Sri Lankan Cinema

Aesthetics is a branch of philosophy that concerns with the nature and scope of any art forms. It is also understood and concerned with the nature of artistic taste and creation and appreciation of beauty. Thus, film/cinema is essentially a technical term used to capture both the essence of art and aesthetics. It is ultimately a work of art. Moreover, the dual roles of belonging both to the genre of art and aesthetic is so embedded in the so-called film/cinema. It is worth mentioning that film/cinema cannot exist without the aid of technological apparatus, camera. In order to orient my study towards a phenomenology of film, I believe, one needs to first of all understand and explore the interconnectedness that lies between aesthetics and technology. As far as my experiences in the field of making documentaries and films go, aesthetics and technology go hand and hand; one cannot survive without the other. In doing so, a question arises whether the interrelatedness between the aesthetics and technology sometimes or more often does distort the reality of a thing or the true work of art that one aims to capture through film/ cinema?

 The objective of this study is to explore the psychic, moral, ethical and logical significances in the spectatorship of Bollywood and Tamil film in the Sri Lanka. Bollywood and Tamil film has been taking a very popular cultural performance in Sri Lanka. The original Indian spectatorship of these film traditions has been diverted by the cultural and political psychology of Sri Lanka. Hence, this local orientation of the Indian cinema remains a quite metamorphosis and deconstruction in its appreciation and screening in terms of the social, cultural and political features that deeply-rooted in Sri Lankan history, culture and geographical limitations. For this study, several film texts, which include typical Bollywood and Tamil film characteristic features were used and observed on how they have been absorbed in the Sri Lankan cultural society. And on the other hand, some audience surveys specific to different film appreciation contexts were conducted. They included urban slums, semi-rural Muslim societies, north and east areas of Tamil villages, Colombo urban society, Tamil state areas and Kandyan Sinhala rural villages. In the textual analysis of the film content, implicit psychological narrations and their social and aesthetic interpretations were revealed in the analytical explanations. Using the audience surveys, many different opinions that can be traditionally filtered in the screening and appreciation of these film traditions specific to their living cultural settings were also identified. In conclusion, perception in Sinhala film has been considerably designed by the experience of Bollywood and Tamil film spectatorship is deducted by this study. Hence, not only this social trend affected to the appreciation of film in local general audience but also in all the facets of film production (script writing, shooting, acting, dialoguing, music and choreography and screening) has also significantly being influenced by the Bollywood and Tamil film. As a result of this evolution of local film culture, most recent trend in Sinhala film noir is also being followed by the early subjective consequences of Bollywood and Tamil film culture in Sri Lanka.

The objective of this study is to explore the psychic, moral, ethical and logical significances in the spectatorship of
Bollywood and Tamil film in the Sri  Lanka. Bollywood and Tamil  film has been taking a very popular cultural
performance  in  Sri  Lanka.  The  original  Indian  spectatorship  of  these  film  traditions  has  been  diverted  by  the
cultural and political  psychology of Sri Lanka.  Hence, this local orientation of the Indian cinema remains a quite
metamorphosis  and  deconstruction  in  its  appreciation  and  screening  in  terms  of  the  social,  cultural  and  political
features that deeply-rooted in Sri Lankan history, culture and geographical limitations.  For this study, several film
texts, which include typical Bollywood and Tamil film characteristic features were used and observed  on how they
have been absorbed in the Sri Lankan cultural society.  And on the other  hand, some audience surveys specific to
different film appreciation contexts were conducted. They included urban slums, semi-rural Muslim societies, north
and east areas of Tamil villages, Colombo urban society, Tamil state areas and Kandyan Sinhala rural villages.  In
the textual analysis of the film content, implicit psychological narrations and their social and aesthetic interpretations
were  revealed  in  the  analytical  explanations.  Using  the  audience  surveys,  many  different  opinions  that  can  be
traditionally filtered in the screening and appreciation of these film traditions specific to their living cultural settings
were also identified. In conclusion, perception in Sinhala film has been considerably designed by the experience of
Bollywood and Tamil film spectatorship is deducted by this study. Hence, not only this social trend affected to the
appreciation of film in local general audience but also in all the facets of film production (script writing, shooting,
acting,  dialoguing,  music  and  choreography  and  screening)  has  also  significantly  being  influenced  by  the
Bollywood and Tamil film. As a result of this evolution of local film culture, most recent trend in Sinhala film noir
is also being followed by the early subjective consequences of Bollywood and Tamil film culture in Sri Lanka.