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Sunday, April 20, 2025

Film Analysis of Paravaathi

 


Paravaathi is a Sri Lankan film about injustice and social class differences. It highlights how the rich and the poor live very different lives and how difficult it is for poor people to get justice. The film focuses on fairness, struggle, and the fight for what is right.

Summary of the Story

Mahendran is a fisherman who works hard to support his family despite being poor. His daughter, Paravaathi, sells fruits by the roadside to help with their daily expenses. This is dangerous work, but she has no choice. The movie shows how difficult life is for Mahendran’s family, representing the struggles of many low-income families in Sri Lanka.

One day, Paravaathi gets into a terrible bus accident and loses one of her legs. Mahendran is devastated, but he refuses to accept bribe money from a police officer. This shows that he is a law-abiding man who values justice over money. Even when his daughter urinates on the mat due to her condition, Mahendran does not take revenge on the bus owner or the driver. Instead, he chooses to confront them and explain their fault, showing his moral strength.

The bus owner, Suresh, is a rich man who only cares about making money. He does not take responsibility for the accident and tries to use his wealth to cover it up. The film portrays how powerful people often escape consequences, while poor people struggle to get justice. Meanwhile, the bus driver represents the middle class, caught between obeying his employer and facing the realities of the road.

Throughout the film, we see examples of the class gap. Mahendran, being poor, drinks Kasippu (local alcohol), while the bus owner and the driver drink expensive branded alcohol. This small detail highlights the vast economic difference between them.

Another example of class difference is seen in the way people react to children selling fruits on the street. Paravaathi and her friend sell fruits to survive, but society ignores them. This reflects how poor children have to work in dangerous conditions while others live comfortably.

The film also touches on the difference between public CTB buses and private buses. CTB buses generally follow rules and drive more safely, while private buses often speed recklessly to pick up more passengers, making the roads more dangerous.

Themes of the Film

  1. Social Class Inequality – The film shows the struggles of the poor and how the rich maintain power through money.
  2. Justice vs. Corruption – Mahendran fights for justice while the bus owner tries to escape responsibility.
  3. The Struggles of the Poor – Poor people work hard but find it difficult to improve their lives.
  4. Moral Strength – Mahendran chooses justice over revenge, showing his strong character.

Class Differences and Mahendran’s Character in “Paravaathi”

The film Paravaathi shows strong class differences in Sri Lankan society. It tells the story of Mahendran, a poor fisherman, and his struggles in a world where rich people have power and control. The film compares how poor, middle-class, and rich families live, and how their lives are very different from each other.

Mahendran’s family is shown as low class. They live a hard life. He works as a fish trader and earns very little money. His daughter, Paravaathi, has to sell fruits by the road to help the family. This work is dangerous, but they have no other way to survive. They can’t afford good food, clothes, or a safe home. In one scene, Mahendran is seen drinking Kasippu, a cheap local alcohol, while the bus owner drinks expensive branded liquor. This shows the clear gap between the poor and the rich.

The bus driver’s family is middle class. They don’t have as much power as the rich, but they live better than Mahendran’s family. The bus owner, Suresh, represents the upper class. He is rich and powerful. When Mahendran’s daughter loses her leg in a bus accident, Suresh tries to cover it up with money instead of accepting his mistake. This shows how the rich avoid responsibility using their wealth.

Mahendran is shown as a strong, honest, and loving father. Even though he is poor, he does not take bribes. He believes in justice. When his daughter gets injured, he does not take revenge. Instead, he tries to explain the truth to the bus owner and driver. This shows he is a good man who wants to do what is right. He respects the law and teaches his daughter to be strong, even after the accident.

In conclusion, Paravaathi shows how hard life is for the poor and how the rich often ignore their pain. Mahendran’s character is important because he represents honesty, strength, and the hope for justice in an unfair world.


Paravaathi is a powerful film that makes viewers think about fairness in society. It shows how the poor are often ignored and how difficult it is for them to fight against injustice. The movie makes us question why some people have so much while others have so little, and it encourages us to think about ways to create a fairer world.

Development communication

 


Define development Communication 


Development communication refers to the use of communication to facilitate social development. Development communication engages stakeholders and policy makers, establishes conducive environments, assesses risks and opportunities and promotes information exchange to create positive social change via sustainable development.


Development communication techniques include information dissemination and education, behavior change, social marketing, social mobilization, media advocacy, communication for social change, and community participation.


Development communication has been labeled as the "Fifth Theory of the Press", with "social transformation and development", and "the fulfillment of basic needs" as its primary purposes. Jamias articulated the philosophy of development communication which is anchored on three main ideas.

 Their three main ideas are

1. purposive

2. value-laden

3. pragmatic. 


Nora C. Quebral expanded the definition, calling it "the art and science of human communication applied to the speedy transformation of a country and the mass of its people from poverty to a dynamic state of economic growth that makes possible greater social equality and the larger fulfillment of the human potential".


Melcote and Steeves saw it as "emancipation communication", aimed at combating injustice and oppression.


According to Melcote (1991) in Waisbord (2001), the ultimate goal of development communication is to raise the quality of life of the people, including; to increase income and wellbeing, eradicate social injustice, promote land reforms and freedom of speech




Definition


Recent and more detailed definitions of development communication are:




Jan Carlo Sabile and the team


...the art and science of human communication linked to a society's planned transformation from a state of poverty to one dynamic socio-economic growth that makes for greater equality and the larger unfolding of individual potentials.


Erskine Childers defined it as


Development support communications is a discipline in development planning and implementation in which more adequate account is taken of human behavioural factors in the design of development projects and their objectives.



The World Bank


"integration of strategic communication in development projects" 

based on a clear understanding of indigenous realities.



UNICEF


"a two-way process for sharing ideas and knowledge using a range of communication tools and approaches that empower individuals and communities to take actions to improve their lives."


Bessette (2006)


"planned and systematic application of communication resources, channels, approaches and strategies to support the goals of socio-economic, political and cultural development". 


Development communication is essentially participatory, because, according to

Ascroft and Masilela (1994) "participation translates into individuals being active in development programmes and processes; they contribute ideas, take initiative and articulate their needs and their problems, while asserting their autonomy."

Film Analysis of "Ayla" (2017)


 

Film Analysis of "Ayla" (2017)
Director: Can Ulkay
Genre: War/Drama
Stars: İsmail Hacıoğlu, Kim Seol, Çetin Tekindor, Ali Atay

  • Nature of protagonist: Süleyman is kind, brave, and loving. He risks his life to protect Ayla.
  • Nature of antagonist: The war itself is the enemy – it causes pain, destruction, and separation.
  • Shape of dramatic action: The story rises as Süleyman finds and cares for Ayla, peaks at their separation, and resolves in their reunion.
  • Catalytic event: The moment Süleyman finds Ayla on the battlefield is the turning point.
  • Resolution: Süleyman and Ayla are reunited after many years.
  • Narrative style: Linear, with some flashbacks.
  • Narrative shape: Circular – starts and ends with older Süleyman.
  • Tone: Emotional, hopeful, and heartwarming.

At the beginning, Ayla might feel a little hard to watch because it deals with war and separation. But as you continue,  I see the beauty in the emotions, the performances, and the message. The film slowly pulls me in and makes you feel every moment.


Acting Performances

The acting in Ayla is very strong and emotional. İsmail Hacıoğlu plays young Sergeant Süleyman with great warmth. He shows care and love, especially in the scenes where he protects and plays with the little girl Ayla. The young Korean actress Kim Seol, who plays Ayla, is very natural and expressive. Even though she doesn’t speak much, her eyes and actions show her feelings clearly. The older version of Süleyman, played by Çetin Tekindor, also gives a moving performance, especially in the last scenes when he talks about Ayla.




Direction

Can Ulkay has directed the film in a way that makes the story clear and emotional. The movie is easy to follow and feels like a real-life story. He shows both the horrors of war and the beauty of human connection. The script is well visualized – every scene has a purpose and adds to the bigger story. The casting feels right; everyone fits their role perfectly.


Story

The story is based on a true event from the Korean War. It shows how a Turkish soldier, Süleyman, finds a little Korean girl alone in the war and becomes her guardian. The story flows well, starting with the war scenes, then moving into the peaceful life they try to build together, and finally showing their emotional separation and reunion. The moral is about love, kindness, and hope even in dark times.




Genre and Iconography

Ayla is a war drama, and you can see that through scenes of the battlefield, military uniforms, tents, and army life. But it also uses symbols of family and love, like the teddy bear Süleyman gives to Ayla or the small classroom he builds for her.


Mise-en-Scène

In individual scenes, the background, costumes, and props all help the story. For example, the cold, destroyed Korean villages show the effect of war. When Süleyman makes a small home for Ayla in the army camp, it gives warmth and contrast to the harsh surroundings. These elements add to the emotional effect of the movie.


Cinematography

The camera work uses close-ups a lot, especially on faces, to show emotions. There are wide shots of the battlefield to show the danger and size of the war. In quiet moments, like when Ayla sleeps beside Süleyman, the camera stays still to give a peaceful feeling. Camera movement is smooth, helping the emotional flow of the movie.


Lighting and Sound

Lighting is used well – war scenes are dark and grey, but scenes with Ayla and Süleyman are brighter, even in the army camp. This shows hope and love. The sound includes both diegetic (real) sounds like bombs and footsteps, and non-diegetic (background music) to add emotion. The music during emotional moments is soft and touching.


Editing

Editing is smooth and supports the story well. The film uses simple cuts, mostly continuity editing to keep the story clear. There are flashbacks and time jumps, but they are easy to understand.


Score

The musical score fits perfectly. It is emotional but not too loud. It supports the mood, especially in the separation scene where Ayla is crying and Süleyman can’t take her with him – the music makes it even more heartbreaking.


Realism

The movie feels real because it is based on a true story. The locations, costumes, and language are carefully made to match the 1950s war setting. The use of actual historical photos at the end adds even more realism.


Signs and Codes

One important sign is the teddy bear. It stands for love, comfort, and childhood. The classroom Süleyman builds is a code for normal life and education, even during war. These signs help the audience understand deeper meanings without saying them directly.


Conventions

The film follows war movie conventions – brave soldiers, the pain of separation, and heroic acts. But it breaks one convention by not focusing on fighting, but on love and human connection.


The Message

The message of Ayla is that love and kindness can exist even during war. Süleyman doesn’t just act as a soldier; he becomes a father to a lost girl. Their bond shows that family isn’t just about blood – it’s about care. The film achieves this message through powerful acting, emotional storytelling, music, and realistic visuals


 History of the development communication 


Development communication, as a field, began in the 1940s and gained widespread application after World War II. It emerged in response to global challenges related to poverty, socio-economic growth, and development. In the 1950s, scholars such as Daniel Lerner, Wilbur Schramm, and Everett Rogers helped establish communication as an academic discipline, formalizing its role in addressing global development issues. The term "Development Communication" was first coined in 1972 by Nora C. Quebral, who defined it as:"

The art and science of human communication linked to a society's planned transformation from a state of poverty to one of dynamic socio-economic growth that makes for greater equity and the larger unfolding of individual potential."

The practice and theory of development communication have continued to evolve, adapting to diverse cultural, geographical, and ideological contexts. The field employs different techniques such as information dissemination, education, behavior change, social marketing, media advocacy, and participatory development communication. These varied approaches are applied flexibly to address specific issues in different settings.

Manyozo (2006) identified six major schools of thought in development communication, each shaped by distinct historical and cultural contexts. These schools include:

1. The Bretton Woods School 

Emerging after World War II, with the establishment of the World Bank and IMF in 1944, this school emphasized development communication based on Western economic models, focusing on industrialization, modernization, and economic growth.

  

2. Latin American School

 This school arose independently of Western theories and focused on post-colonial issues, adult literacy, and liberation theology. It stressed more participatory, bottom-up approaches to development.

  

3. Indian, African, Los Baños, and Participatory Schools 

These schools emphasized localized, community-driven methods of development communication, each shaped by their specific geographic and cultural contexts.

The Bretton Woods School promoted Western development strategies and communication methods, focusing on economic growth and modernization. Key theorists, including Lerner, Schramm, and Rogers, advocated for mass media as tools for development. However, this approach faced substantial criticism, especially from Latin American scholars like Luis Ramiro Beltran and Alfonso Gumucio Dagron. They argued that Western-centered approaches failed to address the actual needs of developing countries, particularly in regard to local conditions such as agricultural reform and economic justice.

In the 1960s, Western scholars tried to develop Latin America using modernization concepts, but their approach failed and was criticized. The exploitation of resources and the dependency it created were major concerns. As a result, underdeveloped countries started creating their own paths for development, aiming to build systems that were more beneficial to their unique needs and contexts.

By the 1990s, the limitations of the Bretton Woods model became increasingly apparent. The failure of top-down development approaches to address the needs of marginalized populations led to the rise of more participatory models.

In the 1990s, scholars and development practitioners started focusing on participatory development communication. This approach placed emphasis on local communities actively participating in their own development, using communication as a tool for empowerment. Notable shifts included greater attention to cultural diversity, human rights, and gender equality. Communication for development began incorporating techniques like community radio, dialogue-based media, and interactive platforms to ensure that local voices were heard in the development process.

Television and Radio Channels in Sri Lanka

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