Jins Shamsuddin Meningeal Dunia Kuala Lumpur ­ Seni Bagai Kehilangan Besar Dunia Seni Ham Juga Mempunyai Anak, Hang Man Veteran, Tan Sri Jins Tanahair

Total Page:16

File Type:pdf, Size:1020Kb

Jins Shamsuddin Meningeal Dunia Kuala Lumpur ­ Seni Bagai Kehilangan Besar Dunia Seni Ham Juga Mempunyai Anak, Hang Man Veteran, Tan Sri Jins Tanahair Headline Jins Shamsuddin meninggal dunia MediaTitle Kosmo Date 02 Mar 2017 Language Malay Circulation 197,202 Readership 875,000 Section Negara Color Full Color Page No 12 ArticleSize 384 cm² AdValue RM 9,965 PR Value RM 29,895 Aktor legenda tercekik kuih ketika minum petang di rumah Jins Shamsuddin meningeal dunia Kuala lumpur ­ seni bagai kehilangan besar dunia seni ham juga mempunyai anak, Hang man veteran, Tan Sri Jins tanahair. Tuah @ Shazrin, 43, hasil perkah­ Shamsuddin (gambar ke­ "Masih segar dalam ingatan, winan beliau dengan Jamilah. cil), 81, disahkan meninggal dunia beliau merupakan antara pelakon Jins turut mempunyai seorang di sebuah klinik di Taman Mela­ yang menyokong pertubuhan Per­ lagi anak lelaki, Jefh Jins, 55, me­ wati, di sini dipercayai akibat se­ badanan Kemajuan Filem Nasion­ nerusi perkahwinan pertama de­ sak nafas selepas tercekik kuih al (Finas) ketika diperkenalkan ngan pelakon, Rahmah Rahmat. ketika minum pada 1981. petang di ru­ "Jins turut menyokong skim mahnya pada wajib tayang yang diperkenalkan pukul 5.45 pe­ sekitar tahun 2007 bagi karya­ tang semalam. karya yang dihasilkan oleh pener­ Menurut is­ bit filem tempatan. Banyak jasa Nama sebenar. Mohamed Zain teribeliau, Puan beliau pada industri perfileman Shamsuddin Sri Halijah Tarikh fahir: 5 November 1935 Abdullah, 56, negara," katanya. sebelum Allah­ Yusof pern ah bekerja di bawah Tempat lahin Taiping, Perak yarham meng­ pengarahan Allahyarham me­ Pasangan: Rahmah Rahmat hembuskan nafas terakhir beliau nerusi filem BukitKepong. (bercerai), Jamilah (bercerai) dan sempat menjamah beberapa ulas Jenazah tokoh perfileman filem Puan Sri Halijah Abdullah (kini) cekodok sebagai santapan tera­ Melayu Jalan Ampas, Singapura Anak: Putera Hang Jebat, Putera itu akan dikebumikan di Tanah " . Hang Nadim, Jefri Jins, Hang Tuah khir sebelum dikejarkan ke klinik. @ Shazrin Mohd. Zain "Memang menjadi rutinnya Perkuburan Masjid Ar­Ridhuan, Hulu Kelang hari inL Dilantik menjadi senator Dewan menikmati minum petang pada Negara bermula Oktober 2004 setiap hari. Tapi kali ini saya be­ Bagi bekas pelakon, Noorku­ malasari yang pernah berlakon hingga 2010 rasa terkilan ketika menyediakan Pendidikan cekodok kepada beliau hari ini (se­ dalam tiga buah filem arahan Allahyarham iaitu Menanti Hari • Beliau pernah melarijutkan malam). pengajian dalam bidang "Tidak sangka apabila Esok, Tiada Esok Bagimu dan perfileman di London Esok Untuk Siapa, menyifatkan Film School dari 1970­1972 menikmati makanan kegemaran­ dan menerima diploma dengan nya itu pada suapan keempat, be­ Jins sebagai pengarah yang . Kepujian Kelas Pertama liau tercekik dan saya berusaha cukup beridentiti. • Menerima Ijazah Kehormat untuk mengeluarkan semula sisa "Allahyarham mempunyai Sarjana Persuratan daripada Universiti­Sains Malaysia pada makanan yang berada dalam karakter tersendiri. Cara beliau 1999 mulutnya dengan menepuk bela­ mengarahkan filem berbeza kera­ • Menerima Ijazah doktorfalsafah kangnya," katanya ketika ditemui na dia mampu memberikan mood (PhD) daripada Universiti Utara Kosmo! di sini semalam. kepada pelakon­pelakonnya," jelas Malaysia (UUM) pada 2010 Sementara itu, pengarah dan Noorkumalasari kepada Kosmo!. Anugerah dan pencapaian penerbit filem, Datuk Yusof Has­ Allahyarham meninggalkan • Anugerah Seniman Negara pada balu, Puan Sri Halijah Abdullah, tahun 2009 lam menyifatkan pemergian Jins 56, serta dua anak iaitu Hang Je­ • Tujuh anugerah dalam Pesta yang dianggap seperti abang bat, 30, Hang Nadim, 26. Allahyar­ Filem Malaysia Ketiga untuk dalam industri perfileman itu se­ filem Bukit Kepong Headline Jins Shamsuddin meninggal dunia MediaTitle Kosmo Date 02 Mar 2017 Language Malay Circulation 197,202 Readership 875,000 Section Negara Color Full Color Page No 12 ArticleSize 384 cm² AdValue RM 9,965 PR Value RM 29,895 ANTARA keluarga dan sahabat yang datang ke kediaman Allahyarham Jins Samsuddin di Kampung Pasir, Hulu AKSI Jins Shamsuddin (kanan) dalam filem Bukit Kelang malam tadi. Kepong..
Recommended publications
  • The History of Film Adaptation in Malaysia: the Long Journey of Its Rise and Fall
    THE HISTORY OF FILM ADAPTATION IN MALAYSIA: THE LONG JOURNEY OF ITS RISE AND FALL (Sejarah Filem Adaptasi di Malaysia: Sebuah Perjalanan Jatuh Bangun yang Panjang) Wan Hasmah Wan Teh [email protected] School of Humanities, Universiti Sains Malaysia. Published online: 3 December 2018 To cite: Wan Hasmah Wan Teh. (2018). The history of film adaptation in Malaysia: The long journey of its rise and fall. Malay Literature 31(2), 361 – 382. Abstract Morris Beja in his book Film and Literature: An Introduction, said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM).
    [Show full text]
  • Revisiting Hatta Azad Khan's
    www.ccsenet.org/ass Asian Social Science Vol. 8, No. 5; April 2012 Constructing the Cinema-of-Intent: Revisiting Hatta Azad Khan’s ‘True Picture’ Badrul Redzuan Abu Hassan School of Media and Communication Studies National University of Malaysia, Bangi UKM 43600, Selangor, Malaysia Tel: 60-3-8921-5811 E-mail: [email protected] Received: February 20, 2012 Accepted: March 13, 2012 Published: April 16, 2012 doi:10.5539/ass.v8n5p55 URL: http://dx.doi.org/10.5539/ass.v8n5p55 Abstract One of the most important works on Malaysian cinema of the last twenty years has been Hatta Azad Khan’s The Malay Cinema (1997). Khan’s seminal work is located within the critical debates on the notion of national cinema that preoccupied film scholars, predominantly in the West, from the mid 1980s through the 1990s. Comparatively, Khan’s conceptualization is juxtaposed in this article for a critical appraisal between the influential Australian and British cinema contexts, as both are forms of national cinemas in their own rights. This article then revisits Khan’s scholarship on Malay cinema, particularly the factors shaping his ‘true picture’ idealism in the context of emerging Malaysian cinema in terms of it as a developmental and critical sphere of cosmopolitan aesthetics. Finally, this article will evaluate Khan’s belief in the relevance of social realism as a philosophical interpretation for an ideologically driven cinema-of-intent and whether or not it can serve as a framework for the future of Malaysian cinema. Keywords: National cinema, Malay cinema, Cinema-of-intent, Social realism, True picture 1.
    [Show full text]
  • Mohd. Mokhtar-Ritchie, Hanita (2011)
    Mohd. Mokhtar-Ritchie, Hanita (2011) Negotiating melodrama and the Malay woman: female representation and the melodramatic mode in Malaysian-Malay films from the early 1990s-2009. PhD thesis http://theses.gla.ac.uk/3340/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] NEGOTIATING MELODRAMA AND THE MALAY WOMAN: Female Representation and the Melodramatic Mode in Malaysian-Malay Films from the Early 1990s - 2009 By HANITA MOHD. MOKHTAR-RITCHIE Thesis Submitted for the Degree of Doctor of Philosophy DEPARTMENT OF THEATRE, FILM AND TELEVISION STUDIES SCHOOL OF CULTURE AND CREATIVE ARTS UNIVERSITY OF GLASGOW SEPTEMBER 2011 Copyright © Hanita Mohd. Mokhtar-Ritchie, 30th September 2011 ii ABSTRACT Melodrama does not only point to a type of aesthetic practice but also to a way of viewing the world. This thesis is inspired by the idea proposed by Christine Gledhill (1988) that at the core of cultural negotiation in melodrama is gender representation which is the cultural product resulting from the linking of textual and social subjects.
    [Show full text]
  • Democratisation of Cinematic Space in Malaysia: Digital Film Activism and the Freedom Film Festival
    Democratisation of Cinematic Space in Malaysia: Digital Film Activism and the Freedom Film Festival Mahyuddin Ahmad* , Lee Yuen Beng** , Wang Lay Kim*** Abstract: Digital film activism as a popular alternative platform is used for the publication and dissemination of information, ideas, and views deemed too sensitive for the state controlled mainstream media. Such forms of activism have been actively carried out through the annual Freedom Film Festival (FFF). Held since 2003, the FFF exhibits films and documentaries with hopes of spreading justice, peace, equality, and democracy. The FFF exists not only as a site of exhibition and distribution that bypasses state legislation and censorship in delegitimising the oppressive forces of censorship and state control, it also encourages the production of such films that would either be prohibited or subjected to strict cinematic, cultural or political controls. This paper critically examines the development of digital film activism and the FFF along the theoretical formulation of Third Cinema to analyse if indeed cinematic space in Malaysia has begin to become democratised. Keywords: Digital film activism, democracy, Third Cinema, Freedom Film Festival, KOMAS, Malaysian cinema *Mahyuddin Ahmad, senior lecturer of School of Communication, Universiti Sains Malaysia. Email: [email protected] **Dr. Adrian Lee Yuen Beng, senior lecturer of School of Communication, Universiti Sains Malaysia, & programme chairperson (postgraduate). Email: [email protected] ***Wang Lay Kim, senior lecturer of School of Communication, Universiti Sains Malaysia.Email: [email protected] Journal of Han Chiang College, volume 9 A NEW GENERATION OF DIGITAL FILM ACTIVISTS Film activism is not a new phenomenon in Malaysia. Since the 1980s, independent filmmakers such as Bernice Chauly and Mansor Puteh have been making films about social injustice, political situations, and cultural differences.
    [Show full text]
  • Cultural Politics of Contemporary Cinema in Indonesia and Malaysia
    EMANCIPATING DESIRE, EMPOWERING FANTASY: CULTURAL POLITICS OF CONTEMPORARY CINEMA IN INDONESIA AND MALAYSIA BUDI IRAWANTO (B.A. (Hons.), Gadjah Mada University (M.A.), Curtin University of Technology A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF SOUTHEAST ASIAN STUDIES NATIONAL UNIVERSITY OF SINGAPORE 2014 EMANCIPATING DESIRE, EMPOWERING FANTASY: CULTURAL POLITICS OF CONTEMPORARY CINEMA IN INDONESIA AND MALAYSIA BUDI IRAWANTO DEPARTMENT OF SOUTHEAST ASIAN STUDIES NATIONAL UNIVERSITY OF SINGAPORE 2014 DECLARATION Hereby I declare that the thesis is my original work and it has been written by me in its entirety. I have duly acknowledged all sources of information which have been used in this thesis. This thesis has also not been submitted for any degree in any university previously. ______________ BUDI IRAWANTO 19 September 2014 ii ACKNOWLEDGEMENTS Like credit titles rolling in the end of any film screening, this thesis has incurred many debts to numerous institutions and individuals whose invaluable contributions make the thesis writing process more than pleasurable. First and foremost, I would like to express to my gratitude to the National University of Singapore (NUS) that has awarded me a research scholarship to pursue my PhD program and enabled me to conduct fieldworks in Indonesia and Malaysia under the Graduate Research Support Scheme (GRSS). In addition, Gadjah Mada University (Yogyakarta-Indonesia) has granted a teaching leave during my study at NUS and provided a supplementary funding in the final stage of my PhD candidature. In particular, I would like to thank to Prof Dr Pratikno (Rector of Gadjah Mada University) and Dr Erwan Agus Purwanto (Dean of Faculty of Social and Political Sciences, Gadjah Mada University) for their inspiring advice and generosity.
    [Show full text]
  • From Heartbroken Wives to Working Mothers: the Malay Melodrama of the Early 1980S
    From Heartbroken Wives to Working Mothers: The Malay Melodrama of the Early 1980s Norman Yusojf This essay examines the Malay melodrama produced in the early 1980s by focusing upon the representation and (re)construction of gender and its extent to which the genre subverts its conventionality in relation to the gender subjectivity and relativity. Since cinematic texts, as forms of representation, are polysemic, my argument is that the depiction of women in the melodramas does not perpetuate them as "commodified" and stereotyped into the binary images of "good" and "bad" due to the films' renegotiation of the ambiguities of representation. On the other hand, the portrayal of men, which seems negative, resonates in ways that contest and question their masculinity. My analysis will go on to trace the social, economic and political implications in Malaysia during the early 1980s as the country was on the verge of modernization and how they reflect and shape the defining features of the Malay melodrama of the early 1980s. In a way, the essay aims to map and frame the notion of genres "as a form of collective cultural expression" (Schatz, 1981), by underlining the socio-cultural and ideological functions which the Malay melodrama of the early 1980s performs. As is known, melodrama is one of the few film genres which has been subject to critical derision and, employed in a pejorative sense, normally by critics, to imply domesticity, femininity, heightened emotionalism and sentimentality.1 By the same token, a smorgasbord of alternative names has been invented for the melodramatic films, found in the English- language reviews and publicities surrounding them; amongst the names are "women's pictures," "tearjerkers," "weepies," and "soap operas" (Singer, 1990).
    [Show full text]
  • Reviews 81 New This Month 82 Movies 84 Tv Shows 86 Audio
    84 TV SHOWS 86 AUDIO/ RADIO 80 FILM 87 ARTIST OF REVIEWS THE MONTH 81 NEW 87 FROM THE THIS MONTH DIRECTOR’S Entertainment 82 MOVIES CHAIR _Sep 2019_GPE 02.indd 79 19/08/2019 1:45 PM FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE MOVIES. character was killed because I was certain that the character goes on to play a role in other X-Men movies, but I think that the movies have gone back and forth in time and therefore, created alternative timelines, which is perhaps even more confusing. Logan remains the best X-Men movie (the best-ever comic book movie?) but Dark Phoenix retains the reach and ambition. And it has to be watched because it marks the end of an era. goingplacesmagazine.com POKEMON: DETECTIVE PIKACHU Do you play Pokemon GO? If you do, then X-MEN: DARK PHOENIX you are definitely not alone. The augmented The word is that the X-Men series is about reality game hit our smartphones in July to get a complete reboot, so X-Men: Dark 2016 when it instantly hooked 27 million Phoenix is the last chance to see the X-Men users in America alone, and the numbers are in this form. After 12 movies and USD6 estimated to rise to 67 million by 2020. The billion (RM24.7 billion) at the worldwide box | game is even more popular in Asia Pacific, office, Professor Xavier, Magneto and the 80 with 84 million players, set to rise to 311 other mutants will soon be reunited with the | September 2019 | million by 2020.
    [Show full text]
  • Festival Filem Malaysia 1 Tarikh : 13 April 1980 Tempat : Nirwana Ballroom, Hotel Hilton, Kuala Lumpur Tema : - Jumlah Penyertaan: 16 Penyertaan
    INISIATIF PEMBANGUNAN DATA INDUSTRI DATA PEMENANG FESTIVAL FILEM MALAYSIA (FFM) FESTIVAL : FESTIVAL FILEM MALAYSIA 1 TARIKH : 13 APRIL 1980 TEMPAT : NIRWANA BALLROOM, HOTEL HILTON, KUALA LUMPUR TEMA : - JUMLAH PENYERTAAN: 16 PENYERTAAN BIL. KATEGORI PEMENANG JUDUL FILEM 1. Filem Heavy Drama Terbaik (Filem Terbaik) Jins Shamsudin Productions Tiada Esok Bagimu 2. Filem Light Drama Terbaik Syed Kechik Film Productions Sumber Ilhamku 3. Pengarah Terbaik Jins Shamsudin Tiada Esok Bagimu 4. Pelakon Lelaki Terbaik Jins Shamsudin Tiada Esok Bagimu 5. Pelakon Wanita Terbaik Azean Irdawaty Esok Masih Ada 6. Pelakon Pembantu Lelaki Terbaik Mahmud June Sumber Ilhamku 7. Pelakon Pembantu Wanita Terbaik Adibah Amin Adik Manja 8. Filem Komedi Terbaik Merdeka Film Productions Adik Manja 9. Penyunting Filem Terbaik Johari Ibrahim Tiada Esok Bagimu 10. Skrip Terbaik Othman Hafsham Adik Manja 11. Jurukamera Terbaik S. Mohan Esok Masih Ada 12. Bintang Harapan Fauziah Ahmad Daud Ceritaku Ceritamu 13. Lagu Tema Asal Terbaik Ahmad Nawab/Lagu: Tangisan Sumber Ilhamku Hati Yang Derita INISIATIF PEMBANGUNAN DATA INDUSTRI DATA PEMENANG FESTIVAL FILEM MALAYSIA (FFM) FESTIVAL : FESTIVAL FILEM MALAYSIA KE 2 TARIKH : 12 APRIL 1981 TEMPAT : NIRWANA BALLROOM, HOTEL HILTON, KUALA LUMPUR TEMA : - JUMLAH PENYERTAAN: 11 PENYERTAAN BIL. KATEGORI PEMENANG JUDUL FILEM 1. Filem Terbaik Sarimah Film Productions Sdn Bhd Dia Ibuku 2. Filem Heavy Drama Terbaik Sarimah Film Productions Sdn Bhd Dia Ibuku 3. Filem Komedi Terbaik Indra Film Production Penyamun Tarbus 4. Filem Light Drama Terbaik Syed Kechik Film Productions Bintang Pujaan 5. Pengarah Terbaik Yassin Salleh Dia Ibuku 6. Pelakon Lelaki Terbaik Rahim Razali Abang 7. Pelakon Wanita Terbaik Sarimah Ahmad Dia Ibuku 8.
    [Show full text]
  • The History of Film Adaptation in Malaysia: the Long Journey of Its Rise and Fall
    THE HISTORY OF FILM ADAPTATION IN MALAYSIA: THE LONG JOURNEY OF ITS RISE AND FALL (Sejarah Filem Adaptasi di Malaysia: Sebuah Perjalanan Jatuh Bangun yang Panjang) Wan Hasmah Wan Teh [email protected] School of Humanities, Universiti Sains Malaysia. Published online: 3 December 2018 To cite: Wan Hasmah Wan Teh. (2018). The history of film adaptation in Malaysia: The long journey of its rise and fall. Malay Literature 31(2), 361 – 382. Abstract Morris Beja in his book Film and Literature: An Introduction, said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM).
    [Show full text]
  • Gender, Modernity and the Nation in Malaysian
    GENDER, MODERNITY AND THE NATION IN MALAYSIAN LITERATURE AND FILM (1980s and 1990s) by GAIK CHENG KHOO B.A., The University of Texas, 1993 M.A., The University of British Columbia, 1995 A THESIS SUBMITTED DM PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Individual Interdisciplinary Studies Graduate Program) We accept this thesis as conforming to the required standard THrf UNIVERSITY OF BRITISH COLUMBIA July 1999 © Gaik Cheng Khoo, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of )nkxdl^C{^^^^ ^VcJaQ^. C The University of British Columbia Vancouver, Canada Date M&rth 3>7) QjQGQ DE-6 (2/88) Abstract This dissertation examines the impact of modernity, in the form of modernization, rapid industrialization and the introduction of Western ideas about nationalism and female emancipation, on gender and gender relations in contemporary Malaysian film and literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism, postcolonialism, nationalism, existentialism to theories about fascism, I examine and critique the representations of gender from the predominantly middle-class writers and the works of the new wave Malay filmmakers.
    [Show full text]
  • Film Film Film Film
    Malaysian Cinema, Asian Film is a detailed study of the complexities of the film industry and film culture in Malaysia. Using cross-cultural analysis approach- DER HEIDE FILM WILLIAM VAN CINEMA, ASIAN MALAYSIAN es, the book characterizes Malaysia as a pluralist so- FILM FILM ciety, consisting of a multiplicity of cultural identities. Malaysia’s film culture, which encompasses films dis- CULTURE CULTURE tributed and shown in the country as well as local IN TRANSITION IN TRANSITION production, similarly exhibits a remarkable hetero- geneity, particularly evident in the impact of Indian and Hong Kong films on Malaysian audiences and Malaysian filmmakers. The book departs from traditional studies of national cinema by accentu- ating the intercultural and intertextual MALAYSIANMALAYSIAN links between Malaysian films and Asian (as well as European and American) film practices. Detailed analyses of a selec- tion of Malaysian films highlight their CINEMA,CINEMA, cultural complexities, while noting that the films are almost totally concerned with the Malay rather than the Malay- ASIANASIAN FILMFILM sian experience. This tension between cultural inclusivity and ethnic exclusivity lies at the heart of this cinema. William van der Heide teaches in the Film Studies Program at the University of Newcastle, Australia. BorderBorder CrossingsCrossings andand ISBN 90-5356-519-1 NationalNational CulturesCultures WILLIAM VAN DER HEIDE 9 789053 565193 WILLIAM VAN DER HEIDE Amsterdam University Press AmsterdamAmsterdam UniversityUniversity PressPress WWW.AUP.NL
    [Show full text]
  • Malaysian Cinema and Negotiations with Modernity: Film and Anthropology
    MALAYSIAN CINEMA AND NEGOTIATIONS WITH MODERNITY: FILM AND ANTHROPOLOGY GORDON T. GRAY A thesis submitted in partial fulfilment of the requirements of Napier University for the degree of Doctor of Philosophy May 2002 Negotiations with Modernity i i This thesis is dedicated to three special women: Inez, for the initial inspiration; my mother, for confirming that university was the right choice; and Antonia, for keeping me going when things were at their very worst. Negotiations with Modernity iii DECLARATION This thesis was submitted to Napier University, Edinburgh for the degree of Doctor of Philosophy. The work described in this thesis was carried out initially under the supervision of Professor Paul Willemen (then of Napier University) and Dr. Janet Carsten of the University of Edinburgh, and latterly under Professor Desmond Bell of Napier University and Dr. Carsten. The work was undertaken in the School of Design and Media Arts. In accordance with Napier University regulations governing the degree of Doctor of Philosophy, the candidate submits this thesis as original unless otherwise referenced. During the period of this research one paper has been published. Details are presented below. Gray, G.T. 'Urbanism: The Symbol of Malay(sian) Modernity.' Urban Symbolism and Rituals: Proceedings of the International Symposium Organised by the IUAES Commission on Urban Anthropology, Ljubljana, June 23-25. 1997. Ed. Bozidar Jezernik. Ljubljana: Univerza v Ljubljani, 1999. 155-17l. '1/ / "/ ,/ '1 ,/ ,i / f I,';, "" '7 f,l;/,~, / / y \" ''\ I ,/ ,--' "",' /" ~,/ )r/ / L Gordon T. Gray (Hons.) Lr Negotiations with Modernity iv Abstract This thesis examines Malaysian cinema in the context of the various processes and discourses of modernity.
    [Show full text]