Representation of Marginalization in Indian and Iranian Cinema

Representation of Marginalization in Indian and Iranian Cinema

Chandrakant Goutam Kamble (Symbiosis International University (Deemed), India)
DOI: 10.4018/978-1-7998-3511-0.ch014


Cinema is a reproduction of reality, and it cannot separate from real life. Cinema as art can break social, cultural, and languages barriers. India is rich in cinema culture, accommodating several films in regional language. Marathi cinema, one among several local cinemas, has its own space and remains an attraction among the audiences. Starting its journey from Shree Pundalik directed by Dadasaheb Torne to Naal directed by Sudhakar Reddy, the cinema attempts to send social messages on varied subjects. However, a particular cinema depicting the issue of marginalization remains critical. It is the Marathi cinema that sincerely attempts to describe the problems of marginalization. The cinema Fandry (2014) directed by Nagraj Manjule tries to represent caste discrimination, Dalit, and marginalization. It is not the Indian cinema only, but rather cinema worldwide has been serving the issues of marginalization to break the social and economic barrier.
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Similarities Between Baran And Fandry

The following sequences have been studied and analysed to study the commonalities between these two films -Fandry and Baran. In the commonalities and similarities, factors such as a teenage protagonist, natural feelings of love, social system, unexpressed feelings of love, life struggle of the characters, the lives of the characters have studied.

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