Relevant bibliographies by topics / The kitchen cinema

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Academic literature on the topic 'The kitchen cinema'

Author: Grafiati
Published: 4 June 2025
Last updated: 23 June 2025

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Journal articles on the topic "The kitchen cinema"

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Isenberg, Noah. "Fatih Akin's Cinema of Intersections." Film Quarterly 64, no. 4 (2011): 53–61. http://dx.doi.org/10.1525/fq.2011.64.4.53.

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A career survey of the work of Turkish German director Fatih Akin, whose films (notably The Edge of Heaven and Soul Kitchen) combine comedy with darker notes, emphasizing the theme of dual identity and paying particular attention to the use of music.
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J. Alex, Gigy, and Babitha Justin. "Slamming the Door: Reinventing Kitchen Narratives in Contemporary Indian Movies." Southeast Asian Review of English 59, no. 2 (2023): 7–19. http://dx.doi.org/10.22452/sare.vol59no2.3.

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Abstract In the last ten years, Indian cinema has envisaged culinary spaces as patriarchal structures embedded with the hegemonic practices of the family. Subsequently, Indian cinematic spaces have wielded the kitchens of the Indian subcontinent to interrogate the issues related to gender, identity, culture, and the nation through its visual spaces. The culinary is politicized; the domestic space that has depicted hegemonic masculinity and intersectionality for centuries has been analyzed, exposed, and reimagined in movies like Stanley Ka Dabba (Hindi, 2011), The Lunchbox (Hindi, 2013), Kaaka Muttai (Tamil, 2014), Aamis (Assamese, 2019), and The Great Indian Kitchen (Malayalam, 2021). These movies constantly interrogate and challenge the gender roles and performances prevalent in Indian kitchens. The act of cooking, an agent of a woman's creative expression, has long been understood as an act where food preparations become rituals and performances, and kitchen spaces become a prison house for women. These movies question the power relations which overlay the culinary preparation and consumption in kitchen spaces and thereby mimic the manifestation of gender politics and power play. With the increasing patrilocal families, especially in India, cooking is no more an art or a technique but a bonded labour. This paper investigates the practical ways in which the movies lay bare the issues related to the manifestation of gender identity and the representation of the hegemonic other by reimagining, reinventing and redefining culinary spaces.
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Pradeep, Sahana, and Sriparna Das. "Translation and Embodiment of Gendered Spaces: Reading The Great Indian Kitchen." Translation Today 18, no. 1 (2024): 29–46. https://doi.org/10.46623/tt/2024.18.1.ar2.

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This paper, titled ‘Translation and Embodiment of Gendered Spaces: Reading The Great Indian Kitchen’, investigates the translatability of gendered embodied spaces in Malayalam films in general, and in The Great Indian Kitchen (2021), in particular. Critical reading of the embodiment of gendered spaces, as represented in this film, results in a site where knowledge and pleasure, produced and defined by the dominant cinematic aesthetics, get subverted. The subversion offers a feminist critique of the representations of women and women’s experiences produced by popular Malayalam cinema. This subversion is visible in Malayalam cinema, which has been attempting to revise these popular gendered representations since the 2010s (Pillai, 2013, p. 26). This paper argues that these attempts become a form of feminist translation. This paper further argues that such an informed reading would enable an uninitiated reader to reinterpret the experiences of women subjects and their interactions with normative discourse/s.
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Trifonova, Temenuga. "Neoliberalism and the Mutations of Social Realism in Contemporary European Cinema." Cinéma & Cie. Film and Media Studies Journal 23, no. 41 (2024): 21–40. http://dx.doi.org/10.54103/2036-461x/20145.

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Over the last couple of decades film scholars have begun building a critical vocabulary to theorize the new kinds of social relations depicted in the new European cinema of precarity, from “flexible solidarity” and “precarious intimacies” to “the gift economy” and “cruel optimism”. Although the European cinema of precarity continues the legacy of older film traditions like French poetic realism, Italian neorealism and British kitchen sink realism, thus inscribing itself within a well-established European tradition of social realism, the realism of precarity films is often refracted through specific genre tropes or filmic devices—e.g., allegory, experimental cinema techniques, black comedy, cinema verité cinematography etc.—as though social realism is no longer able to render visual the hidden pathologies of neoliberalism or to capture the complexity of Europe’s current political, economic, and moral crisis.
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Koradkar, Sheetal Sanjay. "Analyzing the Display of Gendered Identities Through the Patriarchal Set Up in the Great Indian Kitchen." Integrated Journal for Research in Arts and Humanities 4, no. 1 (2024): 57–60. http://dx.doi.org/10.55544/ijrah.4.1.8.

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Every art form has the ability to comprehend and communicate with the audience by displaying an array of human feelings, emotions and understanding. Cinema too is an art that has in recent years gained a coveted position as one of the major sources of entertainment as well as edutainment. Indian cinema is one branch of the world cinema that is multilingual and diverse in its approach. The post-independence cinema in India has played a vital role in shaping, nurturing and binding the Indian society together. It has been the voice of the neglected and has been instrumental in providing a platform to the subjugated identities ranging from race, ethnicity, religion, sexuality, gender, class, space etc. Amongst these mentioned identities it is the gendered identities that have been constructed through cinema either to affirm the social construct or subvert it. Indian cinema, whether commercial, parallel or regional in the recent times, has been a rich ground to study the justification of gendered identity in the patriarchal set up. Through this paper there will be an analysis of the Malayalam film THE GREAT INDIAN KITCHEN to study the display of gendered identities in the patriarchal set-up within Indian society and its far reaching impact on the society. The paper will also look into the core social issues prevalent in the society and its impact while exploring the effects of deep rooted patriarchy which has been responsible for the subjugation of the female gender. The paper will also look through the lens of the filmmaker the message to advocate for female rights that the film conveys for its audience.
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Conrich, Ian. "Kitchen Cinema: Early Children's Film Shows in London's East End." Journal of British Cinema and Television 2, no. 2 (2005): 290–98. http://dx.doi.org/10.3366/jbctv.2005.2.2.290.

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Oishee, Saha. "Every day To Extraordinary: Magic Realism and Existential Narratives in Golpo Holeo Shotti and Chaalchitra." Literary Enigma 1, no. 4 (2025): 22–30. https://doi.org/10.5281/zenodo.15454668.

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Abstract   Whenever the topic of the Masters of Bengali Cinema comes along, four names are always on top. The Cinephiles frame their arguments on Classical Bengali Cinema by mentioning Tapan Sinha, Satyajit Ray, Mrinal Sen and Ritwik Ghatak. In this paper, a comparative analysis has been adopted to explain the film of Tapan Sinha ‘s Golpo Holeo Shatti (1966) as well as Mrinal Sens’s Chaalchitra (The Kaleidoscope). Both the films nurture the perfect blending of Magic realism. It braids together daily events with fantastic elements, and the real with the unreal. Releasing year of both the movies vary - one is premiered during the 1960’s and the other in 1980’s , but the socio-politicaleconomical context merges with the theatrical context of the Postwar English theatre (kitchen sink drama and naturalism), Existentialism (propagated middle class milieu’s struggle), the domestic realism the Existential Crisis of the Young Men or the young adults under the domain of Marxist and communist approach. The destructive consequences of the First and Second World Wars social, and political alterations resulted in unemployment, insecurity, and frustration in society, especially among young educated people who returned from the war. The Kitchen Sink Drama written within the mode of the new wave of British Realism in which plays are staged in domestic settings with a Naturalistic representation of ordinary life.   Keywords: Magic Realism, Tapan Sinha, Mrinal Sen, Existentialism, Kitchen Sink Realism. 
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Mathew, Amala. "Unveiling Toxic Masculinity: The Darkside of Relationships in Select Malayalam Films." INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 09, no. 04 (2025): 1–9. https://doi.org/10.55041/ijsrem46128.

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ABSTRACT This research paper exploring toxic masculinity through the lens of Malayalam cinema, focusing on the films ‘Uyare’ and ‘The Great Indian Kitchen’. From my perspective, toxic masculinity refers to a socially constructed ideal that valorises aggression, emotional suppression, and dominance as markers of manhood, ultimately causing harm not only to women but also to men who are pressured to conform to these narrow standards. This study employs a qualitative approach, analysing narrative structures, dialogue, and visual symbolism to reveal how these films critique and reflect entrenched patriarchal norms. In Uyare, the narrative challenges traditional gender roles by highlighting the plight of an acid attack survivor, whose journey underscores the damaging effects of societal expectations and toxic male behaviours. In contrast, The Great Indian Kitchen presents a stark portrayal of domesticity, where the everyday environment becomes a battleground for patriarchal control. Here, the persistent, mythical attitudes of male characters are juxtaposed with subtle acts of female resistance, revealing the internal contradictions of toxic masculinity within the household. Special attention is paid to the representation of “healthy” masculinity through Todino's character, whose nuanced portrayal provides an alternative to hegemonic norms. This research not only dissects the cinematic techniques employed to manifest these themes but also reflects on the broader Cultural implications for gender dynamics in contemporary Indian society. By comparing these films, the paper contributes to ongoing debates about gender, power, and the possibility of alternative masculinities that can challenge and redefine hegemonic norms. Keywords: Toxic Masculinity, Hegemonic Masculinity, Malayalam Cinema, Uyare, The Great Indian Kitchen, Gender Violence, Patriarchal Control, Cinematic Narrative.
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Shalini, Lourdes Antoinette, and Alamelu C. "The Great Indian Kitchen: Serving of an Unpalatable Tale of Male Chauvinism in Home." Theory and Practice in Language Studies 12, no. 4 (2022): 702–6. http://dx.doi.org/10.17507/tpls.1204.10.

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The feminist movements played a vibrant role in enriching women for gaining self-sufficiency, which significantly influenced society. “With the advent of new feminist theories which reflects the varicoloured making of women’s cinema as the globalised society have adverse effects on women particularly in the developing countries” (Shalini & Alamelu, 2017). The opinions and visions of the movement are expressed through several works. They are also reflected in films as feminist films. The objective of feminist films is to portray the traditional and patriarchal society in which gender inequality, women’s subjectivity, toil and subjugation are expressed in varied forms. Mozhgan Sadat Marandi expounds that, “Filmmakers have opportunities to question, however subtly, the roles and relations of women in society” (Marandi, 2011). The selected film for the present research, The Great Indian Kitchen (2021), deals with traditional and patriarchal family notions and the never-ending tasks of women’s lives in the kitchen. The role played by the protagonist is confined to the kitchen doing her homely traditional duties as her family insisted on foregoing her desire for her career. The Great Indian Kitchen (2021) is a revolutionary movie made subtly to ensure that the audience empathises with the women’s experience in their families. The objective of the present research is to analyse the movie The Great Indian Kitchen (2021) through the lens of liberal feminism.
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Choi, Jinhee. "Home is where the kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)1." Asian Cinema 31, no. 2 (2020): 169–85. http://dx.doi.org/10.1386/ac_00020_1.

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The kitchen has become a prominent trope in East Asian cinema, the narratives of which revolve around the homecoming of female protagonists: Rinco’s Restaurant (2009) and Little Forest (2014, 2018). In part due to the fact that the films are adaptations of different media – novel and manga, respectively – and in part motivated by their narrative and style – the female protagonist’s loss of voice in Rinco’s Restaurant and the less frequent recourse to the verbal to express taste in these works – the audience is challenged to imagine the taste of, and pleasure in consuming, food, conveyed through only a limited set of sensorial modes. I focus on the transformative aspect of divergent modes of media storytelling in these films and their original source texts, and further argue that the kitchen becomes a ‘choric’ space for female protagonists where the relationship between mother and daughter is reconfigured in order to reinvent themselves.
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Books on the topic "The kitchen cinema"

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Lindenfeld, Laura, and Fabio Parasecoli. Feasting Our Eyes. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231172516.001.0001.

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Big Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food—they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility—but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status. Devoured visually and emotionally, these films are particularly effective defenders of the status quo. Feasting Our Eyes looks at Hollywood films and independent cinema, documentaries and docufictions, from the 1990s to today and frankly assesses their commitment to racial diversity, tolerance, and liberal political ideas. Laura Lindenfeld and Fabio Parasecoli find women and people of color continue to be treated as objects of consumption even in these modern works and, despite their progressive veneer, American food films often mask a conservative politics that makes commercial success more likely. A major force in mainstream entertainment, American food films shape our sense of who belongs, who has a voice, and who has opportunities in American society. They facilitate the virtual consumption of traditional notions of identity and citizenship, reworking and reinforcing ingrained ideas of power.
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Book chapters on the topic "The kitchen cinema"

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Rani, Arya. "Stewing Rebellion in The Great Indian Kitchen." In The Routledge Handbook of Indian Indie Cinema. Routledge India, 2025. https://doi.org/10.4324/9781003612902-33.

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Harrison, Marguerite Itamar. "Kitchen Conversation and Photographic Memory: A Focus on Female-Centered Narratives of Lineage and Liberation in Brazilian Film." In Global Cinema. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-72600-2_13.

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Labelle, Paul. "Mozart in the Kitchen: Musical Reference and the Crisis of Action in Last Action Hero." In The Palgrave Handbook of Music in Comedy Cinema. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33422-1_10.

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Helbig, Jörg. "Auf den Spuren der New Wave: Vom kitchen sink-Film zum New British Cinema." In Geschichte des britischen Films. J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-03681-0_17.

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Mooij, Annelieke. "Governing the Meta-World Finances." In Regulating the Metaverse Economy. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-46417-1_1.

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AbstractImagine that you live in London and are a fan of musicals. You have grown particularly fond of the musical Hamilton. As a special rendition the musical plays in New York with your favorite star singing the lead. It provides a great way for you to see the musical and catch up with your old classmate who moved to New York. Unfortunately, you live in Europe and you cannot find the time to travel to New York and back. Your option is to buy a ticket to a live screening and have a video call with your friend afterwards. Most people will agree that this is not a real alternative to seeing the musical in real life. Whilst streaming is less expensive and will save you the trouble of travelling, it does not offer the same experience. The videocall with your friend will provide you with some interaction but not on the same level as sitting next to each other at the theatre. In comes the Metaverse to provide you the immersive 3D alternative. Instead of sitting at home or in your local cinema watching the live screen in 2D, the Metaverse will allow you to buy a ticket to a virtual seat in the theatre. Your friend is sitting on the virtual seat next to you, so you both chat before the curtain call. In the break you both have a drink from your own kitchen but with the experience of being in the café of the theatre.
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Fullwood, Natalie. "Recipe for Change: Kitchens in Comedy, Italian Style." In Cinema, Gender, and Everyday Space. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137403575_7.

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"Conversation with Diane Kitchen, March 2002." In Canyon Cinema. University of California Press, 2019. http://dx.doi.org/10.1525/9780520940611-051.

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Walden, Victoria Grace. "Hammer and British Cinema." In Studying Hammer Horror. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781906733322.003.0003.

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This chapter examines the relationship between Hammer Films and British cinema. The history of British cinema has been characterised by a strong dedication to realism, in its many forms. From the documentaries of the 1930s with a focus on social responsibility to the gritty kitchen sink dramas of the 1960s, and even the naturalistic aesthetic of television police dramas, the British moving-image industries have a strong heritage of realism. If this is the case, Hammer horror, despite its international fame as a specifically British brand of filmmaking, does not seem characteristic of British national cinema at all. On one hand, Hammer's horrors are clearly fantastical; on the other hand, they amalgamate infrequent and abrupt moments of gore with a 'neat unpretentious realism'. Moreover, the films were lambasted in the press for not exhibiting 'good taste' or restraint. The chapter then assesses to what extent Hammer horror can be understood as British.
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Hillman, Roger, and Vivien Silvey. "Chapter 14 Remixing Hamburg: Transnationalism in Fatih Akın’s Soul Kitchen." In Turkish German Cinema in the New Millennium. Berghahn Books, 2022. http://dx.doi.org/10.1515/9780857457691-016.

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"3. Everything But the Kitchen Sync: Sound and Image Before the Talkies." In Sound Technology and the American Cinema. Columbia University Press, 2000. http://dx.doi.org/10.7312/last11516-004.

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