Student Research Symposium, Drama & Theatre and Image Arts Unit

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Analysis of the Psychological Background of the Female Characters in Shakespearean Dramas (In Relation to Hamlet, Macbeth & Othello)
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Rajapaksha, R.H.R.
In Sigmund Freud’s Psychological Theory, he compares a human mind to a floating glacier. The upper part of the glacier is called the “Super ego” and the submerged part is termed the “Ego” While the part which cannot be seen to the naked eye is known as “ID”. In Psychology the bond between the mother and son is described by the use of the term Oedipus complex. This describes the sexual attraction of a son towards his mother; when a baby boy is born he is attracted to his mother by nature. He even dislikes the approach of his father towards his mother which can even develop in to a situation where he could even kill his own father. The Electra complex is the opposite of the Oedipus complex and explains the sexual attraction of a baby girl to her father. In discussing the psychological background of the female characters in the above-mentioned dramas, the characters of Gertrude, Ophelia, Macbeth, Desdemona, and Emilia are important. The character of Gertrude in “Hamlet” fluctuates between Prince Hamlet and king Claudius and she lives the memories of the dead king and king Claudius. But she faces a pathetic death at the end of the drama. The character of the Ophelia fluctuates between her father Polonius and her lover Prince Hamlet and faces a tragic death at the end. In the drama of Macbeth, lady Macbeth gives her fullest effort to make her husband the king whereas she too faces the pathetic destiny. At the beginning of the drama “Othello” Desdemona elopes with her lover Othello challenging her father Brabantio. Finally, Lago’s deceitful Atule and Emilia who is a servant at the beginning of the drama challenges domestic violence happens to be deal because of the same cause trap her.
The Challengers that Obstruct the Popularity of Street Drama in Sri Lanka
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Jayasundara, K.H.J.S.K.
The aim of the study is to investigate the causes of the lack of popularity of Street Drama in the modern day. The purpose of this study is to focus on how street drama, which was popular in 1970, are not as popular today, and what social and political reasons are responsible for this. In many countries such as Spain, England, German, Netherlands, Sweden, Cuba, Russia, India, Vietnam, China and Bangladesh street drama grew as a protest against violence in war, unemployment, poverty and other similar social issues this is provided in investigating the creation of Gamini Haththotuwegama (29 November 1939 – 30 October 2009). In India the well-known street dramatist, has him was gunned down during a performance on the street. Haththotuwegama’s immense contribution to the street theatre is well acknowledged. More historical than the wayside and street theatre movement which was launched in 1974; it includes directing, acting research adapting critics and much more. Deservedly, then he known now as the father of Sri Lankan street theatre involved his long non-showering sessions prior performance, as he believed it would affect his voice. “The Sri Lankan street theatre today is not all dead. There some raising awareness programs were adopting street theatre for effective communication”. The methodology followed as been as follows; reading books, articles discussion, etc.
A Comprehensive Study on Kuzanthai M. Shanmugalingam’s Plays of 1980-1990
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Rajakaruna, R.H.W.P.W.A.C.
The period of 1980-1990 is remembered as perhaps the most violent period in Sri Lanka’s history with the growing ethnic tension leading to a civil war with the LTTE against the Sri Lankan state. Due to the adverse situation faced by the Tamils during the war, their theatre was limited to the Northern Province and Mr Kuzanthai M. Shanmugalingam played a significant role in developing the Tamil theatre at this stage. Shanmugalingam has mainly focused on the influence of the outcomes of the ethnic conflict on both the civil population and terrorists. Most of Shanmugalingam’s plays are in fact restricted to the Jaffna region. Most of the critics who have done empirical research on the topic have also argued that the dramas of Shanmugalingam are the best guide for a researcher to attain a comprehensive idea of the Tamil theatre during the war. The present research is focused on how Shanmugalingam’s plays depict themental condition of the war-affected civilians in the war-torn areas. This study is based on three of his acclaimed dramas; ‘Man Sumanda Maniyar’, ‘Annei Ittaththi’, ‘Endeiyum Thayum’ which presents a clear picture on the Psychological effect of war on unarmed civilians who suffered from war. The analytical facts of this study are based on the primary data collected from interviews conducted with the experts on the subject and secondary data collected from various scholarly sources.
The Current Dramaturge Requirements in Sri Lankan Theatre
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Nishshanka, N.M.V.D.
This study focuses on the current dramaturgical requirements in Sri Lankan theatre. The renaissance in Europe caused the birth of new facets not only in science and technology but also in techniques, crafts, and various artistic professions including theatre. Gotthold Ephraim Lessing introduced the professional dramaturge in the 18th century in Germany. Many experts define dramaturge as investigative literary texts engaged in drama, providing new definitions and describing the depth of the drama script to the actors and actresses. The broad presence of dramaturge in Sri Lanka is explored in this study. However, it is not mentioned anywhere in Sri Lanka. Yet, in the university when the students presented the Greek playwright Sophocles’ “Trojan Women”, much of the work done by the Director is relevant to the profession of dramaturge. The focus of the present study is to find out the reasons for the lack of dramaturges in the country, namely professional dramaturges. The researcher found information of dramaturges through the Internet and library. Information was also gathered from five famous Sri Lankan theatre directors via interviews about their profession. Although there are different and more advanced fields related to theatre in western countries, they are not found in Sri Lanka. In fact, Sri Lankan theatre has not developed at a professional level. The reason for this may be the ignorance of dramatists and the lack of sources and books in strategies and techniques used in theatre in Sri Lanka.
The Depiction of Reality in the Films of Charlie Chaplin: A Marxist Perspective
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Darshana, K.D.
Charlie Chaplin is considered a landmark figure in 20th Century Cinema. He reresents the silent era of Cinema that can be appreciated by spectators from any lifestyle, particularly regardless of differences in language and culture. The purpose of the present study is to examine the depiction of reality in two of his numerous cinematic masterpieces, City Light (1931) and The Circus (1928) from a Marxist critical perspective. The plots of both these films are based on the worldly and sentimental phenomenon of love. Chaplin effectively exploits a simple subject to depict the flaws of appearance. For the purposes of the present study, the two primary sources were analyzed from a Marxist point of view with reference to the relevant theoretical literature on Marxism and Cinematography. Based on the Marxian understanding that reality is only the reality of the material relations of production, it can be argued that appearance is far away from reality. When reading the above cinematic masterpieces, it becomes apparent that the issues that have been neglected in the mainstream discourses are conveyed to the audiences coincidentally through the medium of comedy. Furthermore, the analysis of the afore-mentioned works of cinema reveals how reality has been undermined by ideology.
‘Eternal Love’, Illustrated in Shakespearian Dramas
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Dissanayake, D.M.W.
This paper will explore the theme of love in the dramas of Shakespeare through an examination of it in a comedy, Midsummer Night’s Dream and a tragedy, Antony and Cleopatra. The theme of love discussed here will be that between men and women, also referred to as heterosexual love. These include attraction, sex, possession, dispossession, aggression, separation, sorrow, and eternal sensitivity of love. Love emphasizes the light of the winners and darkness of the losers. Shakespeare illustrates the psychological states of those who sacrifice their lives because of a dispossession of the object of their love. Midsummer Night’s Dream explains the wonder and the gap between the love. It is my view that Midsummer Night’s Dream describes the incidents of relationships and powers rooted in the society. Antony-Cleopatra is one of the popular Shakespearean love dramas. The drama, Antony-Cleopatra becomes a tragedy, because of its content of the force possession of love by belonging to another to defeat the other, national power and sexuality. Though the lovers, Antony and Cleopatra both unluckily sacrifice their lives, their love becomes immortal. Here, I study about the eternality of Shakespeare’s dramas, which presents love successfully. The facts he presents about love are even valid for today. In my conclusion, I see the existence of Shakespeare’s concern of love even in the modern society.
Feminism in Federico Garcia Lorca’s Stage Dramas
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Kathriarachchi, U.K.
This study explores feminism in Federico Garcia Lorca’s Stage dramas. Federico Garcia Lorca dramatizes the stultifying and sexually repressive life of women in provincial Spain in a rural trilogy formed by his three most famous plays, Blood Wedding (1933), Yerma (1934), and The House of Bernada Alba (1936). The purpose of this research is to place Lorca’s major plays with female protagonists Blood Wedding, Yerma and The House of Bernada Alba within the context of the feminist discourse of these works. Some critics have suggested that Lorca’s standpoint as a homosexual man in a strong masculine-biased society positioned him to understand women’s condition and to empathize with it, especially his female characters. My interest here to show how certain discourses of his day and how some of his women characters reflect the problems of real Spanish women confronted depicted by a writer who drew inspiration consciously and unconsciously from his surroundings, his vast reading, his musical knowledge and talent, and his myriad friends and acquaintances.
Hamlet is Neither Inert nor Backward when Achieving his Objectives
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Gunasinghe, E.R.N.K.
This study examines Hamlet as an introspective character who has the ability to astutely observe the reality in the world, analyze and examine every nuance of the unique situations he encounters. Hamlet is the greatest tragedy created by the poet-dramatist Shakespeare. The pain generated by his mother’s betrayal towards the memory of his father makes Hamlet seek revenge from his uncle/ stepfather Claudius. Further, he wants to know whether his mother had a hand in the murder. Thus, Hamlet’s main concern is to construct a plan for making his uncle reveal his involvement in the king’s murder. Though Hamlet seems to lack the power to act until he has evidence of his uncle’s guilt, in reality he is in the process of identifying a cause-effect relationship. Hamlet is not an inert character but is intelligent and fearlessly tries to achieve his objective of identifying and punishing the murder of his father. Once he has obtained the true knowledge of Claudius’ evil nature, he is able to act. Thus Hamlet, in the era he lives, is progressive, has an investigative eye and shatters the manacles that prevent justice. In the process of obtaining vengeance against Claudius, Hamlet strategically instructs a band of traveling players to act out the murder scene. When Claudius does react in a guilty manner, Hamlet is convinced about his guilt. This study, analyzing the above and many other instances, argues that Hamlet is not lethargic but has the ability to take immediate action using his sharp intellect.
An Investigation of Psychiatric Mythology of “Riddi Yagaya’s” Dramatic Scenes
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Jayaweera, K.G.D.H.
This paper investigates if Riddi Yagaya’s “Kapuyakkariya” and “Daru Nelawilla” includes psychiatric Methods of treatment/ -“Riddi Yagaya” is enacted “To wish in anticipated reprehension for her child-birth and to carry out the delivery properly, for protection for the baby or to help women to conceive” (Sarachchandra, 1968). Ratayakuma is performed for the childless women (Gamage, 2007). To give the mental satisfaction is the purpose of “Riddi Yagaya’s” dramatic scenes. Therefore, “Kapuyakkariya” and “Daru Nelawilla” are not drama opportunities implied only with brusque word with entertainment. Even though we cannot see the psychiatric aspect of diagnosis in this occasion at first glance, the diagnosis takes place within the content chats and activities included in the psychology of producing the ovum. In considering this, the main aim is to diagnose mental illnesses by dramatic scenes. In that situation, we want to consider the factors that become psychological diagnoses through light, costume, acting and color. In exploring this, all women got the psychological diagnosis by “Riddi Yagaya’s” dramatic scenes. For this study I have used secondary data, newspapers, the Internet, research books etc. My finding is that we can make psychological diagnoses through “Riddi Yagaya’s” birth stories and the combination of its poetry and chats.
An Investigation on the Social Importance of the Entrance of Sooniyam Yakshaniya in Daha Ata Sanniya
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Uthpala, G.B.I.
This research paper focused on the importance of the entrance of Sooniyam Yakshaniya in Daha Ata Sanniya. “Daha Ata Sanniya is the ritual that is held for Sanni Yaka and other related Devils to avoid blemishes sustained from sanni yaka” (Kottegoda, 1989). Not only is Daha Ata Sanniya aesthetically pleasant, but it also depicts social values, particularly those of the low country. It deliberates on social and human problems. The purpose of this investigation is to determine whether it represents more social values in the arrival of the Sooniyam Yakshaniya than the other situations among the main three situations in Daha Ata Sanniya. My opinion is that it is not only merely a form of entertainment. The arrival of the Sooniyam Yakshaniya as a damsel, pregnant mother and a mother holding a baby, illustrates an important social value. Even though it was created in ancient society, it is applicable to current society. Here social problems and infirmities are discussed with relish. The social value is expressed by attempting to give a conception of political problems; infirmities accepted by society, women in politics, the nature of girls when it comes to acceptance and belief, and human relations. The arrival of the Sooniyam Yakshniya helps to correct the current understanding of it by understanding the infirmities individually.
Is Creating “Vidu” after “Aksharaya” an Ideological Displacement of Asoka Handagama?
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Kumara, M.U.
Asoka Handagama is a leading figure of the third generation of Sri Lankan cinema. He made the film "Aksharaya" in 2005, but, unfortunately, was banned. After that, he made "Vidu" in 2010. These two films are very important in Asoka Handagama’s cinematic oeuvre. This research places special emphasis on the political perspective in examining whether creating "Vidu" after "Aksharaya" an ideological displacement of Asoka Handagama. It is important to review the ideological base for the work and the ideology put forward by a work when discussing the relationship between literature, arts, and ideology. In the final analysis, the research is identifies how the prevailing contemporary ideology accords with them. Arts and the history of the literature is depicts the social thought of a certain period. Reviewing the complex situation of how the ideological displacement of an artist impact society is the focus of this research. The study explains the contemporary capitalistic system along this theme. This study uses the text of the, "Aksharaya" and "Vidu" films, an interview with the director, a book on the artistic usage of Asoka Handagama with a set of an article and some books on Marxists theories as sources for the research.
Is it Fair to Cut-off 18+ Scenes Telecasted Through Sri Lankan Television Channels?
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Hettiarachchi, B.
Television is a public media. The structure of the television has been made with the ability to watch television without any differences of age. That means from a child to grown ups. Therefore, implementing rules and regulations for watching television is much harder and also an unfair thing. Somehow, I would like to submit a major problem as an observation when paying attention to Sri Lankan television channels. Sri Lankan channels cut off the relevant scenes of the programs including 18+ scenes. Actually, is this fair? I emphasis again the Television is a public media and It can be watched by any person from any age group. Concerning that, cutting off 18+ scenes seems to be fair. On the other side, it will be an obstacle for the taste of a person who passed the particular age. According to this, it is not necessary to come up with a fair solution with fair result for all the parties. Many television channels of countries all over the world had found various solutions for this matter, but Sri Lanka stays on the same primary stage, still cutting off the scenes. Each program, which telecasted through every channel of the country should be categorized into different age groups and identified by a particular sign, to which age group that particular program is suitable for. After that, that particular sign should be telecasted before that particular program and let the viewers know to which age group that program is suitable for. Through these observations, I am hoping to introduce a formal method of telecasting and to put an end to these primary methods of cutting off the scenes that are still in progress in the television industry of Sri Lanka.
Modern Short Plays and Narratives
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Arachchi, E.K.G.
This paper examines the term ‘narrative’ could be defined as the form of expression employed by novels and short plays. The lineup of incidents and occurrences in such creations were subjected to a deep study for this research. The objective of this research is to investigate into the narrative forms of short plays. When studying about short plays, it appears that many experiments have been carried out using different methodologies regarding short plays. The research problem of this study is to ascertain as to what kinds of narrative methods are included in these creations. The methodology of this research is to investigate into Narratology in association of short play (playlet) scripts. In order to fulfill the required task successfully, various short play (playlet) scripts were studied as primary sources while different kinds of classical works composed in the tradition of the short play (playlet) were used as secondary sources. Investigations were conducted on playlet creations of Antoney Jayalath, Dananjaya Karunaratne and Mangala Senanayake assessing their outstanding success. The research also showed that the genre of the playlet could be studied for its narrative structure, in the same way as short stories and novels.
Resolving the Problems of Performing Art Photography That Rises Up in The Theatre
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Liyanage, I.
The purpose of this paper to discusses the photography in performing arts industry as a connoisseur. Experience of the art media and ability to handle the technology are the most important qualities that the photographer should have when they take photos of those performing arts. The montage knowledge of using camera technology, features of existing lighting corollary techniques, acting or body movements camera angle, limit of the frame, edition and the inherited characteristics of each art must be owned by the photographers by owning that knowledge the photographer is able to give a fair and ejective photographer for the performing art director / creator and for the photography connoisseur. When we look at the current performing art photography, some times the true feeling, abstract technical feasibilities of the grate directors are not clearly conspicuous. Inutility of understanding the performing art, problems of handling technology, weakness in time management. These are the problem that the photographer faces. When the photographers can maintain a proper connection between Theaters an camera, there can distribute a huge contribution to the performing art. When photographing theater, drama, dancing concerts, musical concert, photographer has to manage physical attires, facial expressions corollary techniques and has to gather necessary knowledge about it. By doing so reducing the practical conflicts that can appear in performing art, photography and creating more effective and creative photos were main purpose of here.
Resonances of an Enduring Lament: The ‘Trojan Women’ as a War Play
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Abeysekara, C.J.
War creates problems that are common to people across space and time. One such is the breakup of the family unit. The Greeks fought the Trojan War in prehistoric times upon which is based the play “Trojan Women” authored by Euripides. It is important to search the relevance of this Greek play written in 415 BCE, and the society in which it was produced to the Sri Lankan society of the 21st century in the point of view of the producer and director of the Sinhala drama. What common factors did they see between these two societies to open a discussion of an ancient war of the western world? This question arose with the experience of being part of the production of this play at a university level. Here I’m going to do this study by using the both primary and secondary sources. I hope to discuss this production as a Sri Lankan drama and its relation to my central topic. I hope to discuss and develop the central topic with the guidance of the play’s producer, senior lecturer Mr. Priyankara Rathnayake, of the of Drama, theatre and image arts unit of the University of Kelaniya and discussions with the actors, costume designers, makeup artists and music directors, all whom were students of the university.
The Sex Appeal by Current Music Videos in Sri Lanka
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Herath, H.M.S.N.
The music is an art of receding the mantel of audience. The ability of the music use popular culture therefore music videos are very popular among Sri Lankans. Some music videos, songs are produced without good meaning and without good visuals. Some artist use some sexual attractions for popular these videos. Therefore people are unable to get a good appreciation of music culture is some songs are very popular a short period and consume a short period. These music videos always present sex attraction in to the social problem. Because this thing is love problems, divorcee ceases, sexual intolerance, young mantel intolerance, family problems, subsided like this things and any other social problems. Because this olio and video media problem is communication problem and the Pearson who dictated to lessening songs and he is unable lensing classical music. When we confided bout that issues and I do an experiment to invasive the songs playing in buses. There some people who are in bus, cheek this song and they can understand other minds and they investigate it .to success this experiment first I conceded about primary souses use books. Secondly, use dialogs, dictation photographs and new music videos. This experiment uses to make accretive a creative video production and using large amount of money, making a creative and nice production. That experiment is the sex attraction by current hit Sinhala song music videos and social problem.
The Singing Actor: The Birth of the Singing Actor in Sinhalese Theatre of Sri Lanka
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Wickramasinghe, W.A.D.I.P.
According to Leslie Bennett (2013), the singing actor must perform the structure laid out in the text, yet freely improvise within that structure making discoveries and impromptu decisions in order to tell the truth onstage. There have been many actors with the ability to sing in the history of Sinhala theatre of Sri Lanka, from the time of folk drama to contemporary theatre. It is a rare talent and only a handful of actors have been able to successfully bring this talent to their performances. The success of the performance varies depending on the ability to effectively combine acting, singing, and dancing. Although Singing Actors are sought after and are of great worth, there is hardly any academic research about them. With 15 years of practical experience in theatre, I was inspired to research on the singing actor, by focusing mainly on ‘Tharawo Igilethi’ and ‘Rathuhattakari’, two plays that I have performed in as a singing actor myself. Interviews with Dr. Jayalath Manorathne and Mr. Rodney Warnakula, former actors of these plays have added value to this research. The challenges faced, the techniques used in order to overcome them; and the pros and cons of a Singing Actor were identified through this research. In addition, it will contribute to the wider community of research by attempting to fill a research gap, as this subject area has not been researched in this manner before and I have been able to reach new grounds based on the facts and findings of this research. This dissertation is intended to produce a greater academic interest in the study of the 'singing actor'.
The Social impact of the ‘Selfie-Photography’ Trend Among the University Undergraduates
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Lal, T.I.S.S.
“Selfie-photography” has become a popular trend in the current field of photography. “Selfie” is defined as a photograph that one takes of oneself, typically taken with a smartphone or webcam and shares via social media. The purpose of this study was to examine, whether the undergraduates of the University of Kelaniya display a preference toward the “selfie-photography” mode and whether the present social situation provides any contribution to it. This study involved randomly selected 20 undergraduates in the Faculty of Humanities. The data was collected through a questioner which covered basic information about how and why the undergraduates use “selfi-photography”. The results of the study demonstrate that there is a remarkable increase in the use of “selfie photography” mode among the university undergraduates. Also the results depict that, the art of selfi-photography is rapidly spreading among youth, with the effect of the development of modern technology. There is an overwhelming pressure in modern society which persuades every person to be a part of the technological world. The “selfie-photography” is an indicator of showing oneself as belonging to that particular technological world. Therefore, it can be concluded that, the university undergraduate’s ‘choice of “selfie-photography” as a modern way of taking photographs, is influenced by the current social trends.
A Study Based on The Relationship Between a Stage Drama Actor and Yoga Exercises
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Kulasuriya, K.W.K.P.
The purpose of this study to examine the importance of Yoga exercises for a stage drama actor. The main objective of yoga exercising is to gain physical and mental fitness. “Acting is the process of wondering the emotions and intelligence of the audience using the voice and the body of actor” (Polgampola, 2014). From various exercising patterns in yoga, the body can gain the appropriate physical and mental fitness. There are more than 84,000 Yoga Sana in yoga exercises. The person, who is practicing the yoga postures, aims the mind. Therefore, the neurons stimulate the brain and then the person behaves according to the brain. The person who practices yoga postures also practices “Om”, from that; actor can achieve the universal energy. Then the energy of life increases and it spreads throughout the body. (Kurland, 1972). The person who does yoga moves his bones and joints flexibly. Therefore, the nervous system and the circulatory system can be kept in an optimum level. From this, the actor can successfully present his acting. Hence, yoga is vital for actors as the actors can present their acting effectively. It is important to concentrate on the stability of the mind of the actor. Physical fitness acts according to the mental stability of the actor. An actor can practice this by engaging in yoga exercises. Therefore proper practicing of yoga exercises in essential for acting. Newspapers and reference books were adopted for this abstract.
A Study of the Possibilities and Limits
(Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka, 2016) Suraweera, A.
In this paper, I will discuss the ethical problems related to employing photo manipulation in photojournalism Using data from news media. Like all professional fields, photojournalism has its own standard of ethics. Every publication has to follow a set of rules (Bersak, 2006). Photojournalism is different from any other area of photography. Photojournalists contribute photos to the news media so the photos should be impartial and honest. Otherwise, photographs may lead to massive problems. The digital composite of a British soldier in Basra photographed by Brian Walski is a very clear example of how the manipulation of photographs and footage in documentries can lead to problems (Flybring, 2009). In this paper, I argue that photographs and footage in documentaries should never be manipulated. Photojournalists are reporting what they can see. The use of modification tools like cropping, scar reduction and color reversal can change the abate and follow of an article or graphic design. Over-manipulation or distortions have to be legally prohibited in photojournalism because; viewers have a right to know the truth. In the early stage of photography, the photograph meant being able to capture the world as we see it through speed In 1860, president Abraham Lincoln’s Head was grafted onto John Calhoun’s portrait This was the first example of photo Manipulation. In the digital era, photo manipulation is treated as creative art. However, in photojournalism it can have a negative impact on society.