(
"To arrest the meaning of uorks once for all, that is u.hu: T enre W1J1tS. "- Jean Francis Loytard, Rudiments Paiens
conclusion
CONCLUSION
The aim of this thesis has been to examine contemporary culture and film industry with
special reference to Tamil cinema. There was a need to theorise the problematic of cinema
in general and Tamil cinema in particular. By doing so we have discussed and analysed the
debates on art and its relationship with culture and cinema. The problems and debates
that exist in the area of film theory and film criticism were also examined and then it was
important to understand the problems and politics which exists in Tamil cinema and the
film industry. The thesis also endeavoured to place some of the elements of Tamil cinema
so that the problematic is understood in a perspective. The formal elements of cinema was
very important to understand form, theme and technique. It was also important to
examine the formulations of various theoreticians and film mak.ers so that a plurality of
perspectives were made available in understanding cinema. The main objective of this
thesis was to analyse the culture industry and its relationship with society and cinema.
The styles and expressions of cultural forms were discussed to understand the dynamic of
the relationship between cinema and culture. Filmization is one of the key concepts
examined in the thesis which enables us to understand contemporary culture and cinema
which are the objectives of the thesis.
The concerns of this thesis have been few and far between. They have essentially dealt
with the problem of culture and cinema in general, and Tamil film industry in particular.
It must be underscored that though there has been an effort to understand the categories
of culture and cinema, they have not been studied or analysed as water tight
compartments. On the contrary, the principal focus of this thesis has been to understand
culture and cinema as they are, in the everyday. The philosophical and theoretical premise
from which this thesis draws impetus is the very notion of deconstruction. It is here that
the importance of criticism is realised. This exercise in deconstruction enables us to offer a
new perspective in looking at the problem. Deconstruction provides a chance to challenge
the existing model, which laid importance to studying culture and cinema per se without
realising the symbiotic importance, the context against which these categories are woven
269
and the latent patterns which are responsible for manifest appearances. This moot point
forms the essence of cultural studies and the underlying theme m contemporary
humanities and social sciences.
Categories and concepts are not studied as separate entities. It is not an independent study
of culture and cinema. On the other hand, it is a study of the influence of cinema on
culture and the everyday. This has led to the filmization of culture. It has been argued
that filmization is a result of an increasing influence of signs and symbols that are
representations of cinema. The character of everyday is modified through the mediazation
of film signs and symbols- filmization. The phenomena of filmization leads us to the heart
of the pr:oblem. Contemporary culture is increasingly dominated by symbols of the mass
media and communication. These symbols are in a state of constant flux. Because of a
constancy in motion, culture which encompasses these symbols has become a global
product for mass consumption. As a result of the affectations of signs and symbols,
contemporary culture has lost its locality. The characteristic trait which distinguished and
defined culture-indigenous and original- is obliterated in an era of mass communication
and modern culture. As a result, a singular cultural trait has become a meeting point for
other cultural traits. Culture has moved from a monolingual plane to a bilingual plane.
Culture has become syncretic, a base of multifarious symbols. As a result of cultural
diffusion it changes the manner and appearance of cultural form.
What is primary in the culture of pastiche are the relationships between various cultural
traits and the acknowledgement of individual cultural traditions and practices. It is argued
that during 'such encounters a syncretric assortment takes place. The context against
which various cultures come together is also important. This cultural syncreticism is
manifested in the everyday practices. In its manifestations the native cultural mannerisms
are not clearly defined and hence they are not identified. The pastiche facilitates to weave
a veil around the everyday manifestations.
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The flip side to the argument of a cultural bricolege is the operation of power relations
behind the cultural pastiche which facilitate expressions and representations in
contemporary culture. The identification and acknowledgement of power structures and
its relations will help us understand the constant influence of mass media, its apparatus
and functioning of contemporary culture. Ideologically, theorising culture would mean
discussing culture in terms of power relations. The symbolic and interpretative
conceptions of culture have never discussed power relations. Since culture is both
conceptually and practically related to land, customs, traditions, language and a set of
beliefs and practices, it assumes ideological positioning vis-a-vis other cultures. Culture is a
site of relational power. Constant exercise of power relations during a period of time
become culture. The manifest operationalization of this process is called culture and the
latent patterns on which this is operationalized is power. According to this school of
thought, modern culture is an example of a fundamental denial and betrayal of reality by
representations of signs and symbols. These representations feign and pretend to be real
and that is why they are called simulations. Power has the remarkable ability to produce
signs and symbols of its resemblance. This is the intricate and vital aspe~t of any structure
of power. These signs and symbols possess a remarkable trait of simulation. By
reproducing signs of semblance it risked deterrence and simulation. As a result, there is a
constant manufacturing and remanufacturing of artificial, social, economic political and
cultural stakes. The meaning of expression and profoundity of representation is lost in
the reproduction of signs. The reproduction is a scaled down version of reality but
simulated enough to appear as real. In contemporary culture, reproduction is, in a manner
of speaking, hyper real. Thus the simulated reality is expressed everywhere by the 'real'
striking resemblance to itself. In the age of simulation, power conceals its existence or
power is no longer present except to conceal that there is none.
In the age of information technology and digital communication reference has lost its
foundations. The reference was lost much before when Walter Benjamin wrote about the
'age of mechanical reproduction'. There seems to be a systematic reproduction in other
reaches of everyday life as well. The new culture is totally immune to the theories rooted
271
in traditional assumptions. The strategy employed by the media is one of montage, to
structure a unique cultural reality. 'Film and cinema' is used as one of the strategies in
constructing a culture of simulation. In general, mass communication and its symbols
influence in formulating an era of simulation where objects and discourses have no
ground or foundation.
Theory favours a pluralist epistemology composed of a "multiplicity of points of view,
each of them roughly having an equal power of generality". It is more an art of
"circulating along paths or fibers," an art of transportation and intersection; for theory
progress is an "interlacing". Depending on individual physiology, it is supposed to lead to
a "philosophy of communication without substance, that is, with neither fixity nor
reference. »1 The issues discussed, the problems analysed, the explorations and attempts
made in this thesis stand to testify the plurality present in culturological studies, both
complementary and conflicting. An interpretative approach, rand not one of finality is
employed in the entire process. For de Certeau, theory moves in the direction of the
indeterminate as opposite to technology which moves toward the functionalist
distinction, and in that way transforms everything and transforms itself as well.
The use of symbols and symbolism has a relay effect in all the spheres of Tamil society. So
strong are the consequences, that the popular conception and construction of Tamil
society has been mO!llded by perceptions like the, 'T amil society is a bundle of
contradictions'. In that it pioneered the anti-caste and anti-Brahmin Dravidian movement
that fought against all forms of rituals, domination, superstitions, child marriage and
reservations in the administration and other fields for the deprived sections. The
Dravidian movement led to the beginning of a progressive transformation of society. The
movement was a significant pointer in the history of Tamil Nadu. The movement
changed the social, cultural and political equations in the state that was ruled and
dominated by a Brahmin minority. This movement gave rise to different political parties,
which functioned on the principles and ideals of the Dravidian movement.
272
, '
Cinema had a significant participation and a telling influence on the Tamil society in the
early years of its discovery. Prior to that, there was a strong and continuous tradition of
folk arts and its performance in the state. The early years of Tamil cinema came under a
heavy influence of company drama and theatre. Tamil cinema formed its technical studios
and production houses in the first years of Tamil cinema. It gave way to the establishment
of a film industry. The form and content of Tamil films changed during the years from
the time first movies were shown to the public. Films during the pre-independence years
were also used as a means for political propaganda. Films were also used for the same
purpose during post-independence period. During the-fifties a significant process took
place. As a result of constant and regular association with the film industry, the members
of the Dravidian parties were able to convey the ideals and principles of the Dravidian
movement through films. A large number of writers and playwrights associated
themselves with film industry. This tribe of writers belonged mostly to the Dravidian
parties. Cinema was used to convey, communicate and subvert the dominant cinematic
paradigm in Tamil N adu. As a result, there was a marked change in the theme, form and
content of the movies produced. The tone and the structure of the movies underwent a
remarkable change during this period. Symbols and signs were used effectively in the
movies to convey the Dravidian party's ideology. The producers carefully chose the
themes. The subjects for films were subjected to a treatment in line with the Dravidian
ideology. The script in a few films proved vital in successively communicating the themes
c..:nceived by producers and directors. The written word was perforce dominant on the
movie during the fifties and the sixties. The dialogues proved quintessential in
formulating a new theme, repudiating the existential cinematic and political firmament.
During this period, the Dravidian writers ushered a new era in terms of sharp scripts
infused with social and political sarcasm.
Films became a product of mass consumption. As a result, it gave way to a large group of
organised collectivity viz., the audiences. The audiences formed the collective base for the
I Michel de Certeau. The Practice of Everyday. Berkeley: University of California Press, 1988,p.199.
273
film industry. They established a market relationship with the film industry. Movies
became a craze and an obsession with the public. This culminated in the cult of celebrity
and hero worship by the masses. The rulers of the state are the same people who once
ruled the film industry. These perceptions however are in consonance with the practice of
the everyday.
The definitions of culture and politics have changed. Tamil films facilitated cultural
change to an extent and therefore, the meanings of these categories which form the
essence of the Tamil society have changed. Or, is the reading of these categories which has
changed? It is observed that, after an initial analysis, cinema was just an accessory to
enhance and realise the objectives of a political culture. Because if it was the case, it would
have remained in that state. Now that the cinema has grown into a macro institution, the
film industry has assumed a major role in the society.
The Tamil cinema was shunned at its humble beginnings by some sections of the Tamil
elite. Contrary to this very move, the Tamil elite quite paradoxically embraced Tamil
cinema and monopolised it after the talkies arrived. The Tamil cinema at its early stages
spoke the language of the elite in that it was a cultural reproduction of a particular kind
of a culture which dominated the Tamil society. At the same time, there were instances .
where themes on untouchability and child marriage were portrayed in Tamil cinema.
Though there is no elaborate prehistory of cinema in Tamil Nadu, the discovery of
cinema in Europe and its influence in Tamil Nadu gave sufficient ground for the
filmization of society much later. The popular film press and film journalism have been
growing in leaps and bounds simultaneously rendering support to the film industry. It
forms a strong supportive mechanism for the film industry. The popular film press prints
film based snippets and tit-bits, through its weeklies, fortnightly and monthly magazines.
The popular press had its origins during the pre cinema era and there it had a steady
growth and development along with the growth of cinema. The culmination of the
popular press witnessed magazines exclusively for film actors and actresses that were
managed by the members of fan clubs. These organisations related to a particular actor
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which came to be known as fan clubs. Fan clubs are an interesting factor in
understanding the culture of cult and hero worship. Fan clubs facilitate in understanding
the rubric of Tamil cinema, the patterns behind fan club organizations and their activities.
It is this mass obsession with cinema and 'stars' that lead to popular social and political
perceptions and constructions about the state. Various spheres of the Tamil society is
under the strong influence of cinema. A film actor launching a consumer product, a play
back singer presiding over the opening of a finance company, an a<ztress lending a cause
for the disprivileged and the handicapped and actors presiding over functions organised
by their fan clubs have become the order of everyday. It is argued that the line dividing
between the real and the reel is slowly getting blurred. That is, what is not possible to
achieve in the screen is achieved in real life. Or for that matter, even what is being
portrayed of an actor or character in the movie does not give the needed impact because
the screen is always perceived as unreal and the movie, a fantastic journey. Or is it the case
of the film stars trying to imitate their screen action into real life.? Is it a question of art
imitating life or life imitating art? The activities of the film stars in Tamil Nadu
constantly oscillate between their own private lives and some film magazines. Though not
legitimate, their public activities are highlighted in the media. The popular film press
draws its contents from these instances which is of a titillating nature. Both the
television and print media constantly converge and lend prime coverage to these activities
thereby instilling a sense of importance and priority attached to the film industry by the
masses.
It is here that Thompson's understanding of culture assumes importance in the modern
sense. His reading of the modern day culture and the level at which it is affected by the
media industries is elucidated in his mediazation of culture, which is the general process
by which the transmission of symbolic forms becomes increasingly mediated by the
technical and institutional apparatus of the media industries. The crux of the argument is
extended to the process,., of the film industry'S deep impact on contemporary culture in
Tamil Nadu, which we have referred to as filmization. The daily life of the public and the
masses is affected by the apparatuses of the film industry. Initially, this process began in
275
Madras because the efforts and the impetus for the beginning of a South Indian cinema
happened here. Later as cinema grew and started moving into the towns and villages there
went along with it, a specific appearance which was associated with the films. Posters of
the films pasted on mobile carts went into the towns announcing the films and the show
timings. When sound became popular, loud speakers accompanied the carts and
sometimes the songs from the movie being advertised were also played. This aspect was
one of the initial efforts to popularise and advertise cinema with the help of mobile carts.
Rural electrification programme in Tamil Nadu enabled cinema reach the interior
villages. This led to the increasing number of theatres and cinema halls. As a result Tamil
Nadu has the largest number of cinema halls.
There was a clear continuum between the precursor to cinema- the drama- and films itself.
Though the transition from drama to films was slow, it took cinema a long time to
acquire complete cinematic stylistics. The initial years saw cinema imitate and mime the
dramatic medium. Filmmakers and film technicians have observed that the tendency to
imitate the traits of drama reflected the slow development of cinema i~ the state. But this
transition could only be normal. Any telescoping in the process would have hampered the
mature growth in the cinematic form. The development meant' in terms of handling the
theme, the treatment of the story and technical detailing. The link between cinema and
politics was established as early as the thirties when India was fighting for its
independence. First, the Congress party used this new entertainment form for the
purposes of propaganda against the British because of its enormity of reach. During the
initial phase, cinema was still looked down upon as a medium that was derogatory and
was associated with the low castes and classes. As mentioned earlier, this sort of a
perception came from the so called 'elite' who thought that they belonged and practiced
what was called the 'high culture'. Some of the pioneers belonged to the upper caste elite
and later began to be associated with Tamil cinema's history. Like the Congress in its
initial years realised the importance of the cinema for purposes of political propaganda,
the Dravida Kazhakam realised that they could effectively communicate their political
ideas and ideals through films. But an analysis of the basis behind this thought process,
276
would reveal that most of the persons who joined the film industry belonged to political
parties. Their initial professional career was spent with professional drama companies.
Before the advent of cinema drama was used as a tool to propagate their political ideals
and the first political party to exploit the potential of drama was the Congress and then
the Dravidian parties. After the advent of cinema when the film industry was in the
making, the people who worked with the drama companies shifted towards cinema.
Cinema was thought as an effective medium for it reached larger audiences. The Dravida
Kazhakam though was in limelight at that time popularised its struggle through cinema
with the release of Parasakthi. The historians and scholars who were working on Tamil
cinema described this period and the genre as the cinema of dissent. It was during this
period, that a clear link was established between politics and cinema. It can be observed
that a kind of institutionalisation of the entire process took place during this period.
Consequentially a sense of legitimacy was attached to the nexus between politics and
cinema. This legitimacy resulted in the election of chief ministers of the state who were
full time professional actors, actresses and writers in the film industry. Cinema became a
sort of an interactive and dialogic medium where the characters in the film, the actors
talked with revolutionary zest and zeal to the public. This interactive process however is
a one way process. Since cinema is to a large extent an obsession with the masses, the ,
public gives a unanimous support to the functioning of the institution of cinema and the
film industry on a daily basis. Other apparatuses like the television, the radio and
especially the frequency modulation in metros and yellow journalism manifestly and
latently support the film industry simultaneously in their endeavour. Apart from these
factors film industry has its own aura and a sense of awe which surrounds it. The leading
role is played by the actors and actresses who form the crux of the industry according to
the popular public perception. The public sees them as the other. The masses idealise both
the situations depicted in the films and the actors who represent those situations. They'
become to the masses and their fans figures in mythology and therefore, cinema in this
sense becomes a myth. To reiterate, a myth is an ideal situation or a circumstance, a
situation which cannot be practiced in real life. There is however, a constant effort in the
everyday to reproduce the ideal in the real life world by the masses and the fans. It is an
277
effort to make the myth of cinema imitate the myth of life. The hero of the film is
imitated in the everyday and his characterisation and mannerisms and reproduced in the
everyday. A sense of satisfaction is achieved by the masses which is demonstrated in the
activities of the fan clubs and in the quotidian reproduction of the ideal by these fan clubs
and the masses which feature in the film. Tamil film songs is another area within the
film industry and outside of it, which plays an important role in reiterating the position
of the film industry. Moreover film songs form a crucial and intricate part of the
television industry as well. After the advent of sound, Tamil film songs became a cultural
marker in the sense that they were
distinguishable from films of other language.
Tamil Nadu is one of the states which shares with Andhra Pradesh and Karnataka the
birth of a rich tradition of classical music of the Carnatic tradition . The performative
aspect of the tradition was manifested in public concerts where solo and group songs
were made public to the masses. The tradition of Carnatic music needed discipline and
rigorous training and the sema~tics and style are not comprehensible to the public and the
masses. It also needed a basic training and few primary lessons to understand and
appreciate it. Carnatic music became the dominating trend in the public realm and it was
practiced mostly by a particular group of people who were Brahmins. The score and the
songs for the early Tamil films came from musicians who were proponents and
exponents of the Carnatic tradition. Thus the early songs were mostly influenced by the
Carnatic style. Most of the actors in that period were these musicians themselves and
musicians we~e chosen to act because songs formed a major part of the film. Songs and
dialogues of a particular song came in the form of Long Play records. It can be observed
that the film songs played a cardinal role in the formation of the audio and cassette
industry which established its independence despite its existence within the film industry.
From the influence of Carnatic music the Tamil film music and industry were just about
imitating the style and pattern of the Hollywood musicals and the musical genre. Like
the imitation of story lines and themes from Hollywood, the musical themes were also
imitated from the West and a blend of local touch was given to them. With the result
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there emerged a new form of music in Tamil Nadu which was later called as fusion music.
Fusion music in Tamil films heralded a new kind of music which blended classical, pop
and the music which was in vogue in Hollywood and kept changing with times. The
Tamil film music can be distinguished on the basis of it being influenced by either rock
or Jazz music which were used in the films produced from Hollywood. The audio
industry ~tarted to establish itself along with the output of films from the industry.
Music composers established their own studios and started producing and distributing
audio tapes of their own films. This trend started with Ilayaraja, one of the popular
musicians. From the humble beginnings the sound world, where film songs form a major
part, it has grown into a huge industry. The cassette industry recently has transcended
from film songs to cutting music albums . The music industry has grown into a separate
and independent sphere where it does not necessarily need musicians anymore to be
involved in the business but entrepreneurial businessmen who run the conglomerates.
Tamil film songs apart from forming the crux of the music industry playa major role in
the everyday lives of the Tamil masses within the state and outside India where overseas
Tamils are present. Film songs, in terms of the everyday provides a cathartic effect to the
masses. In the viewing of films, though this process of catharsis is momentary, that is only
within the duration of the film, but since the listening of film songs is a recurring
process the cathartic effect revolves around the everyday. Film songs have come to form
an emotional tie with the masses apart from being an industry in itself. Most of the film
songs starting from the fifties were carefully worded for they we€e used for achieving
political mileage by the political parties. The songs in M G Ramachandran's (MGR) films
were widely popular and were written to lure the Tamil masses. The songs were in praise
of the downtrodden, women especially elderly women and the labour class. The songs
were also picturised in such a fashion that they drew public sympathy. Societal values,
norms and the do's and don'ts for the everyday were the contents of these songs. The
songs became a kind of zealous pointer in public life as though they provided the moral
edicts of public life. Ultimately these very songs were used during the election campaigns.
The sole objective of the careful usage of words and lyrics in these songs were to lure the
public and this process is very clearly manifested in the films of MGR and more recently
279
in the films of Rajanikanth who has taken the place of MGR in the sense that there has
been a huge fan following for the actor and in much a larger scale than MGR.
The songs were also later used for electioneering purposes. The songs had finally achieved
the purpose of winning elections. The purpose of understanding film songs, will be
defeated if they are not seen against the background of the everyday. A common practice
throughout the state, film songs are played in most of the tea shops which open early in
the morning, in eateries and restaurants, buses and anywhere possible. There is always an
increase in the number of the shops which specialise in recording film songs of the
customer's choice. Though there is no underlying cause or reason for such a trend
through. out the state fora long time but this is the most common practice and there is a
public display of film songs. Thus the film industry and its products, if one can describe
them as so, has an inextricable relationship with the public and the everyday without
which the film industry's existence will be impossible.
As discussed earlier in this chapter and in the thesis, there is a clear link between Tamil
cinema and politics. This is one aspect and another important phenomenon is the politics -
of Tamil cinema. There has been, in the academic writings on popular culture and
cinema, a tendency to show that there has been a clear divide between the high and the
'low culture.' Though this dichotomy of high and low culture is an ambiguous
theorisation, there is some truth in this conception. In the abstract sense the distinction is
marked by tradition and practices by a particular community. This could also be
extended to the existential and the realistic situation where the practices and the tradition
followed by: say for example the Brahmins in the field of music are called the high culture
or high tradition. On the other hand anything high cannot be popular and what is
popular or populist is categorised as low tradition. Carnatic music belongs to the portals
of high culture and film music and other forms of impure music does not fit into the high
culture and belongs to the low art. This is basically a popular conception and
construction. This construction emanated from the division in the categories of the caste
system. As there was a hierarchy in the caste system, so was a hierarchy their practices
280
and beliefs in every sphere of life. Though the divisions are not clear in the contemporary
culture but are manifested in some form or other in !the everyday and public life. In the
early years of cinema and through the present day the film industry has been dominated
by a section of people who were consisted of the elite. These elites were in the initial years
mostly composed of Brahmins. So much so that the Tamil film spoke their dialect, a
typical way of speaking Tamil which distinguishes the Brahmins from the non-Brahmins.
Later though this dialect was abolished in the films, the film industry was still dominated
by members of the upper caste. During the fifties when was there a dissent among a
certain group of writers and filmmakers whose political orientation differed from the
elite they wanted to change the face of Tamil cinema. It was a direct opposition of not
only the practices of the dominant class but against the uses and usage of their cultural
idioms. Thus a new cinema of dissent or the rebel cinema arrived. This genre of film
making lasted for two decades and then a new style of film making came into practice. In
the early years of Tamil cinema, there were efforts by filmmakers to handle social issues
like untouchability. Later caste was no longer discussed or was not the theme for
filmmakers because they kept up with the trend, which was changing ~y the decade. The
reason attributed to not discussing issues in films and even on public platforms on caste
could be that the non Brahmins were asserting their force on the social structure and that
it would have been volatile discussing a issue like caste and to take positions would trigger
passions in public. Or for that matter films regarded by the Censor Board to carry such
themes were diluted or not allowed for public viewing and commercial releases. Though
there were occasional films which handled issues on the problems of caste system. In
films which handled the problems of caste, as an overriding concern, the main
problematic was lost in the obsessive concern with song and dance sequences and other
such non serious paraphernalia and the conscious or unconscious attempt by the film
makers to deviate from the main narrative. Cinema has been one of the most interesting
discoveries of twentieth century. It is not only one of the most powerful medium of
expression and communication but also has dominated the life of the masses.
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Cinema has grown from the fairground to the most sophisticated form of mass
entertainment. Cinema has developed into a complex industry, thereby ushering a growth
of advertising, music and other industries. Cinema has constantly influenced society and
culture and has been shaped by the events happening in society. Cinema can be the most
effective form of political communication apart from being a powerful entertainment.
The cinema industry is intricately linked to the audience and both share a symbiotic
relationship. Cinema also acts as a vehicle for catharsis to the audience. Culture plays an
important role in understanding cinema in the era of globalisation and mass consumption.
It also 'helps in understanding the globalisation process of the film industry and a
subsequent change in the form, theme and technique of cinema. The politics of film is
essential to understand the latent ideological import of the film because the medium could
be subtle without being manifestly subtle. The theoretical underpinnings of various
filmmakers and film theoreticians also help us understand film in more than one
perspective and alter the viewing experience and more than that understand the
philosophy that lies in the magic called cinema.
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