Madras Studios Narrative Genre and Ideology in Tamil Cinema by Swarnavel Eswaran Pillai.pdf

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SAGE was founded in 1965 by Sara Miller McCune to support the dissemination of usable knowledge by publishing innovative and high-quality research and teaching content. Today, we publish more than 750 journals, including those of more than 300 learned societies, more than 800 new books per year, and a growing range of library products including archives, data, case studies, reports, conference highlights, and video. SAGE remains majority-owned by our founder, and on her passing will become owne
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  SAGE was founded in 1965 by Sara Miller McCune to support the dissemination of usable knowledge by publishing innovative and high-quality research and teaching content. Today, we publish more than 750 journals, including those of more than 300 learned societies, more than 800 new books per year, and a growing range of library products including archives, data, case studies, reports, conference highlights, and video. SAGE remains majority-owned by our founder, and on her passing will become owned by a charitable trust that secures our continued independence. Los Angeles | London | Washington DC | New Delhi | Singapore   Advance Praise  “Brace yourself for a ringside view of Madras studios! Meticulously researched by combing through the vast archives of Tamil cinema writings, backed by thick oral interviews, and close readings of films, Pillai narrates a breathtaking narrative of the changing fortunes of Madras studios, with resonances to Hollywood and cinemas else-where. Original in its conception and elegant in execution, the book puts to rest monolingual conceptions of Madras cinema and ani-mates the scholarship on studios by showing us how stars, directors, and technology collude to manufacture house styles. That this book will emerge as a standard bearer for scholarship on cinema studios is indisputable but it would be an extremely hard act to follow!” —Lalitha Gopalan , Associate Professor in the Department of Radio-Television-Film at the University of Texas at Austin, the author of the landmark Cinema of Interruptions: Action Genres in Contemporary Indian Cinema  and Bombay,  and editor of Cinema of India “I know Swarnavel Eswaran as an accomplished documentary film-maker through his films such as Thangam (1995) and The   INA— The Indian National Army (1997). In this insightful book, his knowledge of the language of Tamil and experience in filmmaking enable him to draw from rare sources like the early cinema and trade magazines to document the (often overlooked) industrial and the socio-cultural history of the distinct and substantial Tamil cinema. What I find even more compelling is the way he links the films of the major stu-dios with contemporary Tamil cinema, particularly the ones made during the last decade, to provocatively argue for the affect of the genocide in neighboring Sri Lanka on the Tamil psyche. Such a
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