Abstract:
While Sri Lankan cinema had originated in 1925, Sri Lankan token cinema
which had commenced in 1947 completed its first paradigm in 1977. The
era from 1978 to the present (2012) can be considered as its second
paradigm. After introducing the policy of open economy in 1977, Sri
Lankan social body was transformed along with its social, economic, and
cultural dimensions. Since this second paradigm falls within the ‘post’ phase
of consumer capitalism the cinema of this age can be called ‘post-globalized
cinema.’ The cinema works of PrasannaVithanage and Asoka Handagama
contain the post globalized cinematic characteristics. During this period the
parameters of producing, directing, distributing films and the industrial form
in which the films are made have undergone dramatic and sweeping
changes. Twelve films from Vithanage and Handagama are examined
thoroughly in order to locate and demarcate this ‘paradigm shift’- a phrase
borrowed from Thomas Kuhn in theorizing about the changes in question. In
an attempt to understand the current situation in Sri Lankan film industry
and art, the present paradigm has been re-contextualized painstakingly
comparing it with the early paradigm which has clear economic and cultural
marks of an ear before the advent of economic globalization. The
dissertation examines the capital accumulation in the pre- capitalist epoch in
Sri Lanka with special reference to the cultural production, and it further
describes the basic landmarks of the first paradigm before 1977 with special
attention to the limitations and interpretations of the subject of cinema. Then
the research adapts the concept of “Paradigm Shift” and its significance and
relevance in examining and describing the transformation of Sri Lanka’s
social body. The post-globalized characteristics in the society of Sri Lanka
have been explained while the dissertation contextualizes the transformation
of Sri Lankan cinematic body into a second paradigm after 1977’s liberal economic reforms. After setting up these conceptual frameworks,
SisilaGiniGani, AnanthaRathriya, PawuruWalalu, PurahandaKaluwara, Ira
Mediyama and AkasaKusum, the films of Vithanage and ChandaKinnari,
Me Mage Sandai, ThaniThatuwen Piyambanna, Aksharaya, Vidu and
IniAvanthe films of Handagama are re-contextualized. Those cinematic
creations have elaborately represented the transformed Sri Lankan sociopolitical body in a post-globalized world.
