It is not that regional cinema in India is a monolith. It has its own distinct shades and layers which lend to it certain heterogeneity. For instance, Tamil cinema has appealed to audiences beyond Tamil Nadu with cine-goers in Japan, Malaysia and Europe too craving to see the latest from Rajnikanth. On the other hand, films from States like Orissa, Assam, and even Karnataka are about their respective States and their people.
In Bipolar Identity, M.K. Raghavendra, a film critic of no mean stature, attempts to link cinema with political discourse, even myths and legends. For the most part, he succeeds. His approach is academic, his understanding worthy of somebody who is rooted to the soil. What sets him apart from the new breed of film writers is that he has stayed behind the scenes and remained honest to his craft, quietly observing the trends in cinema of India, as opposed to Indian cinema, as he notes in the introduction.
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