Film & Media Studies

Jeeva V¹ , Padmanabhan T^2* , Sunesh K S³ & Poovarasan G^{4  
1,3,4}Research scholar, Department of Visual Communication, College of Science and Humanities, SRM Institute of Science and Technology, Kattankulathur, India.
²Assistant Professor, Department of Visual Communication, Faculty of Science and Humanities, SRM Institute of Science and Technology, Kattankulathur, India. *Corresponding Author.

^{Rupkatha Journal, Vol. 17, Issue 2, 2025. https://doi.org/10.21659/rupkatha.v17n2.05g
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Abstract

Cinema, beyond being a medium for entertainment, serves as a tool of expression on society’s socioeconomic, political, and cultural dimensions, says Damodaran (2017). In that aspect, the Tamil movie Karnan (2021), directed by Mari Selvaraj, is a notable cinematic portrayal of caste oppression and resistance in Tamil Nadu. This research paper aims to examine the film Karnan in relation to Dravidian ideology. The study focuses on aspects such as the depiction of caste oppression and social justice, as it parallels the real-life struggles of Dalits. The study utilizes a Dravidian ideological framework to emphasize the film’s portrayal of caste-based discrimination, state violence, and collective resistance. By employing a qualitative analysis approach, including critical discourse analysis, the study critically interprets how Karnan aligns with Dravidian principles like self-respect, social justice and anti-caste politics. The research findings reveal how it reinterprets mythology, critiques systemic oppression, and amplifies the voices of subaltern groups. This study, with the historical, socio-economic, and political contexts of Karnan, presents a compelling narrative that contests prevailing caste structures and underscores the fundamental values of the Dravidian movement.

Keywords: Dravidian Ideology, socio-economic Caste, Karnan movie, social justice, Tamil cinema.

Naren Kumar N L^1* & R. Subramani^{2  
1}PhD. Research Scholar, Department of Journalism and Mass Communication, Periyar University, Salem, India. *Corresponding author.
²Professor, Department of Journalism and Mass Communication, Periyar University, Salem, India.

^{Rupkatha Journal, Vol. 17, Issue 2, 2025. https://doi.org/10.21659/rupkatha.v17n2.04g
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Abstract

M.R. Radha, the iconic actor of Tamil cinema, is renowned for his villainous roles in the industry. Being an actor who has appeared in a variety of roles like comedian, hero, character role, etc., his villainy and his Anti-hero roles have gained popularity among the Tamil cinema audience. M.R. Radha’s cinematic journey gave rise to a political consciousness among the audiences. His dialogues and anti-hero archetypes on screen forged a political consciousness that turned out to be the vehicle of the Dravidian wave in Tamil cinema. M.R. Radha’s on-screen presence became a site of ideological resistance that reflected subverting caste hierarchies, questioning religious orthodoxy and voicing the rationalist, anti-Brahminical tenets of the Self-Respect Movement. This paper examines the radical discourses in the film Rathakanneer to analyze how they promoted political consciousness within the Dravidian wave of Tamil cinema. Through a descriptive analysis, this paper investigates how M.R. Radha’s films foster political consciousness by analyzing how his Dialogues and characters challenge dominant moral, social, and political narratives, promoting the social justice values of the Self-respect movement.

Keywords: Social Justice, Anti-Hero, M.R. Radha, Storytelling as a Radical Tool, Political consciousness.

Anjana Menon^1* & Priya Jose K^{2  
1,}PhD Research Scholar, Department of History, Maharaja’s College, Ernakulam, Kerala, India. Corresponding author. 
²Associate Professor, Department of English, Maharaja’s College, Ernakulam, Kerala, India.

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.32g
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Abstract

This study explores the complex and evolving portrayal of intimacy in Malayalam cinema, particularly through the lens of eco-theological settings and remote locations. Examining films from the 1970s to the present day, the analysis highlights how these narratives have employed problematic tropes to introduce eroticized content, often framing it within sacred spaces or remote landscapes to achieve a sense of forbidden allure and potentially mitigate audience disapproval. This paper contends that the eco-theological spaces depicted in Malayalam cinema are not neutral but laden with socio-cultural and gendered meanings. Examining intimacy within these spaces provides a unique vantage point for understanding how cinematic representations reinforce prevailing power structures, especially concerning gender dynamics. It prompts a deeper exploration of how ecological practices and spiritual beliefs intersect with notions of femininity and masculinity.

Keywords: Kavu, eco-theological spaces, sexuality, Malayalam cinema, gender, body

Shibu Gorai^1*  & Shri Krishan Rai^{2   
1} Department of Humanities and Social Sciences, National Institute of Technology Durgapur. *Corresponding author.
² Department of Humanities and Social Sciences, National Institute of Technology Durgapur.

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.19g
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Abstract

This study explores the concept of ‘slow violence,’ a term coined by Rob Nixon to describe the insidious, often unnoticed effects of power imbalances over time. It examines how ‘state vampirism’ and ‘industrial capitalism’ oppress marginalized populations, with a focus on India’s dependency on countries like the USA. The research juxtaposes exploitation and deprivation in human-induced disasters, such as the Bhopal Gas tragedy (1984) and Chornobyl (1986), through the lens of Marxist subalternism. It also analyzes the portrayal of these themes in the 2023 Netflix series “The Railway Men: The Untold Story of Bhopal 1984,” highlighting the plight of slum dwellers near Bhopal’s carbide factory. Ultimately, this paper questions the victimization process by capitalist multinationals, positioning Bhopal as a prime example of ‘corporate violence.’

Keywords: Precarity, slow violence, Marxist subalternism, Bhopal gas tragedy, state vampirism

Bikash Ch. Bhowmick 
Assistant Professor, Department of Media Studies and Journalism, University of Liberal Arts Bangladesh (ULAB), Bangladesh

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.16g
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Abstract

Beginning in the 1990s, Bangladeshi cinema began to lose its audiences significantly. This leads to the continual closure of cinema halls, one after another. Popular perception is that Bangladeshi audiences watch foreign films, Indian popular films in particular, and television programs using home-viewing facilities. Mainstream filmmakers and producers in Bangladesh argue that when audiences can almost effortlessly access similar contents at home and so they do not go to the theatres. This study, therefore, explores how the audiences decide about a film (irrespective of the origin of production) to watch, what satisfies their viewing, and their disinclination to watch cinema at the theatre in Bangladesh. A total of 100 regular movie-viewers participated in the survey interviews. The findings confirm that for most of the viewers, the trailer of a film, known or favorite actors and/or actresses, and cinema viewers or cinema-goers’ feedback are the three key sources based on which they decide whether to watch a film or not. Relying on these sources, they want confirmation that the film(s) they will watch must have all the necessary components contributing to their viewing satisfaction. The story itself, the craft of storytelling, performance, and dialogues through which characters of the story reach the audience, good making that creates reality, known (star) actors and actresses, and visual spectacle are found to be the primary elements that produce audiences viewing satisfaction. Though most respondents conditionally agreed that they prefer to watch films at theatres, films screened there are found unworthy of watching. Their leisureless lifestyle considerably contributed to this disinclination toward cinema-going.

Keywords: Cinema-going, cinema-viewing, desiring audience, storytelling, viewers’ satisfaction.