Rajinikanth, self-reflexivity and the Tamil star as paratext

Contemporary Tamil mass hero films are largely dependent on viewers having prior knowledge of film canon, celebrities, industry happenings and socio-political issues in the South Indian state of Tamil Nadu. This thesis argues that the inherent self-reflexivity of contemporary Tamil masala films ‘entangles’ stars with film texts to such an extent that they can be considered as paratexts; a text which frames the consumption of the film, by providing context and additional information to audiences. Taking ‘Super Star’ Rajinikanth as the primary example, this thesis surveys various films from Rajinikanth’s career, unpacking the many ways in which genre and nostalgia shape the star.

Rajinikanth’s unique charisma and trademark ‘style’ endear him to his fans, and even close to half a century after his debut, he continues to be one of the most popular stars within Indian cinema. Mass heroes such as Rajinikanth are built up across several decades, with incremental changes to their onscreen personas in the form of call backs and recurring gags, repeated tropes and specific aesthetics and exaggerated performative acts. Therefore, this thesis conceptualises the Tamil star as a cumulative paratext, which is constituted from the identities of both the on- and off-screen star across many films and over many years. Alongside a close textual analysis of eight of Rajinikanth’s films from 1992 to 2020, this thesis also includes ethnographic observations of audiences in Australian theatres during the screenings of Petta (2019) and Darbar (2020). Drawing on these observations, this thesis notes the particular ways in which mass hero films are structured to 'invite' audiences to engage with their prior knowledge of the star as paratext; further enriching the cinematic experience.