Symbolic Resistance: Visual Metaphors and Caste Critique in Mari Selvaraj's Cinema

Mari Selvaraj's films Karnan (2021), Maamannan (2023), and Pariyerum Perumal (2018) harness visual metaphors to critique caste oppression and power dynamics, embedding his work within political cinema.This study explores symbols like the bound donkey, the authoritative chair, and the tea glasses, which reveal systemic discrimination in everyday life. Through Neo-Realist authenticity, Structuralist decoding of allegories, and politically engaged storytelling, Selvaraj's metaphors expose and resist social hierarchies, offering a layered narrative of Dalit struggles and empowerment." A key focus is the use of tea glasses in Pariyerum Perumal as a metaphor for caste-based segregation, reflecting how everyday objects reinforce social hierarchies and exclusion. The act of serving tea in separate glasses to Dalits encapsulates the insidious nature of caste discrimination, illustrating the deep-rooted inequalities that persist in seemingly mundane interactions. By integrating metaphor analysis with key film theories, this study situates Selvaraj's work within Neo-Realism, Structuralist Film Theory, and Political Cinema. Through a Neo-Realist lens, his use of nonprofessional actors, real locations, and raw storytelling enhances the authenticity of Dalit narratives. Structuralist Film Theory helps decode recurring symbols and allegories, revealing how his films challenge dominant ideological structures. Meanwhile, PoliticalCinema frameworks highlight how his storytelling aligns with socially engaged filmmaking, using visual metaphors as tools of resistance and empowerment.