologize Dalits. It promotes Ramayana as an egalitarian epic to Dalits – for subsuming them within the Ramrajya politics. Dalits are losing political consciousness and they are disoriented by the Hindutva. In this article, I explore how a Tamil film named Kaala, directed by Pa. Ranjith, has countered these efforts of the Hindutva in the popular culture. In Kaala, Ranjith challenges the Hindutva’s appropriation of Dalits by re-creating Ambedkar’s radical legacy on the big screens. In the film, he re-narrates the epic from an Ambedkarite perspective to counter the Hindutva’s efforts in de-ideologizing Dalits. Ranjith is a radical director who makes various transformations in Tamil cinema. His vision is to carry forward Ambedkarite politics in the popular culture. In this article, I explore how he effectively counters the Hindutva. To accomplish the objectives of the study, I use Ambedkarite framework as an analytical tool.

Bodies Matter: Narratives of Victimhood and Wounded Dalit Bodies in Recent Tamil Cinema

Bodies Matter: Narratives of Victimhood and Wounded Dalit Bodies in Recent Tamil Cinema

ANALYSIS OF ALCOHOL, TOBACCO, AND DRUG CONSUMPTION SCENES IN THE TAMIL FILM 'VIKRAM' BY PSYCHOANALYTIC FILM THEORY

Psychoanalytic film theory, developed by Sigmund Freud, posits that viewers take on the perspectives of onscreen characters. The film appeals to the 'Id,' the unconscious part of the mind that seeks pleasure, by suggesting that it would be good to acquire and then resolutely repress any desires the audience might have. The 'Ego' of the conscious mind is the conduit through which the subconscious desire to mimic the actions of the film's characters manifests Jung (2007). Kamalhasan starred in the recently released Lokesh-directed Tamil film Vikram. There is a high probability that viewers will favor repressed desire above Id consciousness due to the film's high concentration of drug, tobacco, and alcohol consumption sequences. This research is therefore conducted. This study uses purposive sampling and bases its findings on the theoretical framework of psychoanalytic film theory. Films with depictions of substance abuse were subjected to qualitative and quantitative content analysis to determine the prevalence of these behaviors throughout the medium (Duration of consuming, consuming scene description, the character that is consuming, and the sense that represses the consuming behavior over Id consciousness). The consumption scenes were then discussed in depth by a focus group of five academics (Scene interpretation and capacity of consuming behavior). When everything was said and done, the result was determined by the number of Id awareness variables (desire, violence, Heroism, joy, power, etc.) repressed by the film scenes.

Anti-Dravidian Politics, Anti-Caste Tamil Nationalism and the VCK’s Lost Track: Reading the Politics of Madras

During the 1990s, the VCK evolved as a radical Dalit movement. Pledging to revolutionize the history of Tamil politics, Thirumavalavan, an icon of new generation Dalit activists, mobilized the lower castes of Tamil Nadu. The party emerged as a representative of Dalits, since Dravidian politics turned ineffective in handling Dalit concerns and caste issues. The main Dravidian parties—DMK and AIADMK—have moved a long way from the self-respect movement of Periyar. The Dravidian leaders, while abandoning Periyar’s social radicalism, introduced a philosophical tradition, Tamil nationalism—inspired by the Tamil literary tradition. However, this linguistic nationalism deserted caste issues while romanticizing the antiquity of the Tamil language and culture. In contrast, the VCK vociferously campaigned on a concept of anti-caste Tamil nationalism in the early times. It engages on the liberative Tamil Buddhism—advocating the need for a collective identity, caste-less-Tamilians. However, in the latter stage, Thirumavalavan focused much on Tamil Eelam politics, turning into in an explicit supporter of LTTE. The VCK has almost lost track of the anti-caste Tamil nationalist politics in the present times. This article focuses on how these political shifts and dimensions are represented in a Tamil film, named Madras, directed by Pa. Ranjith. Through an effective screenplay with strong symbolisms, Madras discusses one of the significant histories and trajectories of Tamil politics. The film commemorates the social movement politics of VCK during the 1990s. It counters the Tamil literary tradition of Dravidian parties and criticizes their linguistic nationalism. It portrays VCK’s anti-caste Tamil nationalism. Further, it criticizes the VCK for losing-track from the anti-caste politics. This article examines how Madras represent these political shifts. It explores how Madras presents a Dalit criticism of the Dravidian parties and also on the Dalit party.

Marginalized Life of Manual Scavengers: Questions of Witness Towards Society

In recent days, Tamil cinema has reached a wide range in marketing and popularity across the globe, gaining attention around the world through its style and techniques. Critics and researchers highlight and celebrate the recent changes in Tamil cinema as the ‘New Wave’. It readies to change gears in the aspects of theme, narration and choice of portraying the characters. Tamil cinema became a medium to express the voice of suppressed people. Directors pinpoint issues such as identity crisis, domestic violence and political ideologies. The issues and problems of subaltern people were totally neglected in Tamil cinema, but now they reflect reality. Witness is one of the movies on that list that discusses the pain of manual scavengers. The movie is not an emotional drama; rather, it questions society from different perspectives. It depicts the lives, sufferings and struggles of manual scavengers. The film not only raises questions but also serves as an answer to tangible questions. This paper discusses and highlights the literary works that mainly torched out the problems of manual scavengers in the present and past.

A Study on the Role of Tamil Films in the Teaching of Social Issues

The impact of movies on women's empowerment has been enormous. Movies have always been one of the most essential sources of entertainment in our modern lives. In movies art, technology, commerce, entertainment, and aesthetics all come together. All four elements play a vital role in the present, as seen by the variety of their manifestations. Movies are about technology, business, and entertainment, while cinema is about aesthetics. Society has a significant influence on film, which is reflected in them. Through the big screen, the film has attempted to reflect and promote awareness about societal issues as well as women's empowerment and reelection since its inception. Casteism, politics, social discrimination, the zamindari system, untouchability, women empowerment, national integration, and so on. The main goal of this research paper is to comprehend the role of movies in the influence of women's empowerment. The following main areas have been considered: the importance of movies, movie tools, learning with movies, and examples, media in development communication, the effect of mass media on motivation, and the positive impact of movies on societies. The secondary data was thoroughly examined based on the study and was available on various mass media related to movies with social messages.

Karnan: Film Review

The Tamil film Karnan calls for Dalits to rise up and resist against the caste system. The movie employed a number of metaphorical devices to illustrate how caste binds Dalits’ hands and feet. Additionally, it shows how the younger generation wants to rebel and fight for what has been denied for years, but the elder Dalit villagers are resistant to change and merely want to survive. The plot centres on Karnan (Dhanush) who rises to become the protector of his people. It also explores how tyranny may be sneaky and how the bureaucracy supports the oppressor and takes part in the oppression. The final takeaway from the film is that the only way to challenge oppression is through resistance.

Patriarchal “Engineering”: Caste-Gender-Culture in Tamil Cinema

Patriarchal “Engineering”: Caste-Gender-Culture in Tamil Cinema

Representation of Aged Female Fans in Select Malayalam Films: An Intersectional Feminist Perspective

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsParvathy NParvathy N is an Institute Fellow at the Department of Humanities and Social Sciences, Indian Institute of Technology, Patna, India.Priyanka TripathiPriyanka Tripathi is an Associate Professor at the Department of Humanities and Social Sciences, Indian Institute of Technology, Patna, India.Notes1 The 1913 release of Dadasaheb Phalke’s Raja Harishchandra heralded the commencement of the Indian film industry, which includes a vast range of regional industries producing films in languages including Hindi, Malayalam, Tamil, Kannada, Bengali, etc. Often, these industries are known by their sobriquets, such as Bollywood (Hindi), Mollywood (Malayalam), Kollywood (Tamil), Sandalwood (Kannada), and Tollywood (Bengali), etc.2 Racial categorization of women from the “African continent” or the “growing African diaspora” (Macaulay 1996 Macaulay, Delia Jarrett, ed. 1996. Reconstructing Womanhood, Reconstructing Feminism: Writings on Black Women. New York and London: Routledge. [Google Scholar], ix). From the Euro-centric narrative, Black women are marginalized as an ethnic minority/“other.” Crenshaw’s work identified that the discrimination of Black women in the US is an overlap of race as well as gender.3 Beginning in 1928 with J.C. Daniel’s silent film Vigathakumaran (The Lost Child), the Malayalam film industry popularly known by the sobriquet Mollywood is established regional film industry under the umbrella of Indian cinema. The significance and distinction of this regional cinematic industry is in its fervent engagement in themes of “social realism in its representational systems than Hindi and other regional language films” (Nair 2015 Nair, P. K. 2015. “Gender Equations in Malayalam Cinema.” In Women in Malayalam Cinema: Naturalising Gender Hierarchies, edited by Meena Pillai, 40–57. New Delhi: Orient Blackswan Private Limited. [Google Scholar],40; Nair, Ramanathaiyer, and Shoesmith 2000 Nair, Lalitha, Sundar Ramanathaiyer, and Brian Shoesmith. 2000. “Frail Bodies, Fighting Spirit: Images of the Elderly in Malayalam Cinema.” South Asia: Journal of South Asian Studies 23 (sup1): 31–42. doi:10.1080/00856400008723397[Taylor & Francis Online], [Web of Science ®] , [Google Scholar], 32).4 Popularly known as the “celluloid queen of Malayalam cinema,” Sheela began her cinematic career in the Tamil film Paasam (Affection, 1962) opposite M.G. Ramachandran. From 1962 to 1985, Sheela acted in more than 400 films before taking a break until 2003, when she returned to the silver screen in Sathyan Anthikad’s Manasinakkare. Besides the four Kerala State Awards and the J.C. Daniel Award, Sheela also holds the Guinness record for being paired opposite the same actor (Prem Nazir) (Johnson and Niveditha 2016 Johnson, Seena, and D. Niveditha. 2016. “Female Stardom: An Analysis of the Star Image Construction of Malayalam Actress Sheela.” International Research Journal of Multidisciplinary Studies 2 (9): 1–8. [Google Scholar], 3–4).5 Affectionately referred to as Lalettan (Brother Lal) by Kerala’s (India) cinephile community, Mohanlal has established himself as a “household” name and “trope” via his dynamic depictions, instilling in the “heterogeneous” culture of Kerala’s (India) a culturally “homogenous” identity of Ettan or brother (Pillai 2015 Pillai, Meena, ed. 2015. Women in Malayalam Cinema: Naturalising Gender Hierarchies. New Delhi: Orient Blackswan Private Limited. [Google Scholar], 102).6 Recognized as Malayalam cinema’s Nithyaharitha Nayakan (Evergreen Hero) (V.N 2017), Abdul Khader, who adopted the stage name Prem Nazir, is one of the most influential contributions from Kerala to the oeuvre of Indian cinema. Beginning his career in the 1952 film Marumakal (Daughter-in-Law), Prem Nazir holds the Guinness record for acting opposite the same costar (Sheela, 107 films) (Johnson and Niveditha 2016 Johnson, Seena, and D. Niveditha. 2016. “Female Stardom: An Analysis of the Star Image Construction of Malayalam Actress Sheela.” International Research Journal of Multidisciplinary Studies 2 (9): 1–8. [Google Scholar], 4).

Bigil Adicha Massu Da: Self-reflexivity and Masculinity in Bigil (2019)

Contemporary Tamil films are largely dependent on viewers having prior knowledge of film canon, celebrities, industry happenings and social issues in the Indian state of Tamil Nadu. Taking the form of complicated chains of intertextuality, self-reflexive moments are fundamental to the ways in which Tamil film narratives, particularly the narratives of mass hero films, are constructed. The 2019 blockbuster film Bigil ( Whistle), a sports film about a male coach leading an all-women soccer team, highlights the extent to which Tamil mass hero films rely on self-reflexive techniques to uphold the portrayal of specific gendered identities. This article examines the ways in which Bigil constructs contemporary Tamil masculinity through both the narrative representation of the central character Michael and the use of cinematic techniques, which privilege and celebrate the star’s (Vijay) relationship with his fans. This article conducts a close textual analysis of key sequences in the film, including song sequences, and interactions between Michael and the women soccer players. In doing so, it unpacks the ways in which the hypermasculinity of the male protagonist fundamentally diminishes the film’s supposedly empowering storyline and the ways in which contemporary Tamil films seek to capitalise on the marketability of such narratives.

Good or bad? Depiction of crime and violence in contemporary Tamil cinema

Good or bad? Depiction of crime and violence in contemporary Tamil cinema

A Glimpse of Humanity and Inhumanity in the Films Pariyerum Perumal and Kanni Maadam

Cinema is an extensive platform for visualizing ideologies through entertainment and discussing issues artistically. Cinema plays a main role in human life like literature, painting, poetry, folk songs, etc. It is a tool to explore emotions created by filmmakers and stimulate them in the audience which is correspondingly a reflection of the society that speaks about massive issues like politics, history, relationships, adventure, etc. Over time cinema started to portray social injustices, especially by shedding light on marginalized communities. Cinemas mostly characterized Dalits as inferior neglecting their hardships but consequently started to represent their protest for identification and social equality. Contemporary young filmmakers in India are filling the space to speak caste politics honestly. This paper analyzes social inequality through select Tamil films, Pariyerum Perumal and Kanni Maadam, which articulated an extraordinary message by trying to picture the humanity and inhumanities displayed in the caste-practiced society. Humanity is one of the central elements that distinguish living from non-living. Exhibiting humanity in recent times is directly proportional to the necessities of the individual. In such a situation, an individual or community showing humanity to those who displayed inhumanity towards them is astounding. The select films explore the same by emphasizing how humanity displayed at the unexpected and undeserved moment can alter a person’s ego and change society virtuously. The paper also puts forth suggestions on how the marginalized can be uplifted and empowered by the theory of egalitarianism.