Celluloid Film Analysis

1077 Words5 Pages
Melvin Mathew Thomas
Dr. Jorie Lagerwey
Media Theory and Culture (FS40040)
16 October 2014
The doubly oppressed gaze.
Fourscore and six years ago, a Dalit girl forced the first Malayalam filmmaker into oblivion. J. C. Daniel was stoned and flagged out of his own premiere as an aghast audience was subject to the visual denigration of having to see a Dalit (lower-caste) woman on screen, and playing a Nair (upper-caste) woman at that! Roseamma fled without seeing herself on celluloid, she fled as her house was set ablaze and she fled from a progeny that would never recognise her existence. Celluloid (Kamal, 2013) might be about the forgotten father of Malayalam cinema, but it is also about the Dalit girl who rewrote history causing a film to come crashing down through her sheer presence in it.
Far from the revolutionary ripples in the United States, the feminist thread meandered through Europe and made its way through rocks and crevices to the bubbling terrain of India only a couple of decades ago. India though is rather like a potluck dinner of women who bring cast, creed, religion, language and ethnicity to add to a melting pot of a
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This “lucky” one and her family, who dream of fame and glory, are harassed by the aristocrats, chased from their locality, and the screening of this “blasphemous” event is stopped. Before the beginning of the movie, there is an attempt to brush her caste under the carpet. The announcer is seen reading out Roseamma’s name as P.K. Rosy, a strategy to hide the caste, but this doesn’t stop men hurling stones at the image of Roseamma as a Nair lady. Even though Roseamma is complimented for her acting skills and her ability to grasp things quicker than her fellow upper class male actors, these men sit on the farthest corner away from Roseamma, with the hope that they wouldn’t have to even breathe the same air that has touched this impure
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