Voices of Malaysian Cinema (2)

Feature by: Hassan Muthalib

The Digital Filmmakers

Since the breakthrough by Amir Muhammad’s digital feature, Lips to Lips in the year 2000, others have come up with digital features or feature-length documentaries. Among them: Ho Yuhang, Ng Tian Hann, Ngai Low Yuen and James Lee collaborated on an anthology called Visits; Osman Ali: Bukak Api (Open Fire) and Malaikat Di Jendela (Angel By the Window); James Lee with Snipers, Ah Beng Returns, Room to Let and Beautiful Washing Machine; Eleanor Low and Linus Chung: Whispers My Heart; Ho Yuhang: Min and Sanctuary; Ng Tian Hann: First Take, Final Cut; Nam Ron: Gedebe (Gangsters); Deepak Kumaran Menon: Chemman Chaalai (The Gravel Road); Woo Ming Jin: Monday Morning Glory; Eng Yow: Ah Kew The Digger;Sandosh Kesavan: Aaandal and Naguib Razak: Glass Enclosure: Tokyo Invisible. Amir has since come up with The Big Durian (the first Malaysian entry to Sundance), Tokyo Magic Hour and The Year of Living Vicariously. He is currently shooting a documentary, The Last Male Communist and will soon be in production with Naeim Ghalili on a 35 mm cinema feature called Susuk (Amulet). Bernard Chauly’s first cinema feature, Gol dan Gincu (Goal and Lipstick) is currently playing the cinema circuits.

Digital shorts are now flooding the increasing number of venues that are showcasing the works of emerging talents. Keelab Seni Filem Malaysia, started in the 1970s, is the most popular, yearly having two crowded showings. The latest has been the Kontot Film Festival. The yearly Nokia Awards, Malaysia Video Awards, Freedom Fest and the Malaysian Film Festival see increasing number of young people submitting their works, either for exhibition or for competition. FINAS and the Multimedia Development Corporation offer monetary support while some of the filmmakers who have won awards garner grants from overseas. Two TV stations have been responsible for the rise of some of these talents. ASTRO, the satellite channel, supported Naguib Razak in his early attempts at making his documentary Anak Duyung(The Mermaid Child - later remade for Discovery Channel as The Boatmakers of Mermaid Island). The station has also screened many digital shorts. NTV7 employed Osman Ali, an able graduate of the Malaysia Film Academy, who in turn, was responsible for giving an opportunity to other digital filmmakers to make headway into the mainstream. Red Communications, a TV production company, is in the forefront, too, in giving opportunities for digital filmmakers to express themselves – and make some money in the process. They producedVisits, Gol dan Gincu (Goal and Lipstick) and a TV series, Shortcuts,that showcases short films Another TV series, Generasi Digital, was produced by Vision New Media and is a first for RTM, the government TV channel.

The support provided by Golden Screen Cinemas with their digital screenings has opened an avenue for digital filmmakers to showcase their works, thus bringing their works closer to the mainstream. Many of their works have participated and achieved recognition at prestigious festivals all over the world. In these young filmmakers’ hands, film is not just for entertainment. The outside world is finally beginning to see, consistently, Malaysian works that project the minds of these filmmakers and their thoughts about themselves, their country and the world.
Film in Malaysia was once dominated by Malay cinema, but now the Fifth Voice has gained momentum and – like it or not – is in the process of creating a new Malaysian Cinema, both independently and through the mainstream. And it is beginning to make its voice heard loud and clear.

http://www.criticine.com/feature_article.php?id=17

Voices of Malaysian Cinema (1)

Feature by: Hassan Muthalib

The Early Days

Wayang kulit, the Malay shadow play, gave the earliest inhabitants of Southeast Asia their first experience of ‘cinema.’ But narrative cinema as it is today only began in Malaysia, with the production of Laila Majnun in 1933, directed by B S Rajhans and produced by Motilal Chemical, a Bombay-based company in Singapore. In 1938, two brothers from Hong Kong, Run Run and Run Me Shaw, set up a film unit and produced (unsuccessful) films using Chinese-based stories. With the advent of the Second World War and the Japanese Occupation of Malaya, local film production ceased. After the war, a new company, Malayan Arts Production produced Seruan Merdeka(The Call to Independence - the first with the theme of patriotism). B S Rajhans was again the director. However, it was the establishment of the studio system modeled after Hollywood by the Shaw Brothers, and their company, Malay Film Productions, that gave impetus to the film industry and resulted in other studios being set up.

From the late 40s to the early 50s, the films were directed by Indian directors imported from India. Among them were B S Rajhans, S Ramanathan, L Krishnan, B N Rao and Phani Majumdar. Though overly melodramatic with stylized acting and song-and-dance, their films went down well with the local populace. Stars were created and audiences flocked to the cinemas. It was not long before the locals were given a chance to helm productions. The first one, Permata di-Perlembahan (Pearls in the Valley, 1952) by Haji Mahadi, an actor, failed at the box-office. Filipino directors were then called in. Among them: Ramon Estella, Lamberto Avellana and Eddy Infante. However, it was the entry of other Malay directors (and in particular, P. Ramlee, a versatile actor and singer), who transformed the Malay cinema of the times with familiar themes and techniques that resounded with the movie-going public. Though the ubiquitous song-and-dance was still there, the over-acting and heavily Indian-influenced stories had faded. In place were themes related to issues more in tune with the times.

Among the local directors who quickly made a name for themselves were M. Amin, Omar Rojik, Hussein Hanif, Salleh Ghani, Jamil Sulong, S. Kadarisman and Mat Sentol. However, it was P. Ramlee and his unique brand of storytelling and techniques that consistently drew the crowds. Among his most cinematic works are Bujang Lapok (Raggedy Bachelors, 1955), Semerah Padi (The Village of Semerah Padi, 1956),Sumpah Orang Minyak (The Curse of the Oily Man, 1957), Antara Dua Darjat (Between Two Classes, 1960), and Ibu Mertua-ku (My Mother-in-Law, 1961). As a ‘thinking’ filmmaker, P. Ramlee felt the need to make use of the film medium to comment upon the lot of his race, calling upon them to come out of the drudgery and backwardness that they were in.

New Beginnings in Kuala Lumpur

The late 50s and early 60s were bad times for the industry. Production costs mounted and the introduction of television resulted in a fall in cinema audiences. Singapore split from Malaysia in 1965 and two years later, the studio system of Shaws and Cathay (now called Cathay-Keris), collapsed in Singapore (Shaw Brothers, because of union problems). Shaws decided to move their business to Merdeka Studios in Kuala Lumpur, taking P. Ramlee and Saloma, one of the stars with them. But this was to be the beginning of the end for the shining star of Malaysian cinema. Without the facilities of the studio system, P. Ramlee was forced to be involved in every aspect of production. Budget and location constraints led to the cutting of corners – and it showed on the screen. Audiences began to stay away from his films and also that of other directors employed by Merdeka Studios. They turned instead to Indonesian films that had better storylines and higher production values.

Seeing the need for a change, Shaws decided to bring in other (Singapore) directors who were now attached to the government documentary film unit, Filem Negara Malaysia. Among them were Jamil Sulong and Salleh Ghani. Crew from Hong Kong were brought in to support them. A new look (but similar to films from Hong Kong), emerged. This did not go down well with the audience, especially with a younger, more educated and discerning group. The entry of Hafsham (a film graduate) with Adik Manja (Affectionate Child, 1979), for Merdeka Studios, gave a glimmer of hope for the industry. However, Shaws decided to close down in 1980, and Chinese domination of the film industry came to a decisive end. The time now was ripe for the locals to take over.

Kuala Lumpur’s first feature film was actually produced by Filem Negara Malaysia, the Government documentary film studios. Set up in 1946 by the British, the unit produced Abu Nawas in 1957, with the main stars and music personnel coming from Singapore. The film was about the communist insurgency that began just after the War. A number of the unit’s production personnel became employed at both Shaws and Cathay-Keris in Singapore. A few others (like Hafsham), found easy employment in the advertising industry in Kuala Lumpur. P Ramlee had actually been in discussion with the Filem Negara to produce a police series in the late 60s but nothing came out of it and Roomai Noor, an actor/director formerly in Singapore, took over the helm.

http://www.criticine.com/feature_article.php?id=17

Star-Studded Opening For Australia Malaysia Film Festival

October 05, 2009 18:39 PM

By Neville D'Cruz

MELBOURNE, Oct 5 (Bernama) -- Malaysian producers and actors mingled with their Australian counterparts at the star-studded opening ceremony of the Australian and Malaysian Film Festival (AMFF) here on Monday night.

The four-day festival at the Australian Centre for the Moving Image, Federation Square here and dedicated to the "loving memory" of the late Yasmin Ahmad, will eTalentime, Geng the Movie, Cicakman 2-Planet Hitam, Pensil, Muallaf and My Telatori.

The Malaysian delegation included the secretary of the Malaysian Film Producers Association, Abdul Latiff Mohaideen, producers Ida Rahayu Yusoff, Ida Shaheera Azhar, actors Sharifah Aryana Syed Zainal Rashid and Jacyln Victor and Yasmin's production editor Raja Affandi.

Abdul Latiff said that after the outstanding success of last year's AMFF, he had no hesitation in bringing a Malaysian delegation to Australia this year.

"The organisers here, Kate Stephens and Ade Djajamihardja, always do a fabulous job and this year they have added Farah Azalea to the team," he said.

"It's a pleasure to come back to Australia for the film festival," Abdul Latiff said.

Affandi said he was " very happy" that the festival was dedicated to Yasmin.

" I don't think anyone can replace Yasmin. She was unique and was a wonderful person," he said.

Geng the Movie producer Ida Rahayu said the Australian film industry was much advanced and she was looking forward to learning new production techniques from the Australians.

Mukhsin actor Sharifah Aryana said she was excited about taking part in the festival and hoped to pick up ideas from her Australian counterparts.

-- BERNAMA

http://www.bernama.com/bernama/v5/newsgeneral.php?id=444588

NEW FILM GUIDELINE SOON

BY MAZWIN NIK ANIS

PUTRAJAYA: A 16-year-old guideline currently used by the National Censorship Board will be revamped with the promise to give film a certain level of flexibility and freedom without having to compromise on security, racial and religious harmony, socio-culture and values.
Home Ministry secretary-general Datuk Seri Mahmood Adam said a draft has been prepared and was being studied by film producers and script writers who were given the opportunity to give their views and suggestion on how the guideline should be shaped.
“What is special about the guideline is that it is drawn with the participation of the industry players, authorities and other interested parties.
“We are engaging in this open concept. This is not a rule set by the ministry and for others to follow. This is a set of rules which stakeholders had thrown ideas into.
“However, we expect them to abide by the rules later because they are the ones who had a hand in laying it down,” he told reporters after a dialogue session with players in the entertainment industry including film producers and script writers here on Saturday.
Mahmood said the guideline revolved around four elements - security and public order, religion, socio-culture and ethics values, citing an example that while there would not be an outright “no-no” for film producers to have a storyline on religion, it should not potray that one religion was better than the other.
“Crime and criminals can be highlighted, but it should not be in a way that will encourage audience to consider to commit crime. Likewise, certain harsh language may help enhance the dialogue of a film but not extreme profanities and vulgarities,” he said.
Mahmood said the film producers and script writers had about a month to study the draft guideline and another meeting would be convened to get feedback and ideas from them on how to further improve it.
“Today’s landscape and geo-politics have changed tremendously since the present guideline was introduced 16 years ago. We need a new one which suits todays environment and the need of a more demanding audience,” he said.

Cinema of Malaysia

Cinema of Malaysia
From Wikipedia, the free encyclopedia
The cinema of Malaysia revolves around a small film industry that dates back to the 1930s. At present, Malaysia produces about 15 feature films annually, and between 300 – 400 television dramas and serials a year apart from the in-house productions by the individual television stations. Malaysia also holds its own annual National Film Festival . There are about 250 movie theatres and cineplexes in Malaysia, showing not only local films but imported ones. Foreign film producers are welcome to shoot on location in Malaysia, undertake film co-production ventures so that local artistes and technicians have the opportunity of gaining exposure and experience.

Early films, 1933-48
Malaysian cinema began in 1933 with Laila Manjun, based on a classical Persian story of two ill-fated lovers. Directed by B.S. Rajhans and produced by the Singapore-based Motilal Chemical Company of Bombay, the cast was derived from a local opera group. Observing the success of this project, two brothers, Run Run and Run Me Shaw, were prompted in 1937 to import some equipment from Shanghai and start the production of Malay films from their small studio at Ampas Road in Singapore. However, they only managed to produce five or six movies prior to the Japanese invasion in 1941.
Following the end of World War II in 1945, the Shaw Brothers resumed production in 1947 with a Rajhans-directed film called Singapura Di Waktu Malam (Singapore by Night) starring Siput Sarawak. Backed by their chain of theatres, which they either owned or rented, the film enjoyed a good response. The Shaw Brothers proceeded to produce more films and introduced new faces, including the Sumatran-born Kasma Booty. Her first film, Cempaka, revolved around the life of a native island girl.
In 1948, P. Ramlee - who later became the living legend of the Malay film world, made his debut in the film Cinta (Love). P. Ramlee’s talents in music composing and singing brought him prominence. He was very versatile as a leading actor, a comic, dramatic artiste, scripwriter and film director. Most of the early films carried plenty of singing and dancing scenes, a trend introduced by the Indian film directors. After Rajhans, Shaw Brothers imported many other Indian film directors, among them S. Ramanathan, Shastri, Phani Majumdar and D. Ghoss. There were also some local film directors such as L. Krishnan and K. M. Bashker who learned the trade and techniques through experience and apprenticeship. By the 1960s, many of the expatriates were replaced by local directors.
Development and decline, 1948-75
The success enjoyed by the Shaw Brother’s film studio, known as the Malay Film Productions (MPP), encouraged a few other entrepreneurs to venture into the same business. There was a Nusantara film company started. In 1951, Hsu Chiu Meng started the Nusantara film company. However, he depended heavily on independent theatres, and after producing about a dozen films Nusantara closed down in 1954.
In 1952, Ho Ah Loke opened a studio in Tampines Road, Singapore, calling his company Rimau Film Productions. After producing one film, he changed its name to Keris Film Productions. Ho owned a few small theatres through his earlier venture as a film distributor. He managed to produce a number of films, and in 1956 merged with Cathay Organisation, owned by millionaire Loke Wan Tho. The company was renamed Cathy-Keris Film Productions with its studio in East Coast Road, Singapore. Supported by their own theatre chain throughout Malaya and Singapore, Cathay-Keris films posed a challenge to the films produced by Shaw’s MFP studios. Shaw studios produced about ten films a year, while Cathay-Keris too produced about the same number.
During those early years, all the films were in black and white. The studios had their own laboratories, recording and editing facilities. Direct sound recording was the practice from the beginning, until the advent of the 60s. Then, post-synching or dubbing system appeared and is still in use until today.
The screenplays were mostly based on folk tales, stage plays, legends of fictional or real historical heroes or events. MFP made the movie about the legendary Melaka warrior Hang Tuah who lived during the heyday of the Melaka Sultanate. In response, Cathay-Keris produced Hang Jebat who was Hang Tuah’s closest friend but due to unfortunate circumstances became involved in a life-or-death struggle with him.
Hang Tuah, done in Eastman Color, was directed by Indian director Phani Majumdar, who was specially brought in to ensure that the film made it to the East Asia Film Festival. P. Ramlee acted as Hang Tuah and also composed the background music, for which the film won an award.
Just before they ceased operations, both MFP and Cathay-Keris produced three colour films each. Shaw Brothers’ produced Ribut (Storm), Hang Tuah and Raja Bersiong (The Fanged King). The latter, a legend from the state of Kedah, was written by Malaysia’s first Prime Minister, the late Tunku Abdul Rahman Putra al-Haj.
Cathay-Keris produced Buluh Perindu (The Magic Flute), Cinta Gadis Rimba (The Virgin Of Borneo) and Mahsuri (The Maid of Langkawi), another Kedah legend written by Tunku Abdul Rahman Putra.
Although many companies emerged, such as Nusantara Films, Tan & Wong Film Company, Rimau Productions and Cathay-Keris, many closed down due to escalating production costs and diminishing audiences, leaving only MFP and Cathay-Keris both operating in Singapore.
In 1961, H. M. Shah bought over a piece of prime land on the fringe of Kuala Lumpur and turned it into Merdeka Studio. It had a meagre beginning, but once the top stars started their exodus from the two Singapore studios, its growth surged dramatically. Located adjacent to the National Zoo on Hulu Kelang Road, is 13 kilometres from the city. Today, it is the headquarters of the National Film Development Corporation, Malaysia (FINAS). The Shaw Brothers dispatched some of their Singapore film directors, among them L. Krishnan, P. Ramlee and Salleh Ghani, Jamil Sulong, Omer Rojik, S. Kadarisman, Sudarmaji, Naz Achnas, M. Amin and Datuk Jins Shamsudin, to make films at Merdeka.
[edit]Renaissance, 1975-present
In 1975, a renaissance prompted a revitalised growth when Sabah Films grossed huge profits with its maiden offering, Keluarga Comat (Comat’s Family). Soon, other companies mushroomed, such as Perfima, Syed Kechik Productions, Indra film Productions, Jins Shamsudin Production and others.
The '80s saw numerous changes. A vital one was the setting up of the National Film Development Corporation of Malaysia in 1981 to develop and stimulate the growth and maintain the standards of the film industry by various means, including the provision of research and advisory services. FINAS has since set up numerous facilities to promote the industry, including a credit facility scheme which enables young and untiring film-makers to test their potential. The revival in the industry also made changes to certain formats of the local film productions. Nearly all the films were made in colour, some using the scope format and some the standard format. There were no fixed salaries for artists attached to a certain company or studio. A company can only do two of three functions: production, distribution or exhibition in order to avoid a monopoly by a certain party. The producers also might be able to recover part of their investment by the return of the entertainment tax as a way of incentive. A further incentive to local film-makers is that they are invited to make television programmes either in film format or video format. As a result, there are now more than 300 film companies registered with FINAS.
edit]Films
Main article: List of Malaysian films
 Ahmad Albab,Ali Baba Bujang Lapok,Antara Dua Darjat,Bidasari,Cicak-Man,Ibu Mertuaku,Labu Dan Labi,Leftenan Adnan,Love Conquers All (film),Madu Tiga,Masam Masam Manis,Musang Berjanggut,Nasib Si Labu Labi,Paloh (film),Pendekar Bujang Lapok,Punggok Rindukan Bulan,Puteri Gunong Ledang,Puteri Gunung Ledang (film),Seniman Bujang Lapok,Sepet,Sumolah,Tiga Abdul

http://en.wikipedia.org/wiki/Cinema_of_Malaysia

Malaysian film wins top award in Locarno

Monday August 17, 2009
Malaysian film wins top award in Locarno

KUALA LUMPUR: Malaysian filmmaker Ho Yuhang’s At the End of Daybreak nabbed the NETPAC (Network for Promotion of Asian Cinema) prize for best Asian film at the 62nd Locarno International Film Festival.
Not only that, Ho has also made Malaysia proud as his fourth and latest full-length feature is the first Malaysian film to be screened in competition at the prestigious European film festival.
The multiple award-winning filmmaker was accompanied by producer Lorna Tee and his film’s Hong Kong lead actor Chui Man Kin (also known as Chui Tien You) at the film festival in Switzerland last week.
When contacted yesterday, Ho said he “had an enjoyable time in Locarno and was very happy to have won the award”.
The phone interview was conducted during a break in the filming of fellow Malaysian filmmaker Afdlin Shauki’s new horror flick Jalan Lama in which Ho has a cameo role.
Not one to rest on his laurels, Ho is already working on three other movie scripts: a noir comedy about revenge, a melodrama about a gambler and a Japanese film project which will take him to Tokyo next month.
At the End of Daybreak (Sham Moh in Cantonese) is a Malaysia-South Korea-Hong Kong co-production.
The tragic tale of two young lovers was filmed entirely in Malaysia, mainly Petaling Jaya and Kuala Lumpur.
Apart from Chui, the film’s main cast features Hong Kong actress Kara Wai Ying Hung and Malaysian actors Jane Ng Meng Hui, Chew Kin Wah and Mandy Chong.
Ho’s 94-minute film was one of 18 films from 15 countries – including seven first works – competing in the international competition category.
One of the oldest in the world, the film festival has been held annually in the city of Locarno, Switzerland, since 1946.Bottom of Formhttp://thestar.com.my/news/story.asp?file=/2009/8/17/nation/4532883&sec=nation

After we have met Pn. Rozmel for consultation, she asked us to do some corrections for our outline. With her guides, we're able to do a new outline as shown below.


MALAY FILMS BEFORE AND NOW


1.0 INTRODUCTION

1.1 Purpose of the research
1.2 Research objective
1.3 Research question

2.0 COMPARISON OF MALAY FILMS BEFORE AND NOW

2.1 Language
2.1.1 Before
2.1.2 Now
2.2 Culture
2.2.1 Before
2.2.2 Now
2.3 Genre
2.3.1 Before
2.3.2 Now
2.4 Technology
2.4.1 Before
2.4.2 Now

3.0 STRENGTH AND WEAKNESSES OF MALAY FILMS BEFORE AND NOW

3.1 Strength and weaknesses of Malay films before.
3.2 Strength and weaknesses of Malay films now.

4.0 CONCLUSION

TAKING MALAYSIA FILM TO THE INTERNATIONAL STAGE

By Kamarul Irwan Alias

KOTA KINABALU, Aug 24(Bernama) -- The Thai action flick "Ong Bak" mesmerized audience not only in Thailand but also all over the world.

The film that won an award under the action thriller category at the Asian Film Festival in Deauville, France, was also nominated for the Best Film at the Catalonia International Film Festival in Spain.

The film's wide impact has provided international recognition to its actor Tony Jaa, and his country Thailand as well.

Ong Bak is no philosophical or social commentary piece but it still won the hearts of the viewers through a simple plot and the martial art unique to Thailand known as Muay Thai.

Thus Tony's subsequent films like the Tom Yum Goong and the latest the sequel, Ong Bak 2, attracted a big following.

As a neighbouring nation, Malaysia too is proud of Ong Bak's achievement and also the success of another Thai production "Shutter" that has seen raving reviews up to Brazil.

Maybe our neighbour's success had provided an impetus to the national film industry as reflected by the theme of the 22nd Malaysian Film Festival (FFM22) held recently - "Malaysian Films to the International Stage".

CYNICISM

But wait! How can Malaysian films reach the international stage when most don't even captivate local audience to watch? Is the theme of the film festival organised by Finas with the cooperation of Confederation of Malaysian Film Producers' Association (Gafim), Association of Malaysian Film Producers (PFM) and the Sabah state government far fetched.

Maybe the jury's verdict on the 26 fiction films presented at the FFM22 can shed some light on the film industry in Malaysia.

The jury headed by Tan Sri Kamarul Ariffin Mohamed Yassin was of the opinion that the films reviewed on the whole reflected improvements in acting and technicalities but were unsatisfactory when looking at the storyline and original ideas.

Moreover, the storyline and the comedy sketches are not universal in their presentation and this makes it difficult for the international audience to understand.

The jury also came across several films with negative portrayal. They run down the national institutions, and they combine religion and heretical elements that confuse the audience.

Now the question is, what does it take for the films to capture international audience?

1 FILM 1 STAR

According to Lorna Tee the Managing Director of Irresistible Films, a production company based in Hong Kong, what the Malaysian film industry needs now is a phenomenal film like Ong Bak.

"Of course we have had several good films like the ones produced by the late Yasmin Ahmad, which won awards at the international stage, but the films were not phenomenal enough," she said during the Film Festival Symposium at Universiti Malaysia Sabah recently.

Lorna, a Malaysian, who has produced films like "The Beautiful Washing Machine", "Rain Dogs" and "Before We Fall In Love Again" noted that the industry needs a shot in the arm and therefore would also benefit from a great star like Tony.

Thus the emergence of an actor or actress well known in the international stage will help in boosting the local film industry.

She observed that South Korea is a good example of this where it has successfully marketed its films internationally through handsome actors like Bae Yong-Joon and Won Bin.

"We have many handsome actors and pretty actresses, but they are only known within the country," said the graduate of University of Surrey, England.

Thus Lorna suggested that the local artistes should be better managed and promoted to help them break into the international market.

The companies managing the artistes should not only liaise with the local industry players but should also work with the international producers to promote local actors.

FILMS AS BUSINESS

The films other than being an art form are also a big business opportunity.

According to statistics from Finas, the gross collection from local films last year amounted RM43.24 million and the figure is anticipated to reach RM50 million by the end of the year.

The increase is due to the rise in the audience number last year to 5.29 million compared with 3.68 million in 2007. There was also a rise in the number of theaters during the same period to 91 (with 453 screens) from the 76 theaters (with 353 screens).

Based on the statistics the domestic market holds good potential for the film industry to rake in money but the international market, especially the Asian continent, is where more money can be made and the one that provides greater visibility of the industry.

However, penetrating the international market is not going to be easy as past experience has shown how difficult it is even to get into the Indonesian market, a nation that shares many similarities with Malaysia.

Therefore Lorna noted that it is imperative film makers change their mindset and start learning on the international market too.

They should see who are their target audience, the realities of the international film market, work force and the available talents before deciding on the story, language, budget, actors and the marketing strategy for their films.

INCENTIVE

Lorna also outlined several incentives that the government could provide to boost in enhancing the film quality and promotions including tax rebates on corporate companies that invest in film making, and government-to-government agreement that allows tax rebate on films for international screening.

"However, if the industry becomes too dependent on the government's aid then it won't be able to stand on its own feet," she added.

Finas's Director General Mohd Mahyidin Mustakim stated that the government has extended a number of assistance for film makers among others loans for fiction films; film industry and multimedia development fund; compulsory screening directive; refunding local film entertainment duty and documentary film fund.

Also, promotion and marketing assistance through the Malaysian External Trade Development Corporation (Matrade) is available that covers 50 percent of the marketing cost at the international level, and the air ticket and accommodation cost.

"Though all these were available since the last three years, none have made use of this opportunity," he said.

PAPADOM

Meanwhile "Papadom", the film directed by Afdlin Shauki was chosen as the Best Film during FFM22 that closed its curtains on Aug 8.

The film about an overbearing loving father and his daughter also earned Afdlin and Liyana Jasmay the Best Actor and Best Actress award respectively.

Though the film will only hit the screens on Oct 8, the writer was given the opportunity to watch the film at the festival.

The film has a simple storyline backed by the typical funny antics of Afdlin, but this time it is more of verbal than action.

Though there is room for improvement, the film will appeal for the local cinema goers but whether it can make it to the international stage remains to be seen.

taken by:
http://www.bernama.com/bernama/v5/newsfeatures.php?id=435222

malaysian films, Australian eyes

MELBURNIANS will soon get a chance to watch the late Yasmin Ahmad’s Muallaf at the Australian Malaysian Film Festival (AMFF) from Oct 4 to 7 at the city’s cultural landmark, Federation Square.

Organised by A2K Media, the festival pays tribute to the legendary film maker and opens with Talentime, a love story about an Indian boy and a mixed-race Malay girl who fall in love during a talent quest at school.

Muallaf or ‘The Convert’ is slated to screen on the last day and tells the story of two Muslim sisters who escape their abusive father, forming an unlikely relationship with a Catholic boy who harbours a dark past.

“Yasmin prevailed although she was confronted with many challenges. Her films are one of the most powerful pictures seen in Malaysian cinema,” said Farah Al Amin, AMFF’s event coordinator.

The film festival, is part of the inaugural Malaysia Week, a pet project of the various Malaysian Student Organisations in the state of Victoria. Malaysia Week starting from September 27 to October 13, aims to promote Malaysia through a showcase of arts, culture and tourism.

Apart from the film festival, other highlights of the month long Malaysian extravaganza include the Fiesta Malaysia, an exhibition of Malaysian batik and designs, a career fair and the gala dinner “Malam Gemilang”.

“This year’s films will be screened during the day on Monday, Tuesday and Wednesday and are specifically chosen for a predominately young Australian student audience,” added Al Amin.

The organisers have invited secondary and tertiary teachers along with their students to attend these screenings and hope to include discussions with those behind these entertaining films.

Among the films to be featured include animated feature Geng The Movie, highly acclaimed Cicakman 2, My Telatori a short animation by students of The One Academy and the emotionally charged Pensil by M. Subash.

This year’s films showcase a diverse range of genres from comedy, action adventure to melodrama and offers positive messages of hope, depictions of the human condition and universal themes that everyone can identify and connect with.

Featured films will be screened at Australian Centre for the Moving Image, Federation Square, Flinders Street, Melbourne.

taken by:
http://www.mmail.com.my/content/13767-malaysian-films-australian-eyes

A CULTURAL HISTORY OF MALAY FILMS

The history of the Malay industry is a history of film art the dissemination of Malay Culture, especially a close link and certain similarities of Malay/Indian culture.
In its early years, the making of Malay film is more business oriented, rather than a cultural inclinations, thus the Indian takes a pioneer status in creating a Malay film industry, but it’s growth and development in later years, make it a multiracial endeavor, the Chinese provided the money as producers, distributors and exhibitors, the Indians provide the know how as directors and technicians, and the Malays provide rich talent as actors. Thus till the present day, history pushes Malay filmmaker to produce films where culture and commercial elements had to be blended. Malay activists stressed strongly film are not simply commercial enterprise. They are culture. In the case of Malay film, transition of culture from Indian to Malay is natural, but much more difficult, with Chinese culture.
This heavy culture leaning saw and caused the production of the first Malay film "LAILA MAJNUN" (1933), a middle Eastern love story, with Islamic overtones, and naturally well accepted by the Malay movie going public, a platonic love story, pure in its presentation of thing, cultural and religion.
"LAILA MAJNUN" produced by Bombay Chemical co, supplying projector earborns for theatres in Malaya, realized the potential profec of making Malay films, based on their observation of the tumultuous number of Malaysian as cinema fans, taking note of the easy availability of Hollywood, Indian and Chinese films, where as films in the Malay language is non existent.
The success of "LAILA MAJNUN" through only screened in independent Theaters, prompted SHAW BROTHER to bring in film production equipments, and Chinese director to Singapore, to make Malay Films (1937), and between 1938 to the outbreak of World War II (1942), Shaw Brother produced 8 Malay films, "MUTIARA", "BERMADU", "HANCHOR HATT", "TOPENG SHAITAN", "IBU TIRI", "TERANG BULAN DI MALAYA", "TIGA KEKASIH", and "MATA HANTU", at the box office they never met roaring success, the Malay patrons seem to reject the idea content of the film adapted directly from Chinese films, presents things not in tandem with Malay art and culture.
The Japanese occupation (1942) scuttled the budding film industry, through their film department EIGA HAKIYU SHA, there is the invisibility of encouragement to produce Malay films, but also Hollywood films are banned from screening at the cinemas, the theaters were forced to screen Japanese films with blatant propaganda contents to promote "South East Asia Coprosperity Sphere", as in films "SINGAPORE SOKOGEKI", "SHINA NO YORU" and "MARAI NO TORA".
Documentary films were in plenty, newsreel featuring the victorious Japanese against the allied armies, and clipping of films encouraging the adaptation and the adaptation of Japanese culture, such as Bushido and others.
To counter the deep seated Japanese propagation of their culture, a Malay film was produced by a local Indian businessman after the war, CHISTY who floated a company, Malaya Art Production and produced its only Malay film "SERUAN MERDEKA" or "FREEDOM CALL", a dramatic story of an underground movement to fight faeism, the first film of Sino Malay characteristic, a Malay and a Chinese youth lead the underground movement. A Sino Malay content in Malay films are rare indeed, the Malay demands that Malay films should have total Malay contents, but in later years with the growing call of racial unity, to fight for "MERDEKA", a number films of these nature came into production, among others "SELAMAT TINGGAL KEKASIHKU" (1955), directed by L. Krishnan, "GERIMIS" (1968) by the evergreen P. Ramlee, claimed by Malaysia and Singapore as their very own, and the award winning "TSU FEH-SOFIA" directed by Rahim Razali, and the widening of these multicultural visions will see more films dealing with multicultural characters, but with Malay culture as the basic point, the latest film being "MOON SECRET AFFAIR" by the noted woman director SHUHAIMI BABA.
Through a well made film directed by B.S. Rajhans, who directed the first Malay film "LAILA MAJNUN", and considered as the doyen among Indian film directors directing Malay films, the monopoly history of cinema trade of that period were controlled and manipulated by the entertainment giants, Shaw Brothers and Cathay Organization, who practiced a close door policy of screening of films, not made by their own studios, caused "SERUAN MERDEKA", to be screened sparsely, thus not many people knew of its existence.
Films directed by Rajhans are well received by the Malays, the idea content does not offense the Malays, who are defiant in defending their culture, and give a new perception to Shaw Brothers, that Malay films should be directed by Indian film directors, whose cultures have became part and parcel of Malay culture especially in films of that period mostly dealing with domestic life. Mothers and wives being "the goddess" of the family which run parallel with Malay family life.
The success and the imprint left by B.S. Rajhans, caused the influx of Indian film directors, in the period between 1947 to 1962, Shaw Brothers employed no less than 9 Indian film directors, among them B.S. Rajhans, S. Ramanathan, L. Krishnan, K.M. Bashker, B.N. Rao, V. Grimaji, K.R.S. Shastry, and Phani Majumdar, Diresh Gosh and Kidar Sharma.
Through they directed no less 70 films certainly they no attempt to "Indianise" Malays films, even if most the films are freely "adapted" from English, Chinese, Indian, especially Tamil films, the opposite is a truism, the "Malaynised" of these foreign films, in terms of to "change" foreign cultures and ways of life into indigenous cultures easily accepted by Malay patronage, but the existence of certain "adapted" Malay films, were a translation or carbon copies of these foreign films, intact in its "spirit and culture" some of which very sensitive in nature, causing grave concern and offense to the Malays.
The fifties were a nationalistic era, the freedom generation, the puritan cultural generation, and with their vocal demand that Malay film should be directed by Malays, spearheading this is the Singapore Malay Journalist Association who sees the enroachment of foreign culture and misrepresentation of native culture via "adapted" films by Indian director.
Taking into account that true representation of local culture is an integral and necessary by the local film industry, this Shaw Brothers heed the demand, and appointed a former Assistant Director, Haji Mahdi a full pledged director, with his maiden effort "PERMATA DIPERLIMBAHAN" (1952), it was badly made, and its "business taking", dismal. This served as a pretext that Malay cannot master a western technological art, but the demand for Malays to direct Malay films were never put to rest, as a matter of fact the demand became more vocal, with growing support from cultural bodies. The call of history cannot be ignored or buried it is momentous period, and grow in momentum, the demand almost took a political shape, due to its nationalistic nature.
P. Ramlee was asked to direct "PENARIK BECHA" (1955) and S. Roomai Noor to direct "ADAM" (1956). Ramlee’s first directorial assignment was a historical success, beating the collection of all past Malay films, with the exception of "BAWANG PUTEH BAWANG MERAH" (1959).
The failure of Haji Mahadi as a film director created doubts of the credibility of more Malays to direct Malay film the growing nationalistic resolute demand cannot be ignored, Shaw choose a cultural ploy by bringing in Manila film makers whose Tagalog language has a close linkage with Malay language, but poles apart culturally.
Malay film Production brought in same top and award winning names Filipino film directors to direct the their "BAHASA MELAYU" films among them Eddy Infante (1954), Ramon Estella (1957), who directed 11 Malay films, T.C. Santo, Rolf Boyes, B. Avellana (1958) who directed the first Malay war film "Sergeant Hassan". These directors were Hollywood oriented; thus their screenplays tend to be remake Hollywood films replete with western cultures. They too were swept away by the current demand of national culture.
The Nationally revered P. Ramlee is the saviour of Malay film directors confidence grew among the Chinese producers that Malay culturally motivated films should be directed by Malays.
With the advent of new Malay film directors, there is a tendency to go back to their root cultures, that is their films used folk tales and history as their screenplay. Jamil Sulung with "BATU BELAH BATU BERTANGKUP" (1959) and "LANCHANG KUNING" (1961).
The fifties is regarded the "golden age" of Malay films, new Malay director discovered, the return to Malay spirit with the filming of folklore and legends, and the huge crowd patronizing Malay films, and Culture has become or profitable commodity.
With the advent of television in the late sixties, and with agitation by the left wing unions SATU (SINGAPORE AMALGAMATED TRADE UNION), who controlled the work force of both studios, culminating is a strike at Malay film Production in 1957, and the declining box office revenues, forced Shaw Brothers close their studios in the late sixties, and Cathay Keris folowed two years later, and also spelled the domise of the studio system, and Malay film productions ceased in Singapore, and move to Kuala Lumpur in line with the spirit of Merdeka with the opening of Merdeka Studios in 1960, with their first film "TUN TEJAH" and to close in 1980, and was brought over by FINAS. The National Film Development Board set up in 1981, to develop the growth of the film industry. FINAS strong position has created a number of landmarks in the advancement of Malay films.
In 1975, Deddy M. Borhan produced a color film "KELUARGA SI COMAT", and it’s success led to other Malays to produce Malay films, and thus begins the Era of the Bumiputra.
Malaysian as present produced 10 to 15 films yearly, have their own film festival and will continue to grow with the leadership of FINAS, and the film associations.

taken from ; http://www.geocities.com/seapavaa/whatsnew/malay.html

MALAY FILMS BEFORE AND NOW the Outline

1.0.INTRODUCTION

According to the information from the website, the Malay films have been produced for almost 80 years. The Malay films used Malay language as the medium and were telling people about the Malay stories. The story lines were almost the same for every film produced and had very simple usage of language in their dialogues. Besides that, the setting of the movies was basically very simple and did not use much of the high technology as the films nowadays are. The Malay films now have improved a lot in many aspects, especially in the production fields. This improvement has made our film industry becoming more excellent in various ways and can even compete with the other countries in terms of the quality of the films produced. However, some of the directors and producers are against the etiquettes of producing the Malay films and also have gone beyond the limit. This causes people to criticize their piece of art work. The criticisms are sometimes positive but could be negative too.

1.1.RESEARCH OBJECTIVES

1. To compare the Malay films before and now.

2. To identify the pros and cons of the Malay films before and now.

3. To find out the ways to improve the quality of the Malay films.

1.2.RESEARCH QUESTIONS

1. What are the differences between the Malay films before and now?

2. What are the pros and cons of the development of our films industry?

3. What are the solutions to improve the quality of the Malay films?

2.0 COMPARISON

The Malay films before and now differ in various ways. Some might think the classic Malay films are much better than the modern Malay films. But some might not agree and think that the modern Malay films are better than the classic Malay films.

2.1.THE MALAY FILMS BEFORE…

The main features of the Malay films back then were the elements of the stories such as language, culture, and characters. The usage of the language especially shows the ‘Bangsawan’ style with rhythmic structure. The Malay language was used as the medium in all the Malay films and it often told us about the Malay stories. Before our film industry developed, the quality of the films produced depends totally on the actor and actresses, how they played their roles in every scene. Apart from that, the moral values of the story that are being conveyed are also part of the important element in the films. For instance, the films that were produced during the time when the late P.Ramlee was still alive. All the films reflected how the Malay language, cultures and characters were. The films also give us the images of the lives of the people in the past generations. Furthermore, the films also provide us with so many moral values that should be followed by the youth of our generation. The way the messages were conveyed was simple but yet meaningful. Although the films were simple and did not use any modern technology to make it more interesting, but the story lines were great enough to make people enjoy the stories.

2.2.THE MALAY FILMS NOW..

The main features of the Malay films nowadays were much more than the Malay films back then. But in most films, the elements of the stories are still the same but differ according to the creativity of the directors. The focus of the films now is not only on the Malays but other races too such as Chinese and also Indians. Other than that, the Malay films nowadays have improved so much in the term of the technology used in producing a film. The directors have learned a lot from other well-developed countries on making a film with high qualities such as the graphic effects and others. Even the actor and actresses seem perfect in the movie with the help of modern technology that can make a movie much more interesting. The only thing is lacking in our films nowadays are the moral values of the stories. The responsible authorities ignore the religious concern about some of the thing that should not be done by the Muslims. The costumes and the attitudes shown in the twenty-first century’s films affect the minds of the youth of our generation. For example, the films ‘Sepet’ by the late Yasmin Ahmad was once become the controversy because of the characters. However, the film actually tells us the reality of our lives. If being analyzed from the positive point of view, the film ‘Sepet’ contains a lot of moral values that should be followed by the audience. Another example was the film ‘Cicakman’ directed by the young and talented film director, Yusry Abdul Halim or well known as Yusry KRU. This film has impressed the Malaysian because of the technology and equipments used to make the story more interesting. This movie also was a success and something that we can be proud of because it was directed by a Malaysian. This implies that our film industry is developing and becoming outstanding among other countries.

3.0.THE EFFECTS OF THE EVOLUTION OF THE FILM INDUSTRY

3.1.ADVANTAGES;

· In most cases, the films fulfill the audience needs and they are very satisfied with the films in terms of the story lines and also the quality of the films.

· Some of the audience can interpret positively the message and moral values of the stories they watched.

· The story lines make us think out of the box and be more creative and innovative.

· Contributes a lot to our country’s film industry because high quality films are being exported to the other countries.

· Our film industry can produce more interesting films with the same level as the other countries.

3.2.DISADVANTAGES;

· Some of the stories exposed too much western culture which is not suitable for our community.

· Some films show bad examples to the youth in terms of the costumes and also attitudes which can influence the youths’ mind.

· The words used in some of the stories are not suitable as they are using harsh words (profane language). This should not happen because such thing will cause people to be influenced.

· Some scenes in the films are too much and can give bad examples to the teenagers as they are easily influenced by what they watch in the television.

4.0. STRATEGIES TOWARDS SOLUTION

· The government should make the rules of producing films that are not suitable to be watched by every level of age more strict.

· The responsible authorities such as the film producer should be aware of the etiquette of making films and not to go beyond the limit.

· The new produced films should be filtered thoroughly before being promoted to the society.

5.0. CONCLUSION

The issues and problems of the film industry are constantly changing over a period of time and as long as there are efforts to improve the making and content of local films, our film industry will keep to develop and becoming more outstanding than the other countries.

However, the eastern values should be forgotten and we should not be proud of what not belong to us by taking western cultures into our daily lives. Instead, be proud of what we own. We should also try to be extraordinary in order to be at the same level with the other countries in the film industry specifically.