The Films of Adoor Gopalakrishnan: A Cinema of EmancipationThis first comprehensive study of Gopalakrishnan’s feature films offers a compelling analysis of the issues of guilt, redemption and hope within their socio-historical contexts. The abrupt displacement of Kerala in southern India from a princely feudal state into twentieth-century modernity forms the backdrop to most of his complex narratives about identity, selfhood and otherness, in which innocence is often at stake and characters grapple with their consciences. |
Contents
Elippathayam and the Crisis | 31 |
Vidheyan and the Debasement of Power | 45 |
Kodiyettam and the Politics | 63 |
Swayamvaram and the Struggle | 79 |
Naalu Pennungal | 95 |
Anantaram Mathilukal | 111 |
Kathapurushan and | 141 |
Filmography | 155 |
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Adoor Gopalakrishnan Ajayan Anantaram Asian Cinema Foundation Balu Basheer becomes British Film Institute C. S. Venkiteswaran camera Chinnu Amma Cinema of India complex context creative crisis define Door to Adoor doorway dream edited by Lalit Elippathayam emancipation fact father feelings feudal film film’s filmmaker freedom gaze guilt human husband imaginary India jail Joshi and C. S. Kaliyappan Kalyani Kamakshi Kathakali Kathapurushan Kerala Kodiyettam Kunjunni Lalit Mohan Joshi later live marriage Mathilukal Meenakshi Mohan Joshi moral mother Mukhamukham Naalu Pennungal Nalini Narayani narrative Nizhalkkuthu nurturing Omana Panki Patelar physical Pillai political prison protagonist Rajamma Ravi realism reality relationship remains ritual role Sankarankutty Santhamma Satyajit Ray scene second half seems sense sequence servility sexual shot Sita’s social South Asian Cinema space Sreedevi Sreedharan story Sumangala Swayamvaram symbol Thommie Thommie’s transcend transformation turn Unni Unni’s Vasu Vidheyan Viswanathan and Sita wall wife woman women