Violence: a Rite of ‘Dalit Identity’ Discourse?

“Idhu namma kaalam. Ezhundhu vaa!” (lit. “This is our time. Arise & Arrive”) Dialogue from Pa. Ranjith’s Sarpatta Parambarai, which revolves around boxing, a bloody, violent sport and identity of clan prestige.   Mahatma Gandhi epitomised non-violence as a potent tool to express one’s strong dissension against injustice. His peaceful protests against the brutal force […]

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Ideology matters: film criticism in new Malayalam cinema

Throughout the history of cinema, the dominant ideology determined the content. It is predominantly capitalistic, male and heterosexual. Likewise, film criticism too established its territory. Malayalam cinema Tracing back to the fifties, film criticism popularised by the trio Cinic, Kozhikodan, and Nadhirsha was mostly engaged with the text, rarely exploring the sub-text, inner dynamics, or […]

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Nostalgia for the Future: Dwelling as Denotation

The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar’s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation. Contrarily the voice, Kishore’s voice, is the embodiment of this denotation. Over the course of the film this denotation becomes a volume, concentrated or rarefied, which creates a mechanism (instead of an ideology) […]

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