Many believe that Balagam's unprecedented success is an example of a post-bifurcation phenomenon wherein filmmakers are embracing and celebrating the telangana identity, a trend that has gradually become more prevalent since telangana gained statehood in 2014 and separated from the united Andhra Pradesh. Prior to recently, andhra pradesh residents who neglected or worse, derided the telangana region predominated in the telugu film industry.

In 2009, during the second phase of the telangana statehood movement, these issues came under intense scrutiny, as Sathya Prakash Elavarthi, an associate professor at the university of hyderabad (UoH), notes. Many telugu filmmakers were harshly criticized for the subpar representation of telangana on the big screen.

In reply, films like jai Bolo telangana, jai Telangana, and Rajanna, among others, started to challenge the preexisting stereotypes against telangana during the statehood struggle. In their article, "Disruption and Reconstitution of Spectatorial Pleasures in telugu cinema," Sathya Prakash and UoH Ph.D. scholar Himabindu Chintakunta note that despite the fact that these films challenged the ideological dominance of Andhra culture in telugu cinema, they lacked the cinematic appeal to affect telangana viewers' spectatorial pleasures.

Sathya uses sekhar Kammula, a filmmaker, as an illustration of this altered dynamic. "Previously, sekhar had a negative view on the telangana language in his movie Anand. But now, he describes himself as a filmmaker who wants to promote telangana culture. Based in telangana, Sekhar's films fidaa and love story are renowned for their unapologetically accurate depictions of the local way of life.

మరింత సమాచారం తెలుసుకోండి: