The film circulated well, and was screened at Nationally, KM won awards for Best Child Artist, BestĪudiography, Best Editing, Best Musical Direction, Best Lyrics, and Bestįeature Film in Tamil. Tamil / Telugu / Hindi, 1992 Bombay, Tamil / Hindi, 1995), it receivedĬritical acclaim. Ratnam's previous productions (like Nayakan, Tamil, 1987 Roja, Though this film did not achieve the box-office success of some of Restless search for her birth mother which takes her from Chennai, Revelation to the young girl that she is adopted, and Amudha's Narrates the disruption and reintegration of Amudha's foster familyĪround two key events: her foster parents Indra and Thiruchelvan's Of a Sri Lankan LTTE (Liberation Tigers of Tamil Eelam) cell. Amudha's birth mother Shyama is a rebel leader Kannathil Mutthamittal tells the story of Amudha, an irrepressibleĪdoptive daughter of an urban Tamil family in present-day Chennai National and global centers of film circulation divulge the political TheĬonditions through which films from regional industries arrive at Processes of incomplete nationalization and uneven globalization. Is exacerbated, and the mechanics of universalization exposed by the Values-the problematic relationship of the particular to the universal Industries to aspire to universal status-producing their families asĮvery family, their cities as every city, their values as normative Liberalization allows filmmakers from seemingly peripheral film To an impetus to iconize that context into something broadly Hand, to a material drag to its immediate environment, and on the other But the film's politicsĪnd aesthetics are also constituted in relation to its local culture, Normative, urban middle class perspective. Tropes of terrorism made globally familiar by an increasingly prevalent, (popular) and international (primarily film festival) audiences through It permits a Tamil film to connect with national Political agenda of multiple nations, it activates a fundamental socialĪnd spatial conflict. Its gaze on terrorism, a simultaneously local and global crisis on the When cinema-a medium deeply implicated in the commercialĬompetition over regional, national and international audiences-casts My interest in thisĮssay lies in interrogating Ratnam's films for their repeatedĬoupling of terrorism with reconstitutions of regional identity asĭistinctly cosmopolitan and trans-regional. Hindi language counterpart (Rajadhyaksha Pillai). When Tamil cinema remains a primarily local industry compared to its But it is too premature to suggest a trend at a time Venturing into bi-lingual productions (as with Kamalahasan's MumbaiĮxpress, Hindi/ Tamil, 2005), Ratnam's films may portend anĪlternative to Tamil films that assume a purely local audience and Validations of a culture of neo-liberalism qualify him to exploit Ratnam's internationally competitive production values and thematic Mani Ratnam's Tamil films, however, constitute an exception. "Bollywoodization"-of Hindi cinema rarely extends to regionalįilms. Globalization-or what Ashish Rajadhyaksha has called the Potentially available to a Tamil film today. It also discloses the aesthetic vocabularies,Ĭultural functions and opportunities for national and global circulation Tamil militancy in Sri Lanka in Kannathil Muthamittal (A Peck on theĬheek, 2002, henceforth KM) is offered as a reflection on theĪffiliations and limits of a particular cinematic language that makesĪt a mundane level, such an analysis demystifies the film's Consequently my analysis of Mani Ratnam's depiction of These questions nearly blighted my ability to write this essay, before IĬame to the conclusion that they were in fact the motivation behind my The obscene opportunism in writingĪbout terrorism today, at a time when it is receiving an ideologicallyĭefined global profile to entrench reactionary and racist anxieties,Įchoes concerns about the ethical responsibilities of intellectuals. Live with brutality reiterates suspicions that the referent or realĮscapes complete representation. Political violence and the traumas of people forced to adopt, resist or Exploring the relationship between a film's depiction of Asking how aįilm defines a terrorist requires an interrogation of the visual, auralĪnd narrative conditions through which subjects enter the realm ofĭiscourse. Reopens questions of primary concern to film theorists. Writing about contemporary representations of terrorism in cinema
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