Engendering popular cinema in malayalam

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1. Engendering popular Cinema in Malayalam The question of women in popular Malayalam Cinema

2. A certain purchase in the moral domain Man in the household has a moral right and responsibility ,a duty to admonish, chastise and punish the women for their own benefit 202

3. The Hindu 11April, 2002 survey 61% women in the state accept at least one reason as justification for wife beating 47% justified if the wife neglected the family 3% justified wife’s natal family does not give give the expected money or other items 39%justified if wife showed disrespect to inlaws

4. A good chunk of women conceded to their husbands the right to use force 38%justified if wife goes out without telling her husband 25%wife does not cook food properly 22%if wife is unfaithfull to husband Overall about half or more woman in all population subgroups in the state justified wife-beating for at least one reason.

5. The varying degrees of such acceptability have to do with class with caste and community with education. 1954 1965

6. Invisibilisation of the gender question is endemic in N eelakkuyil. The emergence of the nationalist movement and left ideology . Religious and caste –based communities succeeded in initiating a process of democratization and modernization , though this also meant moving into emerging patriarchal, capitalistic economy reorganizing themselves to fit into the changing times

7. Chemmen-1965 ennobling tragedy of human lives. The fisherman out in the sea and of course the security and well being of the entire fishing community are dependent on the Araya woman’s chastity and fidelity.(folk tradition) The film create a moral space against the archetypal backdrop of the vast sea Sweeps the woman as a distinct category out of the frame

8. Female as sob stuffs The typical image of the woman as someone who is destined to suffer the slings and arrows of outrageous time with tolerance , dignity and grace Woman’s body is inscribed with the ideology of silent and graceful suffering. 1968 1972

9. Fazil’s works 1992 1991

10. Jenny R owena’s reading THE Masculinity issue in relation to the ‘laughing movies’of 1990s it is important to remember that they exist side by side with a host of very successful movies of M M S

11. Women play not even the second fiddle in these movies Even where you acknowlege the unmistakable social presence of a woman as police officer, administrator , lawyer , journalist , they have to be exposed for what they are ultimately-MERE WOMAN

12. Manju Warrier an actress After the longstanding reign of the old time heroines such as S heela,Sarada and Jayabharati Malayalm cinema has seen a lot of female actors come and go. The males stay , witness the career of Mammootty and Mohanlal But the females are an ephemeral category No one knows how or why ?Manju W arrier made a difference within the short span of her career

13. Women -centric films Passive acceptance to her strenght and vibrant charm

14. Vc harris opines Even the strongest woman has nothing much to do in the essentially male world of action movies. And today the woman who has forced this realisation on us lives in pure domesticity and self-effacing life Today our films heroines have a certain openness and dynamism that is quite afreshing for eg:swapnakkodu song- ishtamalleda Transformation to ‘ I stamaneda’,once the relationship builds up woman relapses to the old stereotypes about a faithful wife and loving mother.

15. Therfore,the contemporary shift has more to do with the fast –changing conventions of film music and dance than with subtle transformations taking place with gender relations in Kerala Neeli in neelakkuyil Sheela as karuthamma Female beauty that obtain in our popular cinema down the ages have their historical roots in the formative period O Chandu Menon’s Indulekha (heroines beauty)

16. Film, music, in kerala Significantly participated in the construction of what we call a public sphere Advent of film music marks democratisation of our society