Portrayal of Fatherhood in Sri Lankan Cinema from 1990 to Present

Abstract

This study examines the portrayal of fatherhood in Sri Lankan cinema from 1990 to the present, analysing how cinematic representations reflect and challenge traditional notions of masculinity and paternal roles. Through Braun and Clark’s (2006) thematic analysis of three films—Purahanda Kaluwara (1997), Saroja (2000), and Thaththa (2023)—the research explores the intersection of gender, class, ethnicity, and socio-political contexts in shaping fatherhood narratives. The selected films span pivotal decades marked by Sri Lanka’s civil war (1983–2009) and post-war societal transformations, offering a lens to examine how cinematic fathers negotiate hegemonic ideals amid shifting cultural landscapes.

Employing Raewyn Connell’s theory of hegemonic masculinity, Kimberlé Crenshaw’s intersectionality framework, and feminist film theory, the study investigates Sri Lankan cinema perpetuates patriarchal ideals or embraces evolving, nuanced depictions of fatherhood.

Findings reveal that while films predominantly reinforce traditional masculine norms—such as authority, discipline, and emotional restraint—subtle subversions emerge through moments of vulnerability, care, and silent sacrifice. The study highlights the limited yet significant shifts in cinematic portrayals, suggesting that Sri Lankan cinema remains constrained by cultural expectations but holds potential for progressive representations. By bridging gender studies and film analysis, the study not only maps Sri Lankan cinema’s gendered discourse but also advocates for inclusive narratives that reflect the diversity of contemporary fatherhood.