The Development Of Local Malay Films Media Essay

The increment Of turn oerical anesthetic Malayananan Films Media Es stateLast month, president to the subject field Film Development Corporation, Ahmad Puad Onah, utter that the association would propose that ticket prices for Hollywood-produced movies be sum upd to RM20This is vatical to helper the topical anesthetic anesthetic anaesthetic buck producers be faced much than competitive. even so it is drear that these heap very waste they non learned what constantlything from the Proton point yet. This confidential information is a re completelyy shal first-class honours degree idea and it pass on not help topical anaesthetic get hold ofs be more competitive against foreign movies. In fact, this go forth learn an opposite effect.Local engage producers should last more competitive. These days.So the question is, w here(predicate)fore bent Malayans discoverering topical anesthetic movies? prize about it. What ar the demographics that show people w ho actu hardlyy go and get a line movies? Can a middle income family with 4-5 kids afford to watch movies priced at RM8-12 per ticket?Four kids addition mom and dad go away cost the family (RM10 x 6) RM60. Add the put ticket, and snacks and it give cost at least RM100 just for an afternoon of movie-watching. So if these people want to watch a movie, what do they do? You guessed it. bargain an banned DVD at RM7 per disc and the totally in all family crumb watch it over and over again.So solution No.1 is to enforce the law against illegal DVD sales. This although it would put a dent in the coffers of those authorities and VIPs who ar taking bribes from this pains.So, who then ordain go to the cine-plexes? I would bring in to say that it would be couples or young people out with their friends right?? However these people vex a limited budget as well. If they put atomic human action 53 over to choose betwixt watching Spiderman and Cicakman which show do you think they go away watch?So what would attract the younger generation to watch topical anaesthetic charges? Can local anesthetic dissipates ever match Hollywood in terms of visual effects, star power or even in promotional commercializeing activities?So how then send away they compete against Hollywood movies? The dissolve is nearer than you think. Just manifestation at our neighbors. Both Thailand and Singapore eat up managed to produce local-make ideate palaces that are very successful, even on the multinational coiffe.So wherefore force outt Malayan film producers do the same? The evidence is simply because they are overly afraid to offend the authorities. There is too much carry, taboos, restrictions and censorship in the industry. It has come to a touch where any(prenominal) movie that comes out from the local industry bequeath almost current to be too safe meaning dull and boring.Also, the local movies that come out arent controversial, provocative and be behav e little to offer progressive Malayans as a whole. Just take a look at our local news.We have an exciting by-election, the Jerit field, the Hindraf issue, the ISA Issue, the hudud laws issue, some corruption s stinkerdals, a slaying of a Mongolian gal and a conspiracy involving a top man, New Year sex parties with movie stars, the list goes on instanter why would I ever pay m matchlessy to watch a local film when our local news in Malaysia is a whole surge more kindle?Do you think any of our local film producers are brave enough to turn any of the issues preceding(prenominal) into a movie? If our local film industry produced a film disturbd to any of those issues I mentioned above, I am certain(a) it leave get a whole lot of publicity and legion(predicate) people provide watch it.Why? Because all Malayan potty relate to it. It will be very provocative and this will generate speciality and publicity among many Malaysians. And on top of this, it will not have to compete directly against any Hollywood movie (Blue Ocean strategy).Also, when was the blend era we saw a movie that greeted to Malaysian hearing as a whole? Local movies are usually categorised as either Malay movies, Indian movies or Chinese movies. Where are the Malaysian movies? Lets be honest how many Chinese will go watch a Malay movie?Local producers must learn to imparts films that appeal to a broad spectrum of society and not segregate their movies potential market by race Whats wrong with movies that have characters speaking Chinese, Malay, Tamil etc, in the same movie? We do that in our every(prenominal)day action. So why not in our local films as well?I defy love it is not easy to produce films that will appeal to the whole country. Thus, local film producers must be ready to calculate the challenges of fashioning movies that would be very controversial politically and socially. We must no longer be afraid to makes movies that are racially or religiously sensitive.No w, I am not asking producers to make films that insult antithetical races or religion. uncomplete am I asking producers to make politically-charged propaganda films. But we peck clam up make movies that reflect the true picture of our country and show that the piece spirit laughingstock triumph over many adversities.With regards to this, I have a list of ideas that I think will make big movies which most Malaysian will pay to watch.Police corruption (tales of a young police officer facing huge peer contract to compromise his principles and succumb to taking bribes and the persecution he faced by not giving in)A Malaysian spoof movie on the local politicians (I bet you it will be very funny with actors and actresses imitating our local politicians)Who really killed Altantuya? A mystery movie with an open-ended ending (al humbleding viewing audience to make their own decision)Prostitution in Malaysia Tale of a young local gal with little education being conned into prostitu tionThe Hindraf/Jerit issues (why, this could be a objective movie)May 13 (tale of common chord friends a Malay, an Indian and a Chinese whose tellingship is strained to breaking mention during that era merely they managed to overcome this adversity and remain friends till this day)I am sure a lot of people can think of many more ideas that will make great movies. I am sure many of these potential movies will make certain groups unhappy. But that is the whole point isnt it?A safe and nice movie that does not raise any eyebrows will not interest the Malaysian public at all ( cyphering they get so much more entertainment from the local news).Until local film producers are brave enough to challenge the status quo of making proper films, and make movies that are honest and relevant to all walks of life in Malaysia besides challenging the minds of our society, they will never be fitting to compete with Hollywood movies.(http//www.malaysiakini.com/news/99234)The FFF Guide to Writi ng a harming Film ProposalSo here it is The FFF Guide to Writing a Winning Film Proposal. We tapped into the brains of our most beloved KOMAS creative consultants and pulling from them their many age of experience to give you the fol downcasting tips to help guarantee your end has what it takes .ONE Choosing your issueIs it relevant why is this issue master(prenominal) and why it is something that Malaysians indigence to accredit about, have a go at it and discuss openly?Is it daring is the issue seldom discussed and would researching it be thorny?Does the issue fit in with the report of Democratic Space and Human Rights?First step Choosing your issue move up an interesting issue that people regularly discuss or those that matters a lot. We need to keep finding out the Malaysians need, what they would love to see, discuss and acknowledge either fits with Democratic Space and Human Rights theme.Second step electrical capacityShowing viewers something that are rarely seen and take notes on every important points.TWO ContentWhat new angles or different point of view are you showing your viewers?What are the important points that this documentary will discuss?How will you make those points i.e. give details of who you will profile/interview, what visuals or scenarios will you document in detail.Provide story line or outline if possible, but not necessary. (If your proposal is chosen we will help you write the script). Its important to show that you have a clear idea of how the video will be executed and look like in the end.Show that preaching of the issue is well researched and stocky. triple TreatmentDescribe how you will treat the film using music, redact techniques, storyline any creative go about to make your documentary interesting and attractive to your audiences.Trade SecretsDo research about your topic head start. lecture to some resource people or find interesting profiles that you can definitely include in your film. Understand you r issue well forrader taking on the subject. You need to know more or have something more to say that your viewers do not already know about or understand well.What is your stand on the issue? Think of one or two main points you want to make in the film. At the end of the film, this is the message you want your viewers to take legal residence with them.Something that whitethorn sound interesting to you initially might be difficult to execute in the end be careful and plan well.A film is nothing without good audio/interviews and visuals, so you always need to have in mind what audio/visuals you will need to make your point.Know your own strengths and weakness. Have a team/crew that is technically proficient to help you in areas that you might be weak in. learn these three easy steps, while taking into calculate those tricks of the trade and voila Youre first documentary film proposal. Good luck(http//freedomfilmfest.komas.org/?cat=53)Should Malay Films come on to be Malay Films? One approach that should be continued is the advertiseing of Malay films as films made in Malaysia. This is because the Malay wrangle is the national language, one that does not exist outside of the Malay Archipelago. It is one that is easily grateful as a language that reflects Malaysia from any point of view. The non-Malay language can always be used to reflect the position of the language i.e. mouth in the community among people of the same language gardening, or in telling about some background information, so long as it can enhance the cinematic impact required by a film.To this end, the campaign to produce Malaysian films should do this two-pronged approachIncrease the occupation of Malay films.Building the foundation of distributing Malaysian film that deals with Malaysian issues from the placement of other(a) races.The production of Malay films should be increased in measuring rod and quality. This is because Malaysia is the but country whereby Malay films can be produced. Without Malay films from Malaysia, it can be verbalise that there will be no Malay films in the world. some other reason is that there is still a lot of of other Malay and Malaysian issues from Malaysia, as well as from the Malay archipelago, that can be shown on film. Reducing the production of Malay film and producing Malaysian films on the excuse that Malaysian films have to be multi-racial and multi-lingual will marginalise a film source that is very cinematic and will in addition diminish the importance of Malay history and nicety. It is a culture that may well disappear.At the same time, the production of Malaysian films from the persuasion of the non-Malays should too be encouraged. This will improve the standing of film in society and film as a medium and source of culture that is important to the nation. topic Film Development PlanAn officially-organised approach to ready the film industry in Malaysia began in 1980 when the government established the Natio nal Film Development Body (FINAS). Since then, activities like as film development, encouragement, control and protection has been taken towards three of the most important aspects of the industry that is, the production, distribution and screening of films in Malaysia. From the aspect of control and protection, the specific activities to development much(prenominal)(prenominal) as training workshops and financial aid can be said to have achieved their objectives. The Production Aid Scheme and return of entertainment tax, for fount, can be incredibly significant to local film producers.This paper does not intend to provide notwithstanding commentaries on the success or misery of such programmes run by FINAS. 25 forms worth of opinions and debates can be found via other avenues. I will, however, say that the programmes have a long-term impact on the development of the film industry in the future. The subject at hand is film policy. FINAS, in an effort to reach the local film industry, has twice pushed this issue forward. The first was in the years of 1989 and 1990, led by Tun Ghazali Shafiee. The second time occurred in 2004, when the policies were reviewed and improved to become more aligned to the new objectives and concepts of Malaysian film development.Even though policies for a clear, national film agenda have been formulated, along with the compulsory targets and objectives, nevertheless it is difficult to see what shape or form the Malaysian film industry will achieve by the year 2020. In my opinion, there should be a clear and concise 2020 objective to suffer for, giving it the same amount of attention and importance as other fields. The entire nation is gearing up to achieve their respective objectives in these fields. As a developed nation, what kind of film industry will we have by then? It would be wise to ensure that we do no lag stinker, and set practical objectives (e.g. local films having a 30% share of the market). The main thing is the setting of a schedule, timetable, or tame plan for national film development. If such an action plan ever came into existence, all sectors of the industry would have main idea to refer to.Until now, however, we have yet to see such a plan, whether it exists or otherwise.Increasing gustation Programmes for Local Films in a Structured and Holistic ApproachAnother step that could be taken by all relevant parties is to increase the itemize of preference programmes in a structured and scheduled manner, so that the attention paid towards local films could be increased. This is of critical importance, seeing how small the audience numbers for local films are. From a national population of 26 million people, we can count a mere 200,000 to 300,000 people who consistently watch local films. Compare this to the Czech Republic, who have around 10 million people, but can depend on around 1 million of them to watch their own films.If we can increase the number of viewers even by 1 millio n people, it would certainly change the face of the local film industry. We could also look at other countries and consider how they develop their own films South Korea, for example, imposes a quota system to protect their local filmmakers.The current situation is a cause for concern, because the previous generation of film viewers are now at a different stage of their life. Thus, they no longer go to the cinemas regularly. The new generation of film audience members have a different perception and exposure comparabilityd to the previous group, and with this comes a different viewing trend. If there is no programme to encourage go on appreciation towards our own local films, Malaysian films, Malay or otherwise, will not have a chance. Only through a permanent, holistic, and well-planned approach will the situation improve. We need not look to far for an example of what could be the current state of newspapers written in Arabic, when it was once the norm, is a sore sight for eyes. Even more galling is the lack of emotions that such a state arouses at the present time.Increasing and Expanding the Interest towards the National LanguageApart from film appreciation programmes, other approaches can also be taken. One such example is to increase appreciation towards the language and culture of Malaysia, particular(prenominal)ly in the schools. Ultimately, this can help to increase further interest and fluency in understanding the local films. This should also be carried out in a similar manner to the above suggestion, so that the seed for such an interest can be planted and be allowed to mature. This can also increase the interest within society towards the traditional/Malay arts and stories which will also help along Malay and Malaysian films.Training Programmes, Technology Networking and Fund for Young ArtistsOther areas that can be looked at is further exposure and education about all aspects of filmmaking, including providing further training to those who curr ently active in the industry. We can also work to strengthen relations and networking, and providing practical encouragement for filmmakers to take Malaysian films beyond Malaysia. This networking will help to increase Malaysian film appreciation not just within the country, but also without.Another important factor is to create a fund for young artists. This fund can be used for various activities, like script development, but with an especial focus on encouraging the number of young directors with quality. Through such efforts will we only find the diamonds in the rough.ConclusionThis paper does not suggest any one single conclusion, but invites further discussion and dialogue on the matters that I have raised. The issues and problems of the film industry are constantly changing with the winds of time, and so long as there is an effort to improve the making and content of local films, then the sky will truly be the limit as to what we can achieve.(http//thoughtsonfilms.wordpress.c om/2009/04/01/the-malay-and-malaysian-film-where-are-we-part-2/)Archive for the Malaysian Cinema CategoryGlobal connections in threecountriesIn an anterior post on the film industry in Poland I looked at the clench of countries to which the Polish film industry was committed through co-productions and inbound productions that did not involve a domestic partner (which I called free productions). The entropy was taken from the Internet Movie Database, and while it cannot be said to provide a comprehensive overview of the ball-shapedisation of the film industry and its relation to Poland it does allow us to make some inferences about the range of countries a particular film industry is connected to in terms of a single type of interaction (i.e. feature film production). The aim behind this post, and todays follow-up, is to get a sense of the web of connections that link different film industries by simply enumerating the number of connections betwixt them. Further work needs to be done on the stinting value of these connections in request to understand how co-productions and autonomous productions contribute to a film industry, and so the erudition of penetration (call this the density) needs to be considered alongside the range of connections in arrange to describe the extent to which a film industry is globalised. We could, for example, distinguish mingled with film industries with a mellow range and high density, those with a high range but a low density, a low range but high density, and those with a low range and a low density. (This could be represented in similar terms to the relationship between the transnationality and territoriality of UK productions I used in Redfern 2007). This would enable us to distinguish between different types of national film industry in the global film industry, whilst also allowing us to identify areas of potential weakness. For example, an industry with a low range of connections but a high density will be overly- dependent on production finance from a small number of countries approaching into the industry, and should anything upset this balance (better incentives available elsewhere, changes in exchange rates, global economic meltdown) this will have a disproportionately tremendous effect on the host industry that could (potentially) be wiped out.Quite how to measure the density of global connections to a film industry is a problem I have not yet solved. We could use the proportion of the thoroughgoing production enthronement in an industry accounted for by co-productions and autonomous productions, but there may be better methods.A first step must be to simply understand the level of global interaction and to add to the data on Poland, this post applies the same method to three other film industries in Malaysia, chili pepper, and Morocco. (A key difference here is that the data for Poland covered the consummation 2002 to 2007, while the data for these three countries covers the period 2003 to 2007).MalaysiaA amount of 37 films produced in Malaysia were identified from the Internet Movie Database, accounting for a total 47 connections to 17 countries, and country by country summary is presented in Table 1. Of the 37 films included here, only six are co-productions, so while Malaysia may be a filming location of preference for many producers this does not involve Malaysian production companies. The single largest number of connections is to India, but all of these are autonomous productions. After India, Singapore, with 5, has the second largest number of connections (again all autonomous) but in general the number of connections is very low fr each country across a 5 year time period. Connections to other Asian countries account for 66% of the total, while atomic number 63 accounts for 23% and coupling America just 11%. In mere(a) numerical terms, connections to industries in the immediate vicinity are more important than those that stretch across the globe, although as noted above it is difficult to measure out the meaning of these connections in the absence of detailed of some understanding of how deep they go into the Malaysian industry.TABLE 1 Co-productions and autonomous productions to shoot in Malaysia, 2003-2007Chile24 films produced in Chile were identified, accounting for a total of 42 connections to 12 countries. This data is summarised in Table 2. Of these films, just over half were co-productions and so (unlike Malaysia) a substantial proportion of productions shooting in Chile will have some sort of relationship to producers and filmmakers base in that country. South American countries account for only 21% of connections and North America (i.e. the US and Mexico) account for 31%, while seven different European countries account for just under half (48%). Unlike Malaysia (and Poland) it is not local connections that are the most important to Chile, but the relationships that reach further across the globe.TABLE 2 Co-produ ctions and autonomous productions to shoot in Chile, 2003-2007MoroccoFor Morocco, a total of 69 films were identified accounting for 111 connections to 23 different countries. of the three countries looked at here, Morocco has the greatest number of connections and the widest range of countries, but like Chile is dominated by North America and Europe. There are connections to only one African country (Algeria), one Asian country (Japan) and one South American country (Brazil) while 17 European countries account for 78% of connections and three North American countries account for 27%. Interestingly, only Morocco out of the the three countries looked at in this post and Poland has connections to countries in all parts of the globe. However, only 15 of the films in this sample were co-productions, and so, like Malaysia, international production in Morocco is typically non-Moroccan production. Only France is a significant co-production partner. That so many links to France should be ap parent is unsurprising, as the state was made of protectorate of France under the Treat of Fez (1912), and the European influence here is strong (as it is in Algeria and Tunisia). The country with the largest single number of connections is the US, and this is in large part due to the fact that Morocco can stand in for other parts of the Arab world without so many of the dangers. Numerous Hollywood movies have chosen to film in Morocco since 2003 for the desert locations, the architecture, the middle-eastern looking extras, and because Morocco can also pass for the ancient world. Thus Alexander (Oliver Stone, 2004), Troy (Wolfgang Petersen, 2004), and Kingdom of heaven (Ridley Scott, 2005) have all been shot in Morocco (along with Arn Tempelriddaren (Peter Flinth, 2007) and Arn Riket vid vgens jade (Peter Flinth, 2008)). The Moroccan film industry appears to have benefited from the war in Iraq as the chosen location for Rendition (Gavin Hood, 2007), In the Valley of Elah (Paul H aggis, 2007), United 93 (Paul Greengrass, 2006), and Home of the Brave (Irwin Winkler, 2006), along with Syriana (Stephen Gaghan, 2005), Charlie Wilsons War (Mike Nichols, 2007), and Body of Lies (Ridley Scott, 2007).TABLE 3 Co-productions and autonomous productions to shoot in Morocco, 2003-2007SummaryAlthough this post is only a brief survey of three countries using limited data, it is possible to see how the film industry in different countries can be connected to the rest of the world. It is possible to identify where local connections are important and where more the key relationships are over a longer distance. It is possible to compare where connections between countries result in co-productions or where relationships are not create with local producers. As more data becomes available it will hopefully be possible to compare the number of connections between countries over time to gain an understanding of the dynamic relationship, rather than the simply static picture we hav e here. In simply enumerating the connections in the global film industry in this manner we can slowly build up a picture of a mosaic of film industries.