In Intimate Visualities and the Politics of Fandom in India , Gerritsen explores the circulation of images of a movie star named Rajinikanth. Cities and towns in the south Indian state Tamil Nadu are consistently ornamented with huge billboards, murals and myriad posters featuring political leaders as well as movie stars. A selective part of these images is put up by their fan clubs. Tamil movie fans typically manifest themselves by putting up images of their star in public spaces and by generating a plethora of images in their homes. Gerritsen argues that these images are a crucial part of the everyday affective modes of engagement with family members and film stars but they are also symbolizing the political realm in which fans situate themselves. At the same time, Gerritsen shows how these image productions seem to concur with other visual regimes articulated in government restrictions, world class imaginaries and upper class moralities as presented on India's urban streets.
Professor Roos writes specifically, on Tamil Nadu.
Politics is a frequent topic of discourse among all people.
This drew me towards her work.
What is this work about?
This work is on social anthropology.
The work is technical filled with academic jargon.
So, if one wants to improve reading, understanding, writing skills.
I'd suggest spending time with various disciplines.
This work is a narrative of fans, fan-clubs, relationships, families, culture of politics in Tamil Nadu.
I credit the author for keeping names intact in the work.
I credit the author for working on Tamil Nadu.
What is inside this work?
This is the outline of the book:
Chapter 1: Keeping in control Chapter 2: Intimacy on display Chapter 3: Vexed veneration: the politics of fandom Chapter 4: Public intimacies and collective imaginaries Conclusion: Epilogue
The Work starts with Professor Roos’s visit to Pondicherry. She met, Thengai (coconut) Selvam, who was fan of Rajnikanth, and people in fan club.
Chapter 3: Vexed veneration: the politics of fandom
Chapter 3 has the meat of the book. It talks about detailed lives of people in Rajnikanth fan club. For someone, who has no idea of what is going on inside, this is a good read to help understand.
One would understand dynamics of social-interaction among lower socio-economic status of Tamil Society.
While, the West has guilt-law or strictly relationship that is influenced by Judeo-Christian influence.
Tamil Nadu has patron-client relationship, in which, loyalty is exchanged through relationship.
Many people from lower strata of society are part of fan club.
Fan Clubs are strictly hierarchical.
At times, they are rewarded later in life through Political posting.
Some want better education for their children, and get through this way.
What part do I like the most?
A glimpse of Conversation inside movie theatre in Tamil Nadu.
Person 1: The songs aren’t great, are they?
Person 2: No, mapila,but they’ll become popular over time. When we heard the Chandramuki songs for the first time, they were not at all good. Slowly they became very nice to hear. Our thalaivar’s [leader, name for Rajinikanth songs are always like that.
Person 1: Anyway, it does not look like Baadsha (Krishna 1995) or Annamalai (Suresh Krishna 1992), you know.
Person 2: No, no, don’t say that, we are in the middle of the film. Let the movie finish. Then you say what you think, okay?
Person 3: This guy is always like that. Let us see the whole movie and then we will talk about it.
Who should read this work?
Westerner who is interested in Tamil Nadu.
Tamil people who are interested in Political History.
Anyone who wants to be an expert in Tamil Nadu History.