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The point of convergence between cinema and constituents of the urban commons is the crowd and everything that the crowd connotes at any given point of time and in any discourse. Popular Telugu cinema is replete with examples of the crowd and what cinema does with it. This phenomenon of constituting and naming social formations and the misrecognitions it gives rise to are most instructive in a discussion of the urban commons. This paper analyses Eenadu, a 1982 Telugu film that is centrally concerned with crowds, to illustrate how cinema brings the mass gathered before the screen face-to-face with a version of itself on thescreen, framing a new mode of political participation pivoted on the popular appeal of larger-than-life superstars

Three-Town Revolution: Implications of Cinema's Politics for the Study of Urban Spaces