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Swarnavel Eswaran

Biographic Data

ID1356341
NAMESwarnavel Eswaran
GIVEN NAMESSwarnavel
FAMILY NAMEEswaran
SIGNATUREESWARAN S
AFFILIATIONSMichigan State University
VERIFIEDNo
TOTAL WORKS5
TOTAL CITATIONS0
WORKS AS AUTHOR5
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2017
LATEST PUBLICATION YEAR2026
H-INDEX0
  • The Genre Question

    Open Access•B Geetha, Swarnavel Eswaran•ARTICLE•South Asian Review•2026

    As soon as genre announces itself, one must respect a norm, one must not cross a line of demarcation, one must not risk impurity, anomaly, or monstrosity.Jacques Derrida, “The Law of Genre” (1980

  • Reading Mysskin’s Serial Killers Through Bataille and the Buddha

    Open Access•Swarnavel Eswaran•ARTICLE•South Asian Review•2026

    This essay analyzes Mysskin’s films Onaayum Aattukkuttiyum (2013) and Psycho (2020) through the philosophical lens of Georges Bataille, particularly his theories of transgression, sacrifice, and the sacred. It argues that Mysskin’s serial killers embody Bataillean figures who rupture societal taboos, seeking a form of continuity or sacred experience through extreme violence, consequently challenging normative perceptions of morality and order. Br…

  • Tirunelveli, touring talkies and tent cinemas

    Open Access•Swarnavel Eswaran•ARTICLE•South Asian History and Culture•2025

  • Maadathy-An Unfairy Tale

    Open Access•Swarnavel Eswaran•ARTICLE•CASTE / A Global Journal on…•2022

    This essay engages with Maadathy (dir. Leena Manimekalai, 2019) to explore how space is constructed as a marker of caste and interrogate the concomitant intersection of caste and gender in a divided community. Through the retooling of myth, Maadathy explores the horror at the heart of a patriarchal society that is invested in caste as a means of oppression, violence, and inequity. However, such a perverse agenda comes back to haunt the community,…

  • Periyar as a Biopic

    Swarnavel Eswaran•ARTICLE•Biography•2017

    This essay engages with the biographical picture Periyar (2007) to analyze how history is represented through the life of one of the most significant revolutionary figures in Indian politics of the last century. It explores the representation of Periyar through the persona of Sathyaraj, a leading star of Tamil cinema, and analyzes the episodic structure of the film to study the strength and weaknesses of making a biopic on the life and times of a…

No prominent works on this page.

  • Periyar as a Biopic

    Swarnavel Eswaran•ARTICLE•Biography•2017

    This essay engages with the biographical picture Periyar (2007) to analyze how history is represented through the life of one of the most significant revolutionary figures in Indian politics of the last century. It explores the representation of Periyar through the persona of Sathyaraj, a leading star of Tamil cinema, and analyzes the episodic structure of the film to study the strength and weaknesses of making a biopic on the life and times of a…

  • Maadathy-An Unfairy Tale

    Open Access•Swarnavel Eswaran•ARTICLE•CASTE / A Global Journal on…•2022

    This essay engages with Maadathy (dir. Leena Manimekalai, 2019) to explore how space is constructed as a marker of caste and interrogate the concomitant intersection of caste and gender in a divided community. Through the retooling of myth, Maadathy explores the horror at the heart of a patriarchal society that is invested in caste as a means of oppression, violence, and inequity. However, such a perverse agenda comes back to haunt the community,…

  • Tirunelveli, touring talkies and tent cinemas

    Open Access•Swarnavel Eswaran•ARTICLE•South Asian History and Culture•2025

  • The Genre Question

    Open Access•B Geetha, Swarnavel Eswaran•ARTICLE•South Asian Review•2026

    As soon as genre announces itself, one must respect a norm, one must not cross a line of demarcation, one must not risk impurity, anomaly, or monstrosity.Jacques Derrida, “The Law of Genre” (1980

  • Reading Mysskin’s Serial Killers Through Bataille and the Buddha

    Open Access•Swarnavel Eswaran•ARTICLE•South Asian Review•2026

    This essay analyzes Mysskin’s films Onaayum Aattukkuttiyum (2013) and Psycho (2020) through the philosophical lens of Georges Bataille, particularly his theories of transgression, sacrifice, and the sacred. It argues that Mysskin’s serial killers embody Bataillean figures who rupture societal taboos, seeking a form of continuity or sacred experience through extreme violence, consequently challenging normative perceptions of morality and order. Br…

South Asian Cinema and Culture (5 works) · Art (3 works) · Literature (3 works) · Sociology (3 works) · Aesthetics (2 works) · Cinema and Media Studies (2 works) · Law (2 works) · Movie theater (2 works) · Political science (2 works) · Politics (2 works)

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