Selvaraj Velayutham is Associate Professor in the Department of Sociology, Macquarie University, Australia. It advances a critical interdisciplinary approach that challenges the narratives of Tamil cinema to reveal the social forces at work. This book investigates the structural, ideological, and societal cleavages that continue to be reproduced, new ideas, modes of representation and narratives that are being created, and the impact of new technologies on Tamil cinema. Since its inception a century ago, Tamil cinema has undergone major transformations, and today it stands as a foremost cultural institution that profoundly shapes Tamil culture and identity. Tamil Cinema in the Twenty-First Century explores the current state of Tamil cinema, one of India’s largest film industries.
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The transitional generation and authorshipĬhapter 11 A rumble in the movie halls: Cinema in the ‘orphaned’ state The transitional generation and traces of continuity
The key signifiers of the transitional and markers of the contemporary Tamil cinema (Insincere women’s) love versus (sincere men’s) friendshipĬhapter 8 Religiously middle class: Ammaṉ films and the new middle class in contemporary Tamil NaduĪmmaṉ films as a reflection of middle-class anxietiesĬhapter 9 Will the real Kollywood fan please stand up? : Tamil film fandom in the new millenniumĬhapter 10 Post-millennial Tamil cinema: Transitional generation and the traces of continuity Setting up the archetype for the traditional womanĬhapter 7 Misogyny: A content analysis of break-up songs in Tamil films Referencing Hema’s fundamental difference from the native hero
Jokes at the expense of Hema’s Western-ness Stigma and the appeal of a Caucasian female actor The male body: subverting traditional masculinity and the invention of new idiomsĬhapter 6 White is the new brown: Constructing Amy Jackson as a desirable object in Tamil cinemaĬomplications: whiteness as an aesthetic of beautyĬase study 1: Jackson as an aesthetic of beauty in Gethu (2016) The neoliberal subjectivity of the contemporary mass hero: individuality, bromance, and the male body The Tamil male engineer as a neoliberal subject: reading gendered behaviourĮngineer heroes in Vaaranaram Ayiram, Nanban, and V.I.P. The evolution and meanings of technical education in Tamil Nadu The appearance of the mass hero in Tamil cinema: defining the paradigms of masculinity ‘Who’s the hero?’: from flawed masculinity to male saviourĬhapter 5 Redefining the mass hero: The rise of the engineer as ‘hero’ in contemporary Tamil cinema Vaa Machaney, an introduction kuthu song for the heroine Irudhi Suttru and the New Wave of women-centric films Kaala in and beyond the Dravidian frameworkĬhapter 4 When Madhi dances like Dhanush: Gender representations in Irudhi Suttru The two waves and the conscripting Third Waveīeyond the ‘type-hero’ and the ‘neo-nativity’ filmĭangerous and deviant heroes as conscripts of cinemaĬhapter 3 Being Dalit, being Tamil: The politics of Kabali and Kaala Symbolic ghettoisation and the stigmatised neighbourhoods of North ChennaiĬhapter 2 Conscripts of cinema: The dangerous and deviant Third Wave The ‘territorial stigmatisation’ of North Chennai Thematic overview: continuities and changesĬhapter 1 Contested narratives: Filmic representations of North Chennai in contemporary Tamil cinema
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