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Affective Archives: Caste and Contemporary Malayalam Cinema

PhD Thesis (synopsis) submitted in June 2019, Centre for Comparative Literature, University of Hyderabad.

Related Papers

Bioscope: South Asian Screen Studies

Manju Edachira

This article studies Malayalam cinema's engagement with its own history through the medium and the production of affective archives. It endeavours to understand the use of archival materials in cinema and explores the affective potential of films in the creation of generative archives. Thus, the article studies select Malayalam films of the post-2000s that employed 'cinema within cinema' and argues that through the tropes of the lost heroine (Thirakkatha and Nayika), lost time (Vellaripravinte Changathi) and lost history (Celluloid), these films explore the past through affective archiving. Further, it discusses the archival recuperation of P. K. Rosy, the first heroine of Malayalam cinema, and how the oppressed communities engage with archives in the present as a political and aesthetic act for an emancipatory future. In short, the article examines the possibilities of affective archiving within and outside cinema in interrogating dominant historical narratives.

Karthikeyan Damodaran , Hugo Gorringe

Acknowledgements: We are immensely grateful to Stalin Rajangam for insightful comments and to the anonymous reviewers of the journal who helped to sharpen the argument. The authors are indebted to the University of Edinburgh and the ESRC respectively for funding the fieldwork that enabled the discussions and observations on which this paper draws.

All About Ambedkar: SPECIAL ISSUE ON CASTE AND CINEMA

Arijeet Mandal

The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste through a hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema's lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is "outside of itself", that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacunas of the issue, as well as the Editor himself.

Dickens Leonard

The paper seeks to study, critically, a component of popular contemporary Tamil cinema, especially foregrounding the films – Kadhal, Veyil, Paruthiveeran and Subramaniapuram – produced from the years 2004 – 2008, to read it differently, against itself, while departing from a general critique of the film, so as, to recover the portrayal of subaltern subjects – men and women - as critical interventions. I explore, to take issue, with the double stereotype – constructed within the claims - essentially stereotyped, by the PMK chief, of the men and women, implicated in his tirade against “lower” castes; of what is now being termed as prejudiced and casteist. The paper studies the disintegration of the type-heroes, heroines who contest and succumb to the caste imaginary, and the critical subjects who intervene.

Popular Hindi cinema provides a fascinating account of Indian life history and cultural politics. Hindi cinema is always a mirror of the Indian society but films also have fascinated entertained the Indian public for more than a hundred years and sometimes when we analyze the history of Indian cinema we can get an amazingly interesting but actual history of the contemporary society with all its virtues and vices in different colors. This paper deliberates on the various issues pertaining to the portrayal of specific caste, especially the Dalits in Indian films-both Hindi and regional.

Economic and Political Weekly

The cinematic interventions of contemporary Dalit film-makers in India, Nagraj Manjule and Pa Ranjith, among others, represent modes of resistant historiography, employed by Dalits, against the aesthetic regime of stereotypical representation, through innovative techniques in visuals, sound, music, and cinematography. The paper attempts to evaluate and argue for an enabling anti-caste aesthetics articulated through an embodied sensibility in films. The paper argues that these film-makers not only disturb “the unconscious of caste” through an explicit anti-caste aesthetics but also produce affective, expressive archives. In other words, they bring into presence what was previously impossible through the processes of denunciation (of casteist images) and innovation (of anti-caste aesthetics).

Rupkatha Journal of Interdisciplinary Studies in Humanities

Dr. V.K. Karthika

Conservative modes of representations of the Dalit lives and the caste questions in Malayalam cinema used to adhere to the stereotypical portrayal of caste-based violence as a tool to evoke pity, fear or laughter. However, recent movies emphasise the revolt of the subaltern both in personal and public domains of discourse. This paper attempts to analyse two recent Malayalam films, Puzhu (the Worm) and Malayankunju (The Malaya Child) released in 2022 that blatantly deal with caste-based violence operational in the domestic sphere. The critique is based on two major questions: how does caste identity and caste-based violence function in the domestic interiors and in what ways do the dominant patriarchal discourses complicate the subjective positioning of women within and outside the household. The study identifies various elements that contribute to the construction of subjectivity of the Dalit and discusses the issues embedded in caste pride leading to catastrophe at the home-front through ostracisation and excision (either through murder or through mutilation) processes of those ones who do not conform to the dictated norms of casteists. Within the theoretical framework of structural and cultural violence, the paper analyses how caste-based violence and gender-based violence are types of structural violence and discusses the legitimation of it sanctioned by various cultural elements.

Master of Philosophy in Comparative Literature

Centre for Comparative Literature, University of Hyderabad.

Sathyaraj Venkatesan , Rajesh James

Dr. Sony Jalarajan Raj , Rohini Sreekumar , Swapna Gopinath

The theme of subalternity with its inherent ramifications is yet to find favour among film makers in India. Progressive film makers of the 1960s attempted to address the theme of subaltern and dared to give the subaltern a voice, but they remained singular attempts. Through a case study on a Malayalam film (a regional film industry from the state of Kerala in India) Papilio Buddha this article tries to analyze the representation of Dalit community in Indian cinema. Though Malayalam film industry has tried to address the concern of Dalits, they have been stereotyped in many ways and reduced to being sidekicks to villains or unskilled labourers having no identity. They remained as instruments to idolize the hero, to act as a contrast to the elite protagonist or as the poor helpless victims who offer the protagonist an opportunity to display his heroism. Papilio Buddha grabbed media attention when it was denied clearance by the censor board as it explores the territory of Dalit consciousness by focusing the lens on the land strike by the Dalit communities and creating a counter narrative to the hitherto idealized images created by the state.

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Nayar Prabodhachandran, Viyyath Ramakrishna Pillai (1970) Phonology of verbal forms in colloquial Malayalam. PhD thesis. SOAS University of London. DOI: https://doi.org/10.25501/SOAS.00029701

This thesis presents the phonological features of verbal forms in colloquial Malayalam, for the first time from the stand point of prosodic analysis. The Introduction gives the necessary geolinguistic data and outlines the general principles of prosodic phonology. A general phonetic basis for the phonological statements in chapters 3 - 7 is set up in chapter 1, by discussing in general terms the phonetic values applicable to the transcriptional units representing the vowel and consonant articulations in the language. In order to achieve the maximum possible congruence between the phonological and grammatical levels of analysis and description, the results of the phonological analysis undertaken are presented within a grammatical framework provided in chapter 2. Prior to the discussion of various prosodic features of word, different types of syllable to be distinguished from phonetic and phonological points of view are set up in the third chapter. This chapter presents the analysis of the phonetic data in terms of prosodic systems first and this is followed by a discussion of phonematic systems. The generalized structures of stem, suffix and junction are the subject matter of chapters 4, 5 and 6 respectively. The usefulness of handling native systems of phonological and grammatical units separately from systems of borrowed elements - qualified as marginal in this thesis - is pointed out at every stage of the investigation. The seventh chapter is devoted to a full discussion of the phonological exponents of those grammatical categories that are set up chapter 2. The problem is approached polysystemically, the contrasts being studied in terms several small systems defined both grammatically and phonologically. Attention is focused on inter relations of stems and suffixes which are qualitative or quantitative or both. This has led to the statement of different types of junction structure. The last chapter summarizes some interesting findings arrived at with the aid of techniques of Direct Palatography, Kymography, Mingography and Spectrography. Many perceptionally based statements included in earlier chapters have been found to be supported by instrumental evidence. Of the two appendices the first tabulates phonological formulae for the formal scatter of the verb /uut-/ 'to blow'; the second comprises a short text of colloquial Malayalam given in reading transcription together with "free translation" into English.

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