ISSN (Print) - 0012-9976 | ISSN (Online) - 2349-8846

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Reconstructing Dalit Identity

Replete with anti-caste imagery, Maamannan provides a vision for cinema that takes up the cause of Dalit liberation.

Villains and Their ‘Logic’ in Contemporary Films

Contemporary films are eliminating supernatural characteristics and motivations for their villains and bringing them closer to real life.

The Urban Non-narrative and an Independent Language of Cinema

The progress of cinema as an art form can be seen through the emergence of an independent language of depicting the urban.

The Best in The Worst Person in the World

The Worst Person in the World is a definitive statement on the existential crisis faced by the current generation.

OTT Platforms and the New Dalit Characters in Indian Cinema

The recent Dalit representation in Indian cinema has arrived with nuanced attributes, distinct from the earlier cinematic portrayal that mostly depicted them as victims of caste atrocities and violence. The new representation in the recent Hindi, Tamil, and Marathi films and on various over-the-top platforms has progressively identified Dalits as the part of a greater middle-class culture or as urban aspirants who wish to live a normal, dignified life in the metros. On the flip side, the new Dalit characters are presented as the people who are indifferent to the ideals of social justice and survive in the cities mostly as vagabond individuals.

Inter (Caste) Love Stories: Experiential Eye (I) in Fandry and Sairat

To read anti-caste context in cinema one needs to have an experiential eye. The ones at the receiving end of caste-based discrimination and thereof inflicted humiliation by the orthodox social codes find resistance as the only way to achieve “liberty, equality and freedom.” In this relation, the paper focuses upon two Marathi films Fandry (2013) and Sairat (2016) directed by Nagaraj Manjule. The paper seeks to present the experiential perspective about Dalit visuality which has started to gain a wider recognition in interdisciplinary studies from verbal to the visual literature.

Artists and Critical Presence: Beyond Dalit as a Representation

The article attempts to examine the idea of critical presence in opposition to representational realm by examining the presence of two Dalit actors from Malayalam film industry: (the late) Kalabhavan Mani and Vinayakan, in Indian media. Instead of focusing on their characters and films, this article seeks to explore the possibilities opened up by these actors through their critical presence in the industry though they differ in their approach.

Urbanism, Consumerism, and Culture

Haryanvi sensibilities have been conspicuous by their absence on the silver screen. For the first time, a credible space is accorded to them in Bollywood cinema through two films—Gurgaon (2015) and NH10 (2015). These two films massively score in their portrayal of the locale, inhabitants, and culture of Haryana. This paper analyses both these films in the context of present-day Haryana to show how they succeed in highlighting the transitional phase and travails of this state.

 

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