How did early cinema become a treading and trading ground and a “global village” (MacLuhan) for citizens of the world, overriding criteria of caste, class, language and religion? But while cinema blurred conventional frontiers and enhanced social and cultural flows across borders during the colonial era, the opposite is true of the post-independent period of the 1950s when movements for the political hegemony of the Sinhala people would rapidly spill over the cinema industry. I will argue that nascent cinema coalesced the Indo-Sri Lankan spaces into one whole, structuring networks, constellations and inter-connectivity.
Within the context of ambiguous Indo-Sri Lankan relations, I seek to probe the question of cinema as a cultural and political articulation between these two spatialities, transcending colonial boundaries and traditional rivalries.
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