Professional Documents
Culture Documents
MA ENGLISH
ST.ALOSYIUS COLLEGE
MANGALORE
Silverreeds97@gmail.com
30 SEPTEMBER 2018
MALAVIKA B.
MA ENGLISH,
THRISSUR.
Due to globalisation and other political reasons, there has been a massive migration from
Kerala to middle east countries and America, which in fact had changed the economic strata
of the state. Even though it was a migration broadly over economic reasons; it later turned out
to have socio, economic and cultural impacts on the lives of people back in Kerala and those
residing in faraway places. Movies such as Pathemari, ABCD, Bangalore Days, English,
Arabikatha etc shows this shift of transnationalism, nationalism, diaspora, migration etc.
These movies not only shows the socio cultural momentum of the society but also explains
on the transgressions and changes adhering to the society . hence this paper explores on
nationalism and trans nationalistic motives and digressions occurring in Malayalam film
industry.
Full paper:
The term transnational is more fitting for the themes globalized. By transnational it is
“…The local ties cancel the equation of spatial and social distance implicit in
the national picture of society, so that “transnational life worlds” come into being.
These transnational phenomena should not be thought of as being the same as “inter-
Further Beck explains that transnational also means transcultural, this implies that
variants of glocal cultures, i.e. a blend of local and global, will “become capable of being
The purpose of this paper is twofold. One is to map out what constitutes the
Transnational trend, which have done by looking at its influences, both cinematically and
This explanation is more fitting with how the films in this trend are dealing with topics
stemming from globalization than the term globalized would. There are many emotions and
issues attached to the term globalization, both negative and positive. The term globalized
does embrace the interconnectedness of the world society, but it is also more colored by
neoliberal capitalism, which is its driving force, and the associations that come with that
perception. In the film Arabhikadha one could see the same driving force that forces the so
called party of principles and their leaders. Pathemari an another Malayalam film too talks
about this driving force that attracts the protoganist to travel across shores to make money.
here arises the question of cultural change. Culture, as per the studies done in the field of
signs and symbols that can also been referred to as semiotic mediation, which defines on the
(people involved in chatting, fighting, persuading & avoiding each other or creation of
semiotic traps (capturing other person in the web of shame, inferiority, or guilt)). Culture as
an action which can also be studied as an option, according to Pierre Janet, Alexey N.
Leontiev and John Dewey Rogoff, culture is something that humans develop through their
participation in socio- cultural activities of their communities, which also changes. Bangalore
Days
According to Hofstede’s [7], as has been quoted by Fu [8] in his paper national Audience
Tastes in Hollywood Film Genres: Cultural Distance and Linguistic Affinity, culture is ‘the
collective programming of the mind’ and to classify national Cultures Hofstede [7] has
Discussing the concept of culture in context of media, Antara [9] has opined in his paper on
News watch: in Search of a National Culture that culture is a dynamic concept and media has
a major role to play in its change. According to him, culture…..is developing, constantly
morphing set of values and symbols. ….Culture…is a dynamic system of thoughts that allow
us to distinguish between and accept or reject situations or acts. We rely on our culture for
images and vocabulary that will help us respond to our social and individual environment.
Importantly, mass media helps build that culture, besides reflecting it. Culture thus becomes a
symbolic system within which all media producers and media users (like readers or viewers)
work. Media operates within a culture and uses its symbols. That includes prejudices and
stereotypes
A very culturalist, essentialist and majoritarian view of Indian identity underlines this
assertion. Ethnic nationalism and pan-Indianism gained currency during the 1990s while the
country’s economy was being opened up after the first liberalization measures in 1991, which
benefited most the middle classes and the Hindu nationalist Bharatiya Janata Party (BJP). The
party’s slogan ‘India Shining’, a peon to urban, yuppie, capitalist growth embodied by the IT
sector, symbolized this period. Hence it is not surprising that the Non Resident Indian
(NRI),2 who is imagined to be necessarily rich and westernized but who is also known to
contribute financially to the Sangh Parivar, became a role model for a fast growing middle
class facing the challenges of globalization and its own anguish or feeling of guilt due to a
possible acculturation. Unsurprisingly, the popularity of themes related to the diaspora and
the nationalist ethnic and cultural discourse aimed at people of Indian origin living abroad
reached a peak during the period corresponding to the BJP-led governments (1998-2004).
The 1990s and early 2000s could in fact be considered the Golden Age of the NRI, heralded
as the emblem of the emerging middle class and the new material aspirations of an India in
In this context, Indian culture is portrayed as family-oriented, the preserve of women within
the home and yet ‘portable’ (Uberoi 1998: 306) thus possibly transnational. Cinema, more
than other media like television, mobile phones or the Internet, constitutes a medium for the
enacting, teaching and dissemination of this nationalist discourse heralding the combined
virtues of consumerism and devotion and of cosmopolitanism and roots. Chopra confirms this
when he confides that ‘Indian films teach in a subtle way, they teach the social conventions, a
sense of duty’ (Chopra 2002). Hence we shall therefore go beyond the synoptic description
and focus on the lessons in Indian identity and desirable conduct given in the last fifteen
years through one of the seminal movies in Malayalam cinema Take Off. This movie
simultaneously provides insights on plight of Indian nurses in Kuwait and also questions of
Since the discussion in this paper is restricted to Indian transnational films, so the cultural
ethos communicated by transnational cinema have been treated as a ‘national culture’, this
detailed elucidation of culture has created a ground for the discussion on multiculturalism,
which in itself is a complex concept and its description can include numerous factors like
race, language, religion, culture, etc. However, as per the limited scope of this research, race
and culture are the only two issues of multiculturalism that are being discussed in this paper
with respect to how these two characteristics find their place in cinema in terms of visual
representations, as lately good amount of work has been done by Indian filmmakers to
represent the life and cultural conflicts of NRI’s settled in UK, USA, and Canada. To explain
the importance of racial aspects of multiculturalism, Valsiner has quoted Schutz, a well-
known sociologist, who once wrote an article ‘stranger’ in which he highlighted the dilemmas
of an immigrant. He argued that so long as the immigrant does not accept the culture of host
society, he remains a stranger. According to him, The moment an immigrant adopts the way
of life of the host society, he no longer remains a stranger, though the argument is valid for
the white European immigrants of the USA. For an Asian and African immigrant the reality
is different. The difference in the colour of skin acquires paramount importance in spite of the
fact that the myth of superiority of certain races with regard to certain characteristics, like
intelligence, courage, inventiveness, etc. has been demolished in biological sciences. In the
Western societies, the differences on the basis of the colour of the skin are so obvious and
visible that the issue of social inclusion through merging with the way of life of the host
According to Valsiner [5], Society is collectively created, and shared, myth story that
process, both between persons and institutions, and as an intra- psychological regulator. As a
sign, the society is a hyper-generalized field of significance and such signs are widely used as
promoters of our feelings and thinking, as we transverse the myriad of real life settings that
we inhabit. They not only provide us with generalized, abstracted knowledge about our
worlds, but also carry with them affective suggestions that we use in our everyday ways of
living. Our individual selves use not only different assumed needs or duties given to us by
society but also notions like justice, love, success, profit and sin, to regulate our relations
with others (and with ourselves) in the settings. The society operates in human discourse as a
meta-sign that regulates other meanings used in everyday life, by attributing personified
agency to an abstract socially constructed entity. Society comprises of social units which are
Nevertheless to note, Most examples of the ‘cinema of globalisation’ are also ‘films with
multiple locations’; however, the use of a number of geographical sites does not necessarily
equate with cinema of globalisation. Borders crossings are frequently instrumental in terms of
plot and aesthetics, and depend for commercial success on harnessing a tourist gaze;
nevertheless, they are often not used predominantly to make social and political points about
exhibition, more recent scholarship has explored the individual and collective narratives of
migration, exile and displacement that are a central component of transnational cinemas
(Ezra and Rowden 2006b, Higbee 2007). While they may well focus on an individual
protagonist, the consequences of these uprootings and re-groundings are also frequently
explicitly, articulates the relationship between the host and home cultures, and is aware, at
same time, of the interconnectedness between the local and the global within diasporic
communities. Such a cinema can be defined as transnational in the sense that it brings into
question how fixed ideas of a national film culture are constantly being transformed by the
presence of protagonists (and indeed film-makers) who have a presence within the nation,
even if they exist on its margins, but find their origins quite clearly beyond it. Naficy argues
that this transnational exchange has given a voice to diasporic film-makers in the West while
transforming the national by framing their difference or accent within the discursive of the
national cinemas and traditional genres of their home and adopted lands (Naficy 1996: 120).
Here we might point to the extensive use of popular comedy by Algerian émigré film-makers
in France during the 1990s and 2000s to explore questions of migration, integration and
multiculturalism; drawing on the traditions of satire and placing comedy in a concrete social
the pre-eminent popular genre in France par excellence (Higbee 2007: 58). In this respect,
transnational cinema has the potential to both reveal the diasporic experience and challenge
the privileged site of the national as the space in which cultural identity and imagined