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Emmanuel Nehemiah and the masculine violence of Petta and Viswasam inspired by the caste
A teenager burned his sleeping father in the Vellore district of Tamil Nadu after
the latter refused to give him money to look at Viswasam of Ajith which displays the value of "the hero", the masculine ideal, as well as the [1949003] Petta of Rajini . The victim is not only the
father who lives with a deformed and burned figure but also the son who tried to burn the father. The victim is not the first concerned as projected by the mainstream media, but rather the one who is
manipulated and directed to carry out the act of violence.
Usually the provinces of the poor and their living spaces are the places where such episodes are recorded, as if the poor were
themselves the reasons for their "badignment" and "victimization". In a certain way, the dominant ones build the very idea of experience. The general public is continually informed by the dominant
thus, a disfigured projection of facts and facts is considered the "truth".
On the other hand, the cheri, the colony, the shantytown are the places where the
supposed life of a hero and his sustained heroism, caste, clbad and bad making. MGR, Amma, Kalainar, Rajini, Vijay, Ajith and many others stand tall. Some of the older ones
Tamil Nadu still believes that the life of MGR exists. This is one of the many serious, hopeless and despotic realities that make life harder for vulnerable people in the state and
country.
Teens and young people in Tamil Nadu and other states of the country are governed, inspired and misguided by fascist, jingoist and fanatical rhetoric. Although Ajith might not take
responsible for his fan club, he fits perfectly into the culture that subordinates, discriminates and influences the flow of imagination of young people, who present themselves, on the present and the future.
What must be considered today, apart from the inaugural inaugural celebrations of films such as Viswasam and Petta are the stars and their projection of the ideal.
In
Viswasam and Petta masculine, protective, successful, and vengeful paternity is described as the ideal and, on the other hand, the films subtly project Dalits and their
weapon (the parai) of resistance and celebration tools as subordinate to the vigorous command of the elite, feudal caste hero. Brutality marks its governance and perpetuates the culture of
privileged men and women belittle the lives of vulnerable people.
In Viswasam Ajith, the unedited feudal lord who reigns and reigns over the village and its surroundings
privileged with the woman who is a fair doctor, aesthetically fashioned, luxuriously dressed, surrounded. After the wedding, as Nayanthara prepares to continue her career,
accompanied by a huge mbad of family and people, with some parai artists. The camera focuses on the hero and Ajith asks the artists of the parai to play the parai
even more effectively.
In Petta Rajini, in a funeral scene, decides to kill the enemy perceived at the funeral. He gets up from the chair, goes to the Parai artists and tells them in a
Commander, the stern voice to play brightly, then moves elegantly to the car where the gun is. These two scenes can be accepted as mbad scenes. They reveal the patriarchal, casteist
the nature of mbad entertainment, where art forms and aesthetics of Dalits are used and mastered by caste warlords.
Throughout Petta Rajini's address to students
kuzhandhaigala, avuncularly condescending and at the apogee, reveals to the character played by Vijay Sethupathy how he manipulated and orchestrated all the pogrom with the notion of being a
father and father inspired by Rama, the avatar of the divine.
Rajini is the saffron inherent to the characters played by Vijay Sethupathy or Nawazuddin Siddiqui, who claim their
fascist inclinations in the film. Rajini's rhetoric about the Rama is the involuntary reversal of Karthik Subbaraj, his Castroist Freudian writer.
Ideal protector of justice in the village and also of the father who protects his family with heroic gestures, such as physical strength and male intelligence. These stereotypes projected in both
movies are not ideals that even women in general are invited to look for, but these are projections of caste and gender impunity traits that men are experiencing.
Films like Petta and
Viswasam will be created not only to subdue the imagination of young people and society in general, but also to remind and inform the public of the feudal need of caste and patriarchy.
Both films show how caste and masculine, macho masculinity is the creed of life and the importance of caste pride at all levels. The poor and Dalits must be available and
the mercy of the men of the dominant caste who will be embraced, celebrated and applauded by their wives and held up as man to the rhythm of the parai.
Experiments of a burning young man
his own father for not giving him the money to watch Viswasam interprets the plot wanted by the dominant caste, in this case the film industry and its feudal lords.
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