SOCIAL AND LINGUISTIC CULTURE

OF NEW GENERATION MOVIES

A DISSERTATION
SUBMITTED TO THE UNIVERSITY OF KERALA
IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR
THE
DEGREE OF MASTER IN LINGUISTICS

BY

SAM ROBERT

DEPARTMENT OF LINGUISTICS
UNIVERSITY OF KERALA
KARIAVATTOM CAMPUS
THIRUVANATHAPURAM
2014
 CERTIFICATE

This is to certify that the dissertation entitled

SOCIAL AND LINGISTIC CULTURE OF NEW GENERATION
MOVIES; submitted by Mr. Sam Robert is the bonafide work carried
out by him under my supervision and guidance.

Place: Kariavattom Dr. Darwin.L

Date: (Supervising teacher)
Assistant professor,
Department of Linguistics
University of Kerala

Dr.S.A.Shanavas
Assistant professor and Head

Department of Linguistics

University of Kerala
 AKNOWLEDGEMENT
I express my sincere gratitude to Dr.S.A.Shanavas, Assistant
professor Head of the Department of Linguistics for providing
necessary facilities for doing this dissertation.

I am thankful to my supervising teacher

Dr.Darwin.L, Assistant professor of the Department for his boundless
help and timely suggestions from the beginning to the completion of
this work.

I am very grateful to Dr.Rose Mary, Dr.S.Kunjamma, Dr.Prema,

Assistant professors of the Department of Linguistics for their
valuable suggestions.

I owe my thanks to Mrs.Sandhya.N Librarian, Department of

Linguistics for providing all facilities for the use of Library.

Above all I am deeply thanked to almighty GOD for providing

me all provisions for the successful ending of this work.

SAM ROBERT
 DECLARATION

This thesis entitled ‘’Social and Linguistic Culture of New

Generation Movies’’ is a bonafide record of research done by

me under the supervision and guidance of Dr.Darwin.L,
Department of Linguistics, University of Kerala, Karivattom
Campus, and that I have not submitted the project nor any
part of it for any other Degree or diploma.

SAM ROBERT
 CONTENTS

CHAPTER 1

1. INTRODUCTION

1.1 AIM

1.2 METHODOLOGY

1.3 OBJECTIVES

1.4 HISTORY OF MOVIES

1.5 HISTORY OF INDIAN CINEMA

1.6 HISTORY OF MALAYALAM MOVIES

CHAPTER 2

2. NEW GENERATION MOVIES

2.1 Characteristics of New Generation Movies

2.1.1 Cultural Peculiarities

2.1.2 Technical Peculiarities

2.1.3 Linguistic Peculiarities

 2.2 Feature of New Generation Movies

2.3 List of New Generation Movies

2.4 Plot and Description of Selected New Generation Movies

CHAPTER 3

3. LINGUISTIC CULTURE OF NEW GENERATION

MOVIES

3.1 Linguistic Peculiarities of New Generation Movies

3.1.1 Use of Taboo Terms in New Generation Movies

3.1.2 Interference of English in New Generation Movies

CHAPTER 4

4. SOCIAL IMPACT OF NEW GENERATION MOVIES

CHAPTER 5

5. CONCLUSION

5.1 BIBLIOGRAPHY

5.1.1 SELECTED MOVIES

5.2 APPENDIX
CHAPTER 1
1. INTRODUCTION

Movie is the most influential mode of entertainment art. This

occurs as an inevitable cultural back up like other folk literatures. Today
movie has been a very influencing tool of communication in every
society. Movies make changes and introducing new cultures to the
viewer’s life. Day by day its quantity and qualitative changes are
increasing and ways of changes are very notable. The technical qualities
also improving in every domains of cinema, so this is much needed to
pick out how the movie changes and what reflection it makes on its
customers. Movie can affect people by discussing about them that is
what the people see their lives in the movie and become more
accepted rather than any other cultural art. All other art forms may
have certain boundaries and they ask a little scientific knowledge to
realize them in a healthy way. A piece of painting could not be effective
among them are not capable in matching and mapping of semiotic
system of that particular art. But in the case of movie, it is very
understandable without having any knowledge of its technical grounds.
So this form of art becomes most promulgated one even languages are
not able to confine it in a particular viewer’s colony in that way the
acceptance of the films of unknown languages are multiplied in the last
two decades. When a systematic study about cinema takes place it
should not ignore its historical alliances.

Aim:

The aim of this present study is to trace out the linguistic

peculiarities and socio-linguistic cultures of Malayalam New Generation
Movies and to find out the social impacts it made through the recent
years.

Objective:

The objectives of the present work can be listed as follows.

a. To find out the linguistic differences of Malayalam New

Generation Movies.

b. To find out how the linguistic culture behaves with the

Socio-cultural set of Kerala society.

c. To find out which social variable affect this linguistic peculiarities.

Methodology:

The data for the study is collected from Malayalam New

Generation Movies and observation made on the Kerala society. The
data consists of characteristic features of New Generation Movies.

The data is collected after thorough watching of selected number

of movies in so-called tag New Generation. The collected data
categorized, classified and analyzed. The concerned data is categorized
in accordance with social factors belonging to them.

1.4 History of Movies

Movies developed gradually from a carnival novelty to one of the

most important tools of communication and entertainment, and mass
media in the 20th century. Motion picture films have had a substantial
impact on the arts, technology, and politics. The history of film began in
the 1890s, with the invention of the first motion-picture cameras and
the establishment of the first film production companies and cinemas.
The films of the 1890s were seen mostly via temporary storefront
spaces and traveling exhibitors or as acts in vaudeville programs. A film
could be under a minute long and would usually present a single scene,
authentic or staged, of everyday life, a public event, a sporting event or
slapstick. There was little to no cinematic technique, usually no camera
movement, and flat compositions reminiscent of the Stage. But the
novelty of realistically moving photographs was enough for a motion
picture industry to blossom before the end of the century, in countries
around the world. The Cinema was to offer a cheaper, simpler way of
providing entertainment to the masses. Filmmakers could record
actors' performances, which then could be shown to audiences around
the world. Travelogues would bring the sights of far-flung places, with
movement, directly to spectators' hometowns. Movies would become
the most popular visual art form of the late Victorian age. William
Kennedy Laurie Dickson, chief engineer with the Edison Laboratories, is
credited with the invention of a practicable form of celluloid strip
containing a sequence of images, the basis of a method of
photographing and projecting moving images. Celluloid blocks were
thinly sliced, the slice marks were then removed with heated pressure
plates. After this, the celluloid strips were coated with a photosensitive
gelatin emulsion. In 1893 at the Chicago World Fair Thomas Edison
introduced to the public two pioneering inventions based on this
innovation: the Kinetograph, the first practical moving picture camera,
and the Kinetoscope. The latter was a cabinet in which a continuous
loop of Dickson's celluloid film (powered by an electric motor) was
backlit by an incandescent lamp and seen through a magnifying lens.
The spectator neared an eye piece. Kinetoscope parlors were supplied
with fifty-foot film snippets photographed by Dickson, in Edison's "Black
Maria" studio. These sequences recorded mundane events (such as
Fred Ott's Sneeze, 1894) as well as entertainment acts like acrobats,
music hall performers and boxing demonstrations. Kinetoscope parlors
soon spread successfully to Europe. Edison, however, never attempted
to patent these instruments on the other side of the Atlantic, since they
relied so greatly on previous experiments and innovations from Britain
and Europe. This enabled the development of imitations, such as the
camera devised by British electrician and scientific instrument maker
Robert William Paul and his partner Birt Acres. Paul had the idea of
displaying moving pictures for group audiences, rather than just to
individual viewers, and invented a film projector, giving his first public
showing in 1895. At about the same time, in France, Auguste and Louis
Lumière invented the cinematograph, a portable, three-in-one device:
camera, printer, and projector. In late 1895 in Paris, father Antoine
Lumière began exhibitions of projected films before the paying public,
beginning the general conversion of the medium to projection (Cook,
1990). They quickly became Europe's main producers with their
actualities like Workers Leaving the Lumière Factory and comic
vignettes like The Sprinkler Sprinkled (both 1895). Even Edison, initially
dismissive of projection, joined the trend with the Vitascope within less
than six months. The first public motion-picture film presentation in
Europe, though, belongs to Max and Emil Skladanowsky of Berlin, who
projected with their apparatus "Bioscop", a flickerfree duplex
construction, November 1 through 31, 1895.

The first films to consist of more than one shot appeared

toward the end of the 19th century, a notable example was the French
film of the life of Jesus Christ. These weren't represented as a
continuous film; the separate scenes were interspersed with lantern
slides, a lecture, and live choral numbers, to increase the running time
of the spectacle to about 90 minutes. Another example of this is the
reproductions of scenes from the Greco-Turkish war, made by Georges
Méliès in 1897. Although each scene was sold separately, they were
shown one after the other by the exhibitors. Even Méliès' Cendrillon
(Cinderella) of 1898 contained no action moving from one shot to the
next one. To understand what was going on in the film the audience
had to know their stories beforehand, or be told them by a presenter.

1.5 History of Indian Cinema

 The cinema of India consists of films produced across India, which
includes the cinematic cultures of Andhra Pradesh, Assam, Bihar,
Gujarat, Haryana, Jammu and Kashmir, Jharkhand, Karnataka, Kerala,
Maharashtra, Manipur, Odisha, Punjab, Rajasthan, Tamil Nadu,
Telangana, Uttar Pradesh and West Bengal. Indian films came to be
followed throughout Southern Asia, the Greater Middle East, Southeast
Asia, and the former Soviet Union. Cinema as a medium gained
popularity in the country and as many as 1,000 films in various
languages of India were produced annually.

The great man in this field is Dadhasaheb Phalke consider as the

father of Indian cinema. The Dadhasaheb Phalke Award, for lifetime
contribution to cinema, was instituted in his honor, by the Government
of India in 1969, and is the most prestigious and coveted award in
Indian cinema. In the 20th century, Indian cinema, along with the
Hollywood and Chinese film industries, became a global enterprise at
the end of 2010 it was reported that in terms of annual film output,
India ranks first, followed by Nollywood, Hollywood and China. Indian
film industry reached overall revenues of $1.86 billion (Rs 93 billion) in
2011. This is projected to rise to $3 billion (Rs 150 billion) in 2016.
Enhanced technology paved the way for upgrading from established
cinematic norms of delivering product, altering the manner in which
content reached the target audience. Visual effects based, super hero
and science fiction films like Enthiran, Ra.One, Eega, and Krrish 3
emerged as blockbusters. Indian cinema found markets in over 90
countries where films from India are screened. Directors such as
Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Adoor Gopalakrishnan,
Buddhadeb Dasgupta, G. Aravindan, Aparna Sen, Shaji N. Karun and
Girish Kasaravalli have made significant contributions to Parallel
Cinema and won global acclaim. Other filmmakers such as Shekhar
Kapur, Mira Nair and Deepa Mehta have found success overseas. The
Indian government extended film delegations to foreign countries such
as the United States of America and Japan while the country's Film
Producers Guild sent similar missions through Europe. India is the
world's largest producer of films. In 2009, India produced a total of
2961 films on celluloid, which include 1288 feature films. The provision
of 100% foreign direct investment has made the Indian film market
attractive for foreign enterprises such as 20th Century Fox, Sony
Pictures, Walt Disney Pictures and Warner Brothers. Indian enterprises
such as Prasad's Group, Sun Pictures, PVP Cinemas, Zee, UTV, Suresh
Productions, and Adlabs also participated in producing and distributing
films. Following the screening of the Lumière moving pictures in London
(1895) cinema became a sensation across Europe and by July 1896 the
Lumière films had been in show in Bombay (now Mumbai). In the next
year a film presentation by one Professor Stevenson featured a stage
show at Calcutta's Star Theatre. With Stevenson's encouragement and
camera Hiralal Sen, an Indian photographer, made a film of scenes from
that show, namely The Flower of Persia (1898). The Wrestlers (1899) by
H. S. Bhatavdekar showing a wrestling match at the Hanging Gardens in
Mumbai was the first film ever to be shot by an Indian. It was also the
first Indian documentary film. The first Indian film released in India was
Shree pundalik a silent film in Marathi by Dadasaheb Torne on 18 May
1912 at 'Coronation Cinematograph', Mumbai. Some have argued that
Pundalik does not deserve the honour of being called the first Indian
film because it was a photographic recording of a popular Marathi play,
and because the cameraman—a man named Johnson—was a British
national and the film was processed in London

The South Indian film industry defines the four film cultures of
South India as a single entity. They are the Kannada, the Malayalam,
the Tamil and the Telugu industries.

1.6 HISTORY OF MALAYALAM MOVIES

 Even much before the arrival of cinema, the people of Kerala
were familiar with moving images on the screen through the traditional
art form ‘tholpavakkuthu’ (Puppet Dance). Usually exhibited at festivals
of village temples, ‘toolpaavakkuuttu’ uses puppets made of leather
with flexible joints. These joints are moved using sticks and the shadow
of these moving puppets are captured on a screen using a light source
from behind, creating dramatic moving images on the screen. Stories
from the mythology were told so, with accompanying dialogues and
songs with traditional percussions like the Chenda. ‘Toolpaavakkuuttu’
uses some of the techniques widely used in cinema like the close-ups
and long-shots.

Apart from the art of ‘toolpaavakkuttu’, which exhibits the nature

of cinema, many of the folk arts and classical dance forms like ‘Kuuttu’,
‘Koo iyaa am’ and ‘Katakaḷi’ exhibits very high visual qualities in their
form. My be this legacy of Kerala’s visual culture lead the filmmakers of
Kerala to take up cinema in a different way, rather than mere plain
storytelling, than anywhere else in India, and the people of Kerala to
appreciate the

The Silent Era:

The first Malayalam cinema was produced and directed by, J C Daniel, a
dentist by profession who didn't had any prior experience with cinema.
His film Vigathakumaran was released in 1928, but failed economically.
But it is notable that while mythological films ruled all over the Indian
cinema arena, J C Daniel had the courage to produce the first ever
Malayalam film with a social theme. The economic failure of
Vigathakumaran discouraged him from producing further films. It is the
very peculiar feature movie that to be categorized as Malayalam
without any single utterances. Which is sorted by examine of team
worked for the movie, secondly the culture reflected in this type of
movie purely kerala’s. This process shows the immense identity of
movie by the semiotic ankle.

Movies with sound track:

Indian cinema had already entered the talkie age even before
Marthandavarma was released. Balan, the first Malayalam cinema with
a sound track was released in 1938. Produced by Tamilian, T R
Sunderam at the Modern Theatres, Balan was directed by Notani. A
melodramatic film, with more Tamil influence than Malayalam, Balan
featured the struggle of two orphaned children, Balan and his younger
sister, oppressed and exploited by their evil stepmother until they are
rescued by a kindly lawyer. Even though this film could be considered
irrelevant in artistic sense, its economic success created a base to the
Malayalam film industry. Followed by the success of Balan, Jnambika
was released in 1940. After Prahlada (1941), Kerala had to wait till 1948
for the next film. Nirmala (1948) directed by P J Cheriyan explored the
possibility of music and songs in Malayalam cinema. Legendary
Malayalam poet, G Shankara Kurup penned the lyrics for this film. Thus
song-dance sequences became an essential ingredient for commercial
success in Malayalam cinema.

Malayalam cinema's directors have included J. C. Daniel, the director

and producer of the first Malayalam film, vigatakum ran (1928). Unlike
other Indian films at that time, most of which were films based on the
puranas, he chose to base his film on a social theme. Though the film
failed commercially, he paved way for the Malayalam film industry and
is widely considered the father of Malayalam cinema. Till the 1950s,
Malayalam film didn't see many talented film directors. The milestone
film niilakkuyil (1954), directed by Ramu Karyat and P. Bhaskaran, shed
a lot of limelight over its directors. Ramu Karyat went on to become a
celebrated director in the 1960s and 1970s. P. Bhaskaran also directed
a few acclaimed films in the 1960s. The cameraman of niilakkuyil, A.
Vincent, also became a noted director of the 1960s and 1970s. Another
noted director of the 1950s was P. Ramadas, the director of the
neorealistic film Newspaper Boy (1955).
In the 1970s, the Malayalam film industry saw the rise of film societies.
It triggered a new genre of films known as "parallel cinema". The main
driving forces of the movement, who gave priority to serious cinema,
were Adoor Gopalakrishnan and G. Aravindan. People like John
Abraham and P. A. Backer gave a new dimension to Malayalam cinema
through their political themes. The later 1970s witnessed the
emergence of another stream of Malayalam films, known as "middle-
stream cinema", which seamlessly integrated the seriousness of the
parallel cinema and the popularity of the mainstream cinema. Most of
the films belonging to this stream were directed by PN Menon, I. V.
Sasi, P. G. Viswambharan, K. G. George, Bharathan and Padmarajan.

In the late 1980s and early 1990s, a period widely regarded as the
Golden Age of Malayalam cinema, a new array of directors joined the
stalwarts who had already made a mark in the industry. The Golden
Age saw the narrowing of the gap between the different streams of the
industry. Directors like K. G. George, Priyadarshan, I. V. Sasi, John
Abraham, Fazil, Joshy, Bhadran, P. G. Viswambharan, Kamal, Sibi
Malayil, Hariharan, Sathyan Anthikkad, K. Madhu and Siddique-Lal
contributed significantly in the Golden Age. Then there were
extraordinary screenwriters like M. T. Vasudevan Nair, T. Damodaran,
A. K. Lohithadas and Sreenivasan whose contributions were also
commendable.

The 2000s witnessed the decline of quality of Malayalam films.

Many directors who excelled in the Golden Age struggled as many of
their films continuously failed critically and commercially. As a result
the gap between parallel cinema (now known as art cinema) and
mainstream cinema (now known as commercial cinema) widened. The
2000s also saw a commercial film formula being created in line with
Tamil and Bollywood films. Directors like Shaji Kailas, Rafi Mecartin and
Anwar Rasheed directed blockbusters which had few artistic merits to
boast of. Despite the overall decline, some directors stood apart and
made quality cinema. Shaji N. Karun, Lenin Rajendran, Shyama Prasad
and Jayaraj made films that won laurels.

Out of the 40 National Film Awards for Best Director given away till
2007, Malayalam directors have received 12. The directors who have
won include Adoor Gopalakrishnan (1973, 1985, 1988, 1990, 2007), G.
Aravindan (1978, 1979, 1987), Shaji N. Karun (1989), T. V. Chandran
(1994), Jayaraj (1998) and Rajivnath (1999). There are several recipients
of the Special Jury Award as well: Mankada Ravi Varma (1984), John
Abraham (1987), Shaji N. Karun (1995) and Pradeep Nair (2005).
 From 2010 A young breed of film-makers who entered
Malayalam filmdom introducing new narrative techniques, shunning
superstars and fetching new faces in seemingly untold stories have
created a buzz in the industry. Notable directors who debuted in this
time include Blessy, Lal Jose, R. Sharath, Renjith, Roshan Andrews, Amal
Neerad, Aashiq Abu, Vineeth Sreenivasan and Lijo Jose Pellissery. They
made a new wave of movement popularly known as New Generation.
CHAPTER-2
2. NEW GENERATION MOVIES

New Generation Movies: New generation films (also known as

new wave films), is a Malayalam film movement developed in the early
2010s, characterized by fresh and unusual themes and new narrative
techniques. Films of the new wave differ from conventional themes of
the past two decades and introduced several new trends to the
Malayalam industry. While the new generation formats and styles are
deeply influenced by global and Indian trends, their thematic are firmly
rooted in Malaya lee life and mindscapes. The new generation also
helped to revive the Malayalam film industry in the early 2010s. What is
the so-called new generation cinema in Malayalam all about is a young
breed of film-makers who entered Malayalam filmdom introducing new
narrative techniques, shunning superstars and fetching new faces in
seemingly untold stories have created a buzz in the industry in the last
three-four years. However, the general feeling among film buffs is the
groups of filmmakers who identify themselves with the new brand have
failed to create an impact on movie-goers with anything substantial to
offer. "There is a fetish for visuals and form in these films than
content," is how director B Unnikrishnan, who makes films with
superstars and popular actors, puts it. Scriptwriter John Paul says films
of K G George, Bharathan and Padmarajan are miles ahead compared
to the new generation films in terms of their shock value triggered by
reality, levels of engagement, thematic novelty and stunning narration.

Erosion of the so-called "superstar" system in popular Malayalam

films coincided with rise of the new wave where screenplay got rooted-
to-reality; closer-to-life and lead characters became ordinary men and
women. Influx of new actors, the absence of superstars, rise of metro-
centric/urban and middle-class themes and different story-lines were
also noted in the wave. Some of the films were entirely shot with DSLR
still cameras and heavily used social networking sites for online
marketing. Setting of the stories also moved from south Kerala to
north. While formats and styles of the new directors are deeply
influenced by the global and Indian trends, their thematic were firmly
rooted in Malaya lee life and mind-scape. A recurrent trope in these
new narratives is accidents, coincidences, casual encounters and
chance meetings that set in motion an unexpected chain of events
affecting the lives of the characters drifting in the urban flotsam. The
frequent use of Malayalam influenced by English is also noted the films.

Until recently, most Malayalam films had rural themes portraying

the "essential goodness" and "unspoiled beauty" of villages. The focus
of the films also moved from the conventional masculine, handsome,
virtuous and invincible hero to secondary characters. Actors such as
Thilakan (Ustad Hotel) and Prathap Pothen (Ayalum Njanum Thammil)
were noted for their hard-hitting performances in the Wave films. The
depiction of women has also changed in the new wave films beyond
recognition. A number of female-oriented films such as 22 Female
Kottayam, Coc-k-tail, Beautiful and Trivand-rum Lodge were also part of
the new wave. The leading ladies often flirt openly, drink in public, and
make lewd comments. The new wave films are criticized for explicit
language and provocative themes, often under the guise of bold or
modern. The study focuses on the culture of language in New
Generation Movies and finding how it is vary from common stream
films and what socio-linguistic changes it made. And also gives
importance for what external and social variables affect it.

2.1 Characteristics of New Generation Movies

The characteristics of New Generation Movies can be classified into

three

1. Cultural peculiarities

2. Technical peculiarities

3. Linguistic peculiarities.
2.1.1 Cultural Peculiarities

These types of features show the cultural and ethical relations

between movie and the society. How movie incorporates with the living
culture of the place where it rolls and how the culture reflects through
the video output. When the cultural settings show intimacy with the
surroundings considers realistic and true in manner. Culture is shown in
a movie with dressing, hair style, and use of language, life style,
occupation and background.

For example properties of a romantic song in the movie which

discusses the life of techies is different from same mood song in a
farmer’s story cinema.

2.1.2 Technical Peculiarities

This sect is purely technical oriented, new generation movies

introducing fresh techniques in every arena of cinema. Use of new
innovations in acting, selection of appropriate technologies, mixing and
remixing in recording of music and dubbing all these features occur in
all movies more or less similar manner.
2.1.3 Linguistic Peculiarities

Linguistic features consist of the traits in use of language in new

generation movies. Selection of vocabulary, phenomenon of code
mixing and switching, pun play all these included in language culture.

2.2 Features of New Generation Cinema

a. Innovative styles of presentation.

b. Over influence of western systems.
c. Introducing western culture.
d. Influence of western music and rock bands.
e. Youth oriented and focused on youngsters.
f. Most modern dressing and models (hair style, tattoo etc.)
g. Exaggeration of erotic scenes.
h. Open talks of profanities.
i. Loss of classical music.
j. Loss of importance for parental and old age characters.
k. Linguistic peculiarities

2.3 List of important New Generation Movies

Traffic
City of God
Salt N' Pepper
Chappa Kurishu
beautifull
Friday
22 Female Kottayam
Second Show
Ustad Hotel
Theevram
Ayalum Njanum Thammil
Ee Adutha Kaalathu
Akam
Nidra
Da Thadiya
Cocktail
Trivandrum Lodge
Anchu Sundarikal
Thattathin Marayathu
Annayum Rasoolum
Amen
Hotel California
Nee Ko Njaa Cha
Kili Poyi
 Neelakasham Pachakadal Chuvanna Bhoomi
Chitra Sutram
Aadimadhyantham
Melvilasam
Shutter
August Club
Papillio Buddha
Vedi vazhipadu
Philip and Monkey.

These are most notable New Generation Movies in 2011-2013 period

this present study collected data from all these movies but gives special
attention to Amen, Honey bee, 22 Female kottayam and Trivandrum
lodge.

New Generation Movies always demands young actors. Most familiar

faces through New Generation Movies are Fahadh Fazil, Dhulkhar
Salman, Nivin Pauly, Jayasoorya, Murali Gopi, Anoop Menon, Saiju
Kurippu, Sunny vain etc.

In the case of actress there is no any unanimous choice but preferably

selecting Meghna Raj, Bhavana, Honey Rose, Remya Nambeesan,
Reema Kallingal, Dhanya Marry Varghees etc..
2.4 Plot Description of Selected New Generation Movies

Amen
Amen is a 2013 Malayalam-language Indian romantic musical
satire film written by P. S. Rafeeque and directed by Lijo Jose
Pellissery. The film stars Fahadh Faasil, Indrajith Sukumaran,
Swathi Reddy, Natasha Sahgal and Rachana Narayanankutty in
lead roles.
Plot
The plot revolves around the lives of few people around an
ancient yrian church in a Ku an an village called Kumara kari.
Solomon (Fahadh Faasil) is in love with Shoshanna (Swathi Reddy)
who is the daughter of a wealthy contractor. Solomon is the son
of a band master who died after a show by drowning. Solomon is
a failed band member. ere comes the entry of r. incent a li
(Indrajith) to the church. He learns about the relationship and
tries to unite them. It was this time the marriage of Shoshanna
gets fixed. Solomon attempts to elope with Shoshanna by taking
the help of r. a li but in vain. They are caught by their people
and beaten up. Here comes a bet in which the Band is asked to
win the band competition in which they lost in the previous years.
It was said that Shoshanna would be married to Solomon if they
win the competition with Solomon leading the band. They take
intense practices and win the bet. Solomon gets married to
Shoshanna. The next day a call comes to the church informing
that the new Priest Fr. Vincent Vattoli is taking charge. The
Kumarangiri folk now come to know that Fr. Vincent Vattoli was
actually the saint himself who appeared in front of them. The
language used this movie is central Malayalam Christian dialect.

22 Female Kottayam
22 Female Kottayam, also known as 22FK, is a 2012 Malayalam–
language Indian thriller drama film directed by Aashiq Abu and
starring Rima Kallingal and Fahadh Faasil in the lead roles. The
film concerns the travails of a 22 year old nurse Tessa (Rima
Kallingal) from Kottayam who was raped and takes revenge on her
tormentors. Set and filmed in Bangalore, the film released on
April 13, 2012, and received strongly positive reviews from critics.
It was also well received at the box-office. Rima Kallingal won the
Kerala State Film Award for Best Actress for her performances in
22 Female Kottayam and Nidra.
Plot
Tessa (Rima Kallingal) is a nursing student in Bangalore with plans
of traveling to Canada for a career. She meets Cyril (Fahadh Faasil)
from the travel consultancy agency working towards setting up
her visa. They soon fall in love and start living together. Tessa
loves him with all her heart and takes their relationship and living
together seriously.

One day while at a pub, a guy misbehaves with Tessa and Cyril
beats him up badly. The guy tries to take revenge on Cyril and
searches for him. Cyril goes into hiding with the help of his boss
Hegde (Prathap Pothen). Hegde arrives at Cyril's home to inform
Tessa about the situation. Then he asks her plainly "Can I have sex
with you?" A shocked Tessa is then brutally attacked and raped.
When Cyril finds out what happened, he becomes violent and
wants to kill Hegde. Tessa calms him down saying that she does
not want to make the incident worse than it is, and instead just
wants to get to Canada at the earliest. Once Tessa recovers from
her injuries, Hedge visits her again to ask for forgiveness. He
comes while Cyril is not around and ends up raping her for a
second time. Tessa decides not to travel abroad and plans to
murder Hedge.
Cyril discusses the situation with his boss who suggests killing
Tessa and appoints Cyril to do it. Cyril traps her by putting some
drugs in her bag. The police arrest Tessa and she is imprisoned.
While Tessa calls out for help, she finds Cyril simply walking away
from her, which is when she realizes Cyril set her up. Cyril later
relocates to Cochin and runs a modeling agency.

While in prison Tessa meets Zubeida (Rashmi Sathish) who is

sentenced for murder. Through Zubeida's criminal world
connections Tessa realizes that Cyril, a pimp, was cheating her
along with the support of his boss Hegde. Zubeida and Tessa bond
well with each other and Zubeida gives her the strength and
courage needed for striking back at Cyril and Hegde.

When the court sets her free, Tessa with the help of DK (Sathaar)
kills Hedge by poisoning him with a cobra. Next, she arrives in
Cochin in search of Cyril while pretending to be a model. Later
one night they meet in his studio but Cyril recognizes her and
becomes angry. He beats her and verbally abuses her not because
he knows she has a plan of revenge but thinks that she became a
slut who does any 'adjustment' to flourish her career. But his
frustration dissolves as he wants to enjoy her company. He
reminds her she is a mere woman.

But at night Tessa sedates him and penectomises him. When he

regains consciousness she tells him that she has removed his male
organ through a medical surgery. While Cyril finds himself in
intense pain and bound to his bed, she taunts him so much to
make him realize his faults and the gross wrongs he committed on
her. But he doesn't yield and doesn't admit his life as a pimp is a
fault. Then another twist happens when Tessa reveals Cyril that
her appearance as a model is a disguise and she knows that she is
still somewhere in his heart. She reminds him that she has only
lost someone who cheated on her, whereas he lost someone who
genuinely loved him. Now Cyril is stunned that he is not even able
to face Tessa with whom he can argue if she is a model. Cyril
recollects that her love was true and his love was overshadowed
by his male supremacy concept and greed for wealth. He
understands and admits his mistakes. Then Tessa leaves him but
not before inviting him to settle the score with her, if any remains
there. Cyril corrects his concept of her as she is the woman and
accepts her challenge and tells her that he will confront her when
he is ready, knowing that he has to settle the score with her in
terms of true love. Tessa leaves for Canada and dismantles her cell
phone and cuts further contact with DK

Honey bee
Honey Bee, a 2013 Malayalam romantic comedy film, written and
directed by Lal Junior (Jean Paul Lal), son of actor-director Lal
(Paul Michael) and produced by Sibi Thottupuram and Joby
Mandamattom. The film stars Asif Ali, Bhavana, Baburaj, Sreenath
Bhasi, Archana Kavi, Balu Varghese and Lal in lead roles.
Plot

Sebastian a. k. a Seban (Asif Ali), Abu (Sreenath Bhasi), Ambrose

Perera(Balu), Fernandez de Silva(Baburaj), Angel(Bhavana) and
Sara(Archana Kavi) are members of a music band based in Fort
Kochi. They share a very deep friendship among them. Sara is the
lover of Fernandez de Silva. Angel's brothers HC Michael (Lal),
Martin (Amith Chackalakal), Father Collin (Suresh Krishna) and
Antony (Hasim) are nicknamed "Punyalanmar" by others. They are
very dangerous also. Angel is in love with Sebastian. Meanwhile
there is a marriage proposal for Angel with SI George. On the
previous night to her marriage, Sebastian (Seban) realizes he is in
love with Angel. The four friends decide to elope with Angel. They
elope with her that night. Ambrose writes a letter and leaves it in
Angel's room to inform the Punyalanmar that they eloped with
her. The next day Sebastian wakes up to see Angel near him. He is
stunned to see her as he doesn't remember the previous night's
events. They decide to escape. Punyalanmar go in search of them
and destroys Ferno's house. Finally they decided to escape
through the harbor. Abu, Ambrose and Ferno decide to sacrife
themselves for Seban and Angel. Punyalanmar captures Abu but
Ferno and Ambrose threaten to kill their wives. Ferno calls
Seban(who is on a boat) and says they're going to sacrifice
themselves. Seban and angel attempt to commit suicide and they
jump into the sea. The film has a happy ending in which all are
praying together at Pu y ḷanm r's father's tomb. The movie
revolves around two friends (Sebastian and Angel) who suddenly
discover their love for each other. They elope on the eve of the
girl's marriage, much to the chagrin of her brothers. The film
essays the lovers' struggle for survival. The shooting of the film
started on 15 May and was released on 6 June 2013.The film was
a commercial success at the box-office.

Trivandrum Lodge
Trivandrum Lodge (2012) is a Malayalam feature film written by
Anoop Menon and directed by V. K. Prakash. The film is produced
by P. A. Sebastian under the banner of Time Ads Entertainment
and features music composed by M. Jayachandran, whilst
cinematography is handled by Pradeep Nair and the film is edited
by Mahesh Narayanan. The film stars Jayasurya, Honey Rose and
Anoop Menon in the lead roles, and features writer P.
Balachandran and playback singers P. Jayachandran and Nikhil in
supporting roles. Trivandrum Lodge combines elements from
various film genres such as romance, drama, thriller, black
comedy and off-color humor. It follows the lives of the residents
in a lodge and their relationships. According to the director, "it is a
tale of love, lust and longing set in a lodge." With a very
unconventional screenplay which unfolds through these peculiar
characters, their experiences and transformations rather than
sticking to the usual beginning, middle and end format.

The film released on 20 September. It received notably mixed

reviews from critics with some critics praising the film for its bold
plot and unconventional way of characterization while others
criticizing it for being offensive and for frequently crossing the
limit of decency under the guise of bold experiments. The
changing sexual mores depicted in the film also received wide
criticism from the cultural and literary circles of Kerala. The film
was however well received at the box office.

Plot

Trivandrum Lodge, situated in Kochi and its inmates form the

backdrop of the film. Abdu (Jayasurya) is a man who does odd
jobs for living including being masseur at a spa and being the
driver of a wealthy businessman. He is also obsessed about sex,
being sex-starved. Shibu Vellayani (Saiju Kurup) is a cinema
reporter who works with a not-so-well-known film magazine, and
persuades women to sleep with him for roles in films. Kora (P.
Balachandran) is a retired clerk from the secretariat who boasts
about having had sex with 999 women in his life and who wishes
to have a policewoman as his 1000th. Satheeshan (Arun), wants
to be an actor. Shibu promises to help him and has even given
Satheeshan a new name, Sagar. Arthur Relton (Janardhanan) and
Peggy Aunty (Sukumari) are the oldest inmates. Relton teaches
piano and lives in the world of music while Peggy Aunty runs a
canteen inside the lodge.
The owner of the lodge is Ravisankar (Anoop Menon), a rich
widower who has a son Arjun (Master Dhananjay). Ravisankar's
mother was a concubine to many rich men and all his wealth
basically comes from her earnings. This cause Ravisankar's father
Narayanan (P. Jayachandran) to move away from the family years
before. He runs a small hotel, away from his son's world.

It is into this world of Ravi, Narayanan and all the inmates of

Trivandrum Lodge that Dhwani (Honey Rose) makes her entry.
She is divorced, wants to be free, eat good food and as she herself
says, "fornicate with abandon". Dhwani comes to stay at
Trivandrum Lodge, aiming to write a novel with Kochi as the
backdrop. Her intentions not so honourable, the sexually-
repressed souls of Trivandrum lodge go into a tizzy. Then on
Dhwani and Abdu have a deep affectionate love, after she pays
Abdu to act as her lover in a hotel room to stop her husband ftom
asking her to take him back.the story develops based on all this.
The film also discusses in detail the adolescent romance between
Arjun and his classmate Amala, the unconditional romance
between Ravisankar and his wife Malavika, who has passed away.
Dhwani is fascinated by his ability to stay true to one woman even
after she passes away and the broken love story of Relton and
Peggy.

CHAPTER 3
3. LINGUISTIC CULTURE OF NEW GENERATION MOVIES

Linguistic cultures of New Generation Movies are very notable

feature. Language plays a crucial role to categories these movies as new
generation. Use and presentation of language in these films widely
differ from how common stream movies used it. It is sure that for a
linguist the distinctions made for such films because of the use of codes
(Language). Every language has its own properties to express all kinds
of emotions. Emotions of the people can be same but the expressing
style and way of code should be different because of the inevitable
diversities of languages. By the absence of any single utterance the
movies could identify whether they belong which language that
phenomenon shows the scientific and unproved nature of rigid relation
of language in the depth of culture within the arena of films. Somewhat
cinema is a semiotic oriented art, in this signs and symbols are body
while speaking language considers as spirit. So the silent films were
featured only body without spirit. The silent movies identified
Malayalam because those demonstrated the culture of Kerala society. It
is evident that each speech community has its own culture which does
not share fully with any other speech community. VIGATHAKUMARAM
referred to as the first Malayalam silent movie not only consider by the
people worked behind it but is essentially showed what Kerala has in
cultural perspective. Language and society are so intertwined and that
it is impossible to understand one without the other. There is no
human society that does not depend upon language and not shaped by
it and does not itself shape language. The spirit of this statement came
to true in the case of even Malayalam cinemas. New generation
movies’ language is enough to study because of the intricate nature of
it.

3.1 Linguistic Peculiarities of New Generation Movies

Linguistic features of New Generation Cinemas can be classified

under two batches.

1. Use of taboo terms.

2. Interference of English.

3.1.1 Use of Taboos Terms in Malayalam New Generation Movies

Taboo:

The term ‘’taboo’’ literally means a social or religious custom

prohibiting or restricting a particular practice or forbidding association
with a particular person, place, or thing. Here it denotes the use many
terms prohibited or restricted by social custom and the use of sub-
standard language. The term "taboo" comes from the Tongan tapu or
Fijian tabu ("prohibited", "disallowed", "forbidden"), related among
others to the Maori tapu, Hawaiian kapu, Malagasy fady. Its English use
dates to 1777 when the British explorer James Cook visited Tonga.
Describing the cultural practices of the Tongans, he wrote:

‘’ Not one of them would sit down, or eat a bit of any thing.... On
expressing my surprise at this, they were all taboo, as they said; which
word has a very comprehensive meaning; but, in general, signifies that
a thing is forbidden. When anything is forbidden to be eaten, or made
use of, they say, that it is taboo’’.

The term was translated to him as "consecrated, inviolable,

forbidden, unclean or cursed". Tabu itself has been derived from
alleged Tongan morphemes ta ("mark") and bu ("especially"), but this
may be a folk etymology (note that Tongan does not actually have a
phoneme /b/), and tapu is usually treated as a unitary, non-compound
word inherited from Proto-Polynesian *tapu, in turn inherited from
Proto-Oceanic *tabu, with the reconstructed meaning "sacred,
forbidden". In its current use on Tonga, the word tapu means "sacred"
or "holy", often in the sense of being restricted or protected by custom
or law. On the main island, the word is often appended to the end of
"Tonga" as Tongatapu, here meaning "Sacred South" rather than
"Forbidden South".
 In Malayalam taboo referred as ‘’teRi’’ which means use of “filthy”
language. In Kerala culture, taboo words are socially unacceptable
language. Following are considered as taboo in Kerala societies.

Calling people by the names of private body parts;

Referring to body parts in a crude fashion;

Talking ‘dirty’

Speak of sex and sexual organs publically.

But these are occurring in new generation films without any

hesitations. The use of taboo terms often breaks the limits made by
society. There are two types of taboos noted, first one the group of
sub-standard words they are in colloquial usage but not occur in any
public medias or formal talks because they consider as ugly itself eg.
vaḷi (fart), tii am (feces) etc.

Latter type is some words cannot be used any situations because

society prohibits them strictly for the words are heavy and hot eg.
mairu (hair), fuck etc. but actually these words come to use in
emotional talks. Often this kind talk erase with the voice over of beep
sounds. There are two types of taboo presentations

1. Lexical based
2. Sentence based
 Lexical based
If any single or some lexical items only being taboo is
consider a lexical taboos.

Most occurring lexical Taboos are.

Taboo term Malayalam meaning English meaning

vaḷi, kusu vaayu, kiiḻvaayu Flatulence, fart

tii am malam Feces

kotam pris am Buttock

kun i canti Buttock

mairu mu i Hair

Pulayaa im ḷ m n --------------------------- Son/daughter of

prostitute

TooRa am Kakkusil pooka am To excrement

 Some global level taboos are in use of new generation movies.
These items are being global because they are actually English words so
the terms became more familiar where ever English has the role for
communication. In Malayalam new wave films those terms have over
prevalence for the last few years

‘’Fuck’’- it is considers as worst word in the English speech

community but used in many new generation films.

‘’bitch’’ ‘’ on of bitch’’ ‘’shit’’ and ‘’Blasted’’

Situations of taboo use

Term: ‘’vaḷi’’ (Fart)

This term used so many New Generation Movies recently including

beautiful, amen etc.

1. In Amen after failure of His Band team in the final competition

band master (Kalabhavan Mani) says to his team members

‘’ innayokke pa ippicca n rattinu ii kayalil ira i vaḷi vi iru e il ra u

kumiḷayenkilum po iyeene’’ (if fart in the water instead of teaching you
it would have two bubbles)
 2. Secondly in a toddy bar a young man farts and his mother the bar
lady asks to him

‘’moon enne viḷicco?’’ (Did you call me son?)

While a young man sitting there tells

‘’vaḷi vi u oru m num, vaḷiykku viḷi k ḷkku oru taḷḷayum’’ (farting

son and replying mother for that fart)

Then she speaks of

‘’m ne vaḷi vi a kotatte a ikka vee a ma ali u tu accaal avili u

tinnaam’’

(Son don’t afraid the buttock that delivered fart. We can eat crunchy
wafer if we broom it with sand)

3. Another same occasion seen in Trivandrum lodge.

A paralyzed character watches Aiswarya Rayi’s videos and praises

her beauty that time his manager about 47-49 age (Nandhu) asks
him

‘’avaR vaḷi vi u atine kuRiccu cinticci un o?’’

4. In the movie Philip and Monkey pen a boy in a classroom makes

noise with his mouth and says
 ‘’ a uguru inno u palapRavi yam paRa i u klaasiliru u
ku uvitaatee u’’ ( uguru I told you many times don’t fart inside the
class)

The term ‘’vaḷi’’ (fart) referred to as a substandard word. It

has prevalence in colloquial language but the term would not be
used in any public and formal situations. The malayalees were
ashamed to pronounce this term but a mass media like movie
presents this lexical item without any hesitation.

Term: ‘’tii a ’’ (feces)

1. In the beginning of Amen a boy (around 10yrs) and his

grandmother found a wrap before their house as they uncovered
that found human stool in it, from forth the boy begins to say
loudly

‘’tii a ’’ to the people go by there.

2. Finally the case of this wrap reached before police officer, he asks
them ‘’enta pRa nam’’ ( hat is the problem?)
ne among them (An oldman) ‘’saaR ivan enRe vi il tii a ko u
vachu” (sir he put excrement before my home)
The police officer slaps both men and says
‘’meelaal immatiri tii a keesumaay enRe a uttu va eekkarut’’
 (Don’t come before me with this kind of shit cases)
This term ‘’tii am’’ (excrement) commonly denotes human stool
in all conversations, but the term was restricted in public usage
because this action considered essentially private so the people
were shy to speak of it.

Term: ‘’kota ’’ (Buttock)

This already occurred before, in Amen the toddy bar scene the bar
lady replies to the young man

‘’moone vaḷivi a kotatte a kikkaveen a’’

This is term necessarily stands as a taboo or least. Its standard

forms are occurring in informal situations rarely formal. The use of this
term is somewhat provoking the viewers.

Term: ‘’ku i’’ (Buttock)

1. In 22 FK a well-educated lady starred at hero and says to the girl

(Heroin) sitting nearby her in a restaurant

‘’entu valya ku i aa i’’ (What big buttock he got)

2. It is in Honey bee four friends going to take the lover of one of them
before her marriage. A boy among them feel to go toilet but he does
not know where it is, while they crawling in that night the boy who
follows the one needed to go toilet speaks of

‘’bhai o poRako u i e, alla ii kakkusil pookaan

mu a avanRe ku i e puRake kuni u ke akka at atra seiphalla’’
(Brother please stand back. It is not safe bow behind the one who
needs to go toilet)

3. In honey bee again this term used by young beautiful character of

Archana Kavi.
Scene about a dance rehearsal, heroin falls down because of
the co-star and she gets hurt, whence a conversation takes place
while the second heroin (Archana Kavi) says
‘’eyn alinRe ku ikku ki iya pa i avnRe m ntaykki u
ki a amaayirunnuu’’

Trivandrum Lodge and so many other movies used this term

‘’ku i’’ frequently. For some part of Kerala the term has been usual but
some other parts mainly south Kerala this term being very vulgar but its
fact that the movies are presenting before whole speech community of
Kerala. In the opinion of the critics, the term should be erased from
public usage.
‘’pulayaa imool, mairu’’ these kind of items also occur in Ms
incessantly ( e ivaḻipaa u, oney bee, eft right left etc. are including)

Taboo oriented constructions (Taboo sentence)

In this examines of the taboo talks, based on not any single

entities but whole sentence. This includes open talk and over
exaggeration of sex and other restricted practices.

Examples; in the movie ‘’ve ivaḻip u’’ three intimate friends bringing a
prostitute to one of them house absence of their wives. First man
enters bedroom and speaking harsh about sex. In the conversation the
lady asks man: oRa o allo alle? (Do you have condom?) . e does not
have, so he comes to his friends.

riend (Murli opi): e ane u u? (How is it?)

Friend 3(Sreejith Ravi): nii takaRttu aRUmaaticca lak a amu allo? (You
looking had heavy try)

riend ( ai u Kurippu): niRutte a (Stop it)

Friend 2: entupaRRIye a kak i koḷḷille? (What happened is she not

good?)

Friend 3: avaḷu pi akaa o aḷiyaa? (Is she a bad)

Friend 1: ivaḷu eetu koovilakatte Raa iyaa a k amillate ceyyaan

 anuvatikkilla u (Which kingdom’s queen she? She is not
ready to do it without condom)

riend : oho appo koo am illate ceyyan yiru alle ninRe parup i?
(Ho you were trying to do it without condom)

riend : aa ivaḷumaaRkku entookke asughamun akume u

aRiyaamo? (You know what kinds of disease she may have)

This is seen as very rude presentation of profane talk. It is

really a very open conversation of sex. The history of Malayalam movie
never used this kind of provoking talks before. This same situation
handled by many movies including recently released Husbands in Goa.
All other movies played this same situation in a covering way of
presentation and the spectators en oyed them well in a comic mood
but this particular movie ‘’ve i vaḻipaa u’’ the situation handled with
harsh style of presentation.

Another play of slang version of substandard Malayalam could be seen

in ‘’ oney bee’’.

(Four friends are sneaking down in a house to take away a girl is the
lover of one of them. While a boy feels severely has to go toilet then he
starts making noise)

Boy 1: caḷam kkalle (Don’t spoil)

Boy2: caḷamakkiyatalla tuRaan mu unnavanRe diina r dhanamaa u ( I
am not spoiling it’s the cry of the one who needs to go toilet)

(Boy 1 close boy ’s mouth by his palm)

oy : potti pi ikke at avanRe mugattalla ku iisilaa u (Close not his

face but his back)

(Then boy 2 is going to search toilet, while boy 3 also follows and says)

oy : anum kuu e pooyi u varaam (I will go with him)

oy : taani o u ( ou come here)

Boy 3: tuRaattavan tuuRumpooḷ tii am ko aaRa u (There is multitude

of feces if the one ejects his stool that never ejects it)

Actually this conversation aims to reveal the realistic experiences of

friend circles or peer groups but the use of the language purely
consider as bad and substandard and it makes a filthy expression on the
society.

3.1.2 Interference of English in New Generation Movies

The English interferences in spoken language even common

to colloquial Malayalam language. In new generation movies have the
characteristic feature of over interference of English usage, this
happens by to socio-linguistic process are code mixing and code
switching.

Code mixing: code mixing involves the transfer of linguistic elements of

one language to another. A sentence begins in one language, and then
makes the use of words or grammatical features belonging to
another.in code mixing the language alternations take place inter-
sentential level so this mixing of codes is necessarily a product of
bilingual competence.

Code switching: code switching is the alternate use of two languages

within the same utterance. It is use by a speaker of more than one
language, dialect or variety during a single conversation. The term code
switching refers to the juxtaposition of elements from two languages or
dialects.

Differences of Malayalam and English in verbal use

Mother tongue pull is evident when Malayalees open their

mouth to speak English. In the context of Indian English also, ‘Mallu
speak’ stands out. Sadly the accent of Malayalees often verge on the
ridiculous. English is a highly musical language. Spoken English is almost
music. There is intonation, stressed and unstressed sounds, rhythm and
tonal variations. Malayalam is spoken in a rather flat way. Except in
some dialect variations, Malayalam is spoken in mono tone. There is no
rhythmical intonation in Malayalam. Many Malayalam sounds are
pronounced differently in English, but the mother tongue pull makes
Malayaless pronounce sounds similar to these incorrectly. The complex
sounds like 'bla' 'kka' etc aggravate the problem. There are a large
number of double consonants in Malayalam that are pronounced with
a ‘double stress’ in Malayalam. This makes them pronounce English
words in the similar way when they come across doubling of letters. For
instance, the word ‘pulling’ has two l’s and it is pronounced by Keralites
with a sound that is not present in English. In English we do not stress a
syllable just because of the doubling of a letter. In fact Malayalam has
the largest number of letters among Indian languages. Because of its
Sanskrit and Tamil origins Malayalam alphabet can represent most of
the sounds in Indian languages. In spite of the Indo European family
bonds Malayalam does not have all the sounds in English. Sounds like
‘th’ and ‘r’ are examples.

Special training in the pronunciation of these sounds is necessary for

the correctness of spoken language.

It is clearly noted that New Generation Movies are featured for the
over interference of English language rather than other movies. This is
not only a result of linguistic process but it also evidences for the
cultural trade. Acculturation is the main reason for this phenomenon,
acculturation happens when two language mingle with each other with
different cultures. English comes from abroad with peculiar culture and
adjoins with a Dravidian language Malayalam there share their traits
and qualities. The criticizers coined the term ‘’Manglish’’ because of the
nature of this admixture. Manglish also considers as the English over
rule in Malayalam media. NGMs are the good customers of this
‘’manglish’’ movement.

Interference of English in NGMs can said to be in two types

1. Lexical interference
2. Grammatical interference.
Lexical interference: lexical interference denotes the use of
English lexicons in Malayalam conversation. Loan, borrowing are
the process of attain those lexical items in Malayalam speech.
These types of conversations are termed under code mixing and
code switching.

Examples: 1. ‘’paRa u varumpoḷ ammaḷ neighbors aa allo?’’

(However we are neighbors) -- Chaappa Kurishu

1. ‘’ate sir kaaR inRe ra u-mu u putiya plaans u ’’ ( es sir we

have new plans of card) – Chaappa Kurishu
2. ‘’Mee am ñanoru RRaksi aRenñu ceytu taraam’’ (Madam I will
arrange a taxi)—Chappa Kurishu
3. ‘’haay saaRa meree inu pooyille’’ ( arah didn’t you go for
marriage)
4. ‘’ippo tanRe Ressi ine paRRi neeri enno aarum paRayaarilla’’
(Now nobody tells me directly about your dressing)- ve i vaḻipaa u
5. ‘’kaRttave aanum kaḻiccataa allo kalyaa attinu ra u pleeRR
biriyaani (Lord I also had two plate biriyaa i in marriage)

Far from these usages some referential and addressing terms are
widely introduced by New Generation Movies.

‘’ ro’’ ( rother-sahoodaran) this is an addressing term used in many

New Generation Movies .The term ‘ ro’ is evolved out of English
word Brother.

eg. caḷamaakkalle bro.. (Don’t collapse brother). This is for refer

males but in New Generation Movies the term use to address among
peer groups without gender discrimination.

‘’ us’’ ( usband) this is a referential term used in many NGMs

recently

‘’ oney’’ ‘’dude’’ ‘’boys’’ ‘’dear’’ these are came to use as

addressing term.
 ‘’wife’’ ‘’son’’ ‘’niece’’ all are play as referential terms.

Grammatical Interference: Grammar has been the rule and

regulatory system of a language. When two languages collide in the
way the contact each other they may share their fundamental basics
as they do with lexical items. Grammatical interference shows the
morphological and syntactic mixing through the alternative use of
these two languages

Morphological Interference: Morphemes are the minimal

meaningful unit in a language. A word may be a composition of two

or more morphemes, if a word consists of two or more morphemes
of two languages can be said in morphological interference. In NGMs
the use of these types of items are increased as the use of English
increased.

Example: ‘’booRan’’ (the man who makes others bored) is the

construction of

Bore + an (third person masculine marker)

Bore + atti (third person feminine marker)

‘’ ore’’- it is an English verb form and becomes noun by the addition of

Malayalam person markers ‘’an’’ and ‘’atti’’
 numpeRukaḷ (Numbers)

Number + kaḷ (Plural marker)

‘’ umber’’- is an English lexical item and its category is noun. The

plural morpheme ‘’kaḷ’’ added to it and the suffix’s function is not been
changed.

siiyil (In sea)

Sea + il (Locative marker)

‘’ ea’’- is a noun and ‘’il’’ is the Malayalam locative marker.

RRu anu ( or tuition)

Tuition + nu (Dative case marker)

‘’Tuition’’ is an English verb form becomes noun by adding the dative

suffix “nu’’

Meerijjinu (For maariage)

Marriage + nu (Dative case marker)

‘’Marriage’’ is an English term and it followed by the dative case noun.

sekanRukal (Seconds)

Second + u + kaḷ ( ink morph ‘u’ and plural marker)

‘’ econd’’ is a noun class form which followed by link morph ‘’u’’ and
plural marker ‘’kaḷ’’

From these instances it clear that the root word is borrowed and with
native case suffixes. There are exceptions such as ku iis (Children),
payyans (boys) etc.

Syntactic interference: It is very easy to illustrate that the Dravidian

sentences’ word orders are flexible so in this code mixing and switching
situation one language’s syntactic feature may affect another ones.

Example aan basu kaattu i u (I waited for a bus) this sentence

becomes ‘’ aan basinu v i kaattu i u’’ by finding space for the
term ‘’for’’ (vee i).
CHAPTER 4
4. SOCIAL IMPACTS OF NEW GENERATION MOVIES
New generation movies introduced changes mainly in two spheres are

1. Socio-cultural domain.
2. Linguistic domain.

Socio-cultural settings affected by following changes

Attire: People started to wear the most modern (western stylish, erotic
model) dresses by the influence left by New Generation movies. Mainly
youngsters (both girls and boys) are the well-being customers of this.
Gradually it causes for the sexual harassments and other malpractices.

Makeups and cosmetics: use of fresh types of makeup materials and

cosmetics are increased among the people, comparatively women are
the group of people engaged with this. Later it causes for the skin
problems and cancer in some extend. Use of studs and tattoos can be
included in this sort. But tattoo and studs are demand by youngsters
(mainly boys)

Food: use of fast foods and soft drinks are multiplied by the support of
New Generation movies. It spoilt the food habits of pure Keralites and
reasons for health issues. This induces mostly children and youngsters
Drugs & Alchahole: statutory warnings are vain because the over
projection of intoxicants causes for the increase in use of drugs,
alchahole and smokes. The people trade them in cinematic models too.
Women also get dare to use these intoxicants publically

Aggression: in New Generation Movies the presentation style of stunts

and aggressiveness become very effective among youngsters. Daily
news reports every day large amount of crimes such as in cinematic
models.

Linguistic settings affected by following changes

Vulgar jokes and profane talks become more fashionable because New
Generation Movies projecting them without any hesitation, which
spoils the secret nature of Malayalees. The observation found that even
educated youngsters also engaged in such linguistic business and they
use restricted terms including both sub-standard and hot & heavy
terms. Girls are ready to use sexual talks and profanes by the models of
New Generation Films. The tendency for make comment about others
body parts become increased and assumed as fashionable.
Over interference of English: interference of English in Malayalam
already noted by linguists but the New Generation Movies give the
models of over interference of English usage. Observation cleared that
even among illiterates and non-educated people lexical interference is
common and high rather than grammatical. In the case of educated
class people which can be seen that the interference of both levels
lexical and grammatical. Another phenomenon specified in the
observation that the peer groups refer to each other using the terms
like “bro’’ without any consideration of gender difference, this seen
mostly among students and youngsters. People also use English
referential and addressing terms to state their kinship (Papa, Mom, Bro,
and us). Among couples and lovers the terms like ‘honey, sweetie and
love’ have more prevalence after the influence ew eneration
Movies. Problem of this linguistic change is that later the Malayalam
will lose its richness in vocabulary and grammar errors become
common.

Open talk about sex and taboos: New generation movies propounded
a new psychological standard which makes the people (especially
youngsters) to frankly talk about sex and taboos. People think that the
freedom of mass media (films) is also applicable for them too. So they
use the language style and culture of New Generation movies
demonstrated. The degree of taboo become less because of the
repeated use of those terms, in some cases taboo terms later accepted
by the speech community. In the process which affiliating taboo words
are hurting the sacredness of Malayalam language and it severely
reflects in culture. Clips of profane talks of ladies become usual
commodity of New Generation Movies widely accepted as the symbol
of the social equality of women in fact the tendency strictly pollutes
social and linguistic culture of Kerala society.
CHAPTER 5
 5. CONCLUSION

Movies nowadays leave a great impact on the minds of

people because Society is always looking forward to the innovative
things for satisfying its inevitable nature of changing. Cinemas provide
the requirements for the changes of a society. Even for Kerala people
cinema considered to be an ideal art form rather than katakaḷi or
classical music because Movie is not a single entity itself, but it is being
the gathering of music, dance, drama, humor and action. Different
elements in a movie can please various types of spectators.

It is human nature to imitate what impress them. In that way

people started to imitate threads of movies and actors of movies from
very beginning of cinemas. But often obviously an irony can be seen;
when someone do worse things they tease and claps. Presumably
stated that happened in the matters of New Generation Movies also.
New wave films stimulate the people to imitate unconsciously what
they show; for a viewer it might not be deliberate. All types of movies
are influential but New Generation films leading a little above all.
People belong to different social variables respond these changes
differently.
The observation found that youngsters are the group of people inspired
or seduced by New Generation Movies. The effect of cinema on youth
can be easily observed. Not only can its effect be seen on the elders of
rural and urban areas but on the children as well. It cannot be said that
all the New Generation films are corrupting youth. There are films
making awareness and other types of family films made youth learn a
lot .The current New Generation films are more of action, thriller,
romance, robbery etc. The youth tries to imitate each and everything
which is in the films and this reflects in their dressing style, their
driving, their way of talking etc. The people start imagining themselves
in the story lines of those films. Girls and boys, especially in the age of
15-21, are the easiest preys. The dialogues, the dressing style of the
actor become the latest trend for the youngsters. They try to imitate
what all goes in films and without understanding that some part of it
might leave a negative impression on them. Knowingly or unknowingly
the films molds the youth of today in one way or the other and effect of
cinema on youth can be seen widely. Even the youngsters in rural areas
are so much affected by the movies, that they place the heroes of the
film in a very integrated part of their minds. They try to change their
lifestyle according to the films, starting from hairstyle, clothes, and
dialogues and so on. In the films today when the daily crimes, murders,
robberies are shown some people take it in a wrong way and they
purposely learn how to commit such crimes. They learn the tricks and
tactics used for crimes in the films. In all New Generation films, stunts
are being performed, the teenagers try to copy such stunts on their
bikes and cars which many a times lead to severe accidents.
Harassment and rapes have increased because of the free and western
culture shown in Malayalam films today.

Now abuses are so common in almost every New Generation Movies

that even a kid of 10 years is able to speak such abusive language
knowingly or unknowingly. With the increasing use of these types of
languages society being loosing it’s soul and spirit of pure linguistic
culture. It hurts the covering nature of Malayalees moral sense and
provoking them via the multitude of filthy language. Code mixing and
switching cause for the cease of the properties of Malayalees own
language. When the coming generation imitates those changes must be
a reason for the demolishment of societies all settings. This is being an
allegorical symbol of upcoming Socio-cultural and socio-linguistic
imbalance of the Kerala society. If the society continues its journey
without making any changes in this path the cultural and linguistic
purity of Kerala will be loosed within years.
 5.1 BIBLIOGRAPHY

Akmajian,Adrian and others., 2001, Linguistics: An introduction to

Language and communication(fifth edition) New Delhi; prenticehall.

Ansarsha, 2006, Language of Cinematography (Unpublished MA

dissertation), Thiruvananthapuram; Dept. of Linguistics.

Bgattathiri,Vasudevan,C.V, 1977 Bhashasasthram, Trissur; Current

books.

Bordwell,David and Thomson,Kristen., 2003 Film History An

Introduction, New york; MCgraw Hill company.

Duranti,Alessandro., 2001, Key Terms in Language and Culture,

Massachusetts; Black Well.

Hammond,Paul., 1974, Marvellous Melies, London; Gordon Fraser.

Hymes,Dell., 1964, Language in Culture and Society; A Reader in

Linguistics and Anthropology, London, Harper and Row.

Marar,Kuttikrishnan., 1971, Malayala sailee. Kozhikode; Mathrubhumi

publication.

Metz,Christian., 1974, Language and Cinema, Hague; Houteo.

Meyerhoff,Miriam., 2011, IntroducingSociolinguistics, London;
Routledge.

Miller,George. A., 1951, Language and Communication, New york,

Mcgrawhill Company.

Mitry,Jean., 2000, Semiotics and Analysis of Film, London, Athlone

press.

P.M,Joseph., 1984, Malayalathile parkiya padhangal,

Thiruvanathapuram, Kerala Bhash Institute.

Witmark,Isidane, Goldbeg,Isaac., 1939 The House of Witmark, New

york, ASIN

5.2.1 Selected Movies

22 Female Kottayam. Dir. Ashiq Abu., P J Entertainments, 2012. Flim.

Amean. Dir. Lijo Jose Pellissery., Tricolor Entertainments, 2013. Flim.

Honey Bee. Dir. Lal.Jr., P J Entertainments, 2013. Flim.

Trivandrum Lodge. Dir. Prakash V.K., P J Entertainments, 2012. Flim.

Vedi Vazhipaadu. Dir.Sambu Purushothaman., Thameen’s Release,

2013.Film
Websites

1. www.tv3.com

2. www.youtube.com

3. www.linguarama.com

4. www.wikipedia.org

5. www.linguisticsocity.com