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@article{202713,
        author = {Joe Mathew and Dr. Abhilasha R},
        title = {The Role of Mise-en-scène in Amal Neerad’s Films: A Comparative Study},
        journal = {International Journal of Innovative Research in Technology},
        year = {2026},
        volume = {12},
        number = {12},
        pages = {9245-9250},
        issn = {2349-6002},
        url = {https://ijirt.org/article?manuscript=202713},
        abstract = {This study investigates the role of mise-en-scène as a primary vehicle of meaning in the cinema of Malayalam filmmaker Amal Neerad, analysed across three films spanning his career: Big B (2007), Iyobinte Pusthakam (2014), and Bheeshma Parvam (2022). Drawing on auteur theory and Marxist film theory, the research employs qualitative narrative analysis alongside a structured metric framework to examine how visual elements including lighting, set design, costume, figure movement, and spatial composition function as ideological and narratological instruments. Across diverse genres, historical contexts, and tonal registers, Neerad's films demonstrate a cohesive visual philosophy in which space, light, and the human figure within the frame constitute an argument about power, identity, and moral geography. The study reveals a progressive evolution from the claustrophobic neo-noir aesthetics of Big B to the painterly historical realism of Iyobinte Pusthakam and the operatic symbolic minimalism of Bheeshma Parvam, establishing Neerad as a significant visual auteur in Indian regional cinema.},
        keywords = {Mise-en-scène, Visual Auteurism, Realism, Framing, Masculinity, Malayalam Cinema.},
        month = {May},
        }