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Essay on kannada cinema (719 words).
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Essay on Kannada Cinema!
Guppi Veerarma, who was closely associated with the theatre, is seen as the pioneer in making of silent films in Kannada though his film project never got completed. Surya Film Company begun by Haribhai R. Desai and Bogilal C. Dave of Sharada Film Company in Bombay (now, Mumbai) made some 40 silent films in four years (till 1932).
The 1930s saw the rise of film companies including Karnataka Pictures Corporation, Surya Prakash Film Company, Mysore Pictures Corporation and Ramesh Film Company. Noted film-makers of the 1930s were Kota Shivarama Karanth and Mohan Bhavanaru who made the remarkable Vasanthasena based onthe Sanskrit drama Mritcha Katika by Sudraka. It turned out to be an exception as it was neither a stunt movie nor a devotional film nor a fantasy.
The Kannada talkies era began in 1934 with Sati Sulochana which was followed by Bhakta Dhruva (or Dhruvkumar). The first studio in Karnataka was the Mysore Sound Studio started by V.R. Thimmaiah in 1937. The Navjyothi Studio was set up by G.R. Ramaiah in 1947 (closed in 1956); it produced Rajasurya Yaga. The Premier Studio was one of the early prominent studios.
In the 1930s and the 1940s, Kannada films were made by those who were not Kannada speakers. Only 15 films were produced till 1943, popular films of the 1940s being Jeevana Nataka, Vani Hemareddy Mallamma, Naga Kannika and Jagan Mohini.
In the 1950s, some 98 films were made. A landmark venture was Bedara Kannappa (1954) that began the career of Rajkumar, perhaps the most noted artist in Kannada films. Naandi (1964) by Lakshminarayan, featuring Rajkumar, was the first Kannada film to earn national recognition.
The 1960s saw the rise of directors like Lakshminarayan (Uyyale, Mukti, Abachurina Post Office, Bettada Hoovu); B.R. Panthulu (School Master, Kithuru Chennamma); and Puttanna Kanagal who made (Bellimoda, Sarapanjara, Nagara Haavu, Upasane, Billi Hendthi, Katha Sangama and Gejje Pooje).
The 1970s began with a bang: Samskara (1970) of Pathabhi Rama Reddy heralded the new cinema movement in Kannada and won the National Award for Best Feature Film. G.V. Iyer’s Vamsa Vriksha (1972), directed by Girish Karnad and B.V. Karanth, and became popular. G.V. Iyer directed Hamsageetha (1975) and won accolades.
He was the first to make a film in Sanskrit, Adi Sankaracharya, in 1984. He also made Madhavacbarya in Kannada (1986) and Ramanujacharya (1988) in Tamil, and his second Sanskrit film Bhagavad Gita in 1993, for which he won the National Award.
Among the film-makers who were prominent in the 1970s were Girish Karnad, B.V. Karanth and M.S. Sathyu. Kamad made Kaadu in 1974, dealing with the damage to village life and value, and Ondanondu Kaladalli (1978). He made Tabbaliyu Neenada Magatie in 1977 with B.V. Karanth who had made Chomana Dudi (1975) that won the President’s Gold Medal Award. M.S. Sathyu, maker of Garam Hawa in Hindi (1975), made Kanneswara Rama (1977), Chitegu Chititu (1978) and Bara (1982).
Girish Kasaravalli made Ghatashraddha (1977), and won the President’s Gold Medal for it. He has directed films like Aakramana, Moori Darigalu, Tabarana Kathe, Bannada Vesha, Mane, Kraurya, Thai Saheb, Dweepa, Hasina and Naayi Neralu. Tabarana Kathe, Thai Saheb and Dweepa have won the President’s Gold Medal Award for the Best Feature Film.
The noted Kannada directors of the 1970s and the 1980s include P. Lankesh (Pallavi, Anuroopa, Khandavideko, Mamsa Videko, Ellinadalo Bandavaru), Nanjaraj Urs (Sankalpa), Chandrasekhara Kambara (Kaadu Kudre), V.R.K. Prasad (Rishya Sringa), T.S. Nagabharana (Grahana, Banker Maargayya, Asphota, Santa Shishunala Shariffa, Mysoora Mallige), T.S. Ranga (Geejgana Goodu, Savithri, Giddh), C.R. Simha (Kakanakote) and Katte Ramachandra (Arivu).
In the 1990s, Kannada cinema did not produce the kind of films it did earlier. But there were notable contributions from Prema Karanth (Phaniyamma), Shankar Nag (Accident and Minchina Ota), Kashinath (Anubhava and Aparichita), Sadanand Suvarna (Kubi Mattu lyala), Suresh Heblikar (Kaadina Benki), Krishna Masadi (Avasthe), S.V. Rajendra Singh (Muttina Hara, Bandhana and Antha), T.S. Nagabharana (Janmada Jodi and Nagamandala) and Sunil Kumar Desai (Beladingala Bale). Kavitha Lankesh is a noted film-maker who has made Deviree, Alemaari, Bimba and Preeti Prema Pranaya. Among the other film-makers who have emerged are P.R. Ramdas Naidu (Mussanje) and T.N. Sitaram (Matadana).
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Kannada Cinema
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Kannada cinema: How new-age filmmakers are reinventing an 100-year-old industry with culturally-rooted stories
Kannada cinema has seen a seismic shift with smaller budget films becoming superhits, winning accolades. but what does this mean for the kannada film industry.
2023 truly seemed to be the year of Kannada cinema. Some well-crafted films such as Daredevil Musthafa, Sapta Sagaradaache Ello (Side A and Side B), Aachar & Co, Hostel Hudugaru Bekkagiddare and Swathi Muthina Male Haniye, made waves at the box office. They got the non-Kannada audience to throng theatres as well. There has definitely been a seismic shift in the last five years in the Kannada film industry in terms of the kind of films being made. While the 2018 pan-Indian hit, KGF: Chapter 1 , was made on a huge ₹ 80 crore budget, these films have been made on much smaller ones, and still gone on to become superhits and win accolades from the audience and critics alike. Also read: 5 Yash films to watch besides KGF
‘Kannada film industry doing better now’
Director BS Pradeep Varma, 42, won awards for his 2017 debut Kannada film Urvi and went on to make Brahmi (short film) and The Fallen. His cinema doesn’t fall into the mass commercial genre and yet, has received tremendous appreciation from the audience.
Ask him about this change and he says, “The Kannada film industry is doing better than what it was a few decades ago. It’s the conviction that’s making filmmakers deliver better content and projects. I’d like to credit the audience for this because of the exposure they have got thanks to the Internet and the kind of films they are watching from across the globe. They don’t want to settle for anything anymore but something that’s good or extraordinary. There’s nothing in between – average films wont work anymore. Kannada film directors have now understood this and are working hard towards this. However, there are also risks – in the goal of doing something different, they shouldn’t destroy Kannada cinema. We need to keep the flag flying high.”
Kannada directors make ‘culturally-rooted stories’
Some Kannada directors credit 41-year-old Pawan Kumar as a trendsetter in the industry in steering the industry towards new age content. In 2013, Pawan Kumar decided to crowdfund his film Lucia as producers didn’t feel the original script would work and asked for changes. This psychological thriller made on a small budget of around ₹ 50 lakh went on to gross ₹ 3 crore. Pawan Kumar became an example of how a filmmaker could create the kind of content he wanted while also ensuring box office success.
Director Abhilash Shetty, whose 2021 debut film Koli Taal was lauded at numerous film festivals, is currently working on his second film. The 30-year-old says, “These kinds of Kannada movies have been in the works for a while now. Case in point - Lucia, Ulidavaru Kandanthe, Thithi, Rangitaranaga, Ondu Motteya Kathe. The success of these films is the main motivation for other filmmakers. So, many young Kannada filmmakers are coming out with culturally-rooted stories that will appeal to the people of today. Post Covid-19 (pandemic), the Kannada industry came into the spotlight. Maybe this is one of the other reasons more filmmakers here are trying their hand out in experimental cinema.”
In 2022, 777 Charlie, starring Kannada actor Rakshit Shetty, didn’t have much of a buzz but upon release; the Kannada tale about a man and his dog became a blockbuster. It grossed more than ₹ 100 crore at the Indian box office and Rakshit Shetty became a known name outside Karnataka.
Cut to 2023, Rakshit Shetty ’s Sapta Sagaradaache Ello, which was released in two parts – Side A and Side B – became one of the most talked-about films. Directed by 40-year-old talented screenwriter Hemanth M Rao, this story about love, revenge and retribution has become a cult classic like his previous films. The success of Rao’s previous two directorials, Godhi Banna Sadharana Mykattu (2016) and Kavaludaari (2019), had made him one of the most notable Kannada directors today.
KGF and Kantara's global sucess
Now, what does the success of such films mean for the Kannada film industry? “It means a lot. Karnataka is a big hub for other language films as everyone is aware. I don’t think any other state has films from five or six film industries (Tamil, Malayalam, Telugu, Hindi, Marathi) that have a major release along with their home state. Karnataka is like a secondary market for them. For our own films to do well in the state and find acceptance in other parts of the country bodes well for us. We are getting a presence in other markets and access to their audience. Cinema is a very expensive medium – this expansion in the market allows us to make movies at a higher budget. You can also push the envelope in terms of storytelling,” explains Hemanth Rao, who has also co-produced Humble Politician Nograj.
Other directors credit the focus on the Kannada film industry now to the global success of Hombale Films’ KGF and Kantara . “There were a lot of critically acclaimed films earlier like Ulidavaru Kandanthe, Ragitiranga, or my film Godhi Banna… but they didn’t break out to the general audience. KGF and Kantara broke this door down with a bang – this allowed the non-Kannada speaking audience to see what else was being made in this industry. The pandemic also got people on OTT and the audience could watch content from other languages that were either dubbed or subtitled. The ease of access to the Internet has added more momentum. However, from an insider’s perspective Kannada filmmakers have been making interesting content for a while now. But yes, this content has increased because of the attention we are getting today,” signs off Rao.
With more younger filmmakers venturing into the Kannada film industry, storytelling is not restricted to certain genres not confined to niche audiences. It was in 1934, that the first Kannada talkie, Sati Sulochana, hit theatres. Just as the Kannada film industry turns a century old, it is seeing much-deserved love and appreciation for its cinema, especially its filmmakers and their cultural rootedness.
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KGF 2, Kantara and beyond: How Kannada film industry emerged as 2022’s biggest success story, and what lies ahead
2022 is the year that kannada cinema arrived on the national stage. after decades of hibernation, the film industry finally woke up to the need for embracing competition for the growth of kannada artists and art beyond its borders..
The Kannada film industry was perhaps the biggest discovery of 2022. Even though the industry has a rich history of filmmaking for nearly a century, its presence was rarely felt across Indian cinema in the last few decades. The visibility of its films was so poor that many Hindi-speaking filmmakers, financiers and audiences didn’t even bother to make the effort to correctly pronounce the name of the language. Kannada even today is widely mispronounced as ‘Kannad.’
But the year 2022 was a watershed one for the industry. Kannada cinema emerged from the shadows and claimed its seat at the table. It’s no longer a passive participant, but an active force, which could influence the collective culture and filmmaking style of Indian cinema. This happened courtesy of two films: KGF: Chapter 2 and Kantara .
“The industry has become more popular now. If you do good movies you can reach a bigger audience, which was not the case earlier. Not many valued Kannada films outside Karnataka; they used to look down on us. Today, people sit up and take notice of us,” said filmmaker Pawan Kumar. In the past, he also tried to push the envelope when it came to how the industry responded to competition from other language films.
Pawan was one of the popular voices that spearheaded the movement demanding the removal of the unofficial ban on dubbing other language films into Kannada. The practice, which came into existence over 60 years ago to protect the then relatively new Kannada film industry from its much bigger neighbours, evolved into a social norm. Even though there was no legally valid sanction against the dubbing, it was passionately discouraged behind the power corridors of Kannada cinema. It took the Competition Commission of India’s intervention and the constant effort of a few activists (namely Kannada Grahakara Koota) and filmmakers like Pawan to bring about a change.
“There is no way you can ban something. I was not saying we need to dub other language films into Kannada to make money. (My stand was) Let the audience watch better content, and you also excel in making good content as well. My fight was against creating a ban to protect the market. You should open up all the gates and prepare yourself to excel,” Pawan explained.
And the industry’s animosity towards the dubbing culture was rendered pointless with the onslaught of streaming platforms. The native Kannada audience now had access to a trove of high-quality content at their fingertips. “The major concern at the time was that the other language films might come here and take over the business. But, they (Kannada filmmakers) never saw themselves making movies that could be dubbed in other languages,” Pawan added.
The success of KGF: Chapter 1 in 2018 made headlines, but KGF: Chapter 2 created an earthquake at the domestic box office . It became the first film in the history of Kannada cinema to collect a whopping Rs 134 crore on its opening day in India alone. The Yash starrer became a giant slayer as it stormed the new markets and outperformed the movies of homegrown superstars there. A few years ago, nobody would have imagined this could be accomplished by the Kannada film industry.
“The content and the intent were always there. We have had some great movies like Raajakumar in the past from the industry. KGF gave us that platform to go big and all out. We scaled it up a bit and tried to do our market research. This has been a phenomenal year for the Sandalwood industry with some amazing movie releases. We are glad that we could break that stereotypical mindset of people about our industry and cinema,” said Vijay Kirgandur, founder of Hombale Films.
The successes of KGF 2 and Kantara were such that they have enormously expanded the market for Kannada cinema. But, it’s only the beginning of a new journey. The film industry is now riding a popular wave and it mustn’t lose this phenomenal momentum.
“These films (KGF 2 and Kantara) were huge blips. I’d say the Kannada film industry lacks consistency in terms of reach and business compared to Telugu and Tamil film industries. Once every two months, we should deliver a film that clicks with the audience everywhere. We should achieve that consistency. We should have an audience who comes out not just for these massive hits (KGF 2 and Kantara), but also our other films,” Pawan remarked.
Hombale Films has ushered in a new phase in the industry. It seems every fraternity member is now thinking about making films on a scale, which competes with big movies from other languages. But, the other stakeholders should not take the wrong lessons from the track record of Hombale Films . The production company is not in the business of just making tentpole movies. Instead, it is investing in films and talents it believes in. “It’s not like KGF worked, so they are doing movies only in that genre. They are doing movies across different genres and even in other languages. That’s a sign of a good production house,” said Pawan.
Hombale Films is also funding Pawan’s debut Malayalam movie Dhoomam, which stars Fahadh Faasil in the lead. “Hombale Films also knows how to take its films to a bigger audience,” he added.
Hombale Films has been a game-changer for the Kannada film industry. It has significantly raised the bar for Kannada filmmakers with films like the KGF series and Kantara. The work of filmmakers in Kannada will now be measured not against Tamil, Telugu, Malayalam or Hindi films, but against blockbusters from their industry.
“Fortune favours the brave. And we have tried to make a certain change in the way people perceive our industry,” Kirgandur said. “We believe in prioritizing quality over quantity. Our mission is to be a fresh and interesting voice that epitomizes the culture of our industry, and country and catches the attention of the audience.”
For decades, the film industry remained rigid in the ways it operated and made movies without adapting to the changing times. It wanted to stick to the tried-and-tested ways that ensured its survival and success. But, it all changed this year, not just on the box office front. The industry is undergoing metamorphosis on multiple and deeper levels.
Some Kannada films are breaking ground at the box office and some are garnering critical acclaim. On the other hand, the industry is also exporting its top talents to the neighbouring states on a scale never seen before.
Prasanth Neel has lined up multiple projects with at least two big stars of Telugu cinema — Prabhas (Saalar) and Jr NTR. Hombale Films is making movies in Tamil, Telugu and Malayalam too. Sudeep has already made his mark in Tamil, Telugu and Hindi films. Rashmika Mandanna is one of the most sought-after female leads across the country. ‘Duniya’ Vijay has finished acting in his first Telugu film, Veera Simha Reddy — headlined by Nandamuri Balakrishna. Actor-filmmaker Raj B Shetty of Garuda Gamana Vrishabha Vahana is making a movie in Malayalam. And the biggest among all is Shivarajkumar making himself accessible to filmmakers from other languages. He has at least two Tamil films, Jailer and Captain Miller , in the works.
Shivarajkumar is the son of acting legend Dr Rajkumar, who was in his time at the forefront of all trends that defined the Kannada film industry. In a way, the Rajkumar family has always been the bellwether of industry-changing trends. And judging from Shivarajkumar’s upcoming movies, the industry is becoming more open, dynamic, agile and beginning to tap its full potential.
2022 is the year that Kannada cinema arrived on the national stage. After decades of hibernation, the film industry finally woke up to the need for embracing competition for the growth of Kannada artists and art beyond its borders. And people across the country have richly rewarded the film industry’s baby steps towards the big league.
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Critical Analysis on History of Kannada Cinema
- *Dr. B. P. Mahesh Chandra Guru ** Dr.M.S.Sapna *** M.Prabhudev **** Mr. M. Dileep Kumar
Kannada film industry is indeed an extension of Kannada theatre. The early film personalities had been actively involved in Kannada theatre world. The Kannada film industry had to struggle during 1929 ? 1934. Early Kannada films had to struggle against western culture. The film theatres were not equipped well to exhibit silent and talkie films to the audience. The Kannada film industry had recovered from certain setbacks after 1941. About 24 films were made in Kannada after independence. In1950s, Kannada film industry had not gained any identity from the point of view of production of commercial and art films. During 1971 ? 1980 several art films and new wave films were made in Kannada. About 138 Kannada films were produced during the decade of 1970s. The decade of 1980s witnessed the production of a large number of commercial Kannada films. There were remarkable economic changes and modifications during 1991 ? 2000 in the entire world. Most of the Kannada films were commercial films based on the technique of re-make. In the new millennium, Kannada film industry has grown remarkably. About 80 to 100 films were made every year in Kannada. Kannada film industry has carved a niche for itself in the national and international film avenues. Kannada film industry has also incorporated advanced film production technologies and strategies in terms of recording, background music, film song, film editing, special effects, DTS, digital development, use of advanced cameras and so on. The latest Kannada films have also excelled in technological applications.
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Critical Analysis on History of Kannada Cinema
Kannada film industry is indeed an extension of Kannada theatre. The early film
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Meanings of the City
Kannada cinema has always had an ambivalent relationship with bangalore—until today, when it views the city with unconcealed loathing.
IN A TYPICAL CONTEMPORARY KANNADA FILM, a Kannada-speaking migrant in Bengaluru tries to find employment, only to encounter difficulties at every step. Forced into the underworld, he becomes a dreaded don, cutting his enemies to bits with a cleaver until the law catches up with him and he dies. Bengaluru, here, is not the glamorous cosmopolis as perceived from afar, but a decidedly seedy city festering with crime and injustice. Why the most prosperous city in South India is portrayed as such in local-language cinema can perhaps only be understood through an enquiry into several connected factors—one which begins with the meaning of the city in Indian popular cinema.
The city has been a crucial motif in Indian popular cinema from 1947 onwards, but its meaning has changed with each significant event in this nation’s history. Bombay, for instance, used by Hindi films to represent ‘The City’, came into great cinematic prominence in the 1950s as a metaphor for the promise of the modern in Nehru’s India.
That uncomplicated optimism, however, did not last very long. By the late 1960s, Indira Gandhi’s brand of populism had unleashed a wave of aspiration across socioeconomic classes that imposed a new cinematic meaning on the city: it became a symbol of opportunity. In films like Yash Chopra’s Deewaar (1975), in which the iconic Angry Young Man first appeared, a dockyard worker ascends to wealth and power in the city—albeit through unlawful means. While films like Deewaar nominally uphold the law, material advancement by any means is shown as hugely attractive.
The early 1990s saw the end of Nehruvian socialism—after decades of interventionism, the PV Narasimha Rao government liberalised the economy and opened up India to global market forces. Hindi cinema began to reflect this development: the state was shown as withdrawing from its own institutions, with the police therefore behaving like private agencies—most notably in Ram Gopal Varma’s Satya (1998).
One would expect regional cinemas in India to use their major metropolitan centre to represent ‘The City’ in their respective narratives, and for these cities to be portrayed as variants of Bollywood’s Mumbai. One purpose of regional cinema has traditionally been to endorse a strong regional identity, as seen in representations of Chennai in Tamil cinema or Kolkata in Bengali cinema. Yet somehow this is not true for Kannada cinema. It has always had an ambivalent relationship with Bangalore—until today, when it views the city with unconcealed loathing.
Each strain of popular cinema has its own constituency, the expanse of audiences it chooses to address. Mainstream Hindi cinema has traditionally addressed people across India and has therefore given voice to the concerns of a wide population. Kannada cinema defies the expectation of a pan-Kannada reach: earlier, it restricted its vision to princely Mysore (made up of Bangalore, Mysore and the remainder of southern Karnataka) and it continues to exclude Kannada-speaking regions beyond.
Mysore, during its rule by the Wodeyar dynasty, was regarded as a ‘nation within a nation’ and, to a large degree, has retained its exclusive culture ever since the time of British India. Vestiges of this sentiment lingered on in Kannada cinema, which was born in 1930s Mysore, even after linguistic reorganisation. Following the States Reorganisation Act of 1956, which redrew the boundaries of India’s states along linguistic lines, Mysore was enlarged by the addition of Coorg state and the Kannada-speaking districts of southern Bombay and western Hyderabad. The initiative for linguistic reorganisation of the Kannada-speaking areas did not come from Mysore but from other Kannada-speaking locales like Dharwad and Belgaum, whose residents had suffered considerably from speaking a minority language. People from the former Mysore retained memories of the princely state which did not fade, and so they never fully embraced the expanded region. Indeed, they lamented the changing of the name of the enlarged state from Mysore to Karnataka in 1973.
Linguistic reorganisation did not create unity in the way it was anticipated. While Bangalore was part of Old Mysore, it was also seen as the site from where the British governed. And it historically attracted migrants—both during the colonial period, and then later, after it became a hub for public-sector industries.
Bengaluru, or Bangalore, is an unlikely spot for a prosperous metropolis. Emerging from rather modest origins, it gained importance in 1807 when the British arranged with the government of Mysore for a regiment of European cavalry, and another of infantry, to be based northeast of the town, with administrative offices in the fort to the south. The importance of the Cantonment increased when the British, claiming corruption in administration, intervened to wrest power from the king and his advisors in 1831. The state then came under the purview of British commissioners, and government offices were relocated to Bangalore while the king was relegated to a strictly ritual position in Mysore. The relocation of government offices and the presence of the garrison meant that there was an influx of service providers—especially Urdu-speaking Muslims and Tamil speakers—from all over southern India. The migrant populace was concentrated around the Cantonment area, while the City area remained mostly Kannada-speaking, like the majority of people in Mysore state. A linguistic gulf separated the two since the area housing the garrison was deliberately kept apart from the City by the British.
Following linguistic reorganisation, Bangalore became the capital of Kannada-speaking Karnataka, though it was only a few hours away from Tamil-speaking Tamil Nadu, Telugu-speaking Andhra Pradesh and Malayalam-speaking Kerala. As the two sections of Bangalore grew into each other, the city came to exhibit an unusual degree of cosmopolitanism.
In the Cantonment area, the British built sprawling bungalows and wide boulevards—along with a glamorous upper-class lifestyle—to distinguish it from the cramped City outside. The first lot of English-medium schools in the state opened in the Cantonment—though over a period of time English-medium private schools mushroomed in the City as well, while classes in government schools were conducted in Kannada. As the older City developed a culture dominated by Kannada, a balance between various languages was achieved in the Cantonment under the dominance of English. As may be expected, Bangalore was and remains deeply divided on the language issue.
In the late 1990s, when the IT industry and IT-enabled services accounted for 60,000 jobs in the city, language became the key to opportunity; the new economy favoured those with an English-medium education. These companies started to recruit from all over India and estimates show that presently only 10 percent of the jobs in the new economy are held by Kannada speakers. Since these companies pay their employees substantially higher wages, the spending power of non-Kannada workers—increasingly visible in new consumption trends—has become a talking point in Bengaluru.
Another reason for the disaffection of Kannada speakers is perhaps the endless expansion of Bengaluru, marked by the entry of private builders. Families that originally owned bungalows, as well as farmers on the periphery, succumbed to the needs of the ever-expanding city. Those now occupying the apartments in the city are new entrants to Bengaluru, with visibly greater purchasing power. Farmers who gave up their land in exchange for the compensation available to them have realised its soaring value too late. Given this troubled history, Bengaluru may be expected to represent more than simply an archetypal ‘city’ for Kannada cinema.
KANNADA CINEMA TOOK ROOTS in the 1930s, but even after Independence, the films kept to mythological themes. Mysore, under indirect rule at the time, experienced Independence less viscerally than did the rest of the country and so the motifs that marked Hindi cinema after 1947 emerged in Kannada films much later. An event possibly more important than Independence was the creation of Karnataka, and the attempt to build a pan-Kannada identity.
One of the first authentic ‘socials’—a domestic melodrama without any mythological motifs—in Kannada cinema was BR Panthulu’s School Master (1958). It marked the first time Bangalore was crucial to a Kannada film’s plot.
School Master introduced the idea of the love marriage to Kannada films at a time when it was a significant subversion of the cultural idiom. Unlike in Hindi cinema, where love is shown to be integral to marriage, Kannada cinema—until fairly recently—favoured endogamy and the arranged marriage. Mysore society was virtually constituted by marriage networks forged by those of the same caste who lived within 20–30 km of each other. With the expansion of the state, Kannada cinema tried to accommodate wider audience sensibilities: in School Master , lovers of different castes and from places separated by as much as 300 km meet in Bangalore.
Kannada cinema associated Bangalore with the Indian nation and Nehruvian modernity in the 1960s, possibly because of the Central government’s investment in the city. The region that fell under Old Mysore took some time to become culturally integrated into the Indian nation. It was only in the 1960s that the process picked up (the belated patriotism finds expression in Panthulu’s Kittur Chennamma (1962), a historical film about the eponymous queen who fought the British).
Among the 1960s-era films, the first one to suggest Bangalore as an important place is MR Vittal’s Nanda-Deepa (1962), told through the perspective of a girl brought up in a village. The man whom she marries represents private enterprise in the city. In the early 1960s, large industry in Bangalore was government-owned, and so, in effect, the man she marries symbolises the first generation of entrepreneurs who owned ancillary units in the public sector. Hers was a viewpoint of the rural person to whom Bangalore was still distant. Ravi’s Bhagyada Bagilu (1968), which identifies with the upwardly mobile resident of Bangalore, and Panthulu’s Beedhi Basavan na (1967) call attention to the opportunities available in the city for material advancement. Other key films from this period, however, depict Bangalore as the moral site in which the Nehruvian modern subject resides.
In a key ‘reformist’ film, Arasukumar’s Bangarada Hoovu (1967), the city serves as a plot element. Told from the viewpoint of a young development officer, Anand, who wants to marry his friend’s sister although his mother has set her heart on him marrying his cousin, the film reaches its climax when Anand’s love interest is diagnosed with leprosy. Anand sees to it that she is cured, and marries her soon after. Anand is from Bangalore and the film begins with a ‘modern dance’ by young women in tight clothes trying to attract his attention in a park. These two indications of the modern—represented by Western dancing and medicine—get due attention in this film, reminiscent of Hindi films like Guru Dutt’s Baazi (1951), which also features the parallel and conflicting motifs of the doctor and the club dancer.
If Kannada cinema portrayed the expanded Mysore region as growing more faithful to India in the 1960s it was because of its important political leverage. While the Congress was perceived to be weakening after Nehru’s death, it continued to remain strong in Mysore. It was this strength that made then Chief Minister S Nijalingappa (1956–58, 1962–68) one of the most powerful people in the Congress, and a member of the group known as the ‘Syndicate’ of influential regional leaders. It was Mysore’s electoral importance that led to Nijalingappa’s elevation to the post of president of the The Indian National Congress in 1968, when his protégé Veerendra Patil replaced him as chief minister.
The cordiality between the region and the nation as inferred from Kannada cinema reaches its apogee in B Dorairaj-SK Bhagavan’s spy thriller Jedara Bale (1968). In the film, a Bangalore-based secret agent Prakash, aka CID 999 (played by the actor Rajkumar), is after a gang of counterfeiters. Several factors in Jedara Bale point to Mysore’s sense of self-importance vis-à-vis the nation: among them, the confidence that Bangalore is where the technology is, as well as the sense that the fate of the nation is in local hands. To convince us that Bangalore is ‘international’, the film locates much of its action in the vicinity of Hotel Bangalore International, then an upmarket hotel with floor shows advertised in daily newspapers. The ‘cabarets’ in the film are watched by family men accompanied by women in saris, as if to assert that the ‘modern’ signified by these dances is not in contravention of Mysore tradition.
When Indira Gandhi split the Congress in 1969, after months of inter-party conflict, it brought an end to the Syndicate. Nijalingappa’s exit from the Congress meant that Mysore was not so close to the nation anymore. Some of the trends in Kannada cinema from 1969 onwards can be seen in sharp contrast to the earlier goodwill. In Siddalingaiah’s Mayor Muthanna (1969), Bangalore is the site of criminal activity and injustice, as it is associated more with the Centre and India than with Mysore. The discord is also visible in the casual and indiscriminate way in which pictures of national leaders are hanging in people’s houses—as though to downplay their significance. In films like Bangarada Hoovu, which came only two years earlier, pictures of national leaders held positive connotations that were impossible to ignore.
During Devaraj Urs’ stints as chief minister (1972–77 1978–80), he was favoured by Indira Gandhi and implemented her programmes in the state. But he was not simply a camp follower; his activities in the political arena were seen as originating from his own initiative. Thus, even after the 1970s, Bangalore in Kannada cinema continued to be portrayed in a negative light. In Nagara Haavu (1972) the small-town hero meets his childhood sweetheart in a Bangalore hotel where she has been brought as a prostitute. In Siddalingaiah’s landmark Bhoothayyana Maga Ayyu (1974), the villagers drawn into futile litigation travel to the courts in Bangalore, but fail to find justice. In Na Ninna Bidalare (1979) the hero’s marriage to his cousin is on the verge of a breakup because of his illicit relationship with a Bangalore-based seductress.
In the 1980s and 1990s, several Kannada films tried to use the glamour of Bangalore to their advantage—notably Sunil Kumar Desai’s films, like Utkarsha (1990), Nishkarsha (1994) and Beladingala Baale (1995)—but most stories revolved around people with origins in small towns, yet with occupations in or connections to Bangalore. Films of this category include Nanjundi Kalyana (1989), Ganeshana Maduve (1990), Tarle Nan Maga (1992), Bombat Hendthi (1992) and Nammoora Mandara Hoove (1996). Most of the latter films try to escape from Bangalore at the earliest opportunity, as though it would be improper to remain in a space traditionally inimical to them.
According to the statistics released by the state’s health and family welfare department, the population of Bangalore grew from 1.7 million in 1971 to 5.1 million in 2001 and 6.5 million in 2011—but was roughly estimated at 7.5 million in 2009, an increase of 47 percent in eight years. Between 1991 and 2001, the population of Karnataka grew by 17.5 percent while that of Bangalore grew by 23.5 percent. Perhaps more importantly, the population of Karnataka increased from 53 million to around 64 million between 2001 and 2009, and the share of Bangalore in Karnataka’s population increased from around 9.6 percent in 2001 to roughly 11.72 percent in the same eight-year period, suggesting a sharp upward shift in the economic dependence of the state upon the city. It is apparent that Bangalore’s importance in the region has grown hugely in the new millennium—a fact that is repeatedly reflected in Kannada cinema.
Kannada cinema now seems to have found the community that best represents the region:s Kannada-speaking migrants—those who have no option but to deal with the city and who are trying to fight it, even as they are trapped in its coils. The most popular story model is that of the Kannada gangster film—for example, Majestic (2002), Kitti (2004), Jogi (2005), Duniya (2007). These films do not all correspond to a single pattern but, generally, each film depicts the story of a migrant who tries to eke out an existence in Bengaluru before coming into violent conflict with various forces and becoming a dreaded gangster. In time, the law catches up with him, and he is gunned down. The migrant, even when he is a don, lives in a makeshift dwelling or in temporary quarters. The romantic interest is usually between the migrant and a woman from the city; it never comes to fruition.
Even when the film is a romance, the protagonist does his best to get away from Bengaluru, as in Mungaru Male (2007) and Gaalipata (2008). The common portrayal of Bengaluru in all these films is as an unattainable space, a site marking a defeat or a space best avoided. This is in marked contrast to the way Mumbai is depicted in Hindi cinema.
It is evident that Bengaluru has been consistently viewed by Kannada speakers from neighbouring areas as a treacherous place—but its economic importance now makes it impossible to ignore. The contemporary films reflect this perception in presenting Bengaluru as an evil which must be contended with, although there is little hope of changing it for the better. Interestingly, state authority (usually represented by the police) is portrayed as antagonistic to those from the region.
Cinematic evidence aside, film industry-related events cause extreme reactions in Bengaluru among the followers of Kannada cinema. When the hugely popular film star Dr Rajkumar passed away in Bangalore on 12 April 2006 at the age of 78, sorrowful fans went on a rampage. A constable was beaten to death by a frenzied mob and several people were killed in police firing. An old woman was seen on television trying to damage a police vehicle. The death of another major star, Vishnuvardhan, in December 2009 led to the burning of public transport vehicles. The violence does not spill over to the state’s other towns, and so evidently it is Bengaluru, in particular, which creates disaffection in a huge section of the Kannada-speaking public. Outbursts such as these are inexplicable on their own, but perhaps the evidence of Kannada cinema’s take on the city could provide some answers.
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Essay Writing in Kannada: A Comprehensive Guide
Writing an essay can be a daunting task for many, no matter what the language. But writing an essay in Kannada can prove to be especially challenging if you aren’t well-versed in the language. To help make this process easier and give aspiring writers the tools they need to create beautiful works of art, we present our “Essay Writing in Kannada: A Comprehensive Guide”! In this comprehensive guide you will learn all about how to structure your work, craft perfect sentences and more. Read on as we equip you with all the knowledge needed for success when it comes to writing essays in Kannada!
1. Introduction to Essay Writing in Kannada
Essay Writing in Kannada: Kannada is a language spoken predominantly in the south Indian state of Karnataka. As such, it belongs to the Dravidian family of languages that are largely confined to India and South Asia. Essay writing in Kannada refers to essays written within this specific linguistic context. Typically, these kinds of essays will focus on topics related to culture, literature or history of Karnataka.
What essay writing in Kannada involves is an understanding and appreciation for its unique structure – with regards to grammar rules as well as stylistic nuances particular to this language. In addition, components like appropriate word choice and sentence structure also hold special importance when crafting any essay written completely or partially in Kannada. Furthermore authors would need keep certain conventions established by literary greats like Kuvempu and Shivarama Karanth at heart while constructing their works.
- Linguistic structures
- Stylistic distinction
- Appropriate word choice
2. Understanding the Requirements of Kannada Essays
Kannada essays are an important form of writing in Kannada. When it comes to essay writing, one has to be aware of the rules and guidelines that need to be followed. Whether you are a student or a professional writer, understanding these requirements is essential to crafting quality content in this language.
Key Aspects:
- Word limit for what essay writing in Kannada
- Structure and presentation style
- Appropriate use of language fundamentals
In order for any piece written in Kannada to qualify as an essay, it must adhere strictly to its specific word limit, which depends on what kind of paper the author is attempting at. For example, college level papers would require more words than those intended for high school students . Following this requirement helps give due credit where necessary.
When it comes down formatting topics related to what essay writing in Kannada , there needs to be consistency throughout the document with respect basic structure elements such as margins, line spacing paragraphs etcetera so that each page follows uniformity . Writing styles may vary depending on topic but appropriate use of grammar remains core part all forms writings done within this language. Taking into account cultural differences also imperative ensure accuracy translations works created using kanna script while being considered scholarly work will stay relevant regardless context times they were discussing .
3. Developing a Plan for Effective Kannada Essays
Planning for Kannada Essays When writing a Kannada essay, it is important to plan the overall structure. Without planning in advance, an essay can lack clarity and relevance. The following steps should be taken when developing a plan for effective essays:
- Decide on the purpose of what essay you are trying to write.
- Choose a topic related to the subject or theme that you want to explore.
- Carefully research all topics related to your chosen theme before starting writing process.
Having researched your subject matter fully, it is now time formulate an appropriate outline. An effective plan will define both how each part of your argument flows logically from one another as well as providing guidance over which points are most relevant.
- Define specific goals at each stage of your paper – this could include precise descriptions in terms of information sources or arguments/counterarguments that need addressing
. alink=”https://www.google.com/search?ei=FxxmXpm-LfSr9QP37K6oCw&q=what+essay+writing+in+kannada&oq=what+essay+writi”>What Essay Writing in Kannada entails . li > Natural ly , creating such plans requires knowledge about What Essay Writing in Kanna da involves . Therefore, ample background reading needs t o take place be fore embark ing on th e task itself . Once competency has been gained through preparatory work done prior crea ting course outlines becomes easier and more effective .
4. Crafting Quality Content with Proper Usage and Grammar
Creating quality content starts with proper usage and grammar rules. What essay writing in Kannada requires the knowledge of how to construct sentences, correct spelling, punctuation and capitalization – all of which are essential tools for creating a well-written document.
To achieve consistency in one’s writing it is important to pay attention to the tiniest details. Below are few tips that can help while working on an assignment:
- Proofread multiple times
With careful proofreading comes accuracy and reliability of your work. Taking time out between two reads will give you enough clarity when correcting mistakes or eliminating errors if any.
- Make use of spell checkers
Spell checks do not replace your own review but can be quite helpful while fixing minor errors as they come up quickly without consuming much time.
5. Articulating Ideas through Logical Flow of Thought and Argumentation
The ability to is essential in clear and concise communication. To communicate thoughts logically, one must be able to articulate them effectively. What essay writing in kannada assists with this by focusing on the structure of an essay and encouraging a logical flow from introduction to conclusion.
Unnumbered List :
- Formal introductions: When beginning an academic paper, it’s important that students learn how to introduce their topic using formal language.
- Developing arguments: Once the introduction has been written, body paragraphs need to have sophisticated reasoning which requires careful fact-checking and consideration.
Essay writers who successfully apply these strategies can create content that flows well throughout its entirety—from start to finish —and propels forward through argumentation that raises questions as much as answers them whenever appropriate.. In addition , they must consider if each sentence supports and builds upon overall objectives set out at the very onset—this process offers valuable learning experiences since connecting evidence organically reinforces student understanding because it teaches thoughtful inquiry toward other sources beyond given scope . With time devoted towards practicing techniques like those mentioned above , individuals gain better command over how they express themselves intellectually within any type of text based format – something invaluable both inside classroom walls and outside during professional arenas .
6. Polishing Your Final Drafts with Relevant Points and Accurate Citations
When putting together any kind of essay, especially those requiring in-depth research and synthesis of sources, it is essential to provide the readers with accurate citations. This will serve multiple purposes: firstly, it shows that you have done your due diligence in researching the assigned topic thoroughly; secondly, it allows readers and citation checkers to track down all relevant materials without hindrance; thirdly, proper citation adds authority to whatever position you are taking on a certain issue.
- Incorporating Relevant Points
- Accurate Citations
7. Conclusion: The Importance of Effective Kannada Essay Writing
Kannada essay writing is an important part of communication within the Kannada language. It not only allows for a more efficient exchange of ideas, but it also serves as an effective way to communicate the thoughts and feelings associated with different topics in this native tongue. Ultimately, what essay writing in Kannada does is it helps people express themselves better through its varied range of tools and techniques that are essential to composing such sophisticated pieces.
First off, one must understand core components associated with successful Kannadat essay writing—effective sentence structure, grammar accuracy and lexical choice. Without these fundamental tenets embedded into the craftsmanship itself, any attempt at expressing thoughts or feelings may be reduced to a jumble of words leaving both reader and writer completely bewildered as to their true meaning or intent. Additionally, having well-defined rhetorical strategies make all the difference when trying talking about specific issues coherently while thoroughly providing numerous perspectives on them as well via comparison/contrasting techniques among other approaches included when creating said essays for maximum effectuality . By using persuasive elements like ethosimpathosand logosin conjunction with figurative devices such astmetaphorsanalogiesand similesessay writers can truly create masterful works capable of simultaneously turning heads yet rewarding readers intellectually too! Therefore concluding that learning how compose quality written work (especially if arguing over controversial subject matter) in this respected dialect should undeniably take precedence over other nonacademic tasks given its importance once entering higher education settings where poor literacy skills will ultimately lead intellectual pursuits down paths otherwise avoidable had proper attention been paid beforehand when honing those very same ability sets needed here! Writing Kannada essays is a great way for anyone to express their thoughts, feelings and beliefs in an elegant and culturally relevant language. This comprehensive guide should help you understand the basics of essay writing in Kannada so that you can use this powerful tool to communicate effectively with your readers. Now get out there, put pen-to-paper—or finger-to-keyboard—and let your words flow!
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Kannada cinema, also known as Sandalwood, or Chandanavana, is the segment of Indian cinema dedicated to the production of motion pictures in the Kannada language widely spoken in the state of Karnataka. The 1934 film Sati Sulochana directed by Y. V. Rao was the first talkie film in the Kannada language. It was also the first film starring Subbaiah Naidu and Tripuramba, and was the first motion ...
The eight-decade-old Kannada film industry has seen a major shift in terms of new voices and narratives that blurred the lines between commercial, experimental, and parallel films. This decade ...
Essay on Kannada Cinema! Guppi Veerarma, who was closely associated with the theatre, is seen as the pioneer in making of silent films in Kannada though his film project never got completed. Surya Film Company begun by Haribhai R. Desai and Bogilal C. Dave of Sharada Film Company in Bombay (now, Mumbai) made some 40 silent films in four years ...
2023 truly seemed to be the year of Kannada cinema. Some well-crafted films such as Daredevil Musthafa, Sapta Sagaradaache Ello (Side A and Side B), Aachar & Co, Hostel Hudugaru Bekkagiddare and ...
Kannada cinema, also known as Sandalwood, Kannada Film Industry or Chandanavana, [3] is the segment of Indian cinema [4] dedicated to the production of motion pictures in the Kannada language widely spoken in the state of Karnataka. [5] [6] [7] The 1934 film Sati Sulochana directed by Y. V. Rao was the first talkie film in the Kannada language.
The Kannada film industry was perhaps the biggest discovery of 2022. Even though the industry has a rich history of filmmaking for nearly a century, its presence was rarely felt across Indian cinema in the last few decades. The visibility of its films was so poor that many Hindi-speaking filmmakers, financiers and audiences didn't even bother ...
Watch | How Kannada cinema debunked the pan-India theory | Video essay. The film, which attempted to cash in on the power of nostalgia, told the story of a big, conservative family in Bengaluru in ...
Three years after the first silent film, Kannada's first motion picture with sound came through Sati Sulochana which was directed by Y.V Rao starring Subbaiah Naidu, Tripuramba and many others.
Kannada cinema began by addressing a public not across all the Kannada-speaking territories but largely in princely Mysore. The princely state was fertile and prosperous and there was some apprehension among its populace to linguistic reorganization of the states in 1956 since the territories with which it was to be integrated (including dry areas like Gulbarga, Raichur, Bellary, etc.) were ...
Between parts one and two of the movie, the world as we know it, has changed. The world of Kannada cinema has changed too, to be classified as before and after KGF.Prashanth Neel's film produced by Hombale Films showed people outside Karnataka what Kannada cinema was capable of, and people eagerly bought into the story of an underdog taking on the system, guided by his dead mother's words.
READ LATER. Dhananjay and Umashree in a still from Ratnan Prapancha. The Kannada film industry had its share of highs and lows in 2021 struggling to stay afloat in the face of the pandemic and ...
The film theatres were not equipped well to exhibit silent and talkie films to the audience. The Kannada film industry had recovered from certain setbacks after 1941. About 24 films were made in Kannada after independence. In1950s, Kannada film industry had not gained any identity from the point of view of production of commercial and art films ...
The Kannada film industry had to struggle during 1929 - 1934. Early Kannada films had to struggle against western culture. The film theatres were not equipped well to exhibit silent and talkie films to the audience. The Kannada film industry had recovered from certain setbacks after 1941.
The Karnataka Chalanachitra Academy has published an English translation of a comprehensive history of the Kannada film industry, a handbook on screenplay writing, and a book of analytical essays.
Essays. The model minority: problematizing the representation of Kodavas in Kannada cinema. ... and consumed by people belonging to majoritarian languages/communities, specifically in Kannada cinema. I argue that the of politics of representation, misrepresentation, and non-representation of the minority both conform to and extend the existing ...
Mahesh Chandra (2015) - "Critical analysis on the history of Kannada Cinema" The prospects of the Kannada Film Industry in the new millennium are highlighted in this research paper. This industry has made use of sophisticated film production technology such as recording, editing, special effects, dubbing, advanced cameras, DTS,
Kannada cinema across the last two decades, women appear as influencers only in their maternal capacity (pushing the hero, the son; never the daughter to emerge successful) or as wives, rarely ... The male gaze is a concept that was initially introduced by Laura Mulvey in an essay called, "Visual Pleasure and Narrative Cinema". The idea can ...
IN A TYPICAL CONTEMPORARY KANNADA FILM, a Kannada-speaking migrant in Bengaluru tries to find employment, only to encounter difficulties at every step. Forced into the underworld, he becomes a dreaded don, cutting his enemies to bits with a cleaver until the law catches up with him and he dies. Bengaluru, here, is not the glamorous cosmopolis as perceived from afar, but a decidedly seedy city fest
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Rocking Star Yash's breakout hit 'KGF Chapter 1' completed 4 years today, a film that shattered box office records and marked the onset of the entire nation catching up with Kannada cinema. While ...
Kannada cinema, also known as Sandalwood, is the segment of Indian cinema [1] dedicated to the production of motion pictures in the Kannada language widely spoken in the state of Karnataka. [2] [3] [4] The 1934 film Sati Sulochana directed by Y. V. Rao was the first talkie film in the Kannada language. [5] [6] [7] It was also the first film ...
The highest-grossing Kannada films released in 2024, by worldwide box office gross revenue, are as follows. The rank of the films in the following depends on the worldwide gross. The budget is only for knowledgeable purpose.
1. Introduction to Essay Writing in Kannada. Essay Writing in Kannada: Kannada is a language spoken predominantly in the south Indian state of Karnataka. As such, it belongs to the Dravidian family of languages that are largely confined to India and South Asia. Essay writing in Kannada refers to essays written within this specific linguistic ...
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