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D. Shanthini Sarah
Research Scholar & ASM, Gyan Vani FM
&
Dr.P.Govindaraju
Head - Department of Communication
Dean- Facult...
 “Films are all fictional, since the y all represent
something by means of signs , rather than presenting
what exist in s...
 1.5 million Transgender population
 ‘Hijiras’ , ‘Aravani’ or ‘Thirunangai’
 Gender identity crisis
 Hindu mythologies...
 How transgender are represented in Tamil Cinema?
 How does the transgender community receive the
images?
Hence the stud...
 Sex maniacs
 No morality
 Ridiculed in comedies
 Misfit to the society
 Semiotic analysis
Variables:
 Character
 Time and space given for them in the film
 Significance of the character
 T...
 Reception analysis
 In-depth Interview
 Six Transsexuals
 The group composed of film maker, social activist,
writer, ...
Functionality in the narrative:
 Screen presence in the film is at least 20 minutes
 Characters were named (Eg: Karpoora...
Dialogues for social acceptance:
 Characters voice out their plight
 Represent the whole community
Carving out cultural ...
 Fashion shows
 Double meaning dialogues
 Gaze
 Happy and satisfied with their portrayal
 Gained confidence
 Kaanchana film has given a poignant dimension to the
tran...
 They felt, if the transgender characters which are
played by the male actors are replaced by the
transgender the nuances...
 Viruthagiri has threatened the community who felt
more insecure because the film which has transgender
falling as victim...
 Create awareness
 Stereotypes should be avoided
 Empathize rather than sympathize
 Sensitive treatment rather than se...
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema
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Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema

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Shanthini Sarah, Dr.P.GovindarajuCritical analysis on representation of Third gender in contemporary Tamil cinema

  1. 1. D. Shanthini Sarah Research Scholar & ASM, Gyan Vani FM & Dr.P.Govindaraju Head - Department of Communication Dean- Faculty of Arts Manonmaniam Sundaranar University,
  2. 2.  “Films are all fictional, since the y all represent something by means of signs , rather than presenting what exist in spectators real time and space” Christian Metz  Create identity for any social creation  Ideological construction  Meaningful documents with the potential to yield rich insights into the cultures and times in which they are made  Host of cultural idea and values at a hidden or subconscious level
  3. 3.  1.5 million Transgender population  ‘Hijiras’ , ‘Aravani’ or ‘Thirunangai’  Gender identity crisis  Hindu mythologies – Ardhariswara (Shiva & Shakthi), Arjuna(Mahabharata), Mohini (Vishnupurana)  Tamilnadu as pioneer in inclusion at various levels  Creating conducive environment
  4. 4.  How transgender are represented in Tamil Cinema?  How does the transgender community receive the images? Hence the study objectives are  To analyse the depiction of transgender characters  To analyse the identity created for the community through the images  To analyse how the transgender identify themselves in the films.
  5. 5.  Sex maniacs  No morality  Ridiculed in comedies  Misfit to the society
  6. 6.  Semiotic analysis Variables:  Character  Time and space given for them in the film  Significance of the character  Their relationship with other characters  Shots  Costume  Music
  7. 7.  Reception analysis  In-depth Interview  Six Transsexuals  The group composed of film maker, social activist, writer, actress, etc.
  8. 8. Functionality in the narrative:  Screen presence in the film is at least 20 minutes  Characters were named (Eg: Karpooram in Vaanam)  Significance of the characters in development of the story Depiction of their relationships:  “Guru –chela”- kinship  Atleast four films depicted their relationships
  9. 9. Dialogues for social acceptance:  Characters voice out their plight  Represent the whole community Carving out cultural identity:  The shots of their festival (Thenavettu)  Misrepresentation of their rituals (Kaanchana, a song in Thenavettu)
  10. 10.  Fashion shows  Double meaning dialogues  Gaze
  11. 11.  Happy and satisfied with their portrayal  Gained confidence  Kaanchana film has given a poignant dimension to the transgender community which has yielded them respect  Social Inclusion became a reality
  12. 12.  They felt, if the transgender characters which are played by the male actors are replaced by the transgender the nuances of their role could be met. For example: Some of them felt that Sarath Kumar playing the Kaanchana role was more masculine than being feminine  They feel happy on seeing the transgender getting married in Narthaki film, as the transgender crave for marital relationship
  13. 13.  Viruthagiri has threatened the community who felt more insecure because the film which has transgender falling as victims of the kidnappings for organs.  Though Narthaki captures the life of a transgender, the culture and customs projected are not accurate
  14. 14.  Create awareness  Stereotypes should be avoided  Empathize rather than sympathize  Sensitive treatment rather than sensationalizing

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