Papers by Karthikeyan Damodaran
Routledge, London, 2021
In contemporary Tamil films, North Chennai - represented as a spatially distinct urban ghetto - f... more In contemporary Tamil films, North Chennai - represented as a spatially distinct urban ghetto - forms the terrain upon which contested socio-political narratives are performed. On the one hand, portrayals of it as a masculine, homogenous, and utterly violent space feed into the casteist anxieties and desires of the Tamil imagination, criminalising the neighbourhood and its inhabitants as pathologically anti-social. Films which both directly and indirectly refer to the space - like Vikram Vedha (2017) and Vadachennai (2018) - cater to a voyeuristic audience instantaneously both attracted to, and repulsed by, an imaginary about the ghetto as a zone in need of state intervention (often police violence), explication and transformation. These representations do not go unchallenged, however, and films like Madras (2014) have challenged the stereotypes associated with Dalits and their spatial aspects in mainstream Tamil cinema. The entry of this genre of ‘Dalit Film’ not only makes a critical intervention in the representational politics of Tamil cinema, but also functions to contest and challenge common stereotypes. The paper will offer a close reading of key films in each genre to highlight these contested narratives and offer a wider socio-political contextualization that helps to explain the changes underway in contemporary Tamil cinema.
Economic and Political Weekly, 2018
Tamil superstar Rajinikanth has announced his long-awaited entry into politics. This article char... more Tamil superstar Rajinikanth has announced his long-awaited entry into politics. This article charts his rise to superstardom and long dalliance with state politics to analyse his political prospects. It is argued that the leader-centric nature of his party is a mere continuation of Tamil political norms, and that his ambivalent “spiritual” politics must be wedded to material concerns if he is to succeed.
Acknowledgements: We are immensely grateful to Stalin Rajangam for insightful comments and to the... more Acknowledgements: We are immensely grateful to Stalin Rajangam for insightful comments and to the anonymous reviewers of the journal who helped to sharpen the argument. The authors are indebted to the University of Edinburgh and the ESRC respectively for funding the fieldwork that enabled the discussions and observations on which this paper draws.
Books by Karthikeyan Damodaran
Routledge, London, 2021
In contemporary Tamil films, North Chennai - represented as a spatially distinct urban ghetto - f... more In contemporary Tamil films, North Chennai - represented as a spatially distinct urban ghetto - forms the terrain upon which contested socio-political narratives are performed. On the one hand, portrayals of it as a masculine, homogenous, and utterly violent space feed into the casteist anxieties and desires of the Tamil imagination, criminalising the neighbourhood and its inhabitants as pathologically anti-social. Films which both directly and indirectly refer to the space - like Vikram Vedha (2017) and Vadachennai (2018) - cater to a voyeuristic audience instantaneously both attracted to, and repulsed by, an imaginary about the ghetto as a zone in need of state intervention (often police violence), explication and transformation. These representations do not go unchallenged, however, and films like Madras (2014) have challenged the stereotypes associated with Dalits and their spatial aspects in mainstream Tamil cinema. The entry of this genre of ‘Dalit Film’ not only makes a critical intervention in the representational politics of Tamil cinema, but also functions to contest and challenge common stereotypes. The paper will offer a close reading of key films in each genre to highlight these contested narratives and offer a wider socio-political contextualization that helps to explain the changes underway in contemporary Tamil cinema.
Print Media, Blogs & Short Essays by Karthikeyan Damodaran
The Wire , 2018
A critique of the Dravidian movement largely focusing on DMK and particularly on Karunanidhi's re... more A critique of the Dravidian movement largely focusing on DMK and particularly on Karunanidhi's regime from a Dalit perspective
Pariyerum Perumal (God Who Mounts a Horse) is a very strong film. It invites a society, which is ... more Pariyerum Perumal (God Who Mounts a Horse) is a very strong film. It invites a society, which is entrenched with casteist prejudices, for a debate and asks people to rethink these extreme forms of incivility.
Ilaiyaraaja, the superstar composer of the Tamil film industry, debrahmanised music and devalouri... more Ilaiyaraaja, the superstar composer of the Tamil film industry, debrahmanised music and devalourised hierarchical values attached to the use of various instruments with his musical genius. In his 75th year, it is time to give him the plaudits he richly deserves.
Politics in India has certain unique characteristics which can hardly be found elsewhere and one ... more Politics in India has certain unique characteristics which can hardly be found elsewhere and one element which has drawn quite a formidable amount of attraction is its practices of visual culture, countless wall posters, graffiti, giant sized cutouts and billboards form the oeuvre and decorate the landscape. Each of these practices has a specific historical connection related to its landscape. The culture of having giant cutouts is one such unique practice of visual culture specific to a geographic location; something the academicians, journalists and political commentators relate with the southern state of Tamil Nadu in India.
The Hindu
The proposed Tamil Thai statue in Madurai will impose an archaic and patriarchal iconography on a... more The proposed Tamil Thai statue in Madurai will impose an archaic and patriarchal iconography on an idea that has multiple imaginings and interpretations
Through Rajnikanth’s portrayal of a conscious underclass hero who understands the nuances of Ambe... more Through Rajnikanth’s portrayal of a conscious underclass hero who understands the nuances of Ambedkar donning a three-piece suit, the symbol of assertion has entered the Tamil film industry, heralding a major revolution.
Book Reviews by Karthikeyan Damodaran
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Papers by Karthikeyan Damodaran
Books by Karthikeyan Damodaran
Print Media, Blogs & Short Essays by Karthikeyan Damodaran
Book Reviews by Karthikeyan Damodaran