Giovanna Rampazzo PhD Candidate at Centre for Transcultural Research and Media Practice Dublin Institute of Technology – Dublin

Filmmakers do not have access to professional equipment and film studios. They use their own equipment, and public spaces and private houses as locations Jijo S. Palatty and Ajith Kesavan Filming The Circle in Dublin city centre Using a wheelchair to achieve a tracking shot A group of Keralite filmmakers in Dublin Photos: Giovanna Rampazzo

The Iris Film Society functions as a platform to make and screen independent films Poster of a short film festival organized by the Iris Film Society in 2012 Poster advertising the screening of Jijo S. Palatty’s latest film The Circle

Films are screened in Community Centres used by Indian communities to organize cultural activities The Ballyowen Community Centre in Lucan hosts Kerala House, a Keralite association (Photos: Giovanna Rampazzo) Binu Daniel of the Iris Film Society introduces the screening of Jijo S. Palatty’s The Circle at Kerala House

Brief History of Malayalam Cinema Film industry based in the Indian state of Kerala producing film in the Malayalam language 1950s: Film production boosted by the support from the Kerala state government From the 1960s: Strong art film production helmed by directors Adoor Gopalakrishnan, G. Aravindan and Shaji Karun. Film Society Movement begun promoting film as an art form 1980s Golden age of Malayalam cinema: art film became commercially successful. 1990s Commercial film production deteriorated due to the competition of stronger film industries such as Bollywood. 2010s: emergence of ‘New Generation Malayalam Cinema’ commercially successful experimental films made with small budgets

Naalu Pennungal (Four Women, 2007) directed by Adoor Gopalakrishnan A drama centred around four women of different social backgrounds living in rural Kerala. Adaptation of short stories by Thakazhi Sivasankara Pillai Adoor Gopalakrishnan won the National Film Award for Best Direction for the film

Nurses from Kerala have a history of emigration 80% of Indian nurses are from Kerala Since the 1960s Keralite nurses have migrated to central Europe, the Persian Gulf, the US, the UK, and recently Ireland

Keralite men based in Ireland are very active in their communities and organize cultural events that contribute to the realization of their film projects

Being a nurse’s husband: a challenge to traditional masculinity ‘The men I met in Ireland have to assume a new division of labour within their couple; for a new generation, it comes to assume a job for long considered as a purely women’s job.’ Marie Percot - Transnational Masculinity: Indian Nurses’ Husbands in Ireland (2012: 85)

Examples of films made by Keralite filmmakers in Dublin Short Sight (2011) by Biju Mullamkuzhithadathil 13 mins Parakayapravesham (To Take Another Human Form, 2013) by Jijo S. Palatty – 15 mins

Short Sight (2011) by Biju Mullamkuzhithadathil

Stills from Short Sight

Poster of the film Photos of the making of Parakayapravesham (courtesy of Jijo S. Palatty) Parakayapravesham (To Take Another Human Form, 2013) by Jijo S. Palatty

Stills from Parakayapravesham

Men are losing their status as head of their family ‘The immigrant men experienced loss of status in two ways: both in terms of their relations to their wives and in relation to their position before immigration’ Sheba George - “Dirty Nurses” and “Men Who Play” Gender and Class in Transnational Migration (2005 : 155)

Stills from Parakayapravesham

Keralite short films as an example of ‘Accented Cinema’ ‘the accent emanates not so much from the accented speech of the diegetic characters as from the displacement of the filmmakers and their artisanal production modes’ Hamid Naficy - An Accented Cinema: Exilic and Diasporic Filmmaking (2001: 4)

Films are uploaded on Youtube where viewers can see them and leave their comments

Viewers can relate to the experiences portrayed in the films

News about their film on Indian media raises the profile of Irish based Filmmakers Article on Jijo S. Palatty Parakayapravesham on ‘The Indian Express’ From Jijo S. Palatty’s Facebook page news in 'Manorama' about The Circle, Jijo S. Palatty latest film

Filmmaking allows Indian men to regain an active role ‘men have obviously more time than their wives to spend in these activities of communication. However, this kind of monopoly allows them to appear as the actual head of the family and to reaffirm their image as successful migrants in their home country.’ Marie Percot - Transnational Masculinity: Indian Nurses’ Husbands in Ireland (2012: 84)