A STUDY OF THE EXPRESSIVE AND TECHNICAL FEATURES IN TISSA LIYANASURIYA’S CINEMATOGRAPHIC WORK

Tissa Liyansuriya is widely recognized by critics and fans of Sri Lankan cinema for his unique contribution to local cinema, continuing in the tradition of Lester James Peirce. He entered the feature film industry as the assistant director of Lester's "Rekava" (1960), subsequently creating numerous documentaries and short films under the government film department, and he is the creator of a trilogy of feature films. The purpose of this research is to determine the subjective evaluation of Tissa Liyansuriya among filmmakers, based on locality. The research problem is to determine, both expressively and technically, what kind of social characteristics and individual biographies are revealed in Liyansuriya's work within the context of local cinema. For this study, Liyansuriya's feature films "Saravita" (1965), "Punchi Baba" (1968), and "Narilatha" (1969) have been subjected to content analysis. These films focus on themes related to contemporary Sri Lankan life, with casts portraying various aspects of Sri Lankan society. Liyansuriya, who apprenticed under Lester, used observations from Sri Lankan society to create films that went beyond the imitative cinema stream prevalent at the time. The characters such as Gunahami in Saravita, Sena in Punchi Baba, and Surendra in Narilatha are based on Buddhist concepts and values, and Liyansuriya's films reflect middle-class society. Additionally, the songs included in these films enhance their cinematic quality rather than merely serving as a trick for popularity. Actors such as Malani Fonseka (Punchi Baba), Wally Nanayakkara (Saravita), and Carl Gunasena (Gatawarayo) were introduced to Sinhala cinema by Liyansuriya. In conclusion, Tissa Liyansuriya's films present the natural environment, realistic characterization, lifestyles, religious culture rooted in faith and belief, and human qualities, all equipped with the most cinematic quality of Lester's contemporary cinema style.