This document discusses representations of transgender characters in Tamil cinema and how the transgender community receives these images. It outlines the study objectives to analyze depictions of transgender characters, the identity created for the community through these images, and how transgender people identify with the films. The document then provides background on transgender populations in India and their portrayal historically in cinema as sex maniacs or misfits. It describes the methodology used, including semiotic and reception analyses, interviews with transgender individuals, and variables examined like character, shots, costumes, and music. Key findings are discussed around functionality of characters in narratives, relationships depicted, dialogues for social acceptance, and carving cultural identity. Feedback from the transgender community on representations and impacts are also summarized

1. D. Shanthini Sarah
Research Scholar & ASM, Gyan Vani FM
&
Dr.P.Govindaraju
Head - Department of Communication
Dean- Faculty of Arts
Manonmaniam Sundaranar University,

2.  “Films are all fictional, since the y all represent
something by means of signs , rather than presenting
what exist in spectators real time and space” Christian
Metz
 Create identity for any social creation
 Ideological construction
 Meaningful documents with the potential to yield rich
insights into the cultures and times in which they are
made
 Host of cultural idea and values at a hidden or
subconscious level

3.  1.5 million Transgender population
 ‘Hijiras’ , ‘Aravani’ or ‘Thirunangai’
 Gender identity crisis
 Hindu mythologies – Ardhariswara (Shiva &
Shakthi), Arjuna(Mahabharata), Mohini
(Vishnupurana)
 Tamilnadu as pioneer in inclusion at various levels
 Creating conducive environment

4.  How transgender are represented in Tamil Cinema?
 How does the transgender community receive the
images?
Hence the study objectives are
 To analyse the depiction of transgender characters
 To analyse the identity created for the community
through the images
 To analyse how the transgender identify themselves in
the films.

5.  Sex maniacs
 No morality
 Ridiculed in comedies
 Misfit to the society

6.  Semiotic analysis
Variables:
 Character
 Time and space given for them in the film
 Significance of the character
 Their relationship with other characters
 Shots
 Costume
 Music

13.  Reception analysis
 In-depth Interview
 Six Transsexuals
 The group composed of film maker, social
activist, writer, actress, etc.

14. Functionality in the narrative:
 Screen presence in the film is at least 20 minutes
 Characters were named (Eg: Karpooram in Vaanam)
 Significance of the characters in development of the story
Depiction of their relationships:
 “Guru –chela”- kinship
 Atleast four films depicted their relationships

15. Dialogues for social acceptance:
 Characters voice out their plight
 Represent the whole community
Carving out cultural identity:
 The shots of their festival (Thenavettu)
 Misrepresentation of their rituals (Kaanchana, a
song in Thenavettu)

17.  Fashion shows
 Double meaning dialogues
 Gaze

18.  Happy and satisfied with their portrayal
 Gained confidence
 Kaanchana film has given a poignant dimension to the
transgender community which has yielded them
respect
 Social Inclusion became a reality

19.  They felt, if the transgender characters which are
played by the male actors are replaced by the
transgender the nuances of their role could be met. For
example: Some of them felt that Sarath Kumar playing
the Kaanchana role was more masculine than being
feminine
 They feel happy on seeing the transgender getting
married in Narthaki film, as the transgender crave for
marital relationship

20.  Viruthagiri has threatened the community who felt
more insecure because the film which has transgender
falling as victims of the kidnappings for organs.
 Though Narthaki captures the life of a transgender, the
culture and customs projected are not accurate

21.  Create awareness
 Stereotypes should be avoided
 Empathize rather than sympathize
 Sensitive treatment rather than sensationalizing