Giovanna Rampazzo PhD Candidate at Centre for Transcultural Research and Media Practice Dublin Institute of Technology Dublin Filmmakers do not have access to professional equipment and film studios They use their own equipment and public spaces and private houses as locations ID: 807619
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Slide1
Representing Transnational Masculinity: Identity and Gender Roles in no budget Irish-Indian Films
Giovanna
Rampazzo
PhD Candidate at Centre for
Transcultural
Research and Media Practice
Dublin Institute of Technology – Dublin
Slide2Filmmakers do not have access to professional equipment and film studios. They use their own equipment, and public spaces and private houses as locations
Jijo
S.
Palatty
and Ajith Kesavan Filming
The Circle in Dublin city centre
Using a wheelchair to achieve a tracking shot
A group of Keralite filmmakers in Dublin
Photos: Giovanna
Rampazzo
Slide3The Iris Film Society functions as a platform to make and screen independent films
Poster of a short film festival organized by the Iris Film Society in 2012
Poster advertising the screening of
Jijo
S.
Palatty’s
latest film The Circle
Slide4Films are screened in Community Centres used by Indian communities to organize cultural activities
The
Ballyowen
Community Centre in Lucan hosts Kerala House, a Keralite association
(Photos: Giovanna Rampazzo
)
Binu Daniel of the Iris Film Society introduces the screening of Jijo
S.
Palatty’s
The Circle
at Kerala House
Slide5Brief History of Malayalam Cinema Film industry based in the Indian state of Kerala producing film in the Malayalam language
1950s: Film production boosted by the support from the Kerala state government
From the 1960s: Strong art film production helmed by directors
Adoor
Gopalakrishnan, G. Aravindan and Shaji
Karun. Film Society Movement begun promoting film as an art form1980s Golden age of Malayalam cinema: art film became commercially successful. 1990s Commercial film production deteriorated due to the competition of stronger film industries such as Bollywood. 2010s: emergence of ‘New Generation Malayalam Cinema’ commercially successful experimental films made with small budgets
Slide6Naalu Pennungal
(
Four Women, 2007) directed by Adoor Gopalakrishnan
A drama centred around four women of different social backgrounds living in rural Kerala. Adaptation of short stories by
Thakazhi Sivasankara Pillai
Adoor Gopalakrishnan won the National Film Award for Best Direction for the film
Slide7Nurses from Kerala have a history of emigration
80% of Indian nurses are from Kerala
Since the 1960s
Keralite
nurses have migrated to central Europe, the Persian Gulf, the US, the UK, and recently Ireland
Slide8Keralite
men based in Ireland are very active in their communities and organize cultural events that contribute to the realization of their film projects
Slide9Being a nurse’s husband: a challenge to traditional masculinity
‘The men I met in Ireland have to assume a new division of labour within their couple; for a new generation, it comes to assume a job for long considered as a purely women’s job.’
Marie Percot - Transnational Masculinity: Indian Nurses’ Husbands in Ireland (2012: 85)
Slide10Examples of films made by Keralite filmmakers in Dublin
Short Sight
(2011) by Biju Mullamkuzhithadathil 13 mins
Parakayapravesham (To Take Another Human Form, 2013) by Jijo S. Palatty – 15 mins
Slide11Short Sight (2011) by Biju Mullamkuzhithadathil
Slide12Stills from Short Sight
Slide13Stills from
Short Sight
Slide14Poster of the film
Photos of the making of
Parakayapravesham
(courtesy of
Jijo
S.
Palatty
)
Parakayapravesham
(To Take Another Human Form, 2013) by
Jijo
S.
Palatty
Slide15Stills from
Parakayapravesham
Slide16Men are losing their status as head of their family
‘The immigrant men experienced loss of status in two ways: both in terms of their relations to their wives and in relation to their position before immigration’
Sheba George - “Dirty Nurses” and “Men Who Play” Gender and Class in Transnational Migration (2005 : 155)
Slide17Stills from
Parakayapravesham
Slide18Keralite short films as an example of ‘Accented Cinema’
‘the accent emanates not so much from the accented speech of the
diegetic characters as from the displacement of the filmmakers and their artisanal production modes’
Hamid Naficy - An Accented Cinema: Exilic and Diasporic Filmmaking (2001: 4)
Slide19Films are uploaded on Youtube where viewers can see them and leave their comments
http://www.youtube.com/watch?v=_oOgUhmKkts
Slide20Viewers can relate to the experiences portrayed in the films
http://www.youtube.com/watch?v
=_hEpjHKvq2E
Slide21News about their film on Indian media raises the profile of Irish based Filmmakers
Article on Jijo S. Palatty
Parakayapravesham on ‘The Indian Express’ 06.04.2014
From Jijo S. Palatty’s
Facebook
page https://www.facebook.com/jijo.spalatty?fref=ts
news in 'Manorama' about
The Circle,
Jijo S. Palatty latest film
Slide22Filmmaking allows Indian men to regain an active role
‘men have obviously more time than their wives to spend in these activities of communication. However, this kind of monopoly allows them to appear as the actual head of the family and to reaffirm their image as successful migrants in their home country.’
Marie
Percot - Transnational Masculinity: Indian Nurses’ Husbands in Ireland (2012: 84)
Slide23Thank you
giovanna.rampazzo@mydit.ie