MASS MEDIA RESEARCH

RESEARCH PAPER

Movies and Tamil Nationalism:

“A study on how media orchestrates Tamil Nationalism in

people and the portrayal of evil corporates”

K. Dharshini

3-BA-PyEJ

MA171405

1
 RESEARCH PAPER

A study on how media orchestrates Tamil Nationalism in people and the

portrayal of evil corporates

Submitted in partial fulfillment of the requirement for Degree BA- PyEJ (Psychology,
English and Journalism) from Mount Carmel College (Autonomous) Bangalore University.

By

Name: K. Dharshini

Register Number: MA171405

March 2020

Under the guidance

Of

Professor – Ms. Juliana Lazarus

Ms. Shakti Swaminathan

Department of Journalism

Mount Carmel College (Autonomous)

58, Palace Road, Bangalore 560052 (Affiliated to Bangalore University)

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 DECLARATION

I, K. Dharshini declare that my research paper –“A study on how media

orchestrates Tamil Nationalism in people and the portrayal of evil
corporates” submitted in the partial fulfillment of the requirement for the
degree BA –PyEJ (Psychology, English and Journalism) from Mount Carmel
College (Autonomous), Bangalore University.

Place: Bangalore

Date: 31/03/2020

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 ACKNOWLEDGEMENT

I would like to express gratitude toward Mount Carmel College and Sr Dr.
Arpana for furnishing me with this chance.

I want to communicate my profound and true appreciation to my research

supervisors, Ms. Juliana Lazarus and Ms. Shakti Swaminathan for permitting
me to research about and giving significant direction all through this
exploration. Their dynamism, vision, earnestness and inspiration have
profoundly propelled me. They have shown me the technique to do the
examination. I am incredibly appreciative for what they have offered me.

I want to thank everybody who participated in this research. The achievement

and result of the venture work required the help of numerous individuals.
Without their help, persistence and direction this examination would have
been fragmented. It is to them I owe my most profound appreciation.

I am incredibly thankful to my parents for their love and support. Finally, my

gratitude goes to all the individuals who have bolstered me to finish the
examination work directly or indirectly.

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 TABLE OF CONTENTS

1. INTRODUCTION 6

2. REVIEW OF LITERATURE 8

3. METHODOLOGY 15

4. FINDINGS AND INFERENCE 17

5. DATA ANALYSIS AND INTERPRETATION 50

6. APPENDIX 54

7. REFERENCE 58

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 INTRODUCTION

“கல் த ோன்றி மண் த ோன்றோ கோலத் ில்

முன் த ோன்றி சிறந்து விளங்கிய மிழனின் அருமம

என் நோடு என் வடு

ீ என் த சம் இந் ியோ

என் இனம் என் மமோழி என் உயிர்மென உெக்க

மசோல்தவன் நோன்

மிழன்டோ .. “

Hip hop Tamizha (Tamizhanda lyrics)

Translation:
“Even before the stones and sand appeared, Tamizhians flourished
My country, my house and my nation is India
But my language is my race, my life
And proudly I would like to shout that I am a
Tamizhanda”

Like the above lines recommend Tamil individuals are exceptionally proud of their language and
culture. Tamil is one of the most seasoned and longest-enduring traditional dialects on the planet.
It is a Dravidian language overwhelmingly spoken by the Tamil individuals of India and Sri
Lanka and is an official language in three nations: India, Sri Lanka and Singapore. Tamil
individuals have a solid connection to their language, they declare that Tamil is not only their
language but their identity.

Tamil politics are enormously affected and influenced by Cinema, strikingly by transforming on-
screen characters into famous and powerful politicians. The significant highlights of Dravidian
governmental issues are fixated on semantic, ethnic and social character. In contrast to some

6
other Indian states, in Tamil Nadu, theater and Cinema are key vehicles for advancing Dravidian
politics fixated on Tamil identity and language. Throughout the years the cinema has become the
perfect scene for affirming Tamil patriotism.

Movies are the most well-known type of amusement and entertainment. They have ended up
being a significant wellspring of etymological and social joining. In Tamil Nadu, on-screen
characters are loved in sanctuaries and situated in places of intensity. Movies hold an obvious
influence in the psyches of the majority in Tamil Nadu; they are likewise a significant wellspring
of conclusion creation and affect the disposition and outlook of the general masses. Tamil
movies have been utilized as a prime medium to draw in and diffuse Dravidian philosophies. The
film business rose as a vehicle for purposeful publicity for each one of those patriots who tested
the Hindi speaking North India and the nearby upper station. Throughout the year's Tamil film
has become the most oppressive impact in the social and political life in Tamil Nadu. The
resonation and explanation of Dravidian personality and Tamil patriotism are significant in
Tamil Cinema.

In the ongoing years, there is a steady slander of corporates and the glorification of agriculture.
They are gigantically centered on defaming the entire corporate world and need to assemble a
Utopian self-supporting agrarian culture. The films depict corporates to be exploitive and
damaging. Post-Jallikattu fight, there has been enormous romanticizing of dairy cultivating and
agribusiness. Once in awhile films make overstated generalizations that have social results. To
understand all this a portion of the accompanying inquiries were put forth.

Why are filmmakers commercializing Tamil nationalism? Why is there an increase in films
portraying evil corporates? Do they have an impact?

This research paper aims to look for answers to these inquiries by breaking down the depiction of
Tamil Nationalism and the insidiousness of corporates in Tamil films.

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 REVIEW OF LITERATURE

1. Bollywood in the Hollywood Era:

Narratives of Ultra-nationalism, Terrorism and Violence

Iqbal Shaila

The study examines how some renowned Hollywood and Bollywood movies deal with
geopolitical representations of empire and regional politics through the construction of
discourses centered on the building of “empire” and “nation”. These movies reflect how
government machineries evaluate the political situation and strategic policies of the country in
managing geopolitical environments through the construction of security narratives, political
rhetoric and geopolitical discourses. The narratives of specific Hollywood movies tend to
explain contemporary geopolitics with an emphasis on America’s military power, strategy, and
world leadership while the genre of Bollywood movies reconnects the ideology of division
through the establishment of geographies of ‘us’ and ‘them’ setting aside the so-called “secular
face” of the state.

2. “Representation of Patriotism in Contemporary Hindi Cinema”

Sengupta (2014)

This paper aims to understand the dynamics of the portrayal of the Muslim in general and the
Indian Muslim in particular in commercial Hindi cinema, particularly contemporary commercial
Hindi cinema in an age when the lines between the real and the imagery have blurred
irrevocably.

3. “Nationalism and Hindi Cinema: Narrative Strategies in Fanaa”

Khan (2009)

This paper presents Hindi cinema supports nationalist projects which compact the idea upper-
middle-class Hindu male and mark the Muslim man as the sexualized aggressive other. He

8
disputes that the role of Muslim women frequently centers on that of regulating her man either
by domesticating him or by killing him. His analysis contributes to the growing scholarship
about the anti- Islam bias in Hindi cinema with implications.

4. China’s Nationalism and Its Quest for Soft Power through Cinema

Frances (Xiao-Feng) Guo

University of Technology, Sydney (2013)

This study is concerned with the important role that contemporary Chinese cinema has played in
fostering nationalism, reconstructing national identities in the PRC, and the fundamental
challenges facing China’s soft power aspiration and its cinema-going project. It compares
contemporary Chinese films about China’s historical clashes with foreign others with earlier
Chinese productions, transnational co-productions, and Hollywood movies of similar themes,
focusing on values-orientations and national identity.

The analysis finds that although the Party-state is adamant about China’s national unity and
sovereignty, it is deliberately more flexible with China’s national identity. The differential
representations of the Japanese and the Western Others in the post1989 cinema suggest that
China’s national identity is an evolving construct tailored to support the CCP’s shifting political
agenda. The separation of the Japanese and Western Others is designed to simultaneously
validate the Party’s nationalist ideology and its opening-up policy. Within this context, China’s
Official Occidentalism is a more fluid and complex concept than Xiaomei Chen has observed in
the 1990s. Apart from its domestic concerns, China’s official imagination of the West also has an
international dimension.

Besides, China’s response to Hollywood’s representations of Mulan is politically defiant and

culturally surrendering. This study argues that the CCP’s cultural policies of making the past
serve the present and making culture serve the state can have serious side effects. Ignoring
Joseph Nye’s emphasis on the significance of shared values for a nation’s soft power, China’s
soft power-driven cinema going-global project faces the fundamental challenge of lacking moral
clarity and the shortage of shared values with the outside world. Nationalism clashes with
universal values and China’s practice of turning cinema into a nationalistic enterprise and

9
pushing nationalistic films to go global could further undermine, rather than enhance, China’s
soft power.

5. Traditional Media as Instruments to Shape Public Opinion and to Elicit Support for
the Corporate Agenda

Whitney (2006)

“Traditional Media as Instruments to Shape Public Opinion and to Elicit Support for the
Corporate Agenda” explains that the media is a vital part of the state power-structure. In its
practical application, it is more valuable than the military. There are definite drawbacks of using
force; whereas, propaganda and public relations tend to be less inconvenient to the normal flow
of business. This paper shows that the media’s prime objective is to shape public opinion, and
reshape it again if needed.

6. “On the Varieties of National Attachment: Blind Versus Constructive Patriotism”

Schatz et al. (2003)

In this study here two lessons discovered an imaginary distinction between “blind” and
“constructive” patriotism. Blind patriotism is described as a part of a nation distinguished by
unquestioning positive assessment and prejudice of disapproval. Constructive patriotism is
defined as a connection to a nation characterized by a hold for questioning and analysis of
current group practices that are intended to result in positive change.

7. “Reshaping public opinion and the white-coated propagandists”

Jessop (2000)

“Reshaping public opinion and the white-coated propagandists” explained the transform of
public attitude and subsequently change in the Indian culture. The researcher explained that due
to the cinema because the cinema is portraying the Muslims like this. A lot of films is made in
which Muslims are publicized as bad people who are not faithful to their motherland and
involved in promotion violence in Indian areas

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 8. Social Impact of Indian Cinema – An Odyssey from Reel to Real

Geetanjali Chandra Department of Law, Amity University Dubai

Sudha Bhatia Humanities Arts and Science (HAAS), Amity University Dubai

The Indian Cinema has unveiled significantly in recent years, by not restricting itself to just
being a source of mere entertainment, but, by experimenting to stride towards showcasing social
and responsible cinema” thereby having a stronger impact on the masses. Slowly but steadily the
film fraternity is vouching on social issues and is ready to take the ordeal to create awareness
amongst the audience. However, a major chunk of the movie makers still follows the traditional
movie-making formula which may have adverse bearings on the audiences. The research paper
aims to cover the holistic effects of Indian cinema on movie buffs through a discussion and box
office success of certain movies belonging to realistic cinema. The objective of the paper is to
applaud the social initiatives taken by the cinema highlighting the success of the ever-evolving
showbiz industry. The study showcases that the success of this genre amongst cinema-goers and
encourages the budding young filmmakers and media personnel to bring social issues on
mainstream by implementing real aspects into the reel cinema.

9. “Representation of Patriotism in Contemporary Hindi Cinema”

Chakraborty (2008)

In this study Bollywood Cinema, as its contribution cannot completely change perceptions but
has been successful in creating unique formulas which time to time refresh the concept
humorously, these efforts have not only been rewarded by critical praise but also by box office
acknowledgment if not blockbusters scales for one and all.

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 10. Fabric-Rendered Identity: A Study of Dalit Representation in Pa. Ranjith’s
Attakathi, Madras and Kabali

Benson Rajan* and Shreya Venkatraman

Cinema has played a role in caste politics in India. Its role ranges from special arrangements to
consume the film to working in films based on caste-based demarcated jobs. Films have always
been in a constant struggle to eradicate as well as to maintain the boundaries between the
dominant and the dominated. Clothing is one such element that acts to represent the formation of
a community’s image in people’s minds. The representation politics with the fabric worn in films
becomes the clash between dress codes. These are symbolic conflicts played on the screen
between social and cultural norms that possess the potential to alter identity and its structures of
reality. This paper will be dealing with the analysis of three films by Pa. Ranjith: Attakathi
(Cardboard Knife)(2012), Madras(2014) and Kabali(2016); to understand the representational
politics involving the Dalit community with the help of costumes that the characters adorn in the
films. Semiotics as an approach has been applied to understand the representation of Dalit
identity reflected through clothing practices.

11. SILVER SCREEN POLITICS: AN ANALYSIS OF THE COMPLEX

RELATIONSHIP BETWEEN CINEMA AND POLITICS IN TAMILNADU,
INDIA

Pravin Prakash

Honors Thesis (2012) – National University of Singapore, Political Science Department

The politics of Tamilnadu offers a fascinating and intriguing case study in understanding the
capacity of mass media to shape and influence politics. This paper seeks to evaluate the complex
relationship between Cinema and politics in Tamilnadu and to do so, asks 2 major research
questions: Firstly, is the relationship between cinema and politics in Tamilnadu driven solely by
political impetus with cinema acting merely as a medium to achieve political means? Secondly,
does cinema in Tamilnadu can articulate a political culture that can function independently from
and is not dictated by the political movements and parties that it has been closely tied to? This
paper argues that cinema and politics in Tamilnadu share a truly symbiotic relationship. It
contends that both cinema and politics have been historically mutually dependent on one another,

12
with a capacity to influence one another, with neither being solely just a medium or a tool for the
other. It is elucidated that cinema has always been an autonomous political space that can
articulate its political culture independently. It also critically evaluates the existing literature and
highlights that an overwhelming about of current academia uses "the political communication"
model to define the relationship between cinema and politics in Tamilnadu and in doing so has
failed to effectively analyze the truly symbiotic nature of the relationship.

12. “Communal representation in Bollywood movies: A study of youth”

Pandey et al. (2015)

This paper attempts to identify how does the youth feel and behave after watching Bollywood
movies that predominantly carries Communal representation. This study suggests that Indian
cinema often portrays a negative image of Communal’ (Muslim) in Bollywood. This research
paper aims to understand the current mindset of the youth. The results show that even today a
considerable percentage of youth believes that Bollywood still portrays a negative image of
communal characters

13. Tamil identity and diasporic desire in a Kollywood comedy: Nala Damayanti (2003)

Srilata Ravi

School of Humanities, University of Western Australia, Australia

This paper aims to explore how ethnic and linguistic identities intersect with national identity in
Indian cinema through a ‘diasporic’ reading of the film Nala Damayanti (2003) produced by
Kamal Hassan. Tamil cinema or ‘Kollywood’ may share common genre conventions with
Bollywood (duration, stylized exaggerations of speech and plot, song and dance sequences).
However, unlike Bollywood, which is most often neither ethicized nor geographically situated,
Tamil cinema first promotes Tamil pride (feminized in Tamil culture as Tamil Tazhi, guardian
deity of Tamil culture) before national chauvinism. Through a reading of the Tamil screen
comedy, Nala Damayanti, this paper will explore how Indianness is produced within the cultural
constraints of Tamil cinema. To this end, the paper will first examine two issues, (a) existing
paradigms of Tamil identity in India and overseas; and (b) caste and comedy conventions in

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Tamil cinema, before investigating how Tamilness, Indianness and South Asianness intersect
around the politics of culinary culture in Tamil screen comedy.

14. Shifting Identities and Changing Images in Tamil Cinema

Amutha Manavalan Asst. Prof. Department of Media Studies, Christ University

Dr. Shailashree B Associate Professor, Dept. of Mass Communication, Bangalore University

Tamil popular cinema has been a reflection of political, cultural and ethnic ideologies creating a
Tamil identity among the fans for many decades. It has been instrumental in creating images of
genders through visual culture and visual representations which has led to stereotyping the
identity, culture and appearances of the Tamil populace. For decades the identity of the man has
been portrayed as the torchbearer of Tamil identity while the woman has been more of a passive
submissive subject providing constant support to the male dominant character or protagonist.
The article focuses on the shifting identities portrayed through cinema and how it has left a void
in Tamil society and culture at a time of ethnic crisis. The paper would be discussing
stereotyping portrayals and their effects on perception leading to the above-mentioned factors of
identity, crisis and stereotyping.

15. “Construction of Differences through Movies: A Case Study of Portrayal of

Kashmiri Muslims in Indian Movies.

Abbas and Zohra (2013)

In this research the main purpose of the research is to determine whether Kashmiri Muslims are
positively or negatively portrayed in Indian movies and are given equal versions or not. The
researcher has employed the survey research and content analysis method for the study. Three
Indian movies involving Kashmiri characters have been selected for content analysis. The
outcomes of the research reveal that the Kashmiri Muslims are portrayed like rebels and
terrorists, and, are given only negative characters to perform. The study explains this experience
with the help of the Agenda Setting Theory.

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 RESEARCH METHODOLOGY

Statement of problem:

While there have been several studies that deal with Tamil nationalism in Tamil films, research
into Tamil nationalism and the portrayal of evil corporates in Tamil movies are sparse. Hence
this study uses a quantitative method to get public opinion and one movie and two songs which
received greater notice were selected and analyzed qualitatively using content analysis to
understand how Tamil nationalism and evil corporates are portrayed in Tamil films.

Objectives of the study:

 To understand the role of Tamil films and songs in instigating feelings in Tamil
nationalism among the youth.
 To study how and why are filmmakers commercializing Tamil nationalism.
 To identify if the recent happenings (Jallikattu protest, Sterlite protest and 2015 floods)
increase the animosity with the Centre and create an identity crisis.
 To understand why there is an increase in films portraying evil corporates.

Research methodology:

The methodology used in this study was both quantitative and qualitative analysis. Quantitative
analysis was conducted using a questionnaire consisting of questions that measured respondent’s
attitudes towards Tamil nationalism in movies and songs. The questionnaire was designed after
studying the popular Tamil nationalistic movies, songs and some help from Google, Wikipedia
and Quora. This exploratory study uses qualitative methods to understand how Tamil
nationalism is portrayed in Tamil films and songs. The study uses content analysis to understand
and interpret how Tamil nationalism and the fight against corporate culture are portrayed in
Tamil movies and songs.

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Sampling:

For the quantitative analysis:

100 respondents in the age group of 15 to 25 years were chosen to perform this research. The
participants were chosen through a random sampling method. The questions that were used in
this survey posed little risk to the respondents. The questions gathered information on attitudes
towards Tamil nationalism and evil corporates in films and songs.

For the qualitative analysis:

One movie and two songs were selected based on popular opinion received from the above
quantitative analysis. The movie and songs chosen for the study are:

 Movie portraying evil corporates: Kaththi

 Songs about Tamil nationalism: Azhaporan Tamizhan and Semmozhi Manadu Anthem

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 FINDINGS AND INFERENCE

QUANTITATIVE ANALYSIS

1. Consumption of movies based on age.

40
35
30
25
20
15
10
5
0
15-16 17-18 19-20 21-22 23-24

Answer choices Responses

15-16 5% 5

17-18 25% 25

19-20 34% 34

21-22 34% 34

23-24 2% 2

Total 100

Findings: The biggest purchasers of sentiment motion pictures are between the age gatherings of
19 to 22. This is the age gathering of individuals that are entering or seeking after school and for
the most part have a ton of cash and time close by which they routinely spend on watching films

17
 2. During Jallikattu protests unsubstantiated news that PETA was working with corporates
and the genius behind this was to make the local dairy animals wiped out and to get in A1
cows, were gotten or were to a great extent broadcasted to individuals. Did this news
increment your antagonistic vibe towards corporates?

Yes No Probably Undecided

8%

33%

41%

18%

Answer choices Responses

Yes 33% 33

No 18% 18

Probably 41% 41

Undecided 8% 8

Total 100

Findings: 41% have answered probably, 33% have answered yes, 18% have answered No and
8% of people are undecided. This unconfirmed news was telecasted by many media platforms
and one of the songs that made direct reference was “Takkaru Takkaru” by Hip Hop Tamizha.

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3. Movies which promote Tamil Nationalism are made for what purpose?

Commercial purpose Political propoganda Self propoganda Undecided

18%

13% 50%

19%

Answer choices Responses

Commercial purpose 50% 50

Political propaganda 19% 19

Self-propaganda 13% 13

Undecided 18% 18

Total 100

Findings: 50% of the people have said that it is for commercial purposes, 19% think it is
for political propaganda, 13% think it is for Self propaganda, while 18% of people are
undecided. This shows that people think that there is an agenda behind everything, which
could be just commercial or have major political agendas behind them.

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 4. Do you that in recent years there is an increase in movies portraying evil corporates?

Yes No Maybe

5%

26%

69%

Answer choices Responses

Yes 69% 69

No 26% 26

Maybe 5% 5

Total 100

Findings: 69% of the people believe that there is an increase in movies portraying evil
corporates, 26% say no and 5% is not sure. The statistics show that movies portraying evil
corporates as villains have increased in the recent years.

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5. Do you believe that Hindi imposition increased Tamil Nationalism?

Yes No Maybe

31%
41%

28%

Answer choices Responses

Yes 41% 41

No 28% 28

Maybe 31% 31

Total 100

Findings: Political parties in Tamil Nadu have always fought against Hindi imposition for
political reasons creating animosity with the Centre. They portray that Hindi imposition
would be a threat to the Tamil language. 41% have said Yes, 28% say No and 31% do not
confirm to both and have answered maybe.

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6. Did Jallikattu protests have a great impact on increasing feelings of Tamil Nationalism in
you?

Yes No Maybe

14%

12%

74%

Answer choices Responses

Yes 74% 74

No 12% 12

Maybe 14% 14

Total 100

Findings: 2017 pro-Jallikattu protest which overthrew the Supreme Court’s ruling is said
to have increased feelings of Tamil nationalism in people, the above stats of 74% proves
this.

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 7. When people speak/talk about Tamil Nationalism, which of the following do you
associate it with or what comes to your mind first?

Periyar Bharathiyar Illayathalapathy Vijay Hip hop Tamizha Other

5% 8%

16%

13%

58%

Answer choices Responses

Periyar 8% 8

Bharathiyar 58% 58

Ilayathalapathy Vijay 13% 13

Hip Hop Tamizha 18% 18

Other 5% 5

Total 100

Findings: Most people associate Bharathiyar with their Nationalism, Bharathiyar is also the logo
of Hip Hop Tamizha. His mustache has become a symbol of Tamil pride. 18% have said Hip
Hop Tamizha, as the name suggests they are a musical duo who pioneered Tamil Hip Hop in
India, 13% have said Ilayathalapathy Vijay and 8% have said Periyar.

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 8. Did the Centre’s action in Jallikattu protest, Sterlite protest and the 2015 floods increase
the animosity with the center?

Yes No Maybe

21%

45%

34%

Answer choices Responses

Yes 45% 45

No 21% 21

Maybe 34% 34

Total 100

Findings: The Central government is said to have not responded properly during the Jallikattu,
Sterlite protests and the floods. It has been criticized greatly for its late response to the events.
The statistics show that 45 % have answered yes and have confirmed the notion.

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 9. Do you think that there is a rise in Tamil Nationalism since BJP came into power?

Yes No Maybe Undecided

2%

22%

48%

28%

Answer choices Responses

Yes 48% 48

No 28% 28

Maybe 22% 22

Undecided 2% 2

Total 100

Findings: From Amit Shah's discourse on Hindi Divas that Hindi ought to be created as the
nation's bringing together language to BJP dignitaries like H. Raja marking everybody who
contradicts his idea as Anti-Indian, Prime Minister Mr. Narendra Modi and his gathering has
encountered some open enmity from the individuals of Tamil Nadu. With some impedance from
the state's neighborhood parties Tamil Nationalism has been advertised and has seen an ascent
since BJP came into power.

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 10. The song that comes to my mind when people talk about Tamil Nationalism

1%

9% Tamizhanda
19%
5%
Semozhi Anthem

Azhaporan Tamizhan

Tamizha Tamizha

28% Senthamizh Naadu Endrum

38%
Pothinile
Other

Answer choices Responses

Tamizhanda- Hip Hop
19% 19
Tamizha
Semozhi Anthem 28% 28
Azhaporan Tamizhan 38% 38
Tamizha Tamizha 5% 5
Senthamizh Naadu
9% 9
endrum Pothinile
Other 1% 1
Total 100

Findings: Songs are always a good medium to propagate something because they can stay in the
memory for a long time with little help. Thus people use songs to put forth their thoughts.
According to the above stats, Azhaporan Tamizhan and semmozhi Anthem have received more
responses.

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 11. My favorite film on the fight against evil corporates.

Kaththi
9%
Mersal
1% 6%
30% Kaapan

Velaikaran

Thani Oruvan

29%
Boomerang
6%

5% I prefer to not watch movies

like this
14% other

Answer choices Responses

Kaththi 30% 30
Mersal 6% 6
Kaapan 5% 5
Velaikaran 14% 14
Thani Oruvan 29% 29
Boomerang 1% 1
I prefer to not watch movies like this 6% 6
Other 9% 9
Total 100

Findings: The most favorite movie on the fight against evil corporates is Kaththi, followed by
Thani Oruvan. The film Kaththi is inspired by real events, it is about the fight against an evil
corporation that was destroying the lives of farmers for their greed and the movie Thani Oruvan
which received a mini cult status is about a fight against a police officer and a corporate villain.

27
 12. Do you think the portrayals of Tamil nationalism and the fight against corporates in
movies and songs have an impact on the viewers?

Yes No Maybe

42%
50%

8%

Answer choices Responses

Yes 50% 50

No 8% 8

Maybe 42% 42

Total 100

Findings: Films are said to have huge impacts on their viewers. The stats confirm this, 50% have
said Yes, the portrayals of Tamil Nationalism in movies and songs have an impact on their
viewers, while 42% have answered maybe, only 8% have said No.

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13. Tamil is

language linguistic identity emotion

5%

26%

69%

Answer choices Responses

Language 5% 5

Linguistic Identity 26% 26

Emotion 69% 69

Total 100

Findings: The language Tamil is more than just a language it is like a cultural identity to
natives. 69% have said that Tamil is not just a language or identity but that it is an
emotion, a strong feeling which can never be explained by words.

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 FINDINGS AND INFERENCE

QUALITATIVE ANALYSIS

 Movie portraying evil corporates: Kaththi

Synopsis of the movie Kaththi :

In Kolkata, detainee Kathiresan, a trivial lawbreaker, enables the police to catch a getting away
from detainee Vivek Banerjee yet escapes a while later. He goes to Chennai to get away to
Bangkok with his companion and individual criminal Ravi. In any case, he drops this
arrangement in the wake of meeting and beginning to look all starry eyed at Ankitha, who
hoodwinks him into accepting that she needs to wed him in the wake of understanding that he is
liking her. Afterward, Kathir and Ravi notice a doppelgänger of Kathir named Jeevanandam

30
being shot by a gathering of hooligans. They concede him to a medical clinic, and Kathir
chooses to imitate the harmed Jeeva to escape from the police. Under the name of Jeeva, Kathir
and Ravi enter a mature age grand slam by Jeeva expecting to gather ₹ 25 lakhs (implied for the
prisoners of the mature age home) for their Bangkok trip, until he finds out about his
doppelgänger's strategic. Jeeva is a socialist ideologue and post-graduate in hydrology from the
parched town of Thanoothu in Tirunelveli area who had found groundwater under certain
terrains of the town which could be utilized as a water system source for the town, yet for the
whole Tirunelveli locale and the neighboring Thoothukudi region. Be that as it may, a covetous
MNC proprietor Chirag bamboozled the locals into giving their territories for the development
of a production line. Jeeva gets captured by the police, and six townspeople end it all to carry
this news to the media cutting edge and discharge Jeeva from jail. On learning of the
predicament of Jeeva and the townspeople, Kathir chooses to battle for their motivation while
still under the name of Jeeva. The individuals of the old home and Kathir go to the jury and
attempt to persuade him to go for them, yet Kathir begins expressing rules and panics the
principle jury individual (whom Chirag had influenced). Kathir then sends an individual
(camouflaged as a beautician) to Chirag and makes him lay a unique mark on Chirag's neck.
From that point forward, Chirag sends 50 men to murder Kathir, however he before long
annihilations them. In the meantime, the genuine Jeeva gains awareness and winds up in the
Kolkata jail where Kathir was bolted up. With the assistance of Vivek, who has heard his story
and has plans to execute Kathir in vengeance for getting him captured and tossed again into jail,
he escapes with Vivek's associates.

Uninformed that Jeeva and Vivek's thugs are set out toward Chennai, Kathir puts forth attempts
to persuade the media to carry the situation of the townspeople to national cognizance, however,
the media can't as they feel it can be news or doesn’t have the required news value. A couple of
days after the fact, at the Madras High Court, the appointed authority pronounces the decision
for Jeeva and the locals, yet includes that Chirag has asserted that specific residents who are
working abroad have indicated their help for the industrial facility. If they can't demonstrate that
their help was faked by Chirag inside the following five days, the decision will go for Chirag,
and the residents will lose their properties. Since the locals, who have denied supporting the
processing plant, are abroad and can't come to Chennai inside five days to counter Chirag's
cases as their international IDs are held by their temporary workers, and the decision is to be

31
chosen inside five days, Kathir chooses to take uncommon measures to sensationalize the issue.
He, Ankitha, Ravi, and the prisoners of the mature age home square water supply to Chennai by
sitting on the pipelines which convey water to Chennai from five lakes. With the predicament of
the Chennaites because of no water supply having increased national consideration, Kathir
leaves the pipeline following a couple of days and features the townspeople's situation in a
genuinely charged discourse to the media, which is broadcast across the nation and moves
numerous individuals. At this point, Kathir has found that Jeeva has gotten away and is scanning
for him.

Then, Jeeva and Vivek's thugs arrive at Chennai, however, Jeeva is captured by Chirag's
partners in crime. While in Chirag's guardianship, he sees Kathir's discourse on TV and is
moved by the endeavors made by his doppelgänger to support the townspeople. On the night
before the decision, Kathir's feign is uncovered, however, Kathir guarantees the locals that he
will without a doubt help them and tells that Jeeva is alive, and he will protect Jeeva from
Chirag and hand him back over to the townspeople with the confirmation of a constructive
decision. Kathir goes to Chirag's office, where Jeeva is being held. He protects Jeeva and
executes Chirag.

The following day, the decision is announced for Jeeva and the residents. Kathir, regardless of
his endeavors to foil Chirag and the MNC, doesn't participate in the following festivals over the
decision and rather gives up to the police and comes back to the Kolkata jail, however not before
promising Ankitha, who has now begun to look all starry eyed at him, that he will wed her once
he is discharged.

From the above outline we can see that its essentially a tale about how a Multinational Company
(MNC) does illicit land obtaining and abuses the water assets of the country regions at the
expense of farmers. It is motivated by different genuine issues, to which the film makes direct
reference. This film like every single other film follows the corporate equation with the corporate
reprobate Chirag's entrance. He goes into a rich zone, in an opulent vehicle, his office appears as
a major glass building. He is given the cool look, with the must worn Coat suit.

The movie stresses a lot on the word corporate and MNC, the following scenes prove this.

32
Scene 1: In the flashback scenes, there is a scene where the people want to sell their wives ' land
but are not allowed by the villagers of Thanoothu.

“ villager: Vivasaya nilatha vikkakoodanthungarathu Unga gramathoda virupamo kattupaado

engalukku theriyadhu, naanga intha oorulu ponnu eduthavanga Enga seethana nilatha vikkurathu
Enga ishtam

Meaning: It could be ur village’s rule that you cannot sell farming land, but we have taken
women from this village and we have the right to sell our wife's dowry lands.

Village speak person:“ yerkanave corporate company kaaranga pakkathu 200 gramathaiyu
aluchutaanga, Enga oorula yaarume vivasaaya nilatha vikka maatamnu ungala thoondi
vitturukaanga”

Meaning: “Already the corporate company people have destroyed the nearest 200 villages, since
no one in our village sells farming lands they are pitting you against us”

Hero: “ Aiyya 20 varushathuku munnadi periya vivasaya Boomi ithu, intha oorukku thannothu
per vanthathuku karanam inga oru migaperiya oothu onnu romba kaalathuku munnadi boomikku
adila mooda patturuku. Naa oru hydrology paduchavan, athu entha edamnu kandupuducha,
Tirunelveli, Thoothukudi erandu Maavatathuku vivasayathanni namma gramathula irrunthu
kedaikum. Etha therinchutu antha corporate company namma gramatha kurivechurukanga”

Meaning: Before 20 years this land was a big farming land, There is a big water source which
has been closed long before, If we find that water source our village can supply farming water to
2 districts. Knowing this the corporate company wants our village.

Villager: Oruvela thanni varama corporate companyum vera edathuku poitaangana Evan
vaanguva intha nilatha

Meaning: What if there is no water and the corporate company goes somewhere who will get this
land.”

Scene 2: Jeevanandham the hero has a conversation with a corrupted police officer

33
Hero: naanga collector ah paakanu, eranthavanga Kaila irrukura saayatha postmortem report la
elluthanum apro antha Multinational company kaarangala arrest pannanum.

Meaning: We have to mee the collector to get the ink in the fingers of the dead people to be
recorded in the postmortem report and want them to arrest the MNC people.

Police officer: Ei yaaru Ivan sollratha kekaathinga, naa unga edathuku nalla rate vaangi thara
namma naala MNC aalungaluku edurthu namma naatula ethu panna mudiyaathu

Meaning: No one should listen to him, I'll get the best rate for your land, we cannot do anything
against an MNC in our country.

In both previously mentioned scenes we can perceive how the words corporate and MNC's are
focused on, they could have been explicit and referenced the individual who did or the
organization's name yet rather corporate or MNC all in all is utilized here, making an immediate
reference.

Different cases where the corporate appears as a shrewd substance

There is this scene where the adversary Chirag says to the protagonist that Thanoothu town will
turn into his, and the protagonist's town will turn into his factory worker’s latrine and on the off
chance that the protagonist need to be alive he should run from there, if not he will cut him into
pieces. This depicts the egotism of the corporate head and insists on him as a malevolent
substance.

There is likewise another scene where Chirag affirms the intensity of the corporates, this happens
when the court says that the things are agreeable to the corporate, he calls the Hero and says that
“How might you venture to battle against a corporate organization with an idiotic legal advisor, I
have one advocate group, this is the corporate brain you can't get even one of the individuals
who are referenced in the appeal. As they all work for a MNC. It is there everywhere throughout
the world. On the off chance that I have an issue, I will have everybody's back. Corporate
resembles a spider web, your town is only a little creepy crawly stuck in it.

There is one more scene where all the corporate heads have a gathering this shows their capacity
in full power. It begins with one of the corporate heads saying this is the first occasion when that

34
complete corporate proprietors from India have assembled in one spot. We can be adversaries
between us, yet when there is another foe we need to hold hands. We need to stop the town
individuals who are against the corporates. If we don't, at that point there will be a case in each
city and town. What's more, abruptly another proprietor says that He has a Shampoo
organization for one bottle Shampoo he needs 45 eggs if the children in the streets long for
eating an egg How will he make his Shampoo?, presently one more individual says that he is
right on the off chance that MNC drops this case, at that point, it will be an issue for them all, he
has 33 cases on his 12 organizations, a similar will transpire. After this everybody says that they
will bolster Chirag all around they could.

This shows how the corporates are fine conflicting with the framework and now and then against
humankind just to bring in cash and keep their status, this shows the negative impacts of private
enterprise and capitalism

35
  Content Analysis of song “Azhaporan Tamizhan”

Aalaporaan Thamizhan (English: Tamizhan going to control) is a 2017 Indian Tamil language
melody created by A. R. Rahman, from the music collection of Mersal. The tune's verses were
composed by Vivek and sung by Kailash Kher, Sathyaprakash, Pooja AV, and Deepak. The
melody's music video is envisioned upon entertainer Vijay. The melody was discharged as the
primary single track of the film on August 10, 2017. By April 2019, the video tune has earned
100 million perspectives on YouTube. The tune depicts the prevalence of Tamil talking men
everywhere throughout the world. The melody highlights Vijay as Vetrimaaran, adulating Tamil
legacy and pride following a wrestling match in Punjab.

36
 Table1: The lyrics, Translation and meaning of the song Azhaporan Tamizhan

Lyrics Translation Meaning

ஊறுக் கண்ணு உறவுக்கண்ணு

உண்ண தமோசு போகும் நிண்ணு. Oorukannu oravukannu, unna The crowd surrounding you, jinx at
mochchu paakum ninnu. you today.
சின்ன மகெோசன் வோெோன், மீ ச Chinna magaraasan vaaraan, The prince is born; proudly twirl

முறுக்கு. meesa murukku. your mustache [Act of satisfaction].

Enga mannu thanga mannu, Our lands are wonderful, they will
எங்க மண்ணு ங்க மண்ணு,
unna vaikum singamunnu. raise a lion
உன்ன மவக்கும் சிங்கமுன்னு.

முத்துமணி ெத் ினத்ம ப்

மபத்ம டுத் ெஞ்சி ம் Muthumani rathinathai

A gem of beauty gave birth to a
ஊருக்குன்தன வோழு கண்ணு pethedutha ranjidham.
golden infant.
Oorukunne vaazhu kannu,
அப்பனுக்கும் சம்ம ம் Live to serve your village, your
appanukkum sammadham.
father grants it.
எந் இடம் வலிகண்டோலும் Endha idam valikandaalum
Whatever your pains, eyes only cry.
kannuthaane kalangum
கண்ணு ோதன கலங்கும் Guard us from danger, as our eyes
Kannapola engalukku kaavalaa
detect it
கண்ணுதபோல எங்களுக்கு nee varanum.

கோவலோ நீ வெணும்

ஆளப்தபோறோன் மிழன் உலகம் Aalaporaan tamizhan ulagam Tamilan will run the entire world.
ellaame. From now, the path of child prodigy
எல்லோதம Vetrimagan vazhithaan inime is ours.

மவற்றிமக வழி ோன் இனிதம ellame. Tamil proved who is the braver.
Veeranna yaarunnu indha He also gave justice to an animal
எல்லோதம
naatukke avan sonnaane. [Jallikatthu issue].

37
 வென்னோ
ீ யோருனு இந் Vaayilla maatukkum ada
needhiya avan thandhaane
நோட்டுக்தக அவன் மசோன்னோதன

வோயில்லோ மோட்டுக்கும் அட

நீ ிய அவன் ந் ோதன

மசோல்லிச் மசோல்லி
History of humanity will remember
சரித் ிெத் ில் தபர் மபோறிப்போன் Solli solli sarithirathil per the Tamil language.

மநஞ்சில் அள்ளி கோற்றில் நம்ம porippaan Wholeheartedly, he will sprinkle

Nenjil alli Kaaththil namma Tamil in the wind elatedly.
த ன் மிழ்ம ளிப்போன் thean thamizh thelippaan Standing on a worldwide twinkling

மின்னும் உலகம் தமமட Minnum Ulaga meda stage,

Thanga Thamizha paada To have sung in a clear and pure
ங்க மிழப்போட
Pachcha Thamizh Uchchi Tamil,
பச்சத் மிழ் உச்சிப்புகழ் ஏய் pugazh yeri sirikkum. A pure Tamilan, at the summum of
fame, gracefully smile
சிரிக்கும்

வோெோதயோ வோெோய் நீ அன்போ

Be welcome friend, if you come
வந் ோ ஒளி மகோடுப்தபோம் Vaaraayo vaarai nee anbaa peacefully you will learn our

வோெோதயோ வோ.. ெோய் நீ வம்போ vandhaa oli koduppom hospitality.

Vaaraayo vaarai nee vambaa Be welcome friend, if you come
வந் ோ சுளுக்மகடுப்தபோம் vandhaa sulukkeduppom ! hatefully you will learn our hostility!

மிழன்டோ எந்நோளும் Thamizhanda ennaalum. We are Tamils! Feel that energy

Sonnaale thimurerum. once you said it.
மசோன்னோதல ிமிதெறும்
Kaaththoda kalandhaalum Even if you cross various skies
கோற்தறோட கலந் ோலும் adhudhaan un adayaalam [Reference to the diaspora], Tamil is
in your identity.
அது ோன் உன் அமடயோளம்

Anba kotti enga mozhi We laid the foundation of our

அன்மபக் மகோட்டி எங்கமமோழி
adiththalam poattom language with love.

38
 அடித் ளம் தபோட்தடோம் Magudatha tharikkira ‘zha’
garatha serthom
மகுடத்ம ரிக்கிற « ழ »
Thalaimurai kadandhume
கெத்ம தசர்த்த ோம் virivadha paathom
Ulagathin mudhal mozhi
மலமுமற கடந்துதம
usurena kaathom
விரிவம ப் போர்த்த ோம் « Naal nagara maatrangal
nerum
உலகத் ின் மு ல்மமோழி
Un mozhi saayum » enbaane
உசுமெனக் கோத்த ோம் Paarinaya thamizhanum
We added « zha » [Retroflex] which
is the crown of our language.
We saw our language expanding
through many generations.
We protect and maintain the first
world’s language as our soul.
« Days getting nearer, change is
inevitable
Your language will die » the adage
extolled.

உன் மமோழி சோயும் » என்போதன varuvaan Thaaithamizh thooki To gather Tamils together, will
nippaane emerge a mother tongue lover. The
போரிமணய மிழனும் Kadaisi thamizhanin raththam blood of the last Tamil will boil,

வருவோன் ோய்த் மிழ் தூக்கி ezhum, veezhaadhe won’t pour.

Thamizh iname veezhaadhe Tamil community will never cease to
நிற்போதன
exist.
கமடசித் மிழனின் ெத் ம்

எழும் வழோத
ீ

மிழ் இனதம வழோத

ீ

Your music is heard even in the far

மநடுந்தூெம் உன்இமச தகட்கும்
பிமற நீக்கி மபௌர்ணமியோக்கும்
மவ க்கோட்டில் விண்மீ ன்
பூக்கும்
விழிச்சோலும் மநசந் ோன்
உயிர் ஏமலயுதமோ மநத் ி
Nedundhooram un isai kekkum
Pirai neeti pournami aakum
Vedhakkaatil vinmeen pookkum.
Vizhichaalum nesandhaan.
Uyir ezhayum un neththi
mutham podhum.
Varungaalam vaasana sekkum.
lands.
Crescent moon will grow to its
fullest.
Even our lands, stars will flower.
Waking up from that dream to
realize it is my reality.
Your kisses on my forehead are
enough to keep my whole soul alive.

முத் ம் தபோதும் Fragrance will feature in our bright

future.

39
 வருங்கோலம் வோசமன

தசர்க்கும்

முத்துமணி ெத் ினத்ம ப்

மபத்ம டுத் ெஞ்சி ம் Muthumani rathinathai

A gem of beauty gave birth to a
ஊருக்குன்தன வோழு கண்ணு pethedutha ranjidham.
golden infant.
Oorukunne vaazhu kannu,
அப்பனுக்கும் சம்ம ம் Live to serve your village, your
appanukkum sammadham.
father grants it.
எந் இடம் வலிகண்டோலும் Endha idam valikandaalum
Whatever your pains, eyes only cry.
kannuthaane kalangum
கண்ணு ோதன கலங்கும் Guard us from danger, as our eyes
Kannapola engalukku kaavalaa
detect it
கண்ணுதபோல எங்களுக்கு nee varanum.

கோவலோ நீ வெணும்

ஆளப்தபோறோன் மிழன் உலகம்

எல்லோதம Aalaporaan tamizhan ulagam

மவற்றிமக வழி ோன் இனிதம ellaame. Tamilan will run the entire world.
Vetrimagan vazhithaan inime From now, the path of child prodigy
எல்லோதம ellame. is ours.

வென்னோ
ீ யோருனு இந்
நோட்டுக்தக அவன் மசோன்னோதன
வோயில்லோ மோட்டுக்கும் அட
Veeranna yaarunnu indha Tamil proved who is the braver.
naatukke avan sonnaane. He also gave justice to an animal
Vaayilla maatukkum ada [Jallikatthu issue].
needhiya avan thandhaane

நீ ிய அவன் ந் ோதன

Vaaraayo vaarai nee anbaa Be welcome friend, if you come

வோெோதயோ வோெோய் நீ அன்போ
vandhaa oli koduppom
வந் ோ ஒளி மகோடுப்தபோம் Vaaraayo vaarai nee vambaa
vandhaa sulukkeduppom !
வோெோதயோ வோ.. ெோய் நீ வம்போ
Thamizhaale onnaanom
peacefully you will learn our
hospitality.
Be welcome friend, if you come
hatefully you will learn our hostility!

40
வந் ோ சுளுக்மகடுப்தபோம் Maaraadhu ennaalum Tamil language units us.
It is immutable.
மிழோதல ஒண்ணோதனோம்

மோறோது எந்நோளும்

Inference:

The tune is a glad festival, it makes one enthusiastic with the overwhelming beats. The tone of
the words fit with how the artist sings them, the verses are political with a trace of sentiment. The
melody has heaps of flavors. As the song continues one can taste everything. The song is for the
most part about Tamil pride and it struck a chord with the audience. For Tamil people a couple
of months before the song was released as an event period, directly from the Jallikattu protest
time, Hence the Tamil valor and convention were invited with warm hands. Directly from the
earliest starting point where the hero is acquainted as Azhanganaloor's untamed bull who will
enter when Vaadivaasal opens. Here we have an immediate reference to Jallikattu,
Azhanganaloor is where Jallikattu happens and the game beginnings with the opening of
Vaadivasal, the narrow door through which bulls are discharged during Jallikattu.

It is the type of song that makes you thump your chest in pride the moment you hear it. The
following stanzas are a proof.

Stanza 1:

Aalaporaan tamizhan ulagam ellaame.

Vetrimagan vazhithaan inime ellame.
Veeranna yaarunnu indha naatukke avan sonnaane.
Vaayilla maatukkum ada needhiya avan thandhaane

Meaning:

Tamilan will run the entire world.

From now, the path of child prodigy is ours.

41
Tamil proved who is the braver.
He also gave justice to an animal [Jallikatthu issue].

Finding: The above lines have a powerful meaning, it says how Tamilan will rule the entire
world and makes a direct reference to the Jallikattu issue in the last lines. “He also gave justice to
an animal”, this gives the image of a higher entity, it is like they are put on a pedestal. This
shows the pride of being a Tamizhian.

Stanza 2:

Thamizhanda ennaalum. Sonnaale thimurerum.

Kaaththoda kalandhaalum adhudhaan un adayaalam

Meaning:

We are Tamils! Feel that energy once you said it. ( with a huge pride)
Even if you cross various skies [Reference to the diaspora], Tamil is in your identity.

Findings: The above stanza refers to the diaspora which often makes people speak, reminisce
and glorify things. The above stanza stresses that proclaiming that you are a Tamizhian is a pride
moment and even if you migrate and cross various skies, Tamil will always be your identity and
will be the common factor that unites the Tamil people all over the world.

Stanza 3:

Paarinaya thamizhanum varuvaan Thaaithamizh thooki nippaane

Kadaisi thamizhanin raththam ezhum, veezhaadhe
Thamizh iname veezhaadhe

Meaning:

To gather Tamils together, will emerge a mother tongue lover, Who will not let The blood of the
last Tamizhian’s to waste and the Tamil community will never cease to exist.

Findings: The glories of Tamil are portrayed in this stanza, it says that Tamil people should
gather together to fight for themselves and their language.

42
  Content Analysis of Semmozhi Maannadu Anthem

"Semmozhiyaana Thamizh Mozhiyaam" on the other hand titled Tamil Meet Anthem, World
Classical Tamil Conference Theme or Semmozhi) is a Tamil melody made by A. R. Rahman
wrote by previous Tamil Nadu Chief Minister M. Karunanidhi and performed by a few driving
Tamil artists of more than three generations. It is the official signature tune for the World
Classical Tamil Conference 2010, exemplifying the commitments of Tamil culture and writing
down the ages. The melody, a tribute to the Tamil language, includes a combination of different
melodic styles, including Carnatic, Folk, Acoustic, Sufi, Rock and Rap.

43
 Table 2: Lyrics, translation and meaning of the Semmozhi Manaadu anthem.

பிறப்மபோக்கும் எல்லோ TMS : Pirapokkum Ella Uyirkkum

உயிர்க்கும் - Pirandha Pinnar For all living beings after their

birth, every place is home,
பிறந் பின்னர்,
A.R.R: Yaadhum Oore Yaavarum everyone is a relative
யோதும் ஊதெ யோவரும் தகள ீர் Kelir

உண்பது நோழி உடுப்பது Harini : Onbadhu Naazhi Udupathu

இெண்தட Irande A handful of food to eat, a

couple of clothes to cover the
உமறவிடம் என்பது ஒன்தற Chinmayi : Uraividam Enbadhu body, only one place to live,

என Ondre we have lived keeping these

things in mind, let’s work hard
உமெத்து வோழ்ந்த ோம் –
Karthik: Uraithu Vazhndhom and live.
உமழத்து வோழ்தவோம் Uzhaithu Vazhvom

ீதும் நன்றும் பிறர் ெ வோெோ

Hariharan : Theedhum Nandrum Evil or good, are not caused
எனும்
Pirar Thara Vaarai Yenum Nan by others, but are always self-
நன்மமோழிதய நம் மபோன் Mozhiye Nam Pon Mozhiyaam inflicted, it’s our golden
language that has taught us
மமோழியோம்
A.R.Rahman, Yuvan : Porrai this.
தபோமெப் புறம் ள்ளி Puram Thallzhi Porulai We will push war and hatred
Podhuvaakave on the backseat, and making
மபோருமளப் மபோதுவோக்கதவ
all the material wealth
அமம ி வழி கோட்டும் Chorus: Amaidhi Vazhi Kaatum common to everyone, it is the

அன்பு மமோழி Anbu Mozhi Ayyan Valluvarin oral language of our father
Vaaimozhiyaam valluvar,
அய்யன் வள்ளுவரின்

44
 வோய்மமோழியோம்

A.R.R, Yuvan, Chorus:

மசம்மமோழியோன மிழ் Semmozhiyaana Tamizh Mozhiyaam

It is our Tamil language which
Semmozhiyaana Tamizh Mozhiyaam
மமோழியோம்… is now a classical language.
Semmozhiyaana Tamizh Mozhiyaam
Semmozhiyaana Tamizh Mozhiyaam
Vijay Yesudas : Orrarivu Mudhal
Aararivu Uyirinam Varayile
From a single sensed organism
ஓெறிவு மு ல் ஆறறிவு Unarndhidum Udal Amaipai
to the six sensed organism, its
Pagairthu Koorum
உயிரினம் வமெயிதல character depicts the body
structure of them all.
உணர்ந் ிடும் உடலமமப்மப P.Susheela : Orrarivu Mudhal
Aararivu Uyirinam Varayile
பகுத்துக் கூறும் Ancient Tamil literature like
Unarndhidum Udal Amaipai
ஒல்கோப் புகழ் the tholkappiyam, and the
Pagairthu Koorum
matchless Thirukural, teach us
ம ோல்கோப்பியமும் a higher way of life
G.V.Prakash Kumar :
ஒப்பற்ற குறள் கூறும் உயர்
Thozhgapugal Tolkappiyamum
பண்போடு Oppatra Kural Koorum Uyar
Panpaadu
ஒலிக்கின்ற சிலம்பும்,
Enchanting literature like such
தமகமலயும் Naresh Iyer, Chorus: Olikindra
as silapathikaram,
Silamubum Meghalayum
சிந் ோமணியுடதன Manimekalai, Seevaka
Sindhamaniyudane
Santhamani, vazhayapathi and
வமளயோப ி குண்டலதகசியும்
Kundalakesi.
T.L. Maharajan: Valayapathi
Kundalakesiyumm

மசம்மமோழியோன மிழ் Chorus, Nithya Shree Humming : It is our language, Tamil

Semmozhiyaana Tamizh Mozhiyaam Language which is now a
மமோழியோம்
Semmozhiyaana Tamizh Mozhiyaam classical language

45

கம்ப நோட்டோழ்வோரும்
கவியெசி அவ்மவ நல்லோளும்
எம்ம மும் ஏற்றுப் புகழ்கின்ற
எத் மனதயோ ஆயிெம் கவிம
மநய்தவோரும்
புத் ோமட அமனத்துக்கும்
வித் ோக விளங்கும் மமோழி
மசம்மமோழியோன மிழ்
மமோழியோம்…
Semmozhiyaana Tamizh Mozhiyaam
Semmozhiyaana Tamizh Mozhiyaam
The language used by
Kambar, his fellow men, and
the princess of poetry- Avvai,
Blaaze, Rayhanah : Kamba
our language accepts all
Naataaivarum Kavi Arasavai
religions and sing praises of
Nallaalum Yemmadhamum Yetrum
them, our language has
Pugal Endrum Yethanayo Aayiram
produced poets who write
Kavidhai Neivor Tharum Thadai
thousands of poems, our
Anaithukkum Vithaaga Vilangum
language is the basis that
Mozhi
weaves into every new cloth
we wear(every action we do,
It’s the basis of our life)
Nagoor Brothers : Semmozhiyaana
It is our language, Tamil
Tamizh Mozhiyaam
Language which is now a
Semmozhiyaana Tamizh Mozhiyaam
classical language
Semmozhiyaana Tamizh Mozhiyaam

அகமமன்றும் புறமமன்றும்
What is inside, what is
வோழ்மவ
outside; Our language
Dr. Bala Murali Krishna, Srinivas,
அழகோக வகுத் ளித்து beautifully presents to us(in
Chorus: Agam Endrum Puram
the right perspective), the
ஆ ி அந் மிலோது இருக்கின்ற Endrum Vazhvai Azhagaaga
meaning of life, our language
Vaguthalithu Aadhi Andam Illathu
இனிய மமோழி - is sweet and has no beginning,
Irukindra Iniya Mozhi Modhi
no end, it has grown close to
ஓ ி வளரும் உயிெோன Valarum
our hearts and become a part
Uyiraana Ulaga Mozhi Tham Mozhi
உலகமமோழி of our soul, it is a universal
Nam Mozhi Adhuve..
நம் மமோழி – நம் மமோழி – language, it is my language, it
is our language, that is
அதுதவ

46
 Shruti Haasan : Semmozhiyaana
Tamizh Mozhiyaam Tamizh Mozhi
Tamizh Mozhi Tamizh Mozhi Ya
Ghaa..
மசம்மமோழியோன மிழ் It is our language, Tamil
Language which is now a
மமோழியோம்… Chorus: Semmozhiyaana Tamizh
classical language
Mozhiyaam
Semmozhiyaana Tamizh Mozhiyaam
Semmozhiyaana Tamizh Mozhiyaam
Semmozhiyaana Tamizh Mozhiyaam

மிழ்மமோழி – மிழ்மமோழி – Chinnaponnu : Thamizh Mozhiyam

மிழ்மமோழியோம் Engal Thamil Mozhiyam

Thamizh Mozhiyam Engal Thamil
மிழ் மமோழியோம் – எங்கள் Its Tamil language, Our Tamil
Mozhiyam
language, Let it live forever,
மிழ் மமோழியோம் A.R.Rahman : Vazhiya Vazhiya Ve..
Tamil, Let it live forever
Thamizh.. Vazhiya Vazhiya Ve
வோழிய வோழியதவ… மிழ்
Vazhiya Vazhiya Ve... Thamizh...
வோழிய வோழியதவ… Vazhiya Vazhiya Ve

மசம்மமோழியோன மிழ் It is our language, Tamil

A.R.Rahman: Semmozhiyaana
Language which is now a
மமோழியோம்… Tamizh Mozhiyaam
classical language

Findings: The song is sung by 30 distinct artists. It makes extraordinary bounces from the old
style to rap, with an unstructured song, the applause for Tamil is richly sung. The melody shows
how in Tamil Nadu language is everything, it is trade, it is communication, it is politics, it is
entertainment and the language is Tamil. The accompanying stanzas demonstrate this.

47
Stanza 1:

Porrai Puram Thallzhi Porulai Podhuvaakave

Amaidhi Vazhi Kaatum Anbu Mozhi Ayyan Valluvarin Vaaimozhiyaam
Semmozhiyaana Tamizh Mozhiyaam
Meaning: Our Language taught us that we should push war and hatred to the backseat, and
making all the material wealth common to everyone, it is the oral language of our father valluvar,
It is our Tamil language which is now a classical language.
Findings: The above lines show how a language can make people push war and hatred aside and
the author says it is the language of the greatest poet Thiruvalluvar, and this language has
become a classical language.

Stanza 2:

Orrarivu Mudhal Aararivu Uyirinam Varayile Unarndhidum Udal Amaipai Pagairthu Koorum
Thozhgapugal Tolkappiyamum Oppatra Kural Koorum Uyar Panpaadu Olikindra Silamubum
Meghalayum Sindhamaniyudane Valayapathi Kundalakesiyumm

Meaning: From a single sensed organism to the six sensed organism, its character depicts the
body structure of them all. Ancient Tamil literature like the tholkappiyam, and the matchless
Thirukural, teach us a higher way of life.

Enchanting literature like such as silapathikaram, Manimekalai, Seevaka Sinthamani,

vazhayapathi and Kundalakesi.

Findings: The above lines talk about the ancient Tamil literature like Tholkapiyam, Thirukural,
Silapathikaran, Manimekalai, Seevaka Sinthamani, Vazhayapathi, and Kundalakesi. These are
the classical texts in Tamil.

Stanza 3:

Kamba Naataaivarum Kavi Arasavai Nallaalum Yemmadhamum Yetrum Pugal Endrum

Yethanayo Aayiram Kavithai Neivor Tharum Thadai
Anaithukkum Vithaaga Vilangum Mozhi

48
Meaning: The language used by Kambar, his fellow men, and the princess of poetry- Avvai, our
language accepts all religions and sing praises of them, our language has produced poets who
write thousands of poems, our language is the basis that weaves into every new cloth we
wear(every action we do, It’s the basis of our life)

Findings: The language is being glorified by the great poets Kambar and Avvaiyaar. It talks
about how the language accepts all the religions, respects them and praises them and does not
have any prejudices.

Stanza 4:

Agam Endrum Puram Endrum Vazhvai Azhagaaga Vaguthalithu Aadhi Andam Illathu Irukindra
Iniya Mozhi Modhi Valarum
Uyiraana Ulaga Mozhi Tham Mozhi Nam Mozhi..

Meaning: What is inside, what is outside; Our language beautifully presents to us(in the right
perspective), the meaning of life, our language is sweet and has no beginning, no end, it has
grown close to our hearts and become a part of our soul, it is a universal language, it is my
language, it is our language.

49
 DATA ANALYSIS AND INTERPRETATION

While Bollywood has been making films that advanced the ruling regime’s agenda like Uri. The
Tamil film industry has been doing the inverse. The opposition DMK has been able to
manufacture a mutinous, hostile Anti- Modi foundation in Tamil Nadu through financially
effective motion pictures like LKG, Joker, Mersal, Irumbuthirai, Tamil Padam 2, Natpe Thunai
2, Kaala, Sarkar, and Uriyadi. All these have a political, disorderly message, they bring up
veritable issues against the framework and add to the structure of an anti-Modi sentiment.

In Lalitha Gopalan’s words,” self-assertion of Tamil Culture has persistently interrogated the
centrifugal forces of Indian nationalism […] nowhere else in India has cultural nationalism
worked so successfully to dislodge upper caste hegemony, to carve out a non-Brahminical public
sphere.” This says that Tamil cinema has dismantled the hegemonic conception of the
postcolonial Indian nation and has established a Tamil cultural nationalism which is antagonistic
to the national imagery.

From the quantitative analysis we can conclude that the greatest buyers of films are between the
age of social events of 19 to 22. This is the age social affair of people that are entering or looking
for after school and generally have a huge amount of money and time near to which they
routinely spend on watching films.

During Jallikattu fights unconfirmed news that PETA was working with corporates and the
virtuoso behind this was to make the neighborhood dairy creatures cleared out and to get in A1
cows, were gotten or were, as it were, communicated to people. Did this news increase your
opposing vibe towards corporates? For this question 41% have addressed likely, 33% have
addressed truly, 18% have addressed No and 8% of individuals are uncertain. This
unsubstantiated news was broadcasted by numerous media stages and one of the tunes that made
direct reference was "Takkaru" by Hip Hop Tamizha. The accompanying verses from the song
"Takkaru" by Hip jump Tamizha were discharged during that time and we can perceive how they
denounce the boycott to be a consequence of international politics and business and how the
ignorance could land the Tamil people as refugees in their nation.

50
“Takkaru Takkaru” song by Hip Hop Tamizha.

Selected lyrics translation Meaning

We believe that the cows to be our
Maatta peththa pullaiya nenaikkirom
children
Idha kodumaiya seiyya eppadi manasu varum How could we treat them bad?
There is International politics behind
Idhan pinnae Ulla sarvadesa arasiyal
this
Viyabarathirkaga nadathidum veri seyal This is being done for business
Indha vilayattai thadai seithal naatu maadu If this sport is banned, the native cows
azhiyum will become extinct
Foreign company’s business will
Velinattu niruvangal viyabaram perugum
increase
Ignorant Tamizhian because of your
Ariyatha thamizha un ariyamai pizhaiyal
ignorant error
Un adaiyalam vizhundhaal If your Identity falls

nee medhuvaga azhivai Even you will go extinct slowly

Un adaiyalam vizhundhaal If your identity falls

un thai naatil In your mother country

neeyum oru agathiyai maariduvaai You will become a refugee

This is a blatant example of how Tamil nationalism is portrayed along with the fight against evil
corporates and how both are interlinked get an effect. According to the analysis half of the
individuals have said that films on Tamil nationalism are for commercial purposes, 19% think it
is for political promulgation, 13% think it is for Self publicity, while 18% of individuals are
uncertain. This shows individuals believe that there is a motivation behind everything, which
could be simply business or have major political plans behind them. 69% of the individuals have
said that there is an expansion in films depicting detestable corporates, 26% state no and 5%

51
answered maybe. These insights show that motion pictures depicting abhorrent corporates as
scoundrels have expanded in the ongoing years.

Ideological groups in Tamil Nadu have consistently battled against Hindi inconvenience for
political reasons making hostility with the Center. They depict that the Hindi burden would be a
risk to the Tamil language. 41% have said Yes, 28% state No and 31% don't affirm to both and
have addressed perhaps. Prime Minister Mr. Narendra Modi and his social occasion has
experienced some open animosity from the people of Tamil Nadu. With some impedance from
the state's local gatherings Tamil Nationalism has been promoted and has seen a climb since BJP
came into power. These were the facts found from the quantitative analysis. One movie and two
songs were then selected from this analysis and were used to perform the qualitative analysis
which goes as follows.

The movie selected was “Kaththi” directed by A.R. Murugadoss, it portrays the fight against a
corporate. Some facts derived are that the corporate villain in Tamil film is a rich, English
speaking, fair-skinned and on most occasions, presented as a playboy in a club, he is constantly
set in opposition to a nearby, darker looking, poor or jobless hero who puts him in place. The
corporate as an abhorrent substance who drains out the blood out of common people has become
a popular idea. Movies have begun this as a battle against private enterprise in an unobtrusive
manner. The prior motion pictures which depicted a solitary rich industrialist have moved to
corporate as a culture, portraying them as defective, presumptuous, flawed, arrogant and selfish.
After the Jallikattu protest, there is a tremendous romanticization of agriculture and an expanded
depiction of malevolence corporates in motion pictures and songs.

Three major themes are displayed in this movie, one is that the system was acting against the
individuals and was agreeable to the corporate, two the irresponsibility of media, three the
powerlessness to conflict with the framework settled on the farmers take an extreme choice
which was the main alternative accessible that was suicide. We can see plenty of examples where
the framework neutralizes or scares the individuals, this can be seen when the cop discourages
the individuals and says that in India nobody can do anything against an MNC, the following
case when the Judge board head Mr. Lakshmi Kumar makes a report for the MNC in the wake of
getting cash from them. This shows the provisos in the framework, The fundamental proviso was
how a detainee escapes from a state office and a kindred detainee is utilized to catch him.

52
Alongside the untrustworthiness of media is found in two significant occasions, first, when
Jeevanandam is captured and the townspeople needed to make a major move to earn
consideration, second when Kathir needs individuals to know about the circumstance, media
excuses the news as something without news esteem and further says that if somebody protests
before a collector's office it has a specific news esteem, if he sets himself ablaze, that has a
different worth, after he sets fire, it has another worth. This shows how the media needs mankind
and holds up till something significant occurs.

The last topic is the powerlessness of individuals to conflict with the framework made them
make a definitive stride of suicide. In the press meet scene, Kathir refers to in his discourse that
in India a farmer commits suicide every 30 minutes and this has been occurring throughout the
previous 10 years. The realities are unconfirmed however they show the sorry condition of the
farmers. This shows how corporates are portrayed demonically in movies.

The other two examinations were on the songs Azhaporan Tamilan and Semmozhi Manadu song
which depict Tamil Nationalism in full power. The only common factor in both the songs is how
the two of them celebrate Tamil. The former makes you pound your chest in pride and the latter
feels like the sweetness of nectar just entered your ears.

Azhaporan Tamizhan praises the foundation of the language and says that it was based on
affection and talks about its enormity and how just Tamil has the letter "zha", which is the crown
and brilliance of Tamil. While Semmozhi Mannadu melody acclaims Tamil for its extravagance
and investigates its advancement during the years and its capacity to adjust and remain within the
common man's grip without ceasing to exist and developing into the digital age

Hence motion pictures and songs have ended up being something other than what they should be.
Through the quantitative examination we can reason that they do influence individuals, through
the qualitative analysis we could see how they are done. Henceforth the research presumes that
Tamil movies and songs are made so that they impel sentiments of Tamil Nationalism and the
ongoing happenings like Jallikattu protest and Sterlite protest have made a trashed picture of
corporates and this is being utilized by filmmakers for their commercialization.

53
 APPENDIX: QUESTIONNAIRE
Cinema &Tamil Nationalism

This survey is being conducted for research purposes. It would be great if you could fill it for me,
it will take less than a minute. Thanks!
Required
1. What is Your age? *

2. During Jallikattu protests unsubstantiated news that PETA was working with corporates
and the genius behind this was to make the local dairy animals wiped out and to get in A1
cows, were gotten or were to a great extent broadcasted to individuals. Did this news
increment your antagonistic vibe towards corporates?*
Mark only one oval.

Yes
No
Probably
Undecided

3. Movies that promote Tamil Nationalism are made for *

Mark only one oval.

Commercial purposes
political propaganda
Self propaganda
Undecided

54
4. Do you think that in recent years there is an increase in movies portraying evil
corporates? *
Mark only one oval.

Yes
No
Maybe

5. Did Hindi imposition increase Tamil Nationalism *

Mark only one oval.

Yes
No
Probably

6. Did Jallikattu protests have a great impact on increasing feelings of Tamil nationalism in
you? *
Mark only one oval.

Yes
No
Maybe

7. When people speak/talk about Tamil Nationalism, which of the following do you
associate it with or what comes to your mind first? *
Mark only one oval.

Periyar
Bharathiyar
Ilayathalapathy Vijay
Hip Hop Tamizha
Other:

55
8. Did the Centre's action in Jallikattu protest, Sterlite protest and the 2015 floods increase
the animosity with the Centre? *
Mark only one oval.

Yes
No
Maybe

9. Do you think that there is a rise in Tamil Nationalism since BJP came into power?
Mark only one oval.

Yes
No
Maybe

10. The song which comes to my mind when people talk about Tamil nationalism *
Mark only one oval.

Tamizhanda- Hip Hop Tamizha

Semozhi Anthem
Azhaporan Tamizhan- Mersal
Tamizha Tamizha- Roja
Senthamizh naadu endrum Pothinile- Subramaniya Bharathi
Other:

11. My favorite film on the fight against evil corporates *

Mark only one oval.

Kaththi
Mersal

56
 Kaapan
Velaikaran
Thani Oruvan
Sangatamizhan
Hero
Boomerang
I prefer to not watch movies like this

12. Do you think the portrayals of Tamil nationalism and the fight against corporates in
movies and songs have an impact on the viewers? *
Mark only one oval.

Yes
No
Maybe

13. Finally! Tamil is *

Mark only one oval.

a language
a linguistic identity
an emotion

This content is neither created nor endorsed by Google.

Forms

57
Reference:

1. Shifting Identities and Changing Images in Tamil Cinema

Amutha Manavalan Asst. Prof. Department of Media Studies, Christ University

Dr. Shailashree B Associate Professor, Dept. of Mass Communication, Bangalore University

International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319
– 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 7 Issue 10 Ver.I ||October 2018 ||
PP 44-47 www.ijhssi.org 44 |

2. https://thewire.in/politics/tamil-nadu-politics-cinema

3. https://economictimes.indiatimes.com/news/elections/lok-sabha/tamil-nadu/how-

over-a-dozen-films-set-anti-bjp-mood-in-tamil-nadu/articleshow/68930754.cms

4.https://roundtableindia.co.in/index.php?option=com_content&view=article&id=9
544:agriculture-it-and-rise-of-tamil-nationalism&catid=119&Itemid=132

5. http://sensesofcinema.com/2006/film-history-conference-papers/transnational-

tamil-cinema/

6. Business of bollywood - Changing trends in Tamil film industry

economictimes.indiatimes.com

7. The suit-boot corporate villain of Tamil cinema: Will 'VIP 2' break away from

the caricature?

www.thenewsminute.com

8.A.R. Murugadoss’s Kaththi movie (2014)

9.https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&
ved=2ahUKEwjf97G0lcPoAhUHeisKHTBcA6gQFjACegQIBxAB&url=https%3A%2F%2Fen.
wikipedia.org%2Fwiki%2FKaththi&usg=AOvVaw1rM8ViSRhTaBaT-BdJzRza

58
10. https://paravutamil.wordpress.com/2017/12/09/aalaporaan-thamizhan/

11. http://www.lyricaldelights.com/2012/03/30/world-classical-tamil-conference-2010-
semmozhiyana-tamizh-mozhiyaam/

12. Aalaporaan Thamizhan song composed by A. R. Rahman, from the music album of Mersal.

13. "Semmozhiyaana Thamizh Mozhiyaam" alternately titled Tamil Meet Anthem, composed
by A. R. Rahman, penned by former Tamil Nadu Chief Minister M. Karunanidhi and performed
by several leading Tamil artists of over three generations.

59
60