This document analyzes the film Manichithrathazhu from the perspectives of gaze and the subjugation of women. It discusses how the film uses male gaze to objectify and subjugate female characters. Specifically, it notes how the introduction of the character Nagavally resists this gaze yet she is deeply penetrated into audiences. It also analyzes scenes where the female lead Ganga is introduced with frightening music and lighting, and another scene where her dance is filmed focusing on the expressions of male characters gazing at her. The document concludes the film constructs women as passive objects of the male gaze, representing their subjugation and absence of agency.

2. Nagavally: A Rereading to Visualize
Subjugation
Sameer Mecheri

5. • Nagavally ‘resists’ introduction
• She is deeply penetrated into the silver screen
audience of India.

6. • No ‘exorcist’ could bring her in control
• Nagavallys are multiplying in the society day
by day
• She is nailed inside a Bus from Delhi
• Govindachamy threw her from the train.
• She has been broken into pieces before she
attain puberty
• She is numerous

7. `
• Let me ‘open’ the Manichithrathazhu for two
reasons
1. To get the male dominated discourse in the film
with the help of Gaze
2. To reread the film with a new(I think) perspective

8. Gaze in Power Creations

9. • A number of Gazes film
•
•
•
•
•
Spectator’s gaze
Character’s gaze
Male gaze
Female gaze
Director’s gaze etc.

10. Gazes in the Film
• The female statue
• Half naked
• Submissive
• The motionless representation(subjugation)
• A sign that promotes the male gaze in the film

12. •
•
•
•
Ganga’s first appearance
Accompaniment of a red light
The music of the particular scene
Frighten the spectators
• Signification - the presence of a blood thirsty
female spirit

14. • Nakulan’s gaze
• His potent gaze compels Sreedevi to
withdraw

16. • The gaze becomes powerful when Nagavalli
dances
• The camera focuses on to the face of three
male characters looking at the girl who is
dancing
• All had the same expression and gaze

18. • Whereas the girl had different colors around
her and she seems to be happy.
• The lines of the song are the solid evidence
of subjugation

20. Have you ever
Seen me once?
Have you ever
Tried to recognize me?
The girl in your heart is dancing

21. The Road
Not
Taken

24. • This is the way the director leads us
But
A rereading is possible

25. • The married life of Ganga and Nakulan is a
failure
• She never loved Nakulan.

28. Her passion was reading
Among the books she loved poetry more
Poetry ‘poisoned’ her
She was passionately in love with the lines of
P. Mahadevan, the poet
• Gradually the love shifted from the lines of
Mahadevan to the soul of the same
•
•
•
•

32. • She tried to kill Alli as she is Mahadevan’s
wouldbe

34. • Ganga could not go into Mahadevan in
reality as she is married to another man
• To meet him sexually she pretended as
psychotic

36. Conclusion
• Gaze in film is a discourse that defines the
role of women
• Yakshi is a constructed reality, the absence of
‘Yakshan’ is crucial
• Women are ‘twice removed from reality’
1. Accusing the disease
2. Curing the disease
• The woman is passive to the active gaze from
the man

37. Your Patience is Much Appreciated !!
Thank You
Sameer mecheri