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
MLA style: "A new universalism: terrorism and film language in Mani Ratnam's Kannathil Muthamittal." The Free Library.
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