Significance of Imageries in the Malayalam Film Guru (A Content Analysis)

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1 Significance of Imageries in the Malayalam Film Guru (A Content Analysis) Maneesha Ashok Amrita University, Coimbatore, Amrita School of Arts and Sciences, Kochi, Kerala, India Abstract: This comprehensive study explores the signification of imageries in the Malayalam film Guru by Rajeev Anchal. The purpose of this study is to find out the connotative meanings of imageries, religious and cultural significance of dress codes. A Content analytical study is used to find out signification of imageries and codes. Guru is a Film by Rajeev Anchal is about communal harmony and religion. The message of the movie is universal and opens the viewer s eyes to truth that lie. Keywords: imageries in Malayalam film, guru film study, story -telling imageries guru, cultural imageries guru. 1. INTRODUCTION Cinema is a social communication. It can by-pass the traditional socializing agencies such as the school, the religious institution, and parents, and can establish a direct contact with the individual. Guru, a Malayalam film by Rajeev Anchal is a surrealistic movie, which takes you on a fantasy trip and uses metaphors to convey a message. This film was made in 1997, post Babri. If the wish is to become true 'India first needs to be communal-riot free. So it can be a guru of secularism to the world. This film has two stories. The second story if the story with in the story. And in the second part, there are many signs and symbols which deliver the message.film's disclaimer says "this movie intended at avoiding a great tragedy tomorrow and to hold-mirror to human conscience. Unlike most movies which tell one story, this uses another story, a parable to reinforce the message. It is no secret that the movie attacks blind faith, ignorance, meaningless rituals in religions. Synopsis of the film Guru: The story starts in a small peaceful village in Kerala, India. There is peace between the Hindus and the Muslims that live there. They all get along like family. Reghuraman is the son of the local Hindu temple's priest. When ambitious politician's goons disguised as Muslims causes trouble at the local temple, tensions breakout between the two communities. The tensions soon flames into a religious riot. Muslims and Hindus began killing each other. Reghuraman joins Hindu gang which is about to attack a group of Muslims who have taken refuge in a Guru's as ram (A place where a holy guru lived and world experience in the asram. He at a point Reghuraman has an out of the world-experience in the asram He is taken to a world where everyone is blind and where people do not believe in the sense of sight They actually believe it as a sin to think that there is a thing called sight. Their kids are taught that there is no world of sight. When Reghuraman tries to tell that there is a world of sight and that he can see, they don't believe him. They consider him evil because he can do things that they can't. Reghuraman eats a common fruit, that they have in that land. He finds out the hard way that this tasty addictive fruit is the cause of their blindness. Now that he is blind, and helpless. The king soldiers, whom he had evaded before because of his sight, captures him. The king, sentences him to death by drinking the extract from the seeds of the same fruit, that made him blind. This form of punishment has never been given to anyone before. The seeds of the addictive fruit that Reghuraman eats is considered to be fatally poisonous. After the soldiers carry out the sentence he is left to die. But instead he see that his blindness is cured by the seeds extract. He is brought back into the normal world by the Guru s spirit. Reghuraman realizes that his thirst for revenge is a sin. He stops the riot gang's plan to kill the Muslims by blasting a bomb. Page 312

2 Media Semiotics: An introduction, Jonathan Bignell: 2. REVIEW OF LITERATURE Jonathan Bignell analyses different media semiotically. He considers media in a broader sense of the term. Media refer more widely to all these things which are channels for communicating something. The book deals with the semiotic approach by conducting analyses of recent material in the media of advertising, magazines, newspapers, television and cinema. These analyses are used to introduce, discuss and evaluate semiotic methods, and to show how this method can be extended by other approaches. Christian Metz (1974) as quoted by Jonathan Bignell, described cinema as a signifying practice, a way of making meanings in which different codes interact in films or film genres in particular ways. Some of these codes were seen as specific to cinema, like editing, lighting, monochrome or colour. Colour and composition. Others derive from other media from social life in general, like dialogue, characterization, gesture and facial expression and costume. Umberto Eco (1977) extended Metz's consideration of codes. He argued that, far from cinema using fragments of reality in order to build its representations; all images require the operation of cultural codes in order to signify. Eco believed that conventions embedded in society were the precondition for signification. 3. METHODOLOGY Research studies concerning cinema most frequently use content analysis. Content analysis is popular with mass media researchers because it provides an efficient way to investigate the content of the media. The sampling procedure used in this study is purposive sampling. The purposive sampling is also called judgment sampling. I purposive sampling, a sample is chosen which is thought to be typical of the universe with regard to the characteristics under considerations. In this study Rajeev Anchal's film Guru is taken as a sample. Guru is a film which has imageries and connotations. Other films of Rajeev Anchal are not considered in this study because they are symbolizing personalities and personal imageries, which has no connotation but has only denotative meanings. Walizer and Wienir (1978) defined Content analysis as : any systematic procedure devised to examine the content of recorded information. Advantages of content analysis: Content analysis procedure operates directly upon transcripts of human communications. The best content analytical studies utilize both quantitative and qualitative aspects on text. Thus, content analysis combines what are usually thought to be aesthetical modes of analysis. Documents of various kinds exist over period of time. This research is intended to study the signification of the imaginaries in the film Guru directed Rajeev Anchal. It is analysed both visually and thematically to arrive at valid conclusions about the analysis, under consideration qualitative analysis was employed because the characteristics of the study were immesurable. The unit of analysis includes shots, scenes and dress codes. 4. DATA ANALYSIS AND INTERPRETATION It is found that four, story-telling imageries in the Malayalam film Guru have connotative meanings. The major storytelling imageries in the film are, Reghuraman is a rebel to religion, Reghuraman is a rebel to politics, Swamini is a symbol of serenity and mad man is a symbol of a man walking towards wisdom. Most of the stories telling imageries in the film have connotative meaning. 1. Reghuraman is reffered as rebel to religion: The introduction of reghuraman is established through some dialouges. Example: Says I don t want to be a Brahmin I want to be a human being. He also says that there is no use in religious practices hence; it is proved that he is a rebel to religion. Page 313

3 2. Reghuraman is reffered as rebel to politics: He says to the politician that he is a postgraduate in politics. There is no use in Practicing politics because lots of people are suffering with different problems like Unemployment, poverty etc.in other scene where religion has been used for political benefits, Reghuraman identifies the tricks of politics and tries to prevent the riot. Hence it is proved that he is rebel to politics. 3. Swamini as a symbol of serenity: Swamini white dress indicates that she is very simple.she has the ability to read the mind of others. She introduces her as pitrusudhivrathiya guru parambarayile kanniyaanunjan. It is this swamini who identifies Reghuraman as a member of the chaverpada. Through her insight. Hence it is proved that she is a symbol of serenity. 4. Mad man as a symbol of man who is travelling towards wisdom: At the time of riot, a Mad man came to the scene with ragged clothes.hesaid to the scene with ragged clothes. He said to the humanity kannukaanathemakkale Eelokamiruttanumakkale.. Again he said. choramanthunna DaivamPrakunnu When reghuraman tries to escape from holy asram, That mad man again came to the Scene and said Iruttinteraajyatheraajaavvannaal Pakalintekasalathkaryamilla Kaakakalmoongayekothithurathum... From the above dialogues mad man has some sort of insight. Even though he has some ragged clothes hair and looks like Most of the story-telling imageries in the film have connotative meanings. Sl No Story telling imagery Connotation 1 Reghuraman and religion Reghuraman is a rebel to religion. 2 Reghuraman and politics Reghuraman is a rebel to politics. 3 Swaminis portrayal Swamini as the symbol of serenity. 4 Portrayal of mad man Mad man as a symbol of man who is travelling towards wisdom. Film codes are Self Explanatory: 1. Llama fruit is a symbol of religion: A key element in the fantasy story is the favoured food of that people - the llama fruit. The myth behind llama fruit is its juice is the secret of the people's strength. And they give the juice to the new born babies. They also believe that its bitter seeds cause death. But Reghuraman finds out that ilama fruit is what causing them to go blind as every new born in given its juice. Reghuraman also experiences that the bitter seeds of ilama fruit can restore sight. The parable of ilama fruit and the country of blind is a mirror parable - for we see ourselves in the story. The parable of ilama fruit explains perfectly how the very religious that had to spread love among people, end up spreading hatred and divide people - due to misinterpretation. Not only this, the parable can be used to explain any social evil. Hence it is proved that the codes of ilama fruit are self-explanatory. 2. The country of blind is a developed country: The illuted world of Reghuraman or the country of blind indicates that it is a developed community, as they have security systems based on sound. They have religious evolution theories, they have education and science. They have entertainments; they used different types for different class of people. Hence it is proved that this code is self explanatory. Page 314

4 3. Kankanithara as a symbol of the walls of religion: In the world of blind, Reghuraman is being punished by the King, Vijayanthan. And the King gave him a chance to prove his ability to see. Without touching, smelling or hearing any sound he had to identify who is there in front of him. Ad Reghuraman saw only a wall in front of him. And he said that to the King. In his world, the wall of religion become an obstacle in the way to God. Likewise this Kankanithara becomes an obstacle to reach the truth. And Reghuraman failed in that experiment. Hence it is proved that the code of Kankanithara is self explanatory. 4. VijayanthaMaharajav is a symbol of humanity who lost insight: When the low class community of the country of blind gets the ability to see, they started to attack the king. Then Reghuraman said to the people that, the king is a symbol of humanity who has lost their insight for centuries. In the sighted world the walls of religion are blocking people from reaching god, just as in the country of blind lack of slight preventing them from life and truth.reghuraman also said that the king has lost his inner sight as well as his ability to realize the truths. So it is proved that the code of VijayanthaMaharajav as a symbol of humanity who has lost his inner sight. Most of the codes are self explanatory. Sl.No Imagery Self Explanatory 1. Illama fruit Illama fruit is a symbol of religion. 2. Country of blind Country of blind is a developed country. 3. Kankanithra Kankanithra as a symbol of the walls of religion. 4. VijayanthaMaharajav VijayanthMaharajav as a symbol of humanity who lost insight. Total Number of major film Codes = 4 Total Number of Self explanatory Film codes = 4 Hence it is Proved Correctly Most Number of dress codes are religiously and culturally significant. Sl.No Character Dress Code Significant 1. Hajiyar Muslim cap shawl and beard This dress code is significant religiously. Because this type of dress code is used to signify Muslim characters, hajjiyars, in film, dramas, cartoons and illustrations. It has been used for the very beginning of Malayalam performance industry. Hence it is religiously significant. 2. Reghuraman s White Mundu, This dress code is for Brahmins,Especially for the priest in Father Poonool and temple. So this code is religiously significant. vermilion 3. Reghu s Mother Settumundu Settumundu is atraditional Hindu dress code for Brahmins or Hindu Women. So this is religiously significant. 4. Reghuraman as a tourist guide Jeans, Shirt and a cap This dress code is culturally significant as he represents the educated, under-emlpoyed youth of kerala(1990 s). 5. Reghuraman as KaviMundu Kavimundu is religiously significant. Kavimundu is a common a member of dress in Hindu religion and has been used in films, dramas etc. To suicide squad express the character s deep rooted Hindhuistfeelings. 6. Reghuraman in the illuted world Jute sack dress,cap of the lower comunity This dress code shows the culture of the illuted world. And he is getting adopted to the world. So this dress code change is culturally significant. It is clear from above findings that the most number of dress codes of the major characters of the film are culturally or religiously significant.hence it is proved. Most number of dress codes of major characters in the film are religiously significant. Page 315

5 Sl.No. Characters Significance 1. Hajjiyar Religious significance 2. Reghuraman s Father Religious significance 3. Reghuraman s mother Religious significance 4. Reghuraman as tourist guide Cultural significance 5. Reghuraman as chaver Religious significance 6. Reghuraman in the illuted world Cultural significance Total number of major dress codes = 6 Total number of religiously significant dress codes = 4 Total Number of culturally significant dress codes = 2 Total = 6 Hence it is proved correctly. The study explores the religious or cultural significance of a dress of the major characters. In this film, It is found that dress codes have religious significance Hajjiyar, Reghuramn father, Reghuramn s mother and Reghuraman as chaver are the four religious significant dress codes.in this film two dress codes have cultural significance. They are; Reghuraman as tourist guide and Reghuraman in the country of blind. The major self-explanatory imageries are analysed. Four major imageries are Ilama fruit, Kankamthra, Vijayantha Maharajav and the country of blind. The illama fruit is a symbol of religion. Kankanithara is a symbol of the walls of religion. The imagery of the country of blind explains that it is a developed country. The imagery of Vijayantha Maharajav explains the symbol of humanity who lost insight. 5. CONCLUSION It is found that there are two types of imageries in the film Guru by Rajeev Anchal. They are film imagery and story telling imagery. Most of the story telling imageries in the film have connotations and the major film imageries in the film are self explanatory. The Study explores the religious or cultural significance of the dress codes of major characters. In this film, It is found that the dress codes of major characters are either religiously or culturally significant. A socio-linguistic study can delineate the different aspects of the language used in the film with respect to the social settings. For language assumes a greater role as it can signify the social system which it has developed. So the linguistic approach can analyse the images in the film Guru. Limitations of the study: The study considers only 3 aspects in the film. They are: connotations of image meanings, dress code of the characters, and the self explanatory codes. There are other aspects of the film which are not considered by the study, like camera movements, lighting, character study, camera shots etc. This study takes only one film directed by Rajeev Anchal. So a generalization is not possible. But this film is important as it has been discussed for its rich symbolization of imageries. But, the restricted number is a limitation. ACKNOWLEDGEMENT I would like to express the deepest appreciation and gratitude to my guide Vidya Lakshmi (Asst.professor of Visual Media Department Amrita school of arts and sciences, kochi) who has the attitude and the substance of a genius: She continually and convincingly conveyed a spirit of adventure in regard to research and dissertation, and an excitement in regard to teaching. Without her guidance and persistent help this dissertation would not have been possible. Page 316

6 I thank library assistants and all the staff of Amrita School of Arts and Sciences, Kochi for their valuable advice and support in doing this research. I extend my gratitude to my parents, family members and friends without whom this research was impossible. Books: REFERENCES [1] Bignell, J. (1997). Media Semiotics An introduction.manchester University Press. [2] Monaco, J. (2000). How to read a film: The world of movies, media, and multimedia : Language, history, theory (3rd ed.). New York: Oxford University Press. [3] Watson, J. (1998). Media communication: An introduction to theory and process. Houndmills, Basingstoke, Hampshire: MacMillan Press. [4] Wimmer, R., & Dominick, J. (1994).Mass media research: An introduction. Belmont, Calif.: Wadsworth Pub. Websites and links: [5] All Academic, Inc. Abstract Management, Conference Management, Research Search Engine. [6] (2009, February 14). Retrieved November 7, 2014, from [7] (2009, January 6). Retrieved November 17, 2014, from [8] Rediff.com - India, Business, Stock, Sports, Cricket, Entertainment, Bollywood, Music, Video and Breaking news, Rediffmail NG, Shopping. (1998, March 16). Retrieved December 2, 2014, from [9] Guru.(n.d.). Retrieved December 19, 2014, from [10] Guru -Malayalam Movie.(n.d.).Retrieved December 29, 2014, from Malayalam-Movie-review-lrmonqtsmm. [11] Page 317