The present study has made a thorough examination of the eleven films directed by TV Chandran made during the period 1989 to 2011 constituting his sample. The methodology applied for the same was semiology. Paradigmatic and synatagmatic analysis of the film text, and examined various signs and its signification, detonative and connotative means of the text, metaphor, metonymy, binary oppositions, dreams and hallucinations, historical allegories, codes, historical parallels, and Marxian analysis have been deployed to find out the signs representing cultural hegemony, false consciousness and persistence of alienation. A careful look has also been taken at the setting, plot, characters, dialogue as well as those factors that have an influence
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When this character function is studied together with the social and political codes of the protagonists, one is convinced that ‘alienation ‘is evident from the formation of the Kerala State, i.e., from the 1948 onwards and its affecting the backward class, middle class, working class, minorities, majority representatives and women, irrespective of their religion, geographical locations and educational qualifications. This approach gives the viewer a feeling that this social and political alienation is a pervasive problem in the society. In visualizing this ‘concept of alienation’, the director has used a historical approach to portray this as an ongoing condition in the society. This historical connection used in all the movies, also coincides with the history of Kerala as a linguistic state in the Indian union, which in turn connotes that throughout the history of Kerala, this ‘alienation’ persisted, and it’s still continuing at a different magnitude. Furthermore, the director intelligently prepared and used scripts, in which he could bring protagonists from different cross sections of the …show more content…
The feminine psyche in TV Chandran’s films is revealed in this approach, and the researcher could find eleven major women characters in his films selected. There are eight major male characters in his eleven films selected. The male protagonists perish in the process of alienation, and are visualized as human beings, not able to withstand the pain and stress of alienation. Protagonists like, Mada, Sheema Thampuran, Gopinatha Menon commit suicide, Danny and Sankaran die in the process. The characters like Narayan Kutty and Mohana Krishanan are mute spectators to this process.
On the other side, TV Chandran visualizes his women characters as more tolerant, and exhibit a survival mechanism to survive in a patriarchal and male chauvinistic society. The protagonists Janaki Amma, Sathi, Nirmala and Shahina, are representatives of subjugation due to gender exploitation, controlled by the religious orthodoxy. Moreover, they are mute spectators to this kind of subjugation, their poor educational background and “false consciousnesses’ out of the patriarchal society could be the reason for their dismal state. But they are striving hard to exist in a male dominated
When this character function is studied together with the social and political codes of the protagonists, one is convinced that ‘alienation ‘is evident from the formation of the Kerala State, i.e., from the 1948 onwards and its affecting the backward class, middle class, working class, minorities, majority representatives and women, irrespective of their religion, geographical locations and educational qualifications. This approach gives the viewer a feeling that this social and political alienation is a pervasive problem in the society. In visualizing this ‘concept of alienation’, the director has used a historical approach to portray this as an ongoing condition in the society. This historical connection used in all the movies, also coincides with the history of Kerala as a linguistic state in the Indian union, which in turn connotes that throughout the history of Kerala, this ‘alienation’ persisted, and it’s still continuing at a different magnitude. Furthermore, the director intelligently prepared and used scripts, in which he could bring protagonists from different cross sections of the …show more content…
The feminine psyche in TV Chandran’s films is revealed in this approach, and the researcher could find eleven major women characters in his films selected. There are eight major male characters in his eleven films selected. The male protagonists perish in the process of alienation, and are visualized as human beings, not able to withstand the pain and stress of alienation. Protagonists like, Mada, Sheema Thampuran, Gopinatha Menon commit suicide, Danny and Sankaran die in the process. The characters like Narayan Kutty and Mohana Krishanan are mute spectators to this process.
On the other side, TV Chandran visualizes his women characters as more tolerant, and exhibit a survival mechanism to survive in a patriarchal and male chauvinistic society. The protagonists Janaki Amma, Sathi, Nirmala and Shahina, are representatives of subjugation due to gender exploitation, controlled by the religious orthodoxy. Moreover, they are mute spectators to this kind of subjugation, their poor educational background and “false consciousnesses’ out of the patriarchal society could be the reason for their dismal state. But they are striving hard to exist in a male dominated