M.K. Raghavendra
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780198071587
- eISBN:
- 9780199080793
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198071587.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter examines Kannada films of the 1980s, a period in which some genres in Kannada cinema — the mythological film, the historical film — died out and new genres like the youth film appeared. ...
More
This chapter examines Kannada films of the 1980s, a period in which some genres in Kannada cinema — the mythological film, the historical film — died out and new genres like the youth film appeared. These new genres were, however, not ‘stable’ like the mythological film, the historical drama, and the family melodrama, and faded away almost immediately. While most films of the late 1980s abandon the traditional signifiers associated with Mysore, there is still evidence in the Kannada films of the late 1980s that it once existed.Less
This chapter examines Kannada films of the 1980s, a period in which some genres in Kannada cinema — the mythological film, the historical film — died out and new genres like the youth film appeared. These new genres were, however, not ‘stable’ like the mythological film, the historical drama, and the family melodrama, and faded away almost immediately. While most films of the late 1980s abandon the traditional signifiers associated with Mysore, there is still evidence in the Kannada films of the late 1980s that it once existed.
Uma Maheswari Bhrugubanda
- Published in print:
- 2018
- Published Online:
- February 2019
- ISBN:
- 9780199487356
- eISBN:
- 9780199093281
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199487356.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How ...
More
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.Less
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.
