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| malaysian film industry history: The Malaysian Film Industry A. M. Jantan, 1981 |
| malaysian film industry history: Global Development of Asian Cinema in the Film Industry Wang, Changsong, Yong, Cheng Fei, Marta, Rustono Farady, 2025-02-18 The global development of Asian cinema has shaped the international film industry, introducing diverse storytelling, unique cultural perspectives, and innovative filmmaking techniques. From the rise of Bollywood in India to the acclaimed cinema of East Asia, Asian filmmakers have made a mark on global audiences. Films from Asia have gained widespread recognition for their artistic merit, critical acclaim, and box-office success, breaking barriers in both content and form. As the industry evolves, the influence of Asian cinema grows, fostering cross-cultural collaborations, expanding global markets, and challenging traditional norms in filmmaking, highlighting the increasing importance of Asian voices in the future of the global film industry. Global Development of Asian Cinema in the Film Industry explores the reception of Asian film aesthetics and consumption behaviors among global audiences. It provides practical guidance for advancing the international development of the Asian film industry. This book covers topics such as digital streaming, political science, and posthumanism, and is a useful resource for filmmakers, business owners, media and communications professionals, sociologists, historians, academicians, and researchers. |
| malaysian film industry history: Malaysian Cinema in the New Millennium Adrian Yuen Beng Lee, 2022-11-07 Malaysian Cinema in the New Millennium offers a new approach to the study of multiculturalism in cinema by analysing how a new wave of filmmakers champion cultural diversity using cosmopolitan themes. Adrian Lee offers a new inquiry of Malaysian cinema that examines how the ‘Malaysian Digital Indies’ (MDI) have in recent years repositioned Malaysian cinema within the global arena. The book shines a new light on how politics and socioeconomics have influenced new forms and genres of the post-2000s generation of filmmakers, and provides a clear picture of the interactions between commercial cinema and politics and socioeconomics in the first two decades of the new millennium. It also assesses how the MDI movement was successful in creating a transnational cinema by displacing and deterritorialising itself from the context of the national, and illustrates how MDI functions as a site for questioning and proposing a new national identity in the era of advanced global capitalism and new Islamisation. Covering all these interrelated topics, Lee’s book is a pioneering and comprehensive work in the study of Malaysian cinema in the recent decades. ‘Lee is well versed in theories of transnational and postcolonial studies and provides detailed and knowledgeable information about this period of filmmaking in Malaysia. I believe this book will make a valuable contribution to the studies of film in Southeast Asia.’ —Olivia Khoo, Monash University, Australia ‘The author comprehensively discusses the rise of Malaysian Digital Indies (MDI) in post-2000 Malaysia, the revival of form and aesthetics in comparison to mainstream films, the MDI’s emergence in the Malaysian context, and finally the MDI’s incorporation into the mainstream films.’ —Nunna Prasad, Abu Dhabi University, United Arab Emirates |
| malaysian film industry history: Malaysian Cinema, Asian Film William Van der Heide, 2002 Annotation Elizabeth A. Kaye specializes in communications as part of her coaching and consulting practice. She has edited Requirements for Certification since the 2000-01 edition. |
| malaysian film industry history: Malaysian Cinema in a Bottle Hassan Abd. Muthalib, 2013 |
| malaysian film industry history: A Social Semiotic Analysis of Two Malay Films (IIUM PRESS) Shazna Abu Bakar, Nora Mohd Nasir, 2017-06-22 The primary objectives of this studies is to reveal how ideology is used in the film as a means to evoke emotions from the audience. This not only encompasses the used of language but also other elements used such as visual, camera works as well as editing. Secondly, the study seek to find out a particular messages found in this two films and how do they compare in relation to the historical event that they claims to portray as well as the timing in which they were produced. |
| malaysian film industry history: Alluring Monsters Rosalind Galt, 2021-11-16 The pontianak, a terrifying female vampire ghost, is a powerful figure in Malay cultures, as loved and feared in Southeast Asia as Dracula is in the West. In animist tradition, she is a woman who has died in childbirth, and her vengeful return upsets gender norms and social hierarchies. The pontianak first appeared on screen in late colonial Singapore in a series of popular films that combine indigenous animism and transnational production with the cultural and political force of the horror genre. In Alluring Monsters, Rosalind Galt explores how and why the pontianak found new life in postcolonial Southeast Asian film and society. She argues that the figure speaks to a series of intersecting anxieties: about femininity and modernity, globalization and indigeneity, racial and national identities, the relationship of Islam to animism, and heritage and environmental destruction. The pontianak offers abundant feminist potential, but her disruptive gender politics also unsettle queer and feminist film theories by putting them in dialogue with Malay epistemologies. Reading the pontianak as a precolonial figure of disturbance within postcolonial cultures, Galt reveals the importance of cinema to histories and theories of decolonization. From the horror films made by Cathay Keris and Shaw Studios in the 1950s and 1960s to contemporary film, television, art, and fiction in Malaysia and Singapore, the pontianak in all her media forms sheds light on how postcolonial identities are both developed and contested. In tracing the entanglements of Malay feminist animisms with postcolonial visual cultures, Alluring Monsters reveals how a “pontianak theory” can reshape understandings of anticolonial aesthetics and world cinema. |
| malaysian film industry history: The Global Film Book Roy Stafford, 2014 The Global Film Book is an accessible and entertaining exploration of the development of film as global industry and art form, written especially for students and introducing readers to the rich and varied cinematic landscape beyond Hollywood. Highlighting areas of difference and similarity in film economies and audiences, as well as form, genre and narrative, this textbook considers a broad range of examples and up to date industry data from Europe, Africa, Asia, Australasia and Latin America. Author Roy Stafford combines detailed studies of indigenous film and television cultures with cross border, global and online entertainment operations, including examples from Nollywood to Korean Cinema, via telenovelas and Nordic crime drama. The Global Film Book demonstrates a number of contrasting models of contemporary production, distribution and consumption of film worldwide, charting and analysing the past, present and potential futures for film throughout the world. The book also provides students with: a series of exploratory pathways into film culture worldwide illuminating analyses and suggestions for further readings and viewing, alongside explanatory margin notes and case studies a user friendly text design, featuring over 120 colour images a dynamic and comprehensive blog, online at www.globalfilmstudies.com, providing updates and extensions of case studies in the book and analysis of the latest developments in global film issues. |
| malaysian film industry history: World Film Locations Lorenzo Codelli, 2014 Annotation Covering the myths that surround Singaporean film and exploring the realities of the movies that come from this exciting city, this volume introduces armchair travelers to a rich, but less known, national cinema. |
| malaysian film industry history: A Dictionary of Film Studies Annette Kuhn, Guy Westwell, 2020-04-28 A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text. |
| malaysian film industry history: Media Culture in Transnational Asia Hyesu Park, 2020-09-17 Media Culture in Transnational Asia: Convergences and Divergences examines contemporary media use within Asia, where over half of the world’s population resides. The book addresses media use and practices by looking at the transnational exchanges of ideas, narratives, images, techniques, and values and how they influence media consumption and production throughout Asia, including Sri Lanka, Bangladesh, South Korea, Singapore, Vietnam, Afghanistan, Iran and many others. The book’s contributors are especially interested in investigating media and their intersections with narrative, medium, technologies, and culture through the lenses that are particularly Asian by turning to Asian sociopolitical and cultural milieus as the meaningful interpretive framework to understand media. This timely and cutting-edge research is essential reading for those interested in transnational and global media studies. |
| malaysian film industry history: Introduction to Malaysia Gilad James, PhD, Malaysia is a Southeast Asian country that is located on the Malay Peninsula and the island of Borneo. It is a diverse country with a population of over 32 million people and is made up of various ethnic groups including Malays, Chinese, and Indians. The official language is Bahasa Malaysia, but English is widely spoken among the population. Malaysia has a tropical climate and is known for its beautiful beaches, rainforests, and wildlife. Malaysia is a constitutional monarchy, which means that it is ruled by a king and a government. The country's economy is based on exports of natural resources such as oil, gas, and palm oil. It has a growing industrial sector and is also a popular tourist destination. Malaysia is known for its rich cultural heritage, and visitors can experience a variety of traditions ranging from dances and music to food and clothing. Additionally, the country has a vibrant modern culture, with a growing music and arts scene. Overall, Malaysia is a fascinating country that combines tradition and modernity in a unique way. |
| malaysian film industry history: Reclaiming Adat Gaik Cheng Khoo, 2011-11-01 In the early 1990s, the animist and Hindu traces in adat, or Malay custom, became contentious for resurgent Islam in Malaysia. Reclaiming Adat focuses on the filmmakers, intellectuals, and writers who reclaimed adat to counter the homogenizing aspects of both Islamic discourse and globalization in this period. They practised their project of recuperation with an emphasis on sexuality and a return to archaic forms such as magic and traditional healing. Using close textual readings of literature and film, Khoo Gaik Cheng reveals the tensions between gender, modernity, and nation. Khoo weaves a wealth of cultural theory into a rare analysis of Malay cinema and the work of new Malaysian anglophone writers. Reclaiming Adat makes an essential contribution to our knowledge of the complexities embedded in modern Malaysian culture, politics, and identity. The book will be a useful source for students interested in postcolonial film and literature, Asian culture, and gender studies, as well as the general reader keen to learn about contemporary Malaysia. |
| malaysian film industry history: Fieldwork in Humanities Education in Singapore Teddy Y.H. Sim, Hwee Hwang Sim, 2021-02-20 This book addresses the topic of humanities education fieldwork using the Singapore context as its primary focus. It explores how the thought processes behind and techniques of various humanities and social sciences subjects can be applied to fieldwork in a variety of school and training settings. In addition, it discusses how humanities students and educators could stand to benefit from utilizing fieldwork techniques and skills used in archaeology and anthropology, beyond undergraduates majoring in that discipline. Finally, the adoption of multidisciplinary approaches in fieldwork incorporating history, geography, literature and social studies demonstrate how these subjects can collaborate together in actual case studies to facilitate participants’ learning in the field. |
| malaysian film industry history: Cosmopolitan Intimacies Adil Johan, 2018-05-31 The golden age of Malay film in the 1950s and 1960s was the product of a musical and cultural cosmopolitanism in the service of a nation-making process based on ideas of Malay ethnonationalism, initially fluid, increasingly homogenised over time. The commercial films of the period, and in particular their film music, from national cultural icons P. Ramlee and Zubir Said, remain important reference points for Malaysia and Singapore to this day. This is the first in-depth study of the film music of the period. It brings together ethnomusicological and cultural studies perspectives. Written in an engaging manner, thoroughly illustrated and incorporating musical scores, the book will appeal to dedicated film fans, musicians, composers and film-makers interested in Southeast Asia and the Malay world. But equally, the conceptual framework will be of interest to a broad range of scholars of Southeast Asia, as it brings together ideas of cosmopolitanism and cultural intimacy to narrate a history of nation-making in the region. |
| malaysian film industry history: Film and the End of Empire Lee Grieveson, Colin MacCabe, 2019-07-25 In these two volumes of original essays, scholars from around the world address the history of British colonial cinema stretching from the emergence of cinema at the height of imperialism, to moments of decolonization andthe ending of formal imperialism in the post-Second World War. |
| malaysian film industry history: The Malayan Emergency in Film, Literature and Art Jonathan Driskell, Marek W. Rutkowski, Andrew Hock Soon Ng, 2025-01-09 Examining film, literature and art produced during and after the Malayan Emergency, the guerrilla war fought between the Malayan National Liberation Army and the military forces of the British Commonwealth, this collection demonstrates how art functions as a record of cultural memory that both reinforces and challenges official histories. Beyond that, it also brings new understandings of the Malayan Emergency itself, and Malaysia's subsequent development as a postcolonial nation. The first section of the book focuses on films and writings produced during the period of the Emergency to capture the socio-political circumstances of the time and understand its effect on the people. The second section goes on to explore representations of the Emergency generated after the event, highlighting how it was reimagined or reevaluated by later artists, and what ideological ends they served. Offering a comparative methodological approach, it investigates works that account for a range of perspectives, including British, Communist and Malayan/Malaysian. Bringing together the personal and political within individual and collective histories, this collection offers a new understanding of how the Emergency contributed to the formation of postcolonial Malaysia, and demonstrates the central role that film, literature and art play in the creation of cultural memory. |
| malaysian film industry history: Singapore Cinema Kai Khiun Liew, Stephen Teo, 2016-11-25 This book outlines and discusses the very wide range of cinema which is to be found in Singapore. Although Singapore cinema is a relatively small industry, and relatively new, it has nevertheless made an impact, and continues to develop in interesting ways. The book shows that although Singapore cinema is often seen as part of diasporic Chinese cinema, it is in fact much more than this, with strong connections to Malay cinema and the cinemas of other Southeast Asian nations. Moreover, the themes and subjects covered by Singapore cinema are very wide, ranging from conformity to the regime and Singapore’s national outlook, with undesirable subjects overlooked or erased, to the sympathetic depiction of minorities and an outlook which is at odds with the official outlook. The book will be useful to readers coming new to the subject and wanting a concise overview, while at the same time the book puts forward many new research findings and much new thinking. |
| malaysian film industry history: Blinded by the Lights , 2008 Selected papers from Communication Study and the Human Sciences, a Transdisciplinary Colloquium held at Universiti Teknologi MARA in Shah Alam for 2 days beginning July 30, 2003. Jointly organised by Institute of Knowledge Advancement & the Faculty of communication & Media Studies. -- Preface. |
| malaysian film industry history: Crossover Cinema Sukhmani Khorana, 2013-10-23 Cinematic products in the twenty-first century increasingly emerge from, engage with, and are consumed in cross-cultural settings. While there have been a number of terms used to describe cinematic forms that do not bear allegiance to a single nation in terms of conceptualization, content, finance and/or viewership, this volume contends that crossover cinema is the most apt contemporary description for those aspects of contemporary cinema on which it focuses. This contention is provoked by an appreciation of the cross-cultural reality of our post-globalization twenty-first century world. This volume both outlines the history of usage of the term and grounds it theoretically in ways that emphasize the personal/poetic in addition to the political. Each of the three sections of the volume then considers crossover film from one of three perspectives: production, the texts themselves, and distribution and consumption. |
| malaysian film industry history: A General History Of The Chinese In Singapore Chong Guan Kwa, Bak Lim Kua, 2019-06-21 A General History of the Chinese in Singapore documents over 700 years of Chinese history in Singapore, from Chinese presence in the region through the millennium-old Hokkien trading world to the waves of mass migration that came after the establishment of a British settlement, and through to the development and birth of the nation. Across 38 chapters and parts, readers are taken through the complex historical mosaic of Overseas Chinese social, economic and political activity in Singapore and the region, such as the development of maritime junk trade, plantation industries, and coolie labour, the role of different bangs, clan associations and secret societies as well as Chinese leaders, the diverging political allegiances including Sun Yat-sen's revolutionary activities and the National Salvation Movement leading up to the Second World War, the transplanting of traditional Chinese religions, the changing identity of the Overseas Chinese, and the developments in language and education policies, publishing, arts, and more.With 'Pride in our Past, Legacy for our Future' as its key objective, this volume aims to preserve the Singapore Chinese story, history and heritage for future generations, as well as keep our cultures and traditions alive. Therefore, the book aims to serve as a comprehensive guide for Singaporeans, new immigrants and foreigners to have an epitome of the Singapore society. This publication is supported by the National Heritage Board's Heritage Project Grant.Related Link(s) |
| malaysian film industry history: Panggung Semar Ghulam-Sarwar Yousof, 2015-02-17 Although stretching back into the unwritten and often mythic past, traditional Malay performing arts have, until recent times, been almost totally neglected. In recent years, the subject has begun to attract the serious scholarly interest it deserves. Such attention is timely, for the principal theatre genres, including Mak Yong, Wayang Kulit and the comparatively modern Bangsawan, have begun to suffer decline. Indeed, many of them are on the verge of extinction and, with time, will come the loss of an important facet of the native Malay genius. This volume by an acknowledged expert on Malaysian theatre, Ghulam-Sarwar Yousof, is a pioneering work on the subject, an invaluable contribution to Malay cultural studies. It discusses theatre from the perspectives of history, performance principles, functions and problems that have contributed to the decline of traditional performing arts in Malaysia. Also included is a chapter on Semangat, the Malay concept of soul, a seminal belief whose understanding allows for a deeper appreciation of Malay theatre and its role in traditional society. A vital forerunner of several books on the traditional performing arts and cultural traditions of the Malays, this volume is a landmark in cultural research by a Malaysian scholar. |
| malaysian film industry history: Singapore Cinema Raphaël Millet, 2006 In the world of Singapore cinema, Western, Middle-Eastern and Asian folktales once coexisted in a unique melding of cultural and filmic traditions. This book takes you through the various forces and stages that have shaped the mosaic that is Singapore cinema. And, along the way, you will find unexpected cinematic treasures, compiled from archival sources as well as from never-before-published collections tracked down by the writer himself. Book jacket. |
| malaysian film industry history: Dissertation Abstracts International , 1996 |
| malaysian film industry history: Art and Sovereignty in Global Politics Douglas Howland, Elizabeth Lillehoj, Maximilian Mayer, 2016-12-01 This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions of “Art.” Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. |
| malaysian film industry history: Celluloid Singapore Edna Lim, 2018-03-07 Celluloid Singapore is a ground-breaking study of the three major periods in Singapore's fragmented cinema history, namely the golden age of the 1950s and 60s, the post-studio 1970s, and the revival from the 1990s onwards. |
| malaysian film industry history: Remapping the Sinophone Wai-Siam Hee, 2019-11-20 In a work that will force scholars to re-evaluate how they approach Sinophone studies, Wai-Siam Hee demonstrates that many of the major issues raised by contemporary Sinophone studies were already hotly debated in the popular culture surrounding Chinese-language films made in Singapore and Malaya during the Cold War. Despite the high political stakes, the feature films, propaganda films, newsreels, documentaries, newspaper articles, memoirs, and other published materials of the time dealt in sophisticated ways with issues some mistakenly believe are only modern concerns. In the process, the book offers an alternative history to the often taken-for-granted versions of film and national history that sanction anything relating to the Malayan Communist Party during the early period of independence in the region as anti-nationalist. Drawing exhaustively on material from Asian, European, and North American archives, the author unfolds the complexities produced by British colonialism and anti-communism, identity struggles of the Chinese Malayans, American anti-communism, and transnational Sinophone cultural interactions. Hee shows how Sinophone multilingualism and the role of the local, in addition to other theoretical problems, were both illustrated and practised in Cold War Sinophone cinema. Remapping the Sinophone: The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War deftly shows how contemporary Sinophone studies can only move forward by looking backwards. ‘Sound and refreshingly original. Remapping the Sinophone is an important book that will change the ways in which scholars tackle Sinophone studies, and it will exert profound influence on related scholarship published in both the Sinophone and the Anglophone world.’ —Shu-mei Shih, UCLA / The University of Hong Kong ‘Remapping the Sinophone offers a fresh perspective to Sinophone studies by mapping out the relevance of early Chinese-language cinema in Singapore and Malaya to the burgeoning field. Wai-Siam Hee’s examination of this lesser known cultural history in Southeast Asia through the critical lens of the Cold War is a necessary intervention to our understanding of Sinophone Cinema as a pluralistic form.’ —E. K. Tan, SUNY Stony Brook |
| malaysian film industry history: The Routledge Handbook of Islam and Gender Justine Howe, 2020-11-09 Given the intense political scrutiny of Islam and Muslims, which often centres on gendered concerns, The Routledge Handbook of Islam and Gender is an outstanding reference source to key topics, problems, and debates in this exciting subject. Comprising over 30 chapters by a team of international contributors the Handbook is divided into seven parts: Foundational texts in historical and contemporary contexts Sex, sexuality, and gender difference Gendered piety and authority Political and religious displacements Negotiating law, ethics, and normativity Vulnerability, care, and violence in Muslim families Representation, commodification, and popular culture These sections examine key debates and problems, including: feminist and queer approaches to the Qur’an, hadith, Islamic law, and ethics, Sufism, devotional practice, pilgrimage, charity, female religious authority, global politics of feminism, material and consumer culture, masculinity, fertility and the family, sexuality, sexual rights, domestic violence, marriage practices, and gendered representations of Muslims in film and media. The Routledge Handbook of Islam and Gender is essential reading for students and researchers in religious studies, Islamic studies, and gender studies. The Handbook will also be very useful for those in related fields, such as cultural studies, area studies, sociology, anthropology, and history. |
| malaysian film industry history: Asian Cinema and the Use of Space Lilian Chee, Edna Lim, 2015-04-24 Asian cinemas are connected to global networks and participate in producing international film history while at the same time influenced and engaged by spatial, cultural, social and political transformations. This interdisciplinary study forwards a productive pairing of Asian cinemas and space, where space is used as a discursive tool to understand cinemas of Asia. Concentrating on the performative potential of cinematic space in Asian films, the contributors discuss how space (re)constructs forms of identities and meanings across a range of cinematic practices. Cities, landscapes, buildings and interiors actively shape cinematic performances of such identities and their significances. The essays are structured around the spatial themes of ephemeral, imagined and contested spaces. They deal with struggles for identity, belonging, autonomy and mobility within different national and transnational contexts across East, Southeast and parts of South Asia in particular, which are complicated by micropolitics and subcultures, and by the interventions and interests of global lobbies. |
| malaysian film industry history: Media, Culture and Society in Malaysia Yeoh Seng Guan, 2010-02-25 This book presents a comprehensive, full-length analysis of the uses of media and communication technologies by different social actors in Malaysia. Drawing upon recent case studies - from films to political advertising - it provides valuable insights into the ways in which different media forms have negotiated with the dominant cultural representations of Malaysian society. |
| malaysian film industry history: Film Censorship in the Asia-Pacific Region Tiong Guan Saw, 2013 Film censorship has always been a controversial matter, particularly in jurisdictions with restrictive state-based censorship systems. This book reviews the film censorship system in the Asia-Pacific by comparing the systems used in Malaysia, Hong Kong and Australia. It identifies the key issues and concerns that arise from the design and implementation of the system by examining the censorship laws, policies, guidelines and processes. The book evaluates film practitioners' and censors' opinion of, and experience in, dealing with those issues, and goes on to develop reform proposals for the film censorship system. |
| malaysian film industry history: Women and the Politics of Representation in Southeast Asia Adeline Koh, Yu-Mei Balasingamchow, 2015-06-03 Singapore and Malaysia are rapidly modernising, globalising Asian states which, although being distinct nations since 1965, share common elements in the on-going struggle over the meaning of gender and sexuality in their societies. This is the first book to discuss a range of discourses around gender in these two countries. Women and the Politics of Representation in Southeast Asia: Engendering Discourse in Singapore and Malaysia seeks to give an overview of how gender and representation come together in various configurations in the history and contemporary culture of both nations. It examines the discursive construction of gender, sexuality and representation in a variety of areas, including the politics of everyday life, education, popular culture, literature, film, theatre and photography. Chapters examine a range of tropes such as the Orientalist Sarong Party Girl, the iconic Singapore Girl of Singapore Airlines, and the figure of pious Muslim femininity celebrated by Malaysian NGO IMAN, all of which play important roles in delineating limitations for gender roles. The collection also draws attention to resistance to these gender boundaries in theatre, film, blogs and social media, and pedagogy. Bringing together research from a variety of humanistic and social science fields, such as film, material culture, semiotics, literature and pedagogy, the book is a comprehensive feminist survey that will be of use for students and scholars of Women’s Studies and Asian Studies, as well as on courses on gender, media and popular culture in Asia. |
| malaysian film industry history: Modern Times in Southeast Asia, 1920s-1970s , 2018-09-04 This book reveals how everyday experiences of being ‘modern’ (c. 1920s-70s) indexed continuity and change in the transition from colonialism to independence and after in Southeast Asia. In the Philippines, Myanmar, Indonesia, Malaysia, Singapore, Thailand and Vietnam, the contributors to this interdisciplinary volume recover modern times at the intersection of public and private domains, encompassing sex, religion, art, film, literature and urban space. The authors examine the conditions and representations of modernity, as shaped by elites and the governed, by actors, artists, novelists and non-fiction writers. Plural encounters in cities, through spiritual communities, art, high and popular culture saw Southeast Asians fashioning modern times in dialogue with global capitalism, consumer culture and second-wave feminism. |
| malaysian film industry history: Film Festivals Cindy H. Wong, 2011 Movies, stars, auteurs, and critics come together in film festivals as quintessential constellations of art, business, and glamour. Yet, how well do we understand the forces and meanings that these events embody? This work offers an overview of the history, people, films, and functions of the festival world. |
| malaysian film industry history: Film in Contemporary Southeast Asia David C. L. Lim, Hiroyuki Yamamoto, 2012-03-12 This book discusses contemporary film in all the main countries of Southeast Asia, and the social practices and ideologies which films either represent or oppose. It shows how film acquires signification through cultural interpretation, and how film also serves as a site of contestations between social and political agents seeking to promote, challenge, or erase certain meanings, messages or ideas from public circulation. A unique feature of the book is that it focuses as much on films as it does on the societies from which these films emerge: it considers the reasons for film-makers taking the positions they take; the positions and counter-positions taken; the response of different communities; and the extent to which these interventions are connected to global flows of culture and capital. The wide range of subjects covered include documentaries as political interventions in Singapore; political film-makers’ collectives in the Philippines, and films about prostitution in Cambodia and patriotism in Malaysia, and the Chinese in Indonesia. The book analyses films from Burma, Laos, Cambodia, Vietnam, Thailand, Malaysia, Singapore, Indonesia and the Philippines, across a broad range of productions – such as mainstream and independent features across genres (for example comedy, patriotic, political, historical genres) alongside documentary, classic and diasporic films. |
| malaysian film industry history: Seminar on Film Industries in Asia and Europe Lars Feilberg, 2005 |
| malaysian film industry history: Encyclopedia of the Documentary Film 3-Volume Set Ian Aitken, 2013-10-18 The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation. |
| malaysian film industry history: The Cinema of Stephen Chow Gary Bettinson, Vivian P.Y. Lee, 2024-09-05 An in-depth exploration of the stardom and authorship of Stephen Chow Sing-chi, one of Hong Kong cinema's most enduringly popular stars and among its most commercially successful directors. In the West, Stephen Chow is renowned as the ground-breaking director and star of global blockbusters such as Kung Fu Hustle (2004) and Shaolin Soccer (2001). Among Hong Kong audiences, Chow is celebrated as the leading purveyor of local comedy, popularising the so-called mo-lei-tau (“gibberish”) brand of Cantonese vernacular humour, and cultivating a style of madcap comedy that often masks a trenchant social commentary. This volume approaches Chow from a diverse range of critical perspectives. Each of the essays, written by a host of renowned international scholars, offers compelling new interpretations of familiar hits such as From Beijing with Love (1994) and Journey to the West (2013). The detailed case studies of seminal local and global movies provide overdue critical attention to Chow's filmmaking, highlighting the aesthetic power, economic significance, and cultural impact of his films in both domestic and global markets. |
| malaysian film industry history: Sinascape Gary G. Xu, 2007 Sinascape: Contemporary Chinese Cinema is one of the most comprehensive studies of transnational Chinese-language films at the turn of the millennium. Gary Xu combines a close reading of contemporary movies from China, Taiwan, and Hong Kong with an intimate look into the transnational Chinese film industry, based on his working relationship with filmmakers. He coins the word sinascape to reflect on the intersection between Chinese cinema and global cultural production, referring to cinematic representations of ethnic Chinese people around the globe. Sinascape describes contemporary Chinese cinema as a global network and a group of contact zones where ideologies clash, new identities emerge (through both border crossings and resistance to globalization), and visual innovations and progressive visions become possible. General readers, film enthusiasts, and critics alike will benefit from Xu's discussion of popular film, which leads to a broader conversation about China's economic transformations, global politics, and cultural production. Including discussion of films like Hero, House of Flying Daggers, Kung Fu Hustle, Devils on the Doorstep, Suzhou River, Beijing Bicycle, Millennium Mambo, Goodbye Dragon Inn, and Hollywood Hong Kong, the book emphasizes the transnational nature of contemporary Chinese cinema. |
| malaysian film industry history: Structure, Audience and Soft Power in East Asian Pop Culture Beng Huat Chua, 2012-03-01 East Asian pop culture can be seen as an integrated cultural economy emerging from the rise of Japanese and Korean pop culture as an influential force in the distribution and reception networks of Chinese language pop culture embedded in the ethnic Chinese diaspora. Taking Singapore as a locus of pan-Asian Chineseness, Chua Beng Huat provides detailed analysis of the fragmented reception process of transcultural audiences and the processes of audiences’ formation and exercise of consumer power and engagement with national politics. In an era where exercise of military power is increasingly restrained, pop culture has become an important component of soft power diplomacy and transcultural collaborations in a region that is still haunted by colonization and violence. The author notes that the aspirations behind national governments' efforts to use popular culture is limited by the fragmented nature of audiences who respond differently to the same products; by the danger of backlash from other members of the importing country's population that do not consume the popular culture products in question; and by the efforts of the primary consuming country, the People's Republic of China to shape products through co-production strategies and other indirect modes of intervention. |
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May 19, 2024 · Trending Articles. Do I have to pay to change the date of travel? My name is incorrect on my booking. Do I need to pay to change it? Can I change the name on my ticket?
Promotions & Malaysian Hospitality - Malaysia Airlines
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Enjoy Seamless Online Flight Booking | Malaysia Airlines
Travel with Malaysia Airlines and experience a seamless and convenient flight booking process. Book flight tickets to your destination with just a few clicks here.
Malaysia Airlines - Official UK Site
Discover the best travel deals and book your flights with Malaysia Airlines. Check flight status, manage bookings, and explore our destinations.
Enrich - Malaysia Airlines
Introducing Sunway Pals, a loyalty programme that is part of Malaysian conglomerate Sunway Group which gives you more ways to earn and redeem Enrich Points
Malaysia Airlines - Official Australia Site
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Malaysia Airlines - Official Site | Book Flights, Hotels, Holidays
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Experience Seamless Flight Booking Services - Malaysia Airlines
Important News: Change of Flight Number from MH22 to MH20 for Kuala Lumpur–Paris (CDG) Route Effective 1 June 2025
Reservation & Ticketing - Malaysia Airlines
Mar 27, 2025 · Trending Articles [Online Refund] Can I cancel my booking and obtain a refund online? Do I have to pay to change the date of travel? My name is incorrect on my booking.
Manage My Booking Conveniently | Malaysia Airlines
Enjoy the flexibility and convenience of managing your booking from the comfort of your own home or on the go. Easily manage your Malaysia Airlines booking here.
Manage My Booking - Malaysia Airlines
May 19, 2024 · Trending Articles. Do I have to pay to change the date of travel? My name is incorrect on my booking. Do I need to pay to change it? Can I change the name on my ticket?
Promotions & Malaysian Hospitality - Malaysia Airlines
Discover the best flight deals and promotions. Experience exceptional Malaysian hospitality. Book now!
Enjoy Seamless Online Flight Booking | Malaysia Airlines
Travel with Malaysia Airlines and experience a seamless and convenient flight booking process. Book flight tickets to your destination with just a few clicks here.
Malaysia Airlines - Official UK Site
Discover the best travel deals and book your flights with Malaysia Airlines. Check flight status, manage bookings, and explore our destinations.
Enrich - Malaysia Airlines
Introducing Sunway Pals, a loyalty programme that is part of Malaysian conglomerate Sunway Group which gives you more ways to earn and redeem Enrich Points
