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Situating Tamil Cinema interrogates contemporary Tamil cinema’s relationship with the shifting meanings of world cinema as an emergent organizing principle of film studies. Specifically, the dissertation studies the reconfiguration of the narrative modes of Tamil cinema in the contemporary postglobal moment. It suggests that Tamil cinema is part of a broader global change in marginalized cinemas and is thus one demonstration of the theories of world cinema. “World cinema” is an emerging concept among film theorists – films and film cultures that used to occupy the erstwhile categories of global art cinema, Third Cinema, or transnational cinema are now tentatively encroaching and inhabiting the category of “world cinema” – but there is no broad consensus on the heuristic value of the term. If world cinema is simply the sum total of all cinema in the world, it tends to obscure the particularities of minor film industries. It is in response to this that I propose an alternative ontology of world cinema that rests upon the principles of democracy and globalization, but endeavours to create a category of cinema with shared principles that could then allow these movies to be studied, albeit not as an homogenous body. The working definition of world cinema in

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