This chapter examines Kannada films from the 1990s. It discusses how from the late 1980s onwards, Kannada cinema becomes depleted because of a lack of signifiers — the cinema does not ‘mean’ in the way it had done hitherto. The region is absent as an imagined community in these Kannada films and this perhaps accounts for them being unable to ‘mean’. It considers one aspect of Kannada cinema that has distressed its avid followers — the vulgarity that appears to overwhelm it in the early 1990s. It also looks at the treatment of women in these films, specifically the notion of feminine promiscuity. It discusses the attitude of Kannada cinema towards Bangalore and how a large number of films are either ‘framed’ as stories being related by filmmakers or involve the process of filmmaking in some way.
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