Swarnavel Eswaran Pillai
Biographic Data
| ID | 5936168 |
|---|---|
| NAME | Swarnavel Eswaran Pillai |
| GIVEN NAMES | Swarnavel Eswaran |
| FAMILY NAME | Pillai |
| SIGNATURE | PILLAI S E |
| AFFILIATIONS | Michigan State University |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Intersectionalities in popular Hindi cinema
Cinematography and the poetics of 1950s Tamil cinema
This essay engages with the work of the iconic Tamil cinematographer of the 1950s Maruthi Rao, and his seminal films Paraskathi/Goddess (R. Krishnan and S. Panju, 1952) and Andha Naal/That Day (S. Balachandar, 1954), in order to analyze the ways in which Rao’s aesthetic was shaped by his training and experience in the South Indian film industry, particularly the AVM Studio, one of the few major Madras studios still active today.1 Goddess is a fil…
Tamil comics
This essay focuses on the revival of Tamil comics mainly through a community of ardent fans and/or collectors during the last four years, by analyzing the blog by S. Vijayan, http://lion-muthucomics.blogspot.com, presently the editor of Lion and Muthu Comics. His father M. Soudrapandian founded Muthu Comics in 1971 which revolutionized the circulation of comics in Tamil Nadu and among the Tamil-speaking population in India and abroad. Most of the…
Saving Capitalism from the Capitalists
Introduction: Defending Capitalism Against the Privileged Profitable Capitalism and Rising Mass Incomes Stratification Without Transition to Capitalism and the European Distinctiveness Pre-capitalist Origins of Culture: The A-cultural Character of Capitalism and the Cultural Turn The Nature of Capitalism Globalisation and Its Contradictions Alliances for Imposing Capitalism: The Globalisation of Profit Against the Globalisation of Rent An Interna…
The 1970s Tamil cinema and the post-classical turn
This paper explores the way significant Tamil films of the 1970s were distinct from most of the films made by and largely in the major Madras studios – Modern Theaters, AVM, Gemini, and Vijaya-Vauhini – during the earlier decades. It interrogates the seminal moment in the history of Tamil cinema when films such as Aval Appadiththan (1978), Agraharathil Kazhuthai (1978), 16 Vayathiniley (1977) and Uthirippookkal (1979), marked by ambiguous and dar…
No prominent works on this page.
The 1970s Tamil cinema and the post-classical turn
This paper explores the way significant Tamil films of the 1970s were distinct from most of the films made by and largely in the major Madras studios – Modern Theaters, AVM, Gemini, and Vijaya-Vauhini – during the earlier decades. It interrogates the seminal moment in the history of Tamil cinema when films such as Aval Appadiththan (1978), Agraharathil Kazhuthai (1978), 16 Vayathiniley (1977) and Uthirippookkal (1979), marked by ambiguous and dar…
Saving Capitalism from the Capitalists
Introduction: Defending Capitalism Against the Privileged Profitable Capitalism and Rising Mass Incomes Stratification Without Transition to Capitalism and the European Distinctiveness Pre-capitalist Origins of Culture: The A-cultural Character of Capitalism and the Cultural Turn The Nature of Capitalism Globalisation and Its Contradictions Alliances for Imposing Capitalism: The Globalisation of Profit Against the Globalisation of Rent An Interna…
Tamil comics
This essay focuses on the revival of Tamil comics mainly through a community of ardent fans and/or collectors during the last four years, by analyzing the blog by S. Vijayan, http://lion-muthucomics.blogspot.com, presently the editor of Lion and Muthu Comics. His father M. Soudrapandian founded Muthu Comics in 1971 which revolutionized the circulation of comics in Tamil Nadu and among the Tamil-speaking population in India and abroad. Most of the…
Cinematography and the poetics of 1950s Tamil cinema
This essay engages with the work of the iconic Tamil cinematographer of the 1950s Maruthi Rao, and his seminal films Paraskathi/Goddess (R. Krishnan and S. Panju, 1952) and Andha Naal/That Day (S. Balachandar, 1954), in order to analyze the ways in which Rao’s aesthetic was shaped by his training and experience in the South Indian film industry, particularly the AVM Studio, one of the few major Madras studios still active today.1 Goddess is a fil…
Intersectionalities in popular Hindi cinema
History (4 works) · History (4 works) · Art (3 works) · Art history (3 works) · Literature (3 works) · Movie theater (3 works) · South Asian Cinema and Culture (3 works) · Tamil (3 works) · Cinema and Media Studies (2 works) · Law (2 works)