• A conversation with cultural historian Vilasnee Tampoe-Hautin

In the fascinating landscape of cultural exploration and historical inquiry, few individuals traverse the intricate tapestry of Sri Lankan cinema with the depth and passion exhibited by Vilasnee Tampoe-Hautin.

As a Professor at the Université de La Réunion, her journey into the world of cinema is not merely an academic pursuit but also a personal journey rooted in her own familial ties to the Lankan film industry. Her research covers aspects of Indian Ocean cultural history, with a focus on cinema and identity politics in colonial and post-independent contexts in India and Sri Lanka. 

She is the author of a number of articles and books, including two biographies of Sri Lankan filmmakers – ‘Robin Tampoe: Last of the Big Ones’ (2008) and ‘Sumitra Peries: Poetess of Sinhala Cinema’ (2011) – as well as a two-volume study about Sri Lankan cinema from 1896 to the present.

The Sunday Morning Brunch sat down with Tampoe-Hautin during her most recent visit to Sri Lanka, organised and funded by the French Embassy to Sri Lanka and the Maldives and the research centre of the Université de La Réunion (DIRE), where she played a crucial role in a conference promoting Sri Lankan cinema as part of a cultural programme to mark the 75th anniversary of diplomatic relations between France and Sri Lanka. 

A personal journey anchored in history

Tampoe-Hautin’s foray into the realm of Sri Lankan cinema, albeit as an academic and not as a filmmaker, is, to her, a logical conclusion of her personal history. Born into a family of Sri Lankan filmmakers (her father, Robin Tampoe, and her grandfather, W.M.S. Tampoe, each played pioneering roles in building Lankan cinema), she found herself drawn to the subject of cinema as a focus of study, partly because that resonated with her roots. 

While Tampo-Hautin’s fascination with film has remained academic, the love of filmmaking and the Tampoe family’s contribution to film has endured through her brother Sanjeewa Tampoe and her nephew Antonio Tampoe, both of whom have gone on to work in the film industry. 

Reflecting on her academic initiation, Tampoe-Hautin shared: “When I entered the academic world, many told me that Sri Lankan cinema wasn’t well-established in the French academic sphere. Despite this, being a French citizen born in Sri Lanka with a family deeply anchored in cinema, it seemed the most natural thing to prepare for a PhD in an area I was familiar with, seen from the inside, but keeping the academic distance so essential to research.”

This study also became something of a mission to give back, particularly against the backdrop of the civil war which lasted over 25 years. “It became a kind of duty to do something for my home country, to explore an area rich for exploration, akin to India but with specificities that deserve academic attention,” Tampoe-Hautin shared.

In navigating the intersections of her personal history and academic pursuits, Tampoe-Hautin found herself planting a flag in the academic world, challenging the perception that Sri Lankan cinema was not a subject worthy of attention. She reflects on her role in breaking new ground within the French university space, stating: “Within the French academic sphere, Sri Lankan cinema was often overlooked, considered not innovative – possibly a consequence of the popularity of India as an area of research.”

However, outside the French academic world, Tampoe-Hautin pointed out that Sri Lankan cinema was recognised and appreciated for its unique depth and appeal. In fact, she pointed out that her own research would not have been possible without the support of specialists and intellectuals from Sri Lanka and all over the world who had previously researched and documented Lankan cinema.

How cinema can shape identity

Tampoe-Hautin’s research extends beyond the silver screen, delving into sociocultural and political movements in 19th century Ceylon (as it was then known). Sri Lanka’s sociocultural and political landscape has always been complex and a huge part of this complexity is because of its diversity. This was felt across all industries of Sri Lanka – and cinema was no exception. 

Her father, Robin Tampoe’s involvement in Sinhala cinema production was an example of this, Tampoe-Hautin noted: “He was a Tamil producing Sinhala films. It’s interesting to realise that even at the inception of Sinhala cinema, it was a collaboration of various ethnicities, including minorities.”

In fact, Tampoe-Hautin explained that many pillars of early Lankan cinema were of minorities. Ceylon Theatres, for example, was incorporated in 1928 by Chittampalam A. Gardiner. 

This intricate exploration of cinema’s interplay with identity politics and cultural amalgamation becomes particularly poignant in the context of Sri Lanka’s tumultuous history. The ethnic war, lasting for a quarter of a century, not only kept people away but also cast a shadow over the rich cinematic industry in addition to the already large shadow caused by the sheer size of India.

Tampoe-Hautin’s lens on Sri Lankan cinema extends to the post-conflict period, an era marked by the aftermath of a prolonged and devastating war. While she acknowledged that she hadn’t delved deeply into this phase due to various factors, including the interruption caused by Covid-19, she underscored the importance of exploring how cinema could contribute to ethnic amity and reconciliation. The medium, which had been stifled by the weight of conflict, holds the potential to be a healing force in the aftermath.

Her biographies of Sri Lankan filmmakers like Robin Tampoe and Sumitra Peries offer windows into the lives and contributions of these cinematic stalwarts. Through these narratives, she uncovers the stories these filmmakers tell about Sri Lanka and looks at how these filmmakers have contributed narratives that reflect the diversity and nuances of Sri Lankan culture. Their stories transcend mere entertainment; they become cultural artefacts, preserving the essence of a nation.

Preserving Sri Lanka’s cinematic heritage

In her upcoming book, ‘Bringing Back a By-gone: Preserving Sri Lanka’s Cinema Heritage,’ Tampoe-Hautin focuses on the essential task of safeguarding the cultural legacy embedded in the nation’s cinema. She underlines the urgency of this endeavour, emphasising the need to recognise cinema as a significant cultural asset deserving attention.

“Preserving cinema goes beyond aesthetics; it also encompasses the tangible aspects of cinema, or non-film archives. Indeed, the conservation of cinema heritage involves not only the films themselves but also the objects and edifices that surround their creation, production, and distribution,” she elaborated.

This preservation journey, however, was not without its challenges, she noted, explaining that cinema went far beyond just the final cinematic product. The academic world is now turning its attention to the materiality of cinema. However, it’s not just about acknowledging the importance of these objects, but also about finding meaning in them, and this needs to play a larger part in the discourse on cinematic preservation. “How can one tease out meaning from an object and relate it to the broader context?” Tampoe-Hautin questioned.

Tampoe-Hautin also underscored the need for Sri Lanka to actively engage with the global community in preserving its cinematic heritage. Drawing parallels with India’s progress in film preservation, she highlighted the importance of collaboration and knowledge exchange: “Preservation is a global effort, and Sri Lanka needs to be part of this collaborative and collective endeavour.” 

Vitally, this preservation should extend beyond film archives to encompass the broader material aspects of cinema. “We need to appreciate that cinema is not just about the final product on the screen. It’s about the entire process, from cameras to editing tables to microphone rods. The challenge lies in securing funds and prioritising certain types of heritage. Cinema, as a cultural asset, deserves recognition and protection,” Tampoe-Hautin said. 

Tampoe-Hautin also spoke about what made Sri Lankan cinema unique as a whole: “Social realism in cinema has been a notable strength of cinema. Audiences in this country appreciate both entertainment and art movies, creating a space for both genres. Sri Lankans have been groomed to appreciate diverse forms of cinema.” 

In her tireless efforts to unravel the layers of Sri Lankan cinema, Tampoe-Hautin emerges as something of a guardian of cinematic heritage, ensuring that the vibrant narratives and unique identity encapsulated in the nation’s cinematic history are not only preserved but also celebrated on a global stage.

Her specialised focus on different periods in Sri Lankan cinema offers a comprehensive understanding of its evolution. “To understand Sinhala cinema, one must step back and look at the various stages in its evolution. From the early pioneers in the 1940s and 1950s to the post-conflict era, each period has contributed uniquely to the cultural identity of Sri Lanka,” she explained.