In tandem with the current development of film scholarships in the area of the world and national cinemas, the paper seeks to examine four scenes from the South Indian Tamil popular film “Kannathil Muthamittal” (English: A Peck on the Cheek) using a concept derived from Hamid Naficy’s theorisation of an accented cinema known as the filmmakers’ “preoccupation with the place.” The conception is cinematically expressed through spatial representations of the open, closed and the third spacetime formations. In the accented cinema, space-time formations are cinematic spatial aspects that are employed to produce or reproduce the fundamental “accent” of displacement and deterritorialisation. According to Naficy, the accent predominantly originates from the filmmakers’ experiences and their artisanal productions and not so much from their accented lingo. The paper, in particular, IJAPS, Vol. 14, No. 2, 143–164, 2018 Space-time Formations 144 aspires to engage critically the national film “Kannathil Muthamittal” directed by the renowned Indian filmmaker, Mani Ratnam. The paper will evidentially establish that the accented cinematic features which are exclusive to the accented cinema have consistently appeared in the selected scenes in the film. Although Naficy’s theory has offered a range of cinematic features that express the filmmakers’ preoccupation with the spaces and places they inhabit and their displacement and deterritorialisation experiences, the paper will only concentrate on the spatial representations of the open, closed and the third space-time formations. As for the accented filmmakers, the theory of an accented cinema distinguishes the accented filmmakers into three distinct categories, namely the diasporic, the exilic and the postcolonial ethnic. Even though it is obvious that director Mani Ratnam does not belong to any of these groups, the cinematic style and strategies employed in Kannathil Muthamittal, especially in the selected scenes, exhibit the visual and the narrative markers of the accent. By examining the style and the strategies employed in these scenes, the paper concludes that the South Indian Tamil cinema has indeed embarked on a path that puts it ahead from its conventional style to a more advanced form of filmmaking which integrates a broad range of cinematic features employed from various other forms of cinemas.

中文翻译：

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南印度泰米尔语流行电影Kannathil Muthamittal中的时空形成

与世界各地和国家电影院领域电影奖学金的最新发展相结合，本文力图利用派生出的概念来研究南印度泰米尔语流行电影“ Kannathil Muthamittal”（英语：A Peck on the Cheek）中的四个场景。由哈米德·纳菲西（Hamid Naficy）对著名电影院进行理论化处理而来，该电影院被称为电影制片人对这个地方的关注。该概念通过开放，封闭和第三时空结构的空间表示以电影方式表达。在重音电影中，时空构成是电影的空间方面，用于产生或再现位移和地域化的基本“重音”。根据纳菲西（Naficy）的说法，这种口音主要来自电影制作人的经验和他们的手工制作，而不是来自口音重的行话。该文件尤其是IJAPS，第1卷。14，第2号，第143-164页，2018年时空编队144渴望与著名的印度电影制片人玛尼·拉特南（Mani Ratnam）执导的国家电影《坎纳希尔·穆罕默塔尔》（Kannathil Muthamittal）进行批评。该论文将有力地证明，重音电影特有的重音电影特征一直出现在影片的选定场景中。尽管纳菲西的理论提供了一系列的电影特征，以表达电影摄制者对他们所居住的空间和地方的关注，以及他们的位移和地域化经验，但本文仅关注开放，封闭和第三时空的空间表现形式。编队。至于着名的电影人，重音电影理论将重音电影制作人分为三个不同的类别，即流放，流放和后殖民时期的种族。尽管很明显导演Mani Ratnam不属于这些群体，但在Kannathil Muthamittal中采用的电影风格和策略，尤其是在选定的场景中，都表现出了口音的视觉和叙事标记。通过检查这些场景中使用的风格和策略，论文得出结论，南印度泰米尔语电影确实走上了一条道路，将其从传统风格转变为融合了广泛电影特征的更高级电影制作形式受雇于其他各种形式的电影院。尽管很明显导演Mani Ratnam不属于这些群体，但在Kannathil Muthamittal中采用的电影风格和策略，尤其是在选定的场景中，都表现出了口音的视觉和叙事标记。通过检查这些场景中使用的风格和策略，论文得出结论，南印度泰米尔语电影确实走上了一条道路，将其从传统风格转变为融合了广泛电影特征的更高级电影制作形式受雇于其他各种形式的电影院。尽管很明显导演Mani Ratnam不属于这些群体，但在Kannathil Muthamittal中采用的电影风格和策略，尤其是在选定的场景中，都表现出了口音的视觉和叙事标记。通过检查这些场景中使用的风格和策略，论文得出结论，南印度泰米尔语电影确实走上了一条道路，将其从传统风格转变为融合了广泛电影特征的更高级电影制作形式受雇于其他各种形式的电影院。