ISSN (Print) - 0012-9976 | ISSN (Online) - 2349-8846

Hrishikesh IngleSubscribe to Hrishikesh Ingle

Fandry and Sairat

Sairat (The Wild, 2016 ), and Fandry (Pig, 2014), by Nagraj Manjule have been widely celebrated for portraying narratives of caste marginalisation in rural Maharashtra. This paper argues that marginal narratives and subjectivities in Fandry and Sairat posit moments of resistance, that bring into question mainstream cinema, its tropes of romance, and the region in transition. Apart from presenting a reading of the subjective experience of being socially marginal, the paper deliberates on how the films emblematise a certain social entanglement, and are instrumental in affirming their own objectified versions.

Prabhat Studios

The history of early Marathi cinema has a necessary passage through the studio era, and specifically Prabhat Studios, in Kolhapur and Pune. This article elaborates two aspects: (i) early regional film-making—its strategies of imagining a cinema through regional content, and (ii) the notion of social respectability—that circumscribes the industrial enterprise, as evident in the history of Prabhat Studios. It also deliberates on the negotiation of a national and regional cinema as observed in the practice of bilingual film-making in Prabhat.
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