Laleen Jayamanne's challenging essay on colonialism, filmmaking, and the female body takes its name from the classic 1934 documentary Song of Ceylon, a reverent study of a country since vanished. The centerpiece of Jayamanne's film is a Sri Lankan anthropological text depicting the ritual exorcism of spirits from a woman's body, which is used here both as a soundtrack and as a performance piece. The film also recreates classic images from film history, implicating the viewer in a certain fetishization of the body.
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