Student Research Symposium, Drama & Theatre and Image Arts Unit
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Item 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.Item 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.