International Research Journal of Engineering and Technology (IRJET)
e-ISSN: 2395-0056
Volume: 09 Issue: 10 | Oct 2022
p-ISSN: 2395-0072
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Social realism – A facelift in Tamil Cinema Mary Genila X1, Chandra Mouly V2, Kalimuthu A3, Chiranjeevi N4, Lakshmi Narayanan S.B5 Assistant Professor, Visual Communication, Vels Institute of Science, Technology and Advanced Studies, Chennai, Tamilnadu, India. 2. Assistant Professor, Visual Communication, Vels Institute of Science, Technology and Advanced Studies, Chennai, Tamilnadu, India. 3. Assistant Professor, Visual Communication, Vels Institute of Science, Technology and Advanced Studies, Chennai, Tamilnadu, India. 4. Assistant Professor, Visual Communication, Vels Institute of Science, Technology and Advanced Studies, Chennai, Tamilnadu, India. 5. Assistant Professor, Visual Communication, Vels Institute of Science, Technology and Advanced Studies, Chennai, Tamilnadu, India. ---------------------------------------------------------------------***--------------------------------------------------------------------1.
Abstract - Early Tamil films start with the genre of
texts are texts that explore contentious problems in society. Leonard (2015) sees social realism as contemporary social inclusion. Samantha Lay (2002) suggests that through such messages, the filmmaker hopes to teach their viewers. Hallam and Marshment (2000) note how socially realistic texts take characters from the edges of society. He also suggests that the inclusion of the previously underrepresented people in the film is not just a representation, but rather portrays them from particular social contexts.
Mythology and then to historical, Dravidian concept film, communist film, films that glorify the caste, hero centric film etc. In recent times films which talks about social justice and equality from the subaltern perceptive is emerging and hit the box office. The story of these films acts as protagonist. Since these films tell the story from the perspective of oppressed people in the society and registers the voice of the voiceless people by exhibiting their struggles and conflicts in their daily life they fall in the category of social realism. This article studies such types of Kollywood films which were released in 2021.
2. SUBALTERN The tutor of Subaltern studies is known to be Antonio Gramsci. Rao (2008) says that the word is used in South Asian culture as a name for the general trait of subordination, whether articulated in terms of status, age, gender, class, etc. Subaltern studies provide a familiar form of analysis focused on oppressed members of society. He insists that a subaltern is not a rigid institution but a heterogeneous institution that penetrates inside the power structure. He defines power as a space given to one inside a social structure. He has added that in India Dalits as a subaltern unit is seized in the conglomeration of hegemonic powers which is exercised by the political, economical, religious, and social institutions. He says that Dalits experience distinctive space with restriction in social mobility. Vaid (2014) says that the Indian social system is based on caste which has been legally accepted interrelationship with the socioeconomic or labour market. Srinivas and Kaali (1998) state that in Tamil films, Dalits are portrayed as comedians or as minor characters and they have added that Dalits are not only portrayed in a humiliating way but their presence in the film itself less. They are also portrayed as submissive people who follow the rules of landlords in the film.
Key Words: Social realism, Subaltern, Marginalised group, Tamil films.
1. INTRODUCTION According to Adhikar (2018) realism is an attitude of mind in the broadest sense, a determination to stick solely to the facts, a recognition that man is a social being, and a perception that he is inseparable from his position in society. Film theorist Siegfried Kracauer points out that film is capable of portraying the actual specially and could do so with as little artifice as possible. Branson and Stafford suggest that one of two traits needs to be demonstrated for a film to be plausible. First of all, the filmmaker would have intended to capture the perspective of the real case presented. Second, the filmmaker has a particular point or statement about the social world to convey and uses practical conventions to communicate this message or argument. The social realistic film aims to disclose the conflict between an oppressive group and the hegemonic power. Samantha Lay (2002) says that social realism is tough to outline not least of all as a result of its political and traditional contingent. As society evolves and changes the subject of social realism also evolves and changes. She conjointly argues that social realist texts disagree with other films in a range of ways and to variable degrees. Social realist
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