Theravāda Cinema: Buddhist monastic aestheticism in contemporary Sinhala film

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(Up coming paper)
Theravāda Cinema:
Buddhist monastic aestheticism in contemporary Sinhala film


Chipamong Chowdhury

"You saved my life," said a murderer
"Not me; its Buddha and his teachings –love, kindness, and compassion save you," said the nun. "Don't hate the society, instead extend your kindness," added the nun. (From Uppalavannā)


Abstract

Since 2000, a group of enthusiastic independent filmmakers have created cinematic works of art that have transformed Buddhism in contemporary Sri Lanka. Buddhism is a significant part of the dialogue in recent Sinhalese films such as Sūriya-Araṇa (2004), Sankārā (2006), Kurullu Pihātu (2006), Uppalavannā (2007), Mahindāgamanaya (2011), Siddhartha the Buddha (2013), and Siri Parakum (2013), among others. These films not only provide us with a visual experience of Buddhism, monastic aestheticism, and contemporary Sinhala Buddhist religious culture, but they also explore fascinating issues which we can study, investigate, and debate. Placing the film in Theravāda religious and cultural context, I examine the cinematic representation, imagination, and interpretation of contemporary Buddhism as it is imagined, narrated, and interpreted in three Sinhala Buddhist movies: Sankārā, Sūriya-Araṇa and Uppalavannā. I am particularly interested in the themes of desire, love, and femininity as exemplified in these movies. Through strong storylines, dramatic visuals, narrative structures, imagery and aesthetic emotions, these movies portray Buddhist religious characters, beliefs, images, ritual life, prayers, and material objects.

While these films present a vivid pictorial knowledge of the lives of Theravāda Buddhist monks and nuns—including their spiritual crises and social narratives—they also compel discussions about the limitations of liberalization, especially vis-à-vis the appropriation and commercialization of Buddhism. What should Buddhism be or what shouldn't it be, in cinema and in popular culture? Why is monastic aestheticism so central in recent Sri Lankan Buddhist films? What separates Theravāda Buddhist films from other Buddhist films? The paper responds to these questions and explores the roles of Theravāda Buddhism in contemporary Sinhala Buddhist cinema.







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