This paper traces a particular moment in the recent history of Malayalam Cinema when a shift in the representation of the private sphere was attempted. In the period after 2010, a set of new Malayalam films carried a shift in terms of aesthetics and narrative techniques and went on to unfold in a full-fledged manner by the end of the decade. The paper would look at Chappa Kurishu (Head or Tails, 2011), one of the early movies of this tide to shed light on the remarkable shift it achieves in representing the scenes of romantic and erotic intimacy on screen. As the narrative of the movie centers around the fight over a smart phone that ensues between two strangers in the city of Kochi, it gets entangled with questions of privacy, class and contest over the urban spaces. Bringing to the discussion contestations over the meanings of public and private manifested in certain urban-based movements in recent times like ‘Kiss of Love’ protests, it is argued that Chappa Kurishu can be read as a response to the contradictions arising out of the emergence of new subjects in the wake of urban transformations and the conflicting cinematic publics of multiplex and single hall theatre. The formal transactions between cinematic form and video form, the paper suggests, is one of the ways in which Chappa Kurishu attempts to respond to this situation in a way that signals the transitional position of the spectator subject.

中文翻译：

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意识形态重构：近期马拉雅拉姆电影中的隐私、偷窥和形式

本文追溯了马拉雅拉姆电影近期历史上的一个特定时刻，当时试图改变私人领域的表现形式。在 2010 年之后的时期，一系列新的马拉雅拉姆语电影在美学和叙事技巧方面发生了转变，并在本世纪末全面展开。该论文将着眼于 Chappa Kurishu（Head or Tails，2011 年），这是这一潮流的早期电影之一，以阐明它在呈现银幕上浪漫和色情亲密场景方面所取得的显着转变。由于电影的故事围绕着两个陌生人在高知市发生的智能手机之争展开，它与隐私、阶级和城市空间竞争等问题纠缠在一起。近来某些以城市为基础的运动（如“爱之吻”）抗议中出现的关于公共和私人含义的争论，有人认为，栗州茶童可以被解读为对出现的矛盾的回应城市转型和多厅影院和单厅影院的电影公众冲突之后的新主题。该论文认为，电影形式和视频形式之间的正式交易是栗树茶试图以一种表明观众主体过渡位置的方式来应对这种情况的方式之一。有人认为，Chappa Kurishu 可以被解读为对随着城市转型和多厅影院和单厅影院的电影公众冲突而出现的新主题所产生的矛盾的回应。该论文认为，电影形式和视频形式之间的正式交易是栗树茶试图以一种表明观众主体过渡位置的方式来应对这种情况的方式之一。有人认为，Chappa Kurishu 可以被解读为对随着城市转型和多厅影院和单厅影院的电影公众冲突而出现的新主题所产生的矛盾的回应。该论文认为，电影形式和视频形式之间的正式交易是栗树茶试图以一种表明观众主体过渡位置的方式来应对这种情况的方式之一。