According to the critics and writers the development of the \u2018home films\u2019 is basically from the right of the middle class Malabar Muslims to express themselves. \u2018Home film\u2019 concept is developed from the traditional drama and it is happened because of the digital availability and affordability. And this type of films try to tell about the problems and stories related to Malabar. No one has portrayed Malabar as much rather than \u2018home film\u2019 makers.<\/span><\/p>\n The beginning of \u2018home films\u2019in Kerala was in 1995 and Mr. Salaam Kodiathoor and Sidheeq kodiathoor were the pioneers behind this effort. Both sidheeq and salaam are drama actors and directors. Kodiathoor is a place in Malabar region and this small place is familiar to others through the Drama and Villadicham pattu [musical drama]. They did almost 10 to 15 dramas all over the Malabar and around Kerala also in some foreign countries also. After their last drama \u2018Ningalenne Branthanakki\u2019, they decided to convert this drama into a film format in the year 2000. Many expatriate malayalies co-operated with this pioneering venture. So the first \u2018home film\u2019 was not a film by a single producer or not by a single master brain but it was developed through the hard work of so many natives and expatriate malayalies. This first \u2018home film\u2019 was a mega hit in Kerala and in gulf countries too. This film was released in CD\/ROM format and it was produced under the banner of \u2018Dawn Visual Group\u2019 production. <\/span><\/p>\n After 3 years, Salaam kodiyathoor and his crew released their second film \u2018Parethan Thirichuvarunnu\u2019 (the man who died returns). The above is about the life of expatriate malayalies and their families. \n Ramis Salam![\"home_film_pic_3\"](\"https:\/\/puinquirer.edu.in\/wp-content\/uploads\/2013\/05\/home_film_pic_3.jpg\")
<\/a>The development of the home films depend on the availability of equipment and media formats (video tape, CDs, DCDs, etc.) affordable to consumers. Development of film formats suitable for \u2018home film\u2019 makers has been available from the early history of cinematography. For example, in 1898 the 17.5 mm “Birtac” format was split the standard 35 mm film into two halves and was able to be loaded into the camera in daylight. For many film makers, the cost of film making was initially too high, but they could afford to buy or hire films and watch them at home. In a pre-television era, this was exciting. Edison\u2019s \u2018kinetoscope\u2019 and \u2018Pathe\u2019 had the same target audience. Film libraries were also established with \u2018home films\u2019 in the early 1980\u2019s. According to the historians, the \u2018home film\u2019 was introduced by Pathe in 1922. He used 35mm camera. It was for both for viewing commercially produced \u2018home film\u2019.<\/span><\/p>\n<\/a> This also became a mega hit and sold out more than ten thousand copies. After the release of their second film, the new trend in film-making got a wide range of audience and it became a big discussion among the mainstream filmmakers and directors. Salaam Kodiathoor and crew did more than 10 movies within 15 years. Many people behind these efforts have their own jobs in govt. sector and in other so that they considered \u2018home film\u2019 as an entertaining and not for commercial benefit. Almost 200 films have so far been released all over Kerala. But many of them were not at all familiar. Some of them became hit and some were only average in their performance and lacks well reception. Majority of the films are now produced by gulf malayalies (people from Kerala) and young people who are passionate in film making. The main specialty of the \u2018home film\u2019 is that they are well framed with the culture and life style of Malabar people. The language and dressing code and other aspects of Malabar people are, sometimes sarcastically, used with much care and it is the main reason why such films still attract the common people.<\/span><\/p>\n
\n2nd yr Mass Communication<\/p>\n