![]() In these films such a figure becomes pro-active in unearthing the archival materials which were once thought of as ‘lost’ and ‘irretrievable’. The films we want to analyze in this paper are Vellaripravinthe Changathi (The Friend of the White Pigeon,2011: Akku Akbar), Nayika (The Heroine, 2011: Jayaraj), Thirakatha(The Script, 2008: Ranjith) and Celloloid( Kamal, forthcoming)-all of which take on a ‘retro’ mode right from its pre-production phase, interspersing fact and fiction, constantly playing with the categories of ‘memory’ and ‘loss’.Ī distinct trait that emerges as a prominent marker of these films is how they mobilize the devices of ‘film-within-a film’ format and carve out the narrative space for the entry of a ‘creative film historian’. This has, to a great extent become instrumental in re-projecting and bringing to the limelight, moments which were relegated to the trashcan of history. ![]() In the last five years, Malayalam cinema has witnessed the production of a cluster of four films exploring similar thematics, all of them nostalgically looking back at the lost lives and narratives of the silver screen. ![]()
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