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ABSTRACT
The paper provides a comparative reading of the female protagonists in two Sri Lankan films, focusing on how the female body becomes a contentious site of gendered violence, subject to state and male surveillance and containment. Through a close analysis of Prasanna Jayakody’s 28 (2014) and Asoka Handagama’s Asandhimitta (2019), this paper attempts to reveal how Sri Lankan cinema violently reconfigures the female body as a site of negotiation for articulation of victimhood and desire and becomes a potential space for the inscription of feminist issues.
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Notes on contributors
Kanchanakesi Warnapala
Kanchanakesi Warnapala is a Senior Lecturer in English at the University of Sri Jayewardenepura, Sri Lanka and has published her academic research in journals such as Interventions, Early Popular Visual Culture, Postcolonial Text and the European Journal of Life Writing.