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@article{202700,
        author = {Puneeth V Kashyap and Dr. S Santosh},
        title = {REPRESENTATION OF URBAN RAW REALISM IN KANNADA CINEMA: A STUDY ON DUNIYA SURI'S MOVIES},
        journal = {International Journal of Innovative Research in Technology},
        year = {2026},
        volume = {12},
        number = {12},
        pages = {9227-9233},
        issn = {2349-6002},
        url = {https://ijirt.org/article?manuscript=202700},
        abstract = {Indian cinema is one of the world's largest film industries and has historically tended toward glorification or escapism from lived social reality. Yet certain regional voices have created spaces for authentic storytelling that mainstream cinema ignores. With a rich literary and cultural heritage, the Kannada film industry has increasingly moved away from the romanticism of its golden era toward a more direct engagement with caste, class, poverty and urban violence. Duniya Suri stands as the most prominent figure of urban raw realism in contemporary Kannada cinema. This paper examines four of his films Jackie (2010), Kaddipudi (2013), Kenda Sampige (2015) and Tagaru (2018) as case studies in the aesthetics and ideology of raw realism. Using qualitative textual analysis across four parameters (visual aesthetics and cinematography, narrative structure, character portrayal and social identity, and ideological themes), the study demonstrates how Suri employs location shooting, local dialect, non-linear narrative, and morally ambiguous characters to present the lived experience of the urban underclass with uncompromising realism. The findings establish that Suri's cinema constitutes a sustained political critique of institutional violence, class inequality and the structural production of criminality.},
        keywords = {Kannada Cinema, Raw Realism, Marginality, Underworld, Non-linear Storytelling, Urban Realism, Duniya Suri.},
        month = {May},
        }