Latest news with #KRNarayananNationalInstituteofVisualScienceandArts
New Indian Express
2 days ago
- Entertainment
- New Indian Express
'I don't agree with the ‘after me, deluge' attitude,' says KRNNIVSA director Jijoy Rajagopal
Jijoy Pulickal Rajagopal wears many hats — actor, international theatre performer, educator, and currently, director of the K R Narayanan National Institute of Visual Science and Arts (KRNNIVSA). Known for his deep engagement with performance and pedagogy, he has been at the forefront of shaping serious film education in the country. In this conversation with TNIE, Jijoy reflects on the significance of the first Kerala Film Policy Conclave, the evolving culture at KRNNIVSA, and the urgent need for inclusivity and reform in film education. He also shares his thoughts on Adoor Gopalakrishnan's recent remarks and why sensitivity to history, caste, gender, and class matters more than ever in cinema. The first Kerala Film Policy Conclave is considered a step towards framing a comprehensive policy for the Malayalam film industry. As someone who participated in it, how do you see this initiative? What impressed me was that the conclave created space for many small organisations. I saw them stand up and speak about their issues, and everything they said was true. Ours is a society still grappling with power, gender, class, and caste inequalities. For the first time in the history of Malayalam cinema, voices from the bottom of the ladder were heard. I believe Malayalam cinema cannot move forward without remembering what happened in this conclave. If these discussions are included in the policymaking process, it has the potential to bring both professionalism and quality to the industry. The government and other related bodies must use this opportunity wisely. In the concluding session of the conclave, Adoor made comments about KRNNIVSA, calling the protest that happened during his time unnecessary and implying he was unaware of the institute's current state. As the director, how do you respond? For the first time, we filled all 60 seats in the institute. Earlier, students often preferred FTII or SRFTI. Among those enrolled now, we have eight women and 11 students from outside Kerala. Many have had their works selected for international festivals, a first for the institute. Last year alone, we spent around `2 lakh on submitting student films to film festivals. And we received over `3 lakh in returns. This way, we are trying to give our students as much exposure as possible. We organise campus tours for school students. We are planning short courses and film camps for shelter homes, migrant labourers and many other sections of society. As for Adoor Sir's remarks, I don't consider anyone superior or inferior. We respect everyone. We are not claiming to have invented anything new. The path was already there. That said, I find it hard to accept the 'after me, the deluge' attitude. Everything is going well here. Perhaps he is not aware of the developments due to age-related limitations or a lack of updated information. We also have not had the opportunity to explain it to him, and I would genuinely welcome that chance. He is someone who has made remarkable films. Adoor also made some remarks on caste and gender. What's your take? KRNNIVSA offers six courses with 10 seats each — that's 60 students per batch, and the course runs for three years. With three batches on campus and three graduates, we have had six batches so far. Across all those batches, only one student has been from a Scheduled Tribe background. This is something we must reflect on. Why are we failing to reach marginalised communities? That one tribal student performed exceptionally well, and his films were screened at international festivals. There are 36 tribal languages and many more communities. If they begin telling stories through cinema, we will gain entirely new perspectives. Also, we live in a patriarchal society. That's a reality we must acknowledge. Consequently, the number of women filmmakers is very low. We must create space for the female gaze. Representation matters, and to achieve at least 50% representation, we must offer free education to women. We must also ensure that people from the LGBTQIA+ community are represented. Until adequate representation is achieved, it is essential to provide substantial support and benefits. We must approach caste, religion, and gender with more sensitivity and humanity. We must interpret everything through the lens of history. Often, we go wrong in this regard. No matter how accomplished someone may be in their field, such remarks sometimes reveal a lack of awareness in other important areas.
Indian Express
3 days ago
- Entertainment
- Indian Express
Adoor Gopalakrishnan in hot water over comments ‘criticising' Kerala govt's project funding SC/ST, women filmmakers: ‘Don't give funds just because they are women'
Veteran filmmaker Adoor Gopalakrishnan has found himself embroiled in controversy after allegedly criticising the state government's project offering financial support to prospective filmmakers from marginalised sections. His remarks purportedly disparaging the students' protest against casteism at the KR Narayanan National Institute of Visual Science and Arts, which led to Adoor's resignation from the position of its chairman, have also kicked up a row. 'I have not yet made a film [that cost] beyond Rs 2 crore, yet the government is giving Rs 1.5 crore to SC/ST filmmakers. This would pave the way for corruption, I had warned them, but there is still no change. The intention may be good, but the filmmakers need months of intense training before they make films,' said Adoor at the concluding ceremony of the film policy conclave in Thiruvananthapuram on Sunday. He also called upon the authorities to reduce the amount to Rs 50 lakh instead of the current Rs 1.5 crore. 'All of the filmmakers selected through the project have complaints. They think they can just take the funds and go to make their films. They should be told that these are public funds. The amount given should be reduced so that they know all the difficulties of making a film. These funds are not for making commercial films or superstar films; it is for making good cinema. The same goes for women. You don't just give funds because they are women; they should also be trained,' he added. Although Adoor Gopalakrishnan's remarks quickly invited protest from some audience members, such as Dalit singer Pushpavathy, the filmmaker continued with his address and went on to make some more controversial remarks, this time about the protests that happened at the KR Narayanan Institute in 2023, alleging caste discrimination and torpedoing of reservation norms in the admission process. While the agitations led to the institute director, Shankar Mohan, and the chairperson, Adoor, stepping down from their respective posts, the filmmaker recently claimed that the entire episode hampered the institute's development forever. Dubbing it as an 'ugly strike' that erupted while the institute was poised to become one of the best in the country, Adoor said, 'Almost all heads of departments resigned and left. No one knows how it is functioning today.' He also claimed that Shankar Mohan's only fault was 'trying to instill discipline', in/directly dismissing the allegations of caste discrimination against him. Nonetheless, the National Award-winning director's comments didn't go unanswered as Cultural Affairs Minister Saji Cherian categorically threw his weight behind the government project funding projects envisioned by filmmakers from marginalised sections. 'For 98 years (since the first Malayalam film was made), filmmakers from the SC/ST community had not got an opportunity to rise to the mainstream. And how many women have made films in Malayalam cinema? This is one of the best projects that the government has undertaken. The filmmakers were chosen after a committee of experts closely examined their work and found it meritorious. All the films that came out of this project have been exceptional. We also want to recognise and give space to the work of gender and other minorities, as well as people with disabilities,' he asserted. Singer Pushpavathy, Dalit writer and activist Sunny M Kapikad and many others have already stepped forward condemning Adoor Gopalakrishnan's statements that they deemed problematic. Maintaining that the filmmaker's views reflected the 'consciousness of the privileged class', Kapikad told news agency PTI, 'It's a sense of caste hierarchy that makes him say these things.' According to The Hindu, Dalit activist Dinu Veyil has filed a complaint against Adoor under the SC/ST (Prevention of Atrocities) Act. Renowned for crafting acclaimed films like Swayamvaram (1972), Kodiyettam (1977), Elippathayam (1981), Anantaram (1987), Mathilukal (1990), Vidheyan (1993) and Nizhalkuthu (2002), Adoor Gopalakrishnan is the second-most frequent recipient of the National Film Award for Best Direction, having won the honour five times.
