English

View in English

Periyar Visual Theory: Demand, Dispute and Disposition of Dravidian Cinema

தொகுதி 1, வெளியீடு 3 | சூலை 2021 - செப்டம்பர் 2021

(Dr.) Subramanian Natesan

Assistant Professor at the Dept. of Visual Communication, Hindusthan College of Arts and Science, Coimbatore, Tamil Nadu


S, Natesan. 2021. “Periyar Visual Theory: Demand, Dispute and Disposition of Dravidian Cinema”. Dravida Pozhil – Journal of Dravidian Studies 1 (3): 9 - 23


அடிக்குறிப்புகள்

  • Asokan. K. (2018). Therkilrunthu Oru Sooriyan, KSL Media Limited, Chennai.
  • Baker, C. J. (1976). The Politics of South India, 1920-1937 (Vol. 17). Cambridge University Press.
  • Bala, A. (2011). Ulaga Cinema Varalaru. Puthiya Konam, Chennai.
  • Baskaran, S. T. (1996). The eye of the serpent: An introduction to Tamil cinema. East-West Books (Madras).
  • Bergan, Ronald, (2011). The Film Book, A complete guide to the world of cinema, Dorling Kingsley Limited, London.
  • Binford, M. R. (1983). New Indian cinema: A filmography.
  • Subagunarajan, V M S, (2009), Dhiravida cinema, Kayal Kavin Books, Chennai.
  • Eswaran. S, & Thirunavukarasu. (2020). Tamil Cinema Vimarsanagal: 1931-1960. Nizhal – Pathiyam Film Academy, Chennai.
  • Jansen, Charles R, (1986). Studying Art History, Prentice-Hall, New Jersey.
  • Hardgrave Jr, R. L. (1973). Politics and the Film in Tamilnadu: The Stars and the DMK. Asian Survey, 13(3), 288-305.
  • Hughes, S. (2006). House full: Silent film genre, exhibition, and audiences in South India. The Indian Economic & Social History Review, 43(1), 31-62.
  • Mulvey, Laura, (1975). Visual Pleasure and Narrative Cinema, Screen,16, (3),6-18.
  • Pandian, M. S. S. (1991). Parasakthi: Life and times of a DMK film. Economic and Political Weekly, 759-770.
  • Pillai, S. E. (2015). Madras Studios: Narrative, Genre, and Ideology in Tamil Cinema. SAGE Publications India.
  • Rathinagiri, R. (2015), Thanthai Periyar Vaazhvum Thondum, National Book Trends, India.
  • Solanas, F., & Getino, O. (1997). Towards a third cinema: notes and experiences for the development of a cinema of liberation in the Third World. New Latin American Cinema, 1, 33-58.
  • Vasudevan, R. S. (2017). Geographies of the Cinematic Public: Notes on Regional National and Global Histories of Indian Cinema.
  • Willis, Tom., & Pramaggiorem, Maria. (2018). Film a critical introduction, Laurence King Publishing Ltd, UK.
  • https://www.livemint.com/Leisure/j8SzkGgRoXofpxn57F8nZP/100-years-of-film-censorship-in-India.html
  • https://www.thehindu.com/features/cinema/%E2%80%98Jayalalithaa-lived-the-role%E2%80%99/article14640080.ece

This work is licensed under a

CC BY-NC-ND 4.0 (Attribution-NonCommercial-NoDerivatives)