social media and new generation essay in malayalam

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ലോക സോഷ്യല്‍ മീഡിയ ദിനം: കുട്ടികളും ചെറുപ്പക്കാരും സുരക്ഷിതരോ, മാനസികാരോഗ്യം പ്രധാനം

ഇന്ന് ലോക സോഷ്യല്‍ മീഡിയ ദിനം, അതായത് ജനുവരി 30-നാണ് എല്ലാ വര്‍ഷവും ലോക സോഷ്യല്‍ മീഡിയ ദിനമായി ആചരിക്കുന്നത്. ഇന്നത്തെ കാലത്ത് സോഷ്യല്‍ മീഡിയ ഇല്ലാത്ത ഒരു ലോകത്തെക്കുറിച്ച് ആര്‍ക്കും ചിന്തിക്കാന്‍ പോലും സാധിക്കില്ല എന്നതാണ് സത്യം. അത്രക്ക് സ്വാധീനം ചെലുത്തുന്നതാണ് സമൂഹ മാധ്യമങ്ങള്‍. അതുകൊണ്ട് തന്നെ അതിന്റെ നല്ലതും ചീത്തയുമായ വശങ്ങളെക്കുറിച്ചും നാം അറിഞ്ഞിരിക്കണം. ഫേസ്ബുക്ക്, ട്വിറ്റര്‍, ഇന്‍സ്റ്റാഗ്രാം, ക്ലബ്ബ്ഹൗസ് തുടങ്ങി നിരവധി മാധ്യമങ്ങള്‍ ഇന്ന് കൊച്ചുകുട്ടികള്‍ക്ക് വരെ സുപരിചിതമാണ്. അതുകൊണ്ട് തന്നെ ഇന്ന് സമൂഹ മാധ്യമങ്ങളില്‍ ഒരു അക്കൗണ്ട് പോലും ഇല്ലാത്തവര്‍ വളരെ ചുരുക്കം മാത്രമാണ്.

പണ്ടുണ്ടായിരുന്നവയില്‍ ഓര്‍ക്കൂട്ട് ആയിരുന്നു ഏറ്റവും പ്രശസ്തമായത്. എന്നാല്‍ ഇന്ന് അതില്‍ നിന്നെല്ലാം വ്യത്യസ്തമായ നിരവധി ഓപ്ഷനുകള്‍ നമുക്ക് ഒറ്റ ക്ലിക്കില്‍ തന്നെ ലഭ്യമാണ്. എന്നാല്‍ ഓരോരുത്തരും ഉപയോഗിക്കുന്ന രീതി തന്നെയാണ് പലപ്പോഴും ഇതിനെ വ്യത്യസ്തമാക്കുന്നതും ഗുണങ്ങളും ദോഷങ്ങളും നല്‍കുന്നതും. ഒരു ക്ലിക്കിനപ്പുറം എന്തും കൈയ്യകലത്തില്‍ ലഭ്യമാവുമ്പോള്‍ അതിനെ വേണ്ട രീതിയില്‍ ഉപയോഗപ്പെടുത്തുന്നവരും അതല്ലാതെ മോശമായി ഉപയോഗപ്പെടുത്തുന്നവരും നമുക്ക് ചുറ്റും ഉണ്ട്.

സോഷ്യല്‍ മീഡിയയില്‍ ശ്രദ്ധിക്കാന്‍ സോഷ്യല്‍ മീഡിയ അഥവാ സമൂഹമാധ്യമം വളരെയധികം ശ്രദ്ധയോടെ കൈകാര്യം ചെയ്യേണ്ട ഒന്നാണ്. ബ്ലോഗിംങ്, വ്‌ളോഗിംങ്, വൈന്‍, സ്‌നാപ്പ് ചാറ്റ് തുടങ്ങി നിരവധിയാണ് ഇന്ന് സോഷ്യല്‍ മീഡിയയുടെ ഉപയോഗം. ഉപയോഗപ്രദമായ നിരവധി കാര്യങ്ങള്‍ സോഷ്യല്‍ മീഡിയയില്‍ ഉണ്ട്. ലിങ്ക്ഡ് ഇന്‍ പോലുള്ളവ നമ്മുടെ ജീവിതത്തില്‍ തന്നെ പലപ്പോഴും വന്‍ വഴിത്തിരിവുകള്‍ നല്‍കുന്ന ഒന്നാണ്.

സമൂഹ മാധ്യനത്തിന്റെ സ്വാധീനം സമൂഹ മാധ്യമത്തിന്റെ സ്വാധീനം ഇന്നത്തെ ചെറുപ്പക്കാരിലും കുട്ടികളിലുമാണ് ഏറ്റവും കൂടുതല്‍ ചെന്നെത്തുന്നത്. ഇത് ഇന്നത്തെ തലമുറയില്‍ ഉണ്ടാക്കുന്ന സ്വാധീനം എന്നത് ഒരിക്കലും ചെറുതല്ല. വരുമാന മാര്‍ഗ്ഗം കൂടി ലഭിക്കുന്നതിലൂടെ പല സമൂഹമാധ്യമങ്ങളും പലരുടേയും ജോലി കൂടിയായി മാറിയിരിക്കുന്നു. പുതിയ അപ്‌ഡേറ്റുളെക്കുറിച്ച് അറിയുന്നതിനും നമ്മുടെ അടുത്ത സുഹൃത്ത് ഇപ്പോള്‍ എന്ത് ചെയ്യുന്നു എന്നറിയുന്നതിന് വരെ സോഷ്യല്‍ മീഡിയയെ ആശ്രയിക്കുന്ന ഒരു തലമുറയും ഉണ്ടെന്നത് തന്നെയാണ് സത്യം. ദിവസവും ഒരു ഫോട്ടോയെങ്കിലും പോസ്റ്റ് ചെയ്യാതെ പലര്‍ക്കും ഉറക്കം വരില്ല എന്നതാണ് സത്യം. അത്രയധികം സ്വാധീനം ചെലുത്തിക്കഴിഞ്ഞു സോഷ്യല്‍ മീഡിയ നമ്മളില്‍ ഓരോരുത്തരിലും.

സോഷ്യല്‍ മീഡിയ എന്ന പവ്വര്‍ ശരിക്കും സോഷ്യല്‍ മീഡിയ നല്‍കുന്ന പവ്വര്‍ എന്നത് പലരേയും സ്വാധീനിക്കുന്നതാണ്. കാരണം ഇന്നത്തെ കാലത്ത് തന്റെ അഭിപ്രായങ്ങളും നിലപാടുകളും ആശയങ്ങളും തുറന്ന് പറയുന്നതിന് വേണ്ടി പലരും ആശ്രയിക്കുന്നത് സോഷ്യല്‍ മീഡിയയെ തന്നെയാണ്. അത്രയധികം മാറ്റങ്ങള്‍ സോഷ്യല്‍ മീഡിയ നമ്മുടെ ജീവിതത്തില്‍ കൊണ്ട് വന്നു എന്ന് തന്നെ പറയാം. മാത്രമല്ല കുട്ടികള്‍ മുതല്‍ മുതിര്‍ന്നവര്‍ വരെ തങ്ങളുടെ ഒളിച്ച് വെച്ച കഴിവുകള്‍ മുതല്‍ എല്ലാം തുറന്ന് കാണിക്കാന്‍ സോഷ്യല്‍ മീഡിയ അവസരമൊരുക്കുന്നു. യൂട്യൂബ്, ഫേസ്ബുക്ക് തുടങ്ങിയവയെല്ലാം വരുമാനം കൂടി നല്‍കുന്നതോടെ ജോലി തന്നെയായി മാറി പലര്ക്കും സോഷ്യല്‍ മീഡിയ.

കുട്ടികളേയും ചെറുപ്പക്കാരേയും ബാധിക്കുന്നത് സോഷ്യല്‍ മീഡിയ ഏറ്റവും കൂടുതല്‍ സ്വാധീനിക്കുന്നത് കുട്ടികളേയും ചെറുപ്പക്കാരേയുമാണ്. അത് നല്ല രീതിയിലും മോശം രീതിയിലും സംഭവിക്കുന്നതാണ്. എന്നാല്‍ നമ്മുടെ ഉപയോഗത്തിന് അനുസരിച്ചാണ അതിന്റെ ഗുണങ്ങളും ദോഷങ്ങളും നമുക്ക് അനുഭവപ്പെടുന്നത്. പലപ്പോഴും വളര്‍ന്ന് വരുന്ന തലമുറയുടെ മാനസികാരോഗ്യത്തെ സ്വാധീനിക്കുന്ന തരത്തിലേക്ക് വരെ കാര്യങ്ങള്‍ എത്തുന്നു. അതുകൊണ്ട് തന്നെ കുട്ടികളുടെ കാര്യത്തില്‍ മാതാപിതാക്കള്‍ അല്‍പം ശ്രദ്ധ നല്‍കണം. സോഷ്യല്‍ മീഡിയയുടെ ഉപയോഗത്തില്‍ അല്‍പം നിയന്ത്രണം വരുത്തുന്നതിന് ശ്രദ്ധിക്കേണ്ടതാണ്.

സോഷ്യല്‍ മീഡിയ ദിനം ആഘോഷിക്കുമ്പോള്‍ സോഷ്യല്‍ മീഡിയ ദിനം ആഘോഷിക്കപ്പെടുന്നത് 2010 ജൂണ്‍ 30 മുതലാണ്. അതുകൊണ്ട് തന്നെ ഈ ദിനത്തിന് ലോകമെമ്പാടും വളരെയധികം പ്രാധാന്യം നല്‍കുന്നു. സോഷ്യല്‍ മീഡിയയെക്കുറിച്ച് അറിയുന്നതിനും അതിന്റെ സ്വാധീനം മറ്റുള്ളവരിലേക്ക് എത്തിക്കുക എന്നതാണ് ഇതിന്റെ പ്രധാന ലക്ഷ്യം. നിങ്ങള്‍ക്ക് ഈ ദിനം കൊണ്ടാടണമെങ്കില്‍ ഒരു ഹാഷ്ടാഗ് തയ്യാറാക്കി ഒരു ചിത്രം പോസ്റ്റ് ചെയ്ത് കൊണ്ട് ആഘോഷങ്ങളുടെ ഭാഗമാവാം. എങ്കിലും എന്തിന്റേയും ഉപയോഗം അമിതമാവുമ്പോള്‍ അത് പ്രശ്‌നങ്ങള്‍ വര്‍ദ്ധിപ്പിക്കുന്നു. ഇത്തരം കാര്യങ്ങളും ശ്രദ്ധിക്കണം.

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സണ്ണി കുറ്റിക്കാട്ട് സിഎംഐ

മാധ്യമങ്ങളാണ് ഇന്ന് ഈ തലമുറയുടെ ജീവിതശൈലി നിയന്ത്രിക്കുന്നത്. ചിന്തകള്‍, തീരുമാനങ്ങള്‍, വസ്ത്രം, വിശ്രമം, വായന, ഉറക്കം, ജോലി, സമയം, പ്രാര്‍ത്ഥന, കുടുംബാംഗങ്ങളുമായുള്ള ആശയവിനിമയം, അയല്‍വാസികളും സുഹൃത്തുക്കളുമായുള്ള സമ്പര്‍ക്കം, ആതിഥേയത്വം… എല്ലാറ്റിനെയും നിയന്ത്രിക്കുന്നത് ഇപ്പോള്‍ മാധ്യമങ്ങളാണ്.

അച്ചടിമാധ്യമത്തിന്‍റെ ജനസ്വാധീനം ഇന്നും കുറവൊന്നുമില്ലാതെ നിലനില്ക്കുന്നു. നൂതനങ്ങളായ കാഴ്ചപ്പാടുകളും ആശയങ്ങളും മനുഷ്യമനസ്സുകളില്‍ പകര്‍ന്നുകൊടുക്കുകയും അവരുടെ ജീവിതശൈലികളില്‍ നിര്‍ണായകമായ സ്ഥാനം ഉറപ്പിക്കുകയും അവരുടെ ചിന്താവഴികളും വ്യക്തിത്വവും അനുദിനം നവീകരിക്കുകയും ചെയ്യുന്നതില്‍ നിര്‍ണായകമായ സ്വാധീനമാണു മാധ്യമങ്ങള്‍, പ്രത്യേകിച്ചും അച്ചടിമാധ്യമങ്ങള്‍ ചെലുത്തുന്നത്. മാധ്യമങ്ങള്‍ ഒരു സമൂഹത്തിന്‍റെ ചിന്താധാരകളെ ഏതൊക്കെ വഴികളിലേക്കു തിരിച്ചുവിടുന്നുണ്ട് എന്നതിനെപ്പറ്റി നമ്മള്‍ മനസ്സിലാക്കേണ്ടതുണ്ട്.

വിവിധ തരത്തിലുള്ള മാധ്യമങ്ങളെപ്പറ്റി പറയുമ്പോള്‍ പെട്ടെന്ന് നമ്മുടെ മനസ്സിലേക്കു കടന്നുവരുന്നത് അച്ചടിമാധ്യമം, ഇലക്ട്രോണിക് മാധ്യമം, നവയുഗ മാധ്യമം തുടങ്ങിയവയാണ്. ഈ അച്ചടിമാധ്യമത്തില്‍ത്തന്നെ പത്രങ്ങള്‍, പുസ്തകങ്ങള്‍, ലഘുലേഖകള്‍ എന്നിവ ഉള്‍പ്പെടുന്നു. ടെലിവിഷനും റേഡിയോയും ഇലക്ട്രോണിക് മാധ്യമങ്ങളുടെ ഗണത്തില്‍പ്പെടുമ്പോള്‍ ഇന്‍റര്‍നെറ്റും മൊബൈല്‍ഫോണും നവയുഗ മാധ്യമങ്ങളുടെ മേഖല കീഴടക്കുന്നു.

മാധ്യമങ്ങളുടെ, പ്രത്യേകിച്ചു ടെലിവിഷന്‍റെയും ഇന്‍റര്‍നെറ്റിന്‍റെയും സെല്‍ഫോണിന്‍റെയും അധിനിവേശത്തോടെ ലോകം ഒരു ആഗോളഗ്രാമമായി. പക്ഷേ, ഈ ആഗോളഗ്രാമത്തില്‍ നമ്മുടെ ഓരോ വീടും ഓരോ വിപണിയായി മാറിക്കൊണ്ടിരിക്കുകയാണ്. വീട്ടിലുള്ളവരുടെ സ്വാതന്ത്ര്യവും മൗലികതയും അവിടെ വില്ക്കപ്പെടുകയോ പണയംവയ്ക്കപ്പെടുകയോ ചെയ്യുന്നു. മൂല്യരഹിതങ്ങളായ സീരിയലുകളുടെയും അര്‍ത്ഥമില്ലാത്ത കോമഡിഷോകളുടെയും കലാമൂല്യത്തെ പാടെ അവഗണിച്ചു വിപണനമൂല്യം മാത്രം മനസ്സില്‍ കണ്ടു പടച്ചുവിടുന്ന സിനിമകളുടെയും സംഗീതത്തിന്‍റെയും കാര്‍ട്ടൂണുകളുടെയും അതിപ്രസരംമൂലം വെറും 'മാര്‍ക്കറ്റു'കളായി മാറിയ നമ്മുടെ വീടുകളില്‍ നാം അടിമകളാക്കപ്പെട്ടിരിക്കുന്നു. പക്ഷേ, നാം വീട്ടുതടങ്കലിലാണെന്ന സത്യം നമ്മള്‍ പലരും തിരിച്ചറിയുന്നില്ല എന്നതാണു യാഥാര്‍ത്ഥ്യം.

പുതുതായി ഏതെല്ലാം മാധ്യമങ്ങള്‍ പിറവിയെടുത്താലും അച്ചടി മാധ്യമം, പത്രം അതിന്‍റെ അധീശത്വം വിളിച്ചുപറഞ്ഞുകൊണ്ട് ഇന്നും തലയുയര്‍ത്തിനില്ക്കുന്നു. ആനുകാലിക സംഭവവികാസങ്ങളെക്കുറിച്ച് അറിവു നേടുന്നതിന് ശക്തിയുള്ള ഒരു മാര്‍ഗമായി ദിനപത്രങ്ങള്‍ ഇന്നും അംഗീകരിക്കപ്പെടുന്നു. അതുപോലെ, ആശയങ്ങള്‍ കാര്യക്ഷമമായി കൈമാറുന്നതിനും അധികാരത്തിലിരിക്കുന്ന സര്‍ക്കാരിന്‍റെ നടപടികളെയും പ്രവര്‍ത്തനങ്ങളെയും സൃഷ്ടിപരമായി വിമര്‍ശിക്കുകയും ആവശ്യമായ തിരുത്തല്‍ നടപടികള്‍ നിര്‍ദ്ദേശിക്കുകയും ചെയ്യുന്നതില്‍ പത്രങ്ങള്‍ വഹിക്കുന്ന പങ്കു നിര്‍ണായകംതന്നെയാണ്. ഒരു സാമൂഹ്യപരിഷ്കര്‍ത്താവായി പ്രവര്‍ത്തിക്കുന്നതോടൊപ്പം സമൂഹത്തില്‍ ഇടയ്ക്കിടെ കടന്നുവരാറുള്ള അപകടകരങ്ങളായ ചില സംഭവങ്ങളിലേക്കു പൊതുജനശ്രദ്ധ തിരിക്കുന്നതും അതു തടയാന്‍ അവരെ സഹായിക്കുന്നതും പത്രങ്ങളാണ്. ചുരുക്കിപ്പറഞ്ഞാല്‍, സമൂഹത്തില്‍ നടമാടിക്കൊണ്ടിരിക്കുന്ന തിന്മകളെ നിര്‍ഭയം പുറത്തുകൊണ്ടുവരിക. അതാണ്, അതായിരിക്കണം പത്രധര്‍മം.

പത്രങ്ങളുടെ ശക്തവും ഫലപ്രദവുമായ ഇടപെടലുകളായിരുന്നു ഒരുകാലത്തു കേരളത്തിലെ രാഷ്ട്രീയ-ഭരണ-ഉദ്യോഗസ്ഥ നേതൃത്വത്തെ നേര്‍വഴിക്കു നിര്‍ത്തിയിരുന്നത്. നീതിയുടെയും സ്വാതന്ത്ര്യത്തിന്‍റെയും കാവലാളായി, ആശയകൈമാറ്റത്തിന്‍റെ മുഖ്യഉപകരണമായി ജനമനസ്സുകളില്‍ വളരെ ആഴത്തിലുള്ള സ്വാധീനം ചെലുത്തുവാന്‍ ഒരു കാലത്തു പത്രങ്ങള്‍ക്കു സാധിച്ചിരു ന്നു. പക്ഷേ, വളര്‍ച്ചയിലും സ്വാധീനത്തിലും വന്‍ കുതിച്ചുചാട്ടമുണ്ടായ വര്‍ത്തമാനകാലത്തു പത്രങ്ങളുടെ തിരുത്തല്‍ശക്തിയെന്ന നിലയിലുള്ള കരുത്തും മൂര്‍ച്ചയും ഇടപെടലുമെല്ലാം കുറഞ്ഞുവരുന്ന അനുഭവം ചിലപ്പോഴെങ്കിലും നമ്മെ അസ്വസ്ഥരാക്കുന്നുണ്ട്.

ജനാധിപത്യസംവിധാനത്തിന്‍റെ നാലാം സ്തൂപമായിട്ടാണു മാധ്യമങ്ങള്‍ വിശേഷിപ്പിക്കപ്പെടുന്നതെന്നു നമുക്കറിയാം. ജനനന്മയ്ക്ക് ഉതകാത്ത, അവരുടെ സ്വപ്നങ്ങള്‍ക്കും സങ്കല്പങ്ങള്‍ക്കും കാഴ്ചപ്പാടുകള്‍ക്കുമെതിരായ നടപടികളും തീരുമാനങ്ങളും ആരുടെ ഭാഗത്തുനിന്നുണ്ടായാലും ചോദ്യം ചെയ്യുകയും ഭരണനേതൃത്വങ്ങളുടെ അഴിമതിയും കെടുകാര്യസ്ഥതയും അവിശുദ്ധ കൂട്ടുകെട്ടുകളും സൂക്ഷ്മമായി നീരിക്ഷിക്കുകയും തിരിച്ചറിയുകയും വെളിച്ചത്തു കൊണ്ടുവരികയും ചെയ്യുക എന്ന വലിയ ഉത്തരവാദിത്വമാണു മാധ്യമങ്ങള്‍ക്ക് ഇന്നു നിര്‍വഹിക്കാനുള്ളത്. പക്ഷേ, ഇന്ന് ഈ ഉത്തരവാദിത്വനിര്‍വഹണത്തില്‍ നമ്മുടെ പത്രമാധ്യമങ്ങള്‍ പൂര്‍ണവിജയം കൈവരിക്കുന്നില്ല എന്നതാണു യാഥാര്‍ത്ഥ്യം. അതേസമയം നമ്മുടെ പത്രമാധ്യമങ്ങളില്‍ രാഷ്ട്രീയപാര്‍ട്ടികളുടെ ഗ്രൂപ്പുവഴക്കുകളും വിഴുപ്പലക്കലുകളും താരവിവാഹവും ക്രിക്കറ്റ് വിശേഷങ്ങളും ഗോസിപ്പുകളും ആള്‍ദൈവ പ്രകീര്‍ത്തനങ്ങളും സമ്മാനപദ്ധതികളും നിറഞ്ഞുകവിയുന്നു. ഇതൊരു അശുഭലക്ഷണമല്ലേ?

കേരളത്തില്‍ ഭരണതലത്തിലും ഉദ്യോഗസ്ഥ വിഭാഗത്തിലും അഴിമതിയും കെടുകാര്യസ്ഥതയും ഏറെ വര്‍ദ്ധിച്ചിരിക്കുന്ന ഈ കാലഘട്ടത്തില്‍ ഇവയ്ക്കെതിരായ ജനങ്ങളുടെ പ്രതിഷേധങ്ങള്‍ ഒറ്റപ്പെട്ട ശബ്ദങ്ങളായി തഴയപ്പെടുമ്പോള്‍ പത്രങ്ങളുടെ ഉറച്ച ശബ്ദമാണു മുഴങ്ങി കേള്‍ക്കേണ്ടത്. എന്നാല്‍ പത്രങ്ങളുടെ വിരുദ്ധതാത്പര്യങ്ങളും കിടമത്സരങ്ങളും പലപ്പോഴും അഴിമതിക്കും മറ്റുമെതിരായ സംഘടിത നീക്കത്തിനു വിഘാതമാകുന്നുണ്ട്. പണവും അധികാരവും എല്ലാം നിശ്ചയിക്കുന്നിടത്തു മാധ്യമങ്ങളും ഉറക്കമായാല്‍ അതു വലിയ വിപത്തിനു കാരണമായിത്തീരും. അതുകാണ്ടു മാധ്യമങ്ങള്‍ ഉറങ്ങാതെ, ഉറക്കം നടിക്കാതെ ജനപക്ഷത്തുനിന്നു പൊരുതാനുള്ള ധാര്‍മികബാദ്ധ്യത നിറവേറ്റുകതന്നെ വേണം.

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The New Generation movement has revolutionized Malayalam cinema, infusing fresh narratives and unconventional techniques.

It’s a wave of change that’s redefining the industry, prioritizing content-driven films that resonate with today’s audience.

We’ll jump into the origins, key players, and defining characteristics of this cinematic renaissance.

Stay tuned as we explore how the New Generation is carving a new identity for Malayalam films on the global stage.

The New Generation (Malayalam film movement)

What is the new generation (malayalam film movement).

The New Generation movement in Malayalam cinema emerged in the early 2010s in the Indian state of Kerala.

It marked a departure from traditional Malayalam filmmaking, introducing fresh themes, unconventional narratives, and new techniques.

Directors like Anwar Rasheed and Lijo Jose Pellissery were instrumental in this movement, often focusing on complex characters and contemporary social issues.

Origins Of The New Generation Movement

The roots of the New Generation movement in Malayalam cinema are anchored in the profound shifts of the late 2000s.

We witnessed a profound disillusionment with formulaic narratives.

Audiences craved authenticity and storytelling that mirrored the complexities of contemporary life in Kerala.

During this period, a group of visionary filmmakers emerged.

They were keen on deviating from the established commercial frameworks that had long dominated the industry.

Intent on innovation, these directors sought inspiration from global cinema trends and independent film movements, weaving these influences into the cultural fabric of Kerala.

Films from this era were marked by several defining traits:

• Eclectic narrative styles that broke away from linear storytelling,
• A focus on realistic characters and dialogues reflective of Malayali ethos,
• An emphasis on technical aspects, including editing and cinematography, to enhance the narrative energy.

The collective inclination toward redefining Malayalam cinema was bolstered by the growing accessibility of digital technology.

This democratization of filmmaking tools allowed for new voices to emerge and for seasoned filmmakers to experiment without the constraints of traditional film production.

Among the prominent works that catalyzed the movement,  Traffic  stands as a pivotal film.

Its non-linear narrative structure and focus on urban life showcased a clear departure from conventional filmmaking in the region.

Similarly,  Salt N’ Pepper  brought to the forefront a blend of food, love, and narrative ingenuity, further signaling the shift in audience preferences and narrative techniques.

Technical advancements and the entry of fresh talent also played significant roles in propelling the movement forward.

Young filmmakers and screenwriters brought with them new perspectives and a willingness to take risks, fostering a culture that encouraged creative freedom and innovation.

Key Players In The New Generation

As enthusiastic observers and contributors to the world of cinema, we’re keenly aware that movements are driven by trailblazers.

The New Generation of Malayalam cinema is no exception, and a handful of influential filmmakers stand out for their pioneering contributions.

Among them,  Lijo Jose Pellissery  and  Anwar Rasheed  have become synonymous with the New Generation ethos, bringing to the table a blend of unique storytelling and technical innovation.

These directors aren’t just filmmakers; they’re visionaries who challenged the status quo and expanded the horizons of Malayalam cinema.

Pellissery’s eclectic filmography, including  Ee. Ma. Yau and  Jallikattu , showcases a distinct narrative style characterized by raw, visceral storytelling.

Rasheed, through works like  Ustad Hotel  and  Trance , offers a reflection on contemporary society with a blend of realism and flair.

Behind the camera, the movement is also propelled by a cadre of talented writers and technicians.

Scriptwriters like  Syam Pushkaran  and  Dileesh Nair  play a critical role, penning down scripts that resonate with the New Generation audience.

Their scripts for films such as  Maheshinte Prathikaaram  and  Thondimuthalum Driksakshiyum  reflect the nuanced storytelling that audiences have come to appreciate.

On the technical front, we’ve seen the rise of innovative cinematographers and editors who’ve redefined Malayalam cinema’s visual language.

Shyju Khalid  and  Rajeev Ravi  are but two examples of cinematographers who have brought a new aesthetic sensibility to the screen, with compelling visual narratives.

With such dynamic individuals at the helm, the New Generation movement continues to thrive and evolve, ensuring that Malayalam cinema remains at the forefront of artistic innovation.

plus to these key players, the New Generation movement has seen significant contributions from:

• Producers willing to take risks on unconventional projects,
• Actors who’ve embraced complex characters and storylines,
• Music directors and sound designers creating immersive and impactful auditory experiences.

The collective force of these artists has created a robust platform for the New Generation movement to influence and inspire.

Defining Characteristics Of The New Generation

The New Generation movement in Malayalam cinema has redefined the cinematic landscape through its bold thematic content and stylistic innovations.

This movement isn’t confined by traditional narratives or commercial formulas, leading to a Renaissance that continues to resonate with audiences both domestically and internationally.

At the heart of this turmoil are several defining characteristics that set these films apart.

Films within this wave are distinguished by their desire to tackle complex social issues, often dissecting the fabric of contemporary Kerala society.

The authenticity of the storytelling speaks to an audience looking for more than just escapist cinema it’s a mirror held up to the community itself.

This social realism is not just in the content but also reflected in shooting styles and character portrayals.

The New Generation movement also champions a more experimental approach to filmmaking:

• Use of non-linear storytelling – Avant-garde techniques in cinematography and editing,
• Inclusion of naturalistic dialogue and performances.

This revolution is not limited to content alone.

Technological advancements have played a pivotal role:

• Adoption of digital cinematography for better image quality and cost efficiency,
• Innovative sound design that enhances the auditory experience of the viewer.

Aesthetically,  Ee.Ma.Yau exemplifies the movement’s penchant for groundbreaking visuals, while  Ustad Hotel  merges traditional themes with modern dilemmas.

Actors often deliver performances that shun melodrama in favor of a more subtle and nuanced portrayal of characters, lending a level of credibility that resonates with viewers.

A key driver behind the New Generation movement has been a willingness to break away from established industry norms, creating films with a unique identity.

Movies like  22 Female Kottayam  and  Amen  show how differing genres can be reimagined through a New Generation lens, while telling a story that is intrinsically Malayali.

It’s this innate ability to innovate within the constraints of culture and language that marks the true essence of the New Generation movement.

Impact Of The New Generation On Malayalam Cinema

The New Generation movement hasn’t just redefined the aesthetic and thematic boundaries of Malayalam cinema – it has had a profound impact on the industry as a whole.

Audiences previously accustomed to formulaic narratives are now engaging with cinema that is unpredictable, complex, and intellectually stimulating.

This seismic shift in taste has compelled mainstream filmmakers to evolve and embrace more innovative storytelling techniques.

One significant aftermath of this movement is the enhanced global visibility of Malayalam cinema.

Films like  Ee.Ma.Yau demonstrated that regional films could command international attention at prestigious film festivals.

So, a spotlight has been cast on Malayalam films as a source of rich narratives and technical brilliance, leading to increased distribution opportunities abroad and eclectic collaborations with global filmmakers.

The rise of the New Generation has also encouraged new talent to enter the film industry.

With the movement’s acceptance of unconventional plots and characters, novice writers, directors, and actors are finding Malayalam cinema to be a nurturing ground for their talents.

As a result, the industry is witnessing an influx of fresh ideas, which in turn is fostering an environment of continual innovation.

Key developments from the New Generation movement include:

• A shift toward content-driven cinema, with less reliance on star power,
• Growth in independent filmmaking, supported by digital technology,
• Breakthroughs in marketing and distribution strategies, tapping into online platforms and social media.

In terms of technical advancements, the movement has brought forward an era of digital filmmaking in Kerala’s cine landscape.

Directors and cinematographers are leveraging cutting-edge technology to create cinematic experiences that were once financially out of reach for regional filmmakers.

From crisp digital imaging to inventive soundscapes, the technical quality of Malayalam films has risen exponentially, paralleling that of global cinema standards.

The New Generation’s influence extends well beyond just the films themselves; it is an ongoing cultural dialogue.

Through its willingness to confront taboo subjects and its commitment to authenticity, this wave of Malayalam cinema is fostering more aware and socially conscious audiences.

It’s a reflection of society’s evolving dynamics, capturing the essence of the time while also influencing the direction in which Kerala’s film culture is headed.

Global Recognition Of The New Generation

The New Generation movement in Malayalam cinema has garnered attention well beyond the shores of Kerala, marking its presence on the international film circuit.

Fueled by content-rich narratives and innovative filming techniques, directors from this wave have seen their work showcased at prestigious festivals such as Cannes, Berlin, and Venice.

This global recognition underlines the universal appeal of the stories being told and the craftsmanship involved in telling them.

Films like  Celluloid  and  Adaminte Makan Abu  have been lauded for their poignant storytelling, receiving critical acclaim and finding audiences across cultural boundaries.

The thrust has been on more relatable characters and grassroots-level stories that resonate with global audiences.

These successes signal a renewed appetite for Malayalam cinema on an international stage.

• Breakthroughs in film technology – digital cinematography and editing suites,
• Strategic marketing efforts – film festivals, social media promotions, and international partnerships,
• Recognition awards and nominations – further solidifying the movement’s significance and reach.

This movement’s diaspora has seen a substantial rise, with more non-Malayali audiences developing an interest in the cinema hailing from this region.

Language is no longer a barrier, thanks to well-crafted subtitles and film narratives that transcend cultural specificity.

With each successful release, the New Generation movement paves the way for more stories from Kerala to captivate the hearts and minds of movie enthusiasts worldwide.

What Is The New Generation Malayalam Film Movement – Wrapping Up

We’ve seen the New Generation movement redefine Malayalam cinema, ushering in an era of innovation and global acclaim.

It’s reshaped not only the films we watch but also the way we experience and appreciate cinema.

With its focus on content-driven narratives and cutting-edge technology, the movement continues to influence filmmakers and audiences alike.

As we look to the future, we’re excited to witness the ongoing evolution of this dynamic film culture.

The New Generation has indeed marked a new chapter in the history of Malayalam cinema, one that we’re proud to celebrate and continue to explore.

Frequently Asked Questions

What is the new generation movement in malayalam cinema.

The New Generation movement refers to a recent trend in Malayalam cinema that emphasizes innovative storytelling, technical sophistication, and content-driven films.

It has significantly altered audience tastes and increased global recognition for Malayalam films.

How Has The New Generation Movement Affected Mainstream Filmmakers?

Mainstream filmmakers have been influenced by the New Generation movement to adopt more innovative storytelling techniques and explore new thematic boundaries, resulting in a marked shift in the Malayalam film industry.

What Impact Has The New Generation Movement Had Globally?

The movement has improved the global visibility of Malayalam cinema, leading to more international distribution opportunities, film festival showcases, and cross-cultural audience engagement.

Has The New Generation Movement Influenced Film Technology?

Yes, the movement has coincided with the advent of digital filmmaking in Kerala, allowing filmmakers to utilize advanced technology to enhance the cinematic experience.

How Does The New Generation Movement Benefit New Talent In The Industry?

The movement fosters an environment of innovation and creativity that encourages new talent to contribute fresh ideas and perspectives to Malayalam cinema.

What Has Been The Role Of Film Festivals In The New Generation Movement?

Prestigious film festivals such as Cannes, Berlin, and Venice have showcased films from the New Generation movement, facilitating global recognition and appreciation for the unique storytelling of Malayalam cinema.

Are Non-malayali Audiences Interested In The New Generation Malayalam Cinema?

Yes, there has been a notable increase in interest among non-Malayali audiences, aided by well-crafted subtitles and universal narrative themes that cross cultural boundaries.

What Is Hong Kong New Wave Cinema? The Definitive Guide

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Malayalam cinema is known for depicting contemporary social realities. It has been mostly influenced by the political and social themes of the times which have resulted in films catering to the dominant ideology – political, economic, or social.  However, Malayalam cinema entered a slump in the first decade of the millennium. It longed for a change, similar to the “new wave” of the 1980s, which was dominated by the ideas of capitalism and liberalism.   

Now, the shift from the larger theme of politics and the upper caste culture, roles written for the larger than life characters and subservient to the superstar cult – to the narration of realistic and contemporary life stories about the livelihood and spaces on the edge, which captiously portrayed the normalized norms of society, bring subjects like masculinity, patriarchy, sexuality in the discussion. This transition to the new generation of cinema – came about in the 2010s. 

The change in the themes, however, being the most dramatic shift needs to be analyzed through different lenses. One of the most interesting elements of these films is the portrayal of various shades of masculinities, which in their own way manipulate the norms of the overarching system of patriarchy. At the same time, the political lens enables one to evaluate how this change in the illustration of masculinities connects to the larger theme of politics. The roles of the new protagonists are entrenched with complexities of human nature which testify to the changing gender norms of Malayalam society. 

To understand the transition in the nature of Malayalam cinema, one must look at recent political debates of the state and the acceptance of new ideologies in the society;  the Malayalam cinema more often than not, acts like the reflection and a mirror of these political discussions. The influx of feminist discourse in the political domain of Kerala was succeeded by the Marxist approach which put the issues of gender while juxtaposing that of class. This shift was too quick and called for the revisioning of the feminist voice. This time, around the 2000s, the academic, as well as quasi-academic frameworks, saw an acceptance of debates and studies of masculinity and queer theory.  Thus, it shouldn’t be surprising to find the ‘progressive’ political questions being raised in the language of masculinity. This can also be understood in the light of the popular belief that the conditions of women in Kerala, at least, on its contours seem to be better than most Indian states. Yet, what lies behind the increased sex ratio, rate of women’s literacy, and increasing number of women’s success in the public domain is the deep-rooted patriarchy that manifests itself in cultural norms, metaphoric terminologies, and underlying life choices. 

Each and every art form is political in nature, and the cinema industry happens to be the most obvious one. Malayalam cinema has always been quick to keep up with the political pace of the state. This wave of new generational films seemed to have inculcated the changing political attitude.

Films like Kumbalangi Nights and The Great Indian Kitchen, deal with the internalized sexism and gender roles. Kumbalangi Nights is one about the contrarian situation of Saji’s and Shammi’s households, where Shammi, asserting himself as the patriarch of his household, calls himself as the “complete man”, enjoys playing the breadwinner of the family and fill all the boxes of being the morally right male hero. While Saji, after the death of his father and being left alone with his siblings by their mother, seems to have adopted the role of the de facto matriarch of the family. He, at first, comes out as a ‘loser’ but in actuality has a lot more courage than Shammi. If we’re to take the character of Shammi as a metaphor for patriarchy, he’s the only one who doesn’t change by the end of the film. Whereas Saji, rejecting all the social constructs of masculinity, asks for help from his youngest brother and purges his emotional burdens before a psychiatrist – defying the social taboo of visiting one. However, the film is about the transition of each character, who at the end seemed to have found their way through personal struggles. Here, Shammi, with his ideas of “neatness”, the rigidity of norms, and omission of all kinds of feminine traits, being essential for his toxic and masculine identity proved to be an anti-hero while Saji, whose life and the house looked like a mess which by the end of the film happened to be much more liveable than Shammi’s. Now, The Great Indian Kitchen is the perfect depiction of a regular Indian household, with the men of the house leaving the daily chores in the hands of the women, not fulfilling their sexual desires, considering menstruating women as pariahs, and chaining them to the domestic sphere, loaded with duties expected of them especially in the kitchen, with their notions of a “cultured” household. The film is the testimony of many young brides trapped in the shackles of a patriarchal household that binds them, not with violence, but silent and unrelenting comments. Although the film ends with the protagonist, Nimisha, finding a new life, out of that prison, we see no transformation in the masculine attitude of the patriarchs of the family.  Both these films show characters, like Shammi and the men of Nimisha’s family, remaining unchanged throughout the film, coherent with the idea of patriarchy that seems to be static in politics. With other characters undergoing a series of emotional and mental experiences, which get reflected in the change in their natures, the movie goes parallel with the view of current gender politics that have been exploring and accepting the transitioning masculinities. 

A newfound acceptance has been extended to the issues relating to the queer community with Kerala being the first to formulate a policy for transgenders. Moothon , one of the few Indian films to initiate the dialogue of queer relationships in the mainstream cinema, disregarding the heterosexual gender norms of a romantic relationship, and has done away with the overtly prejudiced and stereotypical portrayals of the queer community. The film captures the medley of masculine identities and their perceptions. It explored how men can be dangerous for themselves, by simply being ‘men’, acting out on the constructed versions of the ideal man. Virility, an important attribute associated with the idea of man, happens to be just one trait of the complex personality of Akbar, the angry goon ‘Bhai’; he, on the other hand, has also been portrayed as a young man in love who gets excited just at the thought of being touched by his romantic male counterpart, Ameer. Mulla, in search of their brother – Akbar, struggles with their identity as a girl, as a sister, and as a kid abruptly dumped into the cruel realities of the world, bringing out the traversing gender constructs. The movie has submerged the concept of hegemonic masculinity through this amorous entanglement.

Analyzing the new generation of Malayalam cinema in light of the political attitude of the state remains an unfinished task here, but the plethora of films being produced has proved to be a promising reflection of the same. The future of Malayalam cinema seems ladened with bug prospects.

Khyati Srivastava

Khyati is a third year History student at Lady Shri Ram College for women. She believes that words have the power to change the society, and tends to use these. Interested in research, she's expecting to pursue the same in furure.

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The relevance of new-generation malayalam cinema in contemporary kerala society.

Kerala’s film industry has a rich history that spans several decades. Malayalam cinema has given birth to some of the most influential and memorable films of Indian cinema. But over the past few years, the industry has seen a shift in the kind of films being made. This shift is what we call the “new generation cinema,” . It has been making waves in the industry and is characterized by its unconventional themes, narrative styles, and techniques. In this article, we will discuss the relevance of new-generation cinema in contemporary Kerala society.

New-generation cinema is a term used to describe films that deal with contemporary issues and are more experimental. These films deviate from the conventional norms of Malayalam cinema and challenge the status quo. They are characterized by their realistic portrayal of characters, unconventional storytelling, and unapologetic treatment of bold themes.

The new-gen cinema has helped tackle social issues often neglected in mainstream cinema. For instance, films like “Angamaly Diaries” and “Sudani from Nigeria” explore the themes of community, cultural diversity, and migration. Both films have been widely praised for their honest and realistic portrayal of these issues, and they provide a window into the lives of people from different cultures.

One of the most significant contributions of new-generation cinema is the way it has given voice to marginalized and underrepresented communities. These films have tackled themes such as caste discrimination, women’s rights, and LGBTQ+ issues. They have highlighted the struggles faced by these communities and have helped create more awareness and acceptance towards them.

Another notable example of new-generation cinema is the film “Kumbalangi Nights.” The film explores the theme of toxic masculinit y and portrays the various ways it can manifest in our daily lives. Through the film, the director has given voice to women who have suffered in silence due to male domination and has helped raise awareness about the need for gender equality.

Moreover, new-generation cinema has been instrumental in changing the way people view cinema. It has created a more discerning audience that seeks films that challenge their perceptions and offer fresh perspectives. This has resulted in a more diverse range of films being made in the industry, focusing on quality over commercial viability.

In addition, the new generation of cinema has also given rise to a new wave of young and talented actors, writers, and directors . They bring a fresh perspective to the industry and have provided a platform for new voices, ideas, and narratives. Films like “Maheshinte Prathikaram, ” “Thondimuthalum Driksakshiyum, ” and “ Ee. Ma. Yau ” have been widely appreciated for their innovative storytelling and unconventional characters.

Another significant impact of new-generation cinema is its contribution to the revival of the Malayalam film industry. The industry had struggled for some time with declining audiences and a lack of new ideas. However, the new generation of cinema has helped reinvigorate the industry by bringing in a new audience, creating more awareness, and elevating filmmaking standards. It has brought a new lease of life to the industry, making it relevant and contemporary for the present generation.

To sum it up, new-generation cinema in contemporary Kerala society is like a breath of fresh air – it has tackled social issues, given voice to new perspectives, and revitalized the Malayalam film industry. It’s like a superhero that swoops in to save the day, bringing with it a more socially conscious and discerning audience. Let’s hope this cinematic crusade continues in Kerala, paving the way for a more innovative, diverse, and exciting future for Malayalam cinema. So, grab your popcorn, sit back, and enjoy the ride!

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Making sense of " new generation " in Malayalam Cinema

Related Papers

M Madhava Prasad

Unpublished

Hassan A Muthalib

Digital technology has enabled many young people to be able to go into disciplines that would have been beyond them about 30 years ago. Today, with the ease of user-friendly software, non-artists can become artist, non-animators can do animation & filmmaking has become easier and affordable compared to analog days. However, technology alone is not the name of the game. There are things that the young filmmaker has to know and be in order to be called a true filmmaker. This paper draws on the history of cinema in Malaysia and the rise of a new generation of filmmakers who should be introspective and consider other elements that can lead them to success.

Wan Zawawi Ibrahim

Malayalam Research Journal

Manju Edachira

This paper critically studies the manifestations of ‘realism’ propagated by Malayalam cinema during 1980s and ’90s — the period when “Kerala model of development” became popular. The modern obsession with reflexivity over sentimentality, and its employment in Malayalam cinema as ‘middlebrow,’ was also experimented in films that were made on cinema during this period. This is foregrounded in films such as Lekhayude Maranam Oru Flashback (The Death of Lekha: A Flashback, Dir. K.G. George, 1983), an example of the middlebrow. Studies on metanarratives and reflexivity, just like how modernity affects people, largely focus on Brechtian ‘alienation.’ The paper, however, argues that Malayalam cinema produces ‘double mystification’ instead of alienation. Though this is executed through self-referentiality at the surface level, it reiterates realism as a hegemonic mode of production at the latent level. Thus, it is purposive realist aesthetics in middlebrow cinema that create the spectatorial Malayalee modern self. In other words, the cinema during this period makes middlebrow as the ‘popular’ by devising the figure of Malayalee citizen-spectator, who is made to distinguish oneself, from the ‘mass-ified’ other. The paper goes on to theorise that the ‘real’ within/of Malayalam cinema exorcises its own excess — sentimental melodrama, caste and sexuality — to the Tamil Other.

Raghavendra Mk

Swaroop V Sardeshmukh

In recent years, with the emergence of ‘independent’ cinema movement in Maharashtra around the beginning of 2004 (Wani, 2018), academic research has been initiated on Marathi cinema, But for the most part Marathi Cinema has not been given the attention it deserves. There are a few film scholars who have written articles and books about Marathi Cinema such as Aarti Wani, Victoria Benei, Amrit Gangar etc. One of the important film makers of this independent Cinema movement is Mr. Umesh Kulkarni. His 2011 feature film Deool won the National Award for Best Feature Film and in my opinion it is the most important film in his canon till now. Director of four critically acclaimed feature films including Valu (2008) and Vihir (2009), which were showcased in Berlin International Film Festival, Mr. Kulkarni has won 3 national awards.1 2 He has also directed several short films among which Gaarud (The Spell) and Vilay (Dissolution) have been selected in the short film festivals of Oberhausen and Clermont Ferrand 3 Being part of the Marathi new wave, Mr. Kulkarni’s aim is ‘to create an experience about the philosophies, people and ideas that touch me.’4 In this paper, I argue that ‘Deool’ lies in the area between depiction of reality and fiction narrative. As a representative of the wave of new Marathi cinema it not only sketches the image of today’s rural India and the effect of globalization on the lives of the people living there but also asks important questions about human existence, globalization, socio-economic and socio-cultural conditions, political systems and most importantly role of audio-visual media in the society. My research will show that the film is a perfect balance of subtlety and explicitness. On one hand I am going to examine how the film acts as a metaphor of the society. On other hand, I am also going to analyze the film making techniques used to achieve this function.

Global Bollywood ed. Anandam Kavoori and Aswin Punathambekar, NYU Press, 2008, pp 300-306.

Arvind Rajagopal

Routledge Handbook of Indian Cinemas

Ira Bhaskar

Susheel K Sharma

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