1. D. Shanthini Sarah
Research Scholar & ASM, Gyan Vani FM
&
Dr.P.Govindaraju
Head - Department of Communication
Dean- Faculty of Arts
Manonmaniam Sundaranar University,

2.  “Films are all fictional, since the y all represent
something by means of signs , rather than presenting
what exist in spectators real time and space” Christian
Metz
 Create identity for any social creation
 Ideological construction
 Meaningful documents with the potential to yield rich
insights into the cultures and times in which they are
made
 Host of cultural idea and values at a hidden or
subconscious level

3.  1.5 million Transgender population
 ‘Hijiras’ , ‘Aravani’ or ‘Thirunangai’
 Gender identity crisis
 Hindu mythologies – Ardhariswara (Shiva &
Shakthi), Arjuna(Mahabharata), Mohini
(Vishnupurana)
 Tamilnadu as pioneer in inclusion at various levels
 Creating conducive environment

4.  How transgender are represented in Tamil Cinema?
 How does the transgender community receive the
images?
Hence the study objectives are
 To analyse the depiction of transgender characters
 To analyse the identity created for the community
through the images
 To analyse how the transgender identify themselves in
the films.

5.  Sex maniacs
 No morality
 Ridiculed in comedies
 Misfit to the society

6.  Semiotic analysis
Variables:
 Character
 Time and space given for them in the film
 Significance of the character
 Their relationship with other characters
 Shots
 Costume
 Music

13.  Reception analysis
 In-depth Interview
 Six Transsexuals
 The group composed of film maker, social activist,
writer, actress, etc.

14. Functionality in the narrative:
 Screen presence in the film is at least 20 minutes
 Characters were named (Eg: Karpooram in Vaanam)
 Significance of the characters in development of the story
Depiction of their relationships:
 “Guru –chela”- kinship
 Atleast four films depicted their relationships

15. Dialogues for social acceptance:
 Characters voice out their plight
 Represent the whole community
Carving out cultural identity:
 The shots of their festival (Thenavettu)
 Misrepresentation of their rituals (Kaanchana, a
song in Thenavettu)

17.  Fashion shows
 Double meaning dialogues
 Gaze

18.  Happy and satisfied with their portrayal
 Gained confidence
 Kaanchana film has given a poignant dimension to the
transgender community which has yielded them
respect
 Social Inclusion became a reality

19.  They felt, if the transgender characters which are
played by the male actors are replaced by the
transgender the nuances of their role could be met. For
example: Some of them felt that Sarath Kumar playing
the Kaanchana role was more masculine than being
feminine
 They feel happy on seeing the transgender getting
married in Narthaki film, as the transgender crave for
marital relationship

20.  Viruthagiri has threatened the community who felt
more insecure because the film which has transgender
falling as victims of the kidnappings for organs.
 Though Narthaki captures the life of a transgender, the
culture and customs projected are not accurate

21.  Create awareness
 Stereotypes should be avoided
 Empathize rather than sympathize
 Sensitive treatment rather than sensationalizing