Selvaraj Velayutham – författare

Tamil Cinema in the Twenty-First Century explores the current state of Tamil cinema, one of India’s largest film industries. Since its inception a century ago, Tamil cinema has undergone major transformations, and today it stands as a foremost cultural institution that profoundly shapes Tamil culture and identity. This book investigates the structural, ideological, and societal cleavages that continue to be reproduced, new ideas, modes of representation and narratives that are being created, and the impact of new technologies on Tamil cinema. It advances a critical interdisciplinary approach that challenges the narratives of Tamil cinema to reveal the social forces at work.

Tamil Cinema in the Twenty-First Century explores the current state of Tamil cinema, one of India’s largest film industries. Since its inception a century ago, Tamil cinema has undergone major transformations, and today it stands as a foremost cultural institution that profoundly shapes Tamil culture and identity. This book investigates the structural, ideological, and societal cleavages that continue to be reproduced, new ideas, modes of representation and narratives that are being created, and the impact of new technologies on Tamil cinema. It advances a critical interdisciplinary approach that challenges the narratives of Tamil cinema to reveal the social forces at work.

Hitherto, the academic study of Indian cinema has focused primarily on Bollywood, despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. This book examines critically the cultural and cinematic representations in Tamil cinema. It outlines its history and distinctive characteristics, and proceeds to consider a number of important themes such as gender, religion, class, caste, fandom, cinematic genre, the politics of identity and diaspora. Throughout, the book cogently links the analysis to wider social, political and cultural phenomena in Tamil and Indian society. Overall, it is an exciting and original contribution to an under-studied field, also facilitating a fresh consideration of the existing body of scholarship on Indian cinema.

This book documents urban experiences of dissent and emergent resistance against disjunctive global and local capital, technology and labour flows that converge and intersect in some of Asia’s fastest growing cities. Rather than constructing occupants of the city as simply passive victims of globalisation or urbanisation, it presents ways in which people are using everyday strategies embedded in cultural practice to challenge dominant socio-economic and political forces impacting on urban space. Taking the city as a site of contestation and a stage where social conflicts are played out, the book highlights the connections between urban power and dissent; the nature and impact of resistance; how the spatiality and built environment of the city generates conflict and, conversely, how protagonists use the cityscape to stage their everyday and public dissent. The contributors explore the conditions, strategies, and outcomes of such dissent and forms of cultural resistance, and explore the following themes: the impact of urban development, gentrification and ghetto-isation; urban counter narratives and the re-imagining of city spaces; the role of grassroots activism and social movements; cultural resistance in the creation of neighbourhoods and communities; the impact of gender, class and the politics of identity on forms of dissent; the formation of transgressive spaces.

Hitherto, the academic study of Indian cinema has focused primarily on Bollywood, despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. This book examines critically the cultural and cinematic representations in Tamil cinema. It outlines its history and distinctive characteristics, and proceeds to consider a number of important themes such as gender, religion, class, caste, fandom, cinematic genre, the politics of identity and diaspora. Throughout, the book cogently links the analysis to wider social, political and cultural phenomena in Tamil and Indian society. Overall, it is an exciting and original contribution to an under-studied field, also facilitating a fresh consideration of the existing body of scholarship on Indian cinema.

This book documents urban experiences of dissent and emergent resistance against disjunctive global and local capital, technology and labour flows that converge and intersect in some of Asia’s fastest growing cities. Rather than constructing occupants of the city as simply passive victims of globalisation or urbanisation, it presents ways in which people are using everyday strategies embedded in cultural practice to challenge dominant socio-economic and political forces impacting on urban space. Taking the city as a site of contestation and a stage where social conflicts are played out, the book highlights the connections between urban power and dissent; the nature and impact of resistance; how the spatiality and built environment of the city generates conflict and, conversely, how protagonists use the cityscape to stage their everyday and public dissent. The contributors explore the conditions, strategies, and outcomes of such dissent and forms of cultural resistance, and explore the following themes: the impact of urban development, gentrification and ghetto-isation; urban counter narratives and the re-imagining of city spaces; the role of grassroots activism and social movements; cultural resistance in the creation of neighbourhoods and communities; the impact of gender, class and the politics of identity on forms of dissent; the formation of transgressive spaces.