Wimal Dissanayake | |
---|---|
Born | 1939 Kurunegala, North Western Province, Sri Lanka |
Nationality | Sri Lankan |
Education | Nikaveva Vidyalaya Trinity College, Kandy |
Alma mater | University of Peradeniya University of Pennsylvania University of Cambridge |
Occupation(s) | writer, academic, university professor and film critic |
Wimal Dissanayake (born 1939) is a Sri Lankan writer, lecturer, and scholar of Asian cinema and Asian communication theory. [1]
Dissanayake is from Nikaveva, a village about 35 kilometers away from Kurunegala town. Both his parents were school teachers. He attended high school at Trinity College, Kandy. [2] He studied under dramatist Ediriweera Sarachchandra. [2]
Dissanayake graduated from the University of Peradeniya with a Bachelor of Arts degree upon graduating from the university, which merged while he was there with the University of Ceylon. [2] He then obtained an M.A. from the University of Pennsylvania [2] and a Ph.D from the University of Cambridge. He received Fulbright and Rockefeller Fellowships. He then became Wei Lun Distinguished Professor at the Chinese University of Hong Kong. [3]
He criticised the wholesale adoption of Western-based communication theory, research, and methodologies. [4] [5] [6] He studied the perspective and mindset of Asians in communication studies. [1] He developed Asian communication theories through studying classical Asian teachings, cultural ritual traditions, beliefs and norms. [2] He was also considered as a pioneer of having introduced postmodernism literary theory for the benefit of Sinhalese readers. He began publishing content about postmodernism theory through Sinhala newspapers during the 1990s. [2]
He co-authored a book titled, Profiling Sri Lankan Cinema along with Ashley Ratnavibhushana and it was published in 2000. [7] [8] Profiling Sri Lankan Cinema was focused at analyzing the growth trajectory of the Sri Lankan cinema. [9] He along with K. Moti Gokulsing, published Indian Popular Cinema: A Narrative of Cultural Change (2004), based on the nine decades of Indian cinema, which had seen its own fair share of lows and highs. [10] The book also examines the impact of Indian popular cinema on the people of India as well as on the Indian diaspora community and also reviews how Indian cinema captured the attention of the international community. [11] [12] Both Wimal and Gokulsing figured out six major influences that have shaped Indian popular cinema when publishing Indian Popular Cinema: A Narrative of Cultural Change. [13]
Majority of his English scholarly books were published by Cambridge University Press, Oxford University Press, Minnesota, Indiana, Routledge, Duke and Penguin Books. Wong Kar-wai’sAshes of Time (2003), [14] Raj Kapoor's Films: Harmony of Discourses (1988), [15] Sinhala Novel and the Public Sphere (2009), [16] Self and Colonial Desire: Travel Writings of V. S. Naipaul (1993) [17] [18] and Sholay, A Cultural Reading (1992) are regarded as some of his most notable works in English. [19] He is also known to have maintained a very close association with the Hawaii International Film Festival ever since its inception in 1981, and the longstanding association was ended in 1995 after 14 years. [2] He also served as the professor of Cultural Studies at the University of Hong Kong. [2] He also served as a professor at the University of Hawaiʻi and also worked as an honorary professor at the University of Hong Kong. [9]
Dissanayake received the Sahithya Rathna Award from the Government of Sri Lanka at the 2012 State Literary Festival. [20] He was conferred with an honorary Doctor of Letters from the University of Kelaniya. [20] He was conferred with the prestigious Deshabandu title during the 2019 Sri Lankan national honours. [21] [22]
On 4 December 2021, he was conferred with the Asian Communication Award for Disruptive Inquiry at the 2021 AMIC Asia Communication Awards, and he was honored with the award from the AMIC Asian Media Information and Communication Center. [1] [2] He received the Asian Communication Award in the virtual edition of the 28th AMIC Annual Conference, where the winners of the 2021 AMIC Asia Communication Awards were officially announced. [1] [2] [23]
The Cinema of India, consisting of motion pictures made by the Indian film industry, has had a large effect on world cinema since the second half of the 20th century. Indian cinema is made up of various film industries, each producing films in different languages, including Hindi, Telugu, Tamil, Kannada, Malayalam, Marathi, Bengali, Punjabi, Bhojpuri and others.
Classical Indian musical theatre is a sacred art of the Hindu temple culture. It is performed in different styles.
Tapan Sinha was one of the most prominent Indian film directors of his time forming a legendary quartet with Satyajit Ray, Ritwik Ghatak and Mrinal Sen. He was primarily a Bengali filmmaker who worked both in Hindi cinema and Bengali cinema, directing films like Kabuliwala (1957), Louha-Kapat, Sagina Mahato (1970), Apanjan (1968), Kshudhita Pashan and children's film Safed Haathi (1978) and Aaj Ka Robinhood. Sinha started his career in 1946, as a sound engineer with New Theatres film production house in Kolkata, then in 1950 left for England where he worked at Pinewood Studios for next two years, before returning home to start his six decade long career in Indian cinema, making films in Bengali, Hindi and Oriya languages, straddling genres from social realism, family drama, labor rights, to children's fantasy films. He was one of the acclaimed filmmakers of Parallel Cinema movement of India.
Tamil cinema is the segment of Indian cinema dedicated to the production of motion pictures in the Tamil language, the main spoken language in the state of Tamil Nadu. It is nicknamed Kollywood, a portmanteau of the names Kodambakkam, a neighbourhood in Chennai, and Hollywood.
Masala films of Indian cinema are those that blend multiple genres into one work. Masala films emerged in the 1970s and are still being created as of the 2020s. Typically these films freely blend action, comedy, romance, and drama, or melodrama. They also tend to be musicals, often including songs filmed in picturesque locations.
Prema Karanth was an Indian theatre personality and the first-ever woman film-maker of Kannada cinema. She was the wife of B. V. Karanth and was known for the children's plays that she staged. She became the first ever woman director in Kannada cinema when she directed the film Phaniyamma (1983), which was based on a novel by M. K. Indira.
Jamai Shashthi is a 1931 Bengali short film directed by Amar Choudhury and produced by Madan Theatre Limited. It is a milestone of Bengali cinema as it was the first Bengali short film as a talkie. It was released at Crown Cinema Hall in Calcutta on 11 April 1931, in the same year as Alam Ara, the first Indian talkie.
Amar Choudhury was an Indian film actor, director, editor and writer. He wrote and directed Jamai Shashthi in 1931 produced by Madan Theatre Limited, credited as the first Bengali talkie. He acted in this film too as in all of the films written and directed by him. It was released on 11 April 1931 at Crown Cinema Hall in Calcutta in the same year as Alam Ara, the first Indian talkie was released.
Ayodhyecha Raja, literally "The King of Ayodhya", was the first Marathi talkie, released in 1932, directed by Shantaram Rajaram Vankudre. It is based on the puranic story of Raja Harishchandra of Ayodhya and his test by sage Vishwamitra, as recounted in Valmiki's epic, Ramayana.
Chowdasandra Honnappa Bhagavathar was an Indian theatre and film actor, producer, musician and singer. He was best known as a singer and as one of the pioneers of Kannada cinema. He was also active in Tamil cinema. Bhagvathar is known for bringing actress Saroja Devi into the industry. His son Bharath was also an actor who worked in Kannada films and serials.
Ramanujacharya is a 1989 Tamil-language film written and directed by G. V. Iyer. The film is a biographical film on Ramanujacharya.
Mohini Bhasmasur is a 1913 Indian mythological film directed by Dadasaheb Phalke and starring Kamlabai Gokhale and Durgabai Kamat. It is India's and Phalke's second full-length feature film. Mohini Bhasmasur is the first Indian film to have a female actor. In Raja Harischandra, India's and Phalke's first film, the role of the female was played by Anna Salunke, a male.
Parsi theatre is a generic term for an influential theatre tradition, staged by Parsis, and theatre companies largely-owned by the Parsi business community, which flourished between 1850 and the 1930s. Plays were primarily in the Hindustani language, as well as Gujarati to an extent. After its beginning in Bombay, it soon developed into various travelling theatre companies, which toured across India, especially north and western India, popularizing proscenium-style theatre in regional languages.
Kulin Kanta is Indian cinema's 1925 crime thriller silent film directed by Homi Master. Based on a true incident the Bawla murder case, Kulin Kanta featured the story of the Maharaja Holkar of Indore and a dancing girl who wanted to escape from the harem. The film starred the "macho hero" Khalil cited as Indian cinema's "first ever star" in the role of the "lecherous Maharaja". The director of photography was G. K. Gokhale, with story written by Mohanlal G. Dave.
Dhammika Ganganath Dissanayake, also known as Ganganath Dissanayake, was a Sri Lankan university professor, lecturer, academic and diplomat. He is known for his crucial contributions to mass media and has also authored numerous publications in the fields of mass communication, contemporary Sinhala cinema and politics. He served as an associate professor at the University of Sri Jayawardenepura and an ambassador of Sri Lanka to Japan.
Ankh Micholi is a 1962 Bollywood film directed by Ravindra Dave and starring Mala Sinha in the lead role with Shekhar, S. Nazir, Jagdish Raj, Leela Mishra and Naazi in supporting roles. The film was distributed and produced by Varma Productions, an affiliate of Varma Films. Ankh Micholi marked the second time its filmmakers had cast Mala Sinha in a lead role after previously casting her in Main Nashe Mein Hoon (1959). Both Ankh Micholi and Main Nashe Mein Hoon are considered to be some of the most "memorable films" of Mala Sinha.
''Laiye Tod Nibhiye'' is a 1966 Punjabi-language film directed by Satish Chabbra and starring Nishi and Ravindra Kapoor in the lead roles with Gopal Sehgal, Sheela R and Ravi Khanna in supporting roles. The film was distributed and produced by Varma International Pictures. It was produced by Krishan Lal Varma, son of Biharilal Varma, one of the founders of Varma Films. Previously Nishi, who played the lead female role in Laiye Tod Nibhiye had worked in supporting roles in three films produced by Varma Films and its affiliates: Baghi Sipahi (1958), Night Club (1958) and Main Nashe Mein Hoon (1959). Laiye Tod Nibhiye marked the first time Nishi had been cast in a lead role in a film associated with the Varma family.
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