By Preminda Jacob
ISBN-10: 0739110608
ISBN-13: 9780739110607
ISBN-10: 0739131303
ISBN-13: 9780739131305
Towering billboards that includes photorealistic pictures of well known cinema stars and political leaders ruled the cityscape of Chennai, within the south Indian nation of Tamil Nadu, in the course of the moment 1/2 the 20th century. learning the manufacture and reception of those billboards—known in the community as banners and cutouts—within the context of the entwined histories of the cinema and political events in Tamil Nadu, Preminda Jacob finds the wider value of those fragments of visible tradition past their speedy functionality as beautiful items of advertising.Jacob analyzes the juxtaposition of cinematic and political imagery within the extra-cinematic terrain of Chennai's urban streets and the way this placement used to be pivotal to the elevation of nearby celebrities to cult prestige. while analyzing those photographs and discussing their political and cultural resonance in the Tamil Nadu neighborhood, Jacob attracts upon a number of views to provide acceptable context to this attention-grabbing type of visible media.
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Additional info for Celluloid Deities: The Visual Culture of Cinema and Politics in South India
Example text
Rutgers University Press, 2002), 177. 4. The Tate Modern show, “Century City: Art and Culture in the Modern Metropolis” (February 1–April 29, 2001), included handpainted hoardings from Mumbai. At the forty-ninth Venice Biennale (June 10–November 4, 2001), artist Johan Muyle created an installation piece with cutouts painted by banner artists in Chennai. At the Victoria and Albert Museum, “Cinema India: The Art of Bollywood,” (June 26–October 6, 2002), featured printed posters and painted hoardings from the Mumbai film industry.
This is ‘hard work’; not work that one can do sitting down with a table and chair and some paints. ” Whether this perception is valid or not, it would be highly unusual to find women in Tamil Nadu at work in professions where they labor throughout the night outside of their own homes, as banner artists often did to complete a commission on deadline. Production Spaces Each of Chennai’s banner companies, regardless of its relative prosperity, adhered to an almost identical workspace paradigm. Each company maintained three distinct work environments: an office, the artists’ shed, and an exterior workspace separated from the street by a wall or fence.
Their effectiveness as advertisements derived, in part, from their ability to almost magically materialize on the urban landscape, and then vanish from it overnight. This ephemerality, along with their ubiquity, led one to assume that banners and cutouts were mechanically reproduced. And this impression was reinforced by their resemblance to the vast quantities of smaller lithographs and screenprinted posters—the images of deities, film posters, and calendar pictures— that are pasted across urban India and hang on the walls and in the windows of the shops and homes of its residents.
Celluloid Deities: The Visual Culture of Cinema and Politics in South India by Preminda Jacob
by Kevin
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