Cinema acts as a cultural product, a medium of expression and a source of popular entertainment; usually it appears to conscientiously genuflect to upper-caste dictums. Since its inception, Telugu cinema, or Tollywood, the third-largest film industry in India, has produced various caste-based films like Gudavalli Ramabrahmam's Malapilla (1938), Kasinadhuni Vishwanath's Kalam Marindhi (1972) and K. Balachander's Rudraveena (1988), amongst others. In the discourse surrounding caste, the 'Dalit woman question' and its representation is either consciously ignored or erased, and thus, it stands enfolded in upper-caste reformist politics. This article analyses the representation of Dalit women in select Telugu films produced at significant sociopolitical junctures of contemporary times. These films mark a significant departure from the stereotypical representation of Dalit women as submissive and portray them as women with voices. Within the larger framework of feminist activism and human rights discourse, we see Dalit women protagonists in these films with an agentic space of their own. In the Indian context, where equality and no discrimination are constitutional rights, the films under discussion, Srikanth Addala's Narappa (2021) and Sekhar Kammula's Love Story (2021), are an appropriate intervention to showcase the inclusivity of Dalit women in the larger scheme of Indian feminism. This study employs critical textual and frame analysis to read selected Telugu films as cultural texts with Dalit feminist consciousness embedded within them.
