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

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Pushpa: The Rise: Circulation of Marginal Hypermasculinity

Telugu cinema's presence in India has become ubiquitous with dubbing and remaking of Telugu films in all regional language film industries. It has been established that, in India, youth use film and its stars as aspirations of ideal practice and performance of masculinity and femininity. The recent Telugu film Pushpa: The Rise featuring one of the Tollywood superstars, Allu Arjun, has been the most popular film since the end of the last year. With the rising popularity of the film's male lead, this paper examines the particularities of Tollywood masculinity in the figure of Pushpa. The paper attempts to unravel the marginal masculinities of Pushpa to fight marginalisation. Moreover, the paper also tries to understand whether his struggles establish an alternative to hegemonic masculinity. The paper also charts the representation of femininity in relation to masculinity.

New-generation Malayalam Cinema

“New-generation Malayalam cinema,” a coinage used to identify fi lms made after 2010 in Kerala, introduced innovative changes in the Malayalam cinema ecosystem through experiments in fi lm language, form, and storytelling. The new-generation fi lms are inclusive in their efforts to create conversations around caste, gender, and other marginalised communities that lacked representation in the mainstream cinema of the preceding decades. This article will attempt to scrutinise these changes and identify major interventions through a close reading of a selection of new-generation Malayalam fi lms that have been hailed by critics, scholars, practitioners, and audiences.

Once Upon a Time Was Karnad

Girish Karnad’s Ondanondu Kaladalli (1979), a tale of conflict in a pastoral village, has not been sufficiently studied for its richly layered representation of Indian martial arts, historical perspective of peasant mercenaries, and non-Kshatriya heroism. Karnad, whose legendary genius often sought history and myths to embellish narrative approaches, brings an auteur’s sensibility to a Kannada film that needs to be acknowledged as one of the best films in India rather than just be known as a “martial arts” film.

Managing India’s Pasts

The lack of clarity and transparency in the impending restructuring of organisations like the Films Division of India and the National Film Archive of India, under the umbrella of the National Film Development Corporation of India, disenfranchises the real stakeholders of India’s fi lm heritage—the Indian public.

​The Elite Calm at the People’s Storm

Toofaan bravely speaks up against everyday communalism in an accessible format.

The Great Indian Kitchen

The Great Indian Kitchen makes a subtle but important connection between housework, domestic violence, and the denial of women’s autonomy.

 

Thinking with/against Joji

Malayalam film Joji can be read as working through a central dialectic between society and family.

Resignation Syndrome

Unresolved amidst the Refugee Crisis Oscar-nominated documentary film Life Overtakes Me shines a light on the psychological and emotional distress suffered by refugee children.

Super Censorship of Cinema?

Proposed amendments in the Cinematograph Bill, 2021 are a regressive step in many ways.

 

Bahujan Representation on the Big Screen: A Reading List

With the release of films like Sairat (2016) and Kaala (2018), Indian cinema is taking a step towards acknowledging stories from the margins. However, what does it mean in terms of representation and forging a path towards equality?

Smell Matters: A Critical Reading of 'Parasite'

What makes Parasite a compelling film is its depiction of the transgressive potential of the body, specifically, of smell.

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