Abstract
Caste stratification is a key characteristic of Indian society, reinforced by the ideological control that elitist Hindus exercise over Dalits. This control exploits two types of fear: the fear of divine wrath (fear of the unknown) that keeps lower castes in subordination to avoid supposed divine fury, and the fear of real-world repercussions (fear of the known), such as physical or material punishment for defying the social order. Together, these fears historically suppress resistance among Dalits. Indian cinema, deeply intertwined with the matrix of caste relations, frequently addresses caste dynamics in various ways. Due to its overt ideological underpinnings, cinema often negotiates the intricate implications of caste relations, ultimately reinforcing the longstanding hegemonic caste hierarchy. However, a counter movement in Tamil cinema spearheaded by directors like Pa Ranjith, Mari Selvaraj, and Vetrimaaran challenges this narrative. Films such as Asuran, Karnan, and Mamannan use an aesthetic of violence to articulate and validate the suppressed rage of the Dalit community, thus attacking the rigid caste structures. This paper examines how these films visually and narratively express the pent-up anger of the Dalits, contributing to a transformative cinematic and social discourse.
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References
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