Guidelines for better cinema
E M G Edirisinghe
Cinema is an art and a fountain of entertainment and a bowl of joy
for the people. Instant pleasure that a teledrama gives is short lived,
but cinema lives long. Cinema breathes life to enliven the spirits
inherent in man. It brings that through the moving image that entertains
the viewer.
It is time that we redesign and restructure our national cinema which
is over half a century old, in order not only to bring in foreign
exchange but also to mark an indelible impression in the world cinema
mainly with artistic productions. Unlike the American and Indian cinema
which dominates the global film market, what we need is an aesthetic and
artistic quality that we should concentrate as countries like China,
Iran, France or Italy does.
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Henry Jayasena and Punya Heendeniya in a scene from Gam Peraliya |
The vital roles
Within this scene, National Film Corporation has two vital roles to
play. In the first instance, institutionally it has to dedicate itself
towards elevation of taste for good cinema which will be a reflection of
the quality of the moviegoers. On the other hand, it must play a major
role to make cinema an industry and an economically viable investment.
Today, the local cinema depends mostly on investment of both talent
and finance by the artistes and technicians in the cinema field. It is
neither satisfactory nor a permanent solution to an industry that
aesthetically inspires its partners as well as the participants. Cost of
production could affect the creative capacity of an artiste when
deprived of mental satisfaction and financial independence. This itself
could be a set back that would prevent the production of a cinematic
work of art.
Foreign audience
On the other hand, those who make movies as a past time for pleasure
or to evade some statutory financial obligations cannot be expected to
be the saviours of national cinema. To make the film industry
commercially viable, it should develop a foreign audience through the
mediation of the NFC. To have Malini Fonseka being honoured as one of
the all-time artistes in the East itself could be an incentive for
Sinhala cinema.
Commercially viable
It is important that a film within 3-6 months of production should
gain a release to the public which otherwise is a disincentive specially
for those who are new-comers in the industry. Basically, there should be
a vast audience for cinema.
Then only the cinema could attract enthusiastic filmgoers to sustain
the local film industry. So the taste for cinema as a medium of
entertainment should be developed to make it commercially viable too.
However, while introducing the best of films of the world to the local
audience priority should be given to the release of our local films. It
is like although we love every child we love our own child more.
Low taste
Importation of foreign films which generate a low taste should be
discouraged, if it cannot be banned. It not only stuns the growth of
taste for good cinema, but also it is a waste of time and resources.
Even a local film if it lacks spectator-appeal, the film fans
hesitate to patronise it. However, there are social and ethical
guidelines which determine the public performance of a film. Scenes
which highlight and promote violence, lust, crimes, sex etc, should be
'strictly for adults only'. In general, our audience is not mentally
equipped and balanced to take up such scenes on merit considering the
foreign origin of the film. Our disposition is that whatever imported is
better than a local production.
Not mega-film
If Sri Lanka is to create an impact in the world cinema scene, the
avenue for its entry is not on production of mega-films which are beyond
our financial potential, but in the production of art movies which
appeal to connoisseurs of whatever origin wherever they are.
Its universal language appeals to all more than a mega-production
which could be a poor imitations of the West, however big it is.
Language of art cinema is not its cost but the aesthetic beauty and
literary content that carries. So the government has a duty to extend
its patronage to cinema artists who venture into this area of
motion-pictures.
Exemption
As an incentive for production of films, if the gross income from a
film is reinvested in making another film within a specified time such
income from the film, may be exempted from being subjected to income
tax. Also, films whether of locals or foreign origin which have won
national or international prestigious awards should be screened in
theatres reserved for such public performance at a concessionary rate as
a move to elevate the taste for good cinema and to encourage the people
to produce films of quality.
The films rated 'for adults only' by the Public Performance Board
should be reserved only for adults.
The management in each theatre where such films are screened, should
take up the moral and social responsibility to restrict such films only
to those who are over 18 years of age. Also, even those who are over 18
years of age, if they are in school uniform, they should be discouraged
from patronising such films.
The physical environment of the theatre should be clean and neat so
that the patrons would enjoy a film within a healthy and comfortable
atmosphere.
Censorship
Film censorship is a common feature in any country in the world
imposed in order to prevent the viewers from moving into excesses and
abuses.
Depending on the political cultural and religious environment that
prevails in a particular country, the degree and the nature of
censorship of films too, differs.
In our country films portraying brutal violence, nudity, consumption
of liquor, taunting of any religion, race or community etc. come under
censorship. And, this censorship should be honoured by every theatre
owner and should not turn to various devices to overcome the effect of
such censorship, and exhibit scenes which appeal and speak to baser
instincts of the filmgoers. What is uncensored in another country is
immaterial on its application to our country. Da Vinci Code was banned
in our country; but, it was not so even in Christian countries such as
Philippines and Italy. Censorship in any country is a reflection of its
cultural, political and moral values which prevail in that country.
Elevation of taste
Cinema has come to stay as an irresistible indispensable medium of
entertainment. For its moral and aesthetic enhancement, it should move
beyond that point of pure entertainment for those who seek joy and an
elevation of taste.
Its universal application brings global community together within an
atmosphere of sharing a flat form of entertain and an appeal for taste
which form a part of the social personality of the people in a country.
Any product of art is while representative of the identity of the
country its image speaks an universal aesthetic language. If the
filmgoers are intellectually not enriched with each year passing the
cinema appears to have failed in its journey.
Universal language
Technology may be copied; but not the essence of its creation which
is unique; otherwise it is not art, but a product of science and
technology. So while maintaining our own identity, our cinema should
speak a universal language applicable to the whole world. Gam Peraliya,
Nidhanaya, Akasa Kusum, Sulanga Enu Pinisa and Bambara Walalla are a few
such productions of our soil that had an universal impact. |
