Competence Network DORISEA – Dynamics of Religion in Southeast Asia 1
DORISEA WORKING PAPER
ISSUE 23, 2016, ISSN: 2196-6893 MARy j. AINSlIE THAI HORROR FILM IN MALAYSIA URbANIzAtION, CUltURAl PROxIMIty AND A SOUthEASt ASIAN MODEl 23
DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 DORISEA WORkINg PAPER SERIES
Editors Peter J. Bräunlein Michael dickhardt Andrea Lauser
Competence Network “Dynamics of Religion in Southeast Asia” (DORISEA)
The research network “Dynamics of Religion in Southeast Asia” (DORISEA) connects scholars from various academic institutions focused on Southeast Asia. It is coordinated by the Department of Social and Cultural Anthropology at the Georg-August-University of Göttingen. Its core is formed by scholars from the Universities of Göttingen, Hamburg, Münster, Heidelberg and Berlin (Humboldt University) who are involved in several projects that investigate the relationship between religion and modernity in Southeast Asia.
How to cite this paper: Mary J. Ainslie (2016): thai horror ilm in Malaysia. Urbanization, Cultural Proximity and a southeast Asian model. in: dorisEA Working Paper series, No. 23.
Research Network DORISEA Dynamics of Religion in Southeast Asia
Project Ofice georg-August-University göttingen Institut für Ethnologie theaterplatz 15 D - 37073 göttingen germany [email protected] www.dorisea.net Competence Network DORISEA – Dynamics of Religion in Southeast Asia 3
MARy j. AINSlIE THAI HORROR FILM IN MALAYSIA: URBANIZATION, CULTURAL PROXIMITY AND A SOUTHEAST ASIAN MODEL
ABSTRACT
This article examines Thai horror films as the most frequent and evident representation of Thai cultural products in Malaysia. )t outlines the rise of Thai horror cinema internationally and its cultivation of a pan-Asian horrific image of urbanization that allows it to travel well. Through a comparison with Malaysian horror, the paper proposes a degree of cultural proximity between the horrific depictions of these two Southeast Asian industries. This similarity then points to a particularly Southeast Asian brand of the horror film that is best understood through attention to structure and genre. Despite these similarities, ) also argue that in the changing and complex context of contemporary Malaysia, the trauma that is given voice in Thai horror may offer the new urban consumer an alternative depiction of and engagement with Southeast Asian modernity not addressed by Malaysian horror.
INTRODUCTION
from other ASEAN countries is still relatively low, suggesting that these are not yet circulating across )n recent years, increased attention has been paid the wider region and are not yet connected to a to the movement of cultural products across nation- distinct image of Southeast Asian-ness JWT Asia al borders within the Asian region. Such a develop- Pacific and A. T. Kearney . Building upon this, ment is due, at least in part, to the success of East scholars note that there are two dominant regional Asian Popular culture which displaced much Amer- circuits of cultural products within Southeast Asia. ican cultural domination in the region. This began Firstly, there is a northern corridor across Thailand, with Japanese cultural products in the late s, Laos, Cambodialakon and, to an extent, Myanmar. This and is now arguably dominated by the ubiquitous area is largely dominated by Thai cultural prod- Korean Wave , which has received much academ- ucts such as soap operas. The second circuit ic attention and continues to be a source of much is southern, reaching across the archipelagic region influence and enjoyment across Asia. With the rise of Malaysia, )ndonesia and Brunei and consists of and conglomeration of the Association of South Malay-language products Chua Beng (uat ; East Asian Nations ASEAN , the Southeast Asian Jirattikorn . The Philippines likewise appears region has also become the subject of increasing in- to interject into both circuits to some extent, while ter-Asian cultural analysis. The study of inter-ASE- Vietnam and Singapore enjoy a much closer cultur- AN cultural exchange has been recognized as par- al relationship to China. Alongside this, South Asian ticularly important in light of its role in creating and and Chinese products also circuit, largely due to the furthering much needed economic links, increasing substantial )ndian and Chinese diasporic communi- cultural contact between countries that were for- ties across the region. (owever, there is a notable merly separated by the colonial powers and then absence of Thai cultural products below the South- influenced by strong nationalist movements. ern Thai border and, likewise, there is no substan- Recent research indicates that ASEAN people tial presence of Malay language products north of it. feel a strong cultural connection across the region, While these two circuits may otherwise seem and believe that they share key values JWT Asia quite distinct with exceptions due to niche fan Pacific and A. T. Kearney . (owever despite communities and those with their own familial this, awareness of cultural productsDORISEA Working and brandsPaper, ISSUE 23,connections 2016, ISSN: 2196-6893 across such borders , there is anoth- Competence Network DORISEA – Dynamics of Religion in Southeast Asia 4
er instance of cultural exchange within ASEAN and even a thread solely discussing recommended Thai further across East Asia that must be added to such ghostShutter films, withLong commenters Khong displayingNang Nak an im- regional dynamics. This is the continuing popular- pressive knowledge of ThaiComing horror Soonfilms, Longmention- Tor ity of Thai cinema across the region, which in its Taiing/ The Coffin, the series, dir. most visible and consistent form seems to comprise NonzeeFaed/Alone Nimibutr , , mainly of horror films and, to a lesser extent, ro- dir. EkachaiDek UekrongthamHen Pee/Colic , mantic comedies. These continue to dominate the dir. Banjong PisanthanakunSi Phraeng and /Park-4bia horrific representation of Southeast Asia interna- poom Wongpoom , Buppah dir. tionally and cross borders over which Thai cultural PatchanonRahtree/Rahtree Thammajira Flower of ,The Night products do not otherwise flow. )n doing so, they dir. Parkpoom Wongpoom et al. , may bypass and break down these two circuits. 303 Klua Kla Akhat/303 Fear Faith dir. RevengeYuthlert Such is the case in Malaysia. While Thai pop Sippapak and even older,5 more obscure films music and TV-dramas are beginning to challenge such as the hegemony of the previous Japanese and Korean dir. Somching Srisupap . )n another thread products and are gaining increasing popularity in which opens by listing top asian horror films sic the northern region of Southeast Asia and in China for Japan, South Korea and (ong Kong, the first re- these do not appear to have a substantial, recogniz- ply moves the discussion straight to Thailand stat- able presence in Malaysia. Rather, it is Thai horror ing ) find Shutter from Thailand quite scary . The films which are the most frequent and evident ex- discussion then turns almost completely to Thai ample of Thai cultural products in Malaysia. The horror, with commenters mentioning favorite films vast majority of Thai films released cinematically and giving examples of scary scenes from Shutter, in Malaysia are horror films. Six out of seven Thai while one poster then states that thailand very pro releases in the top highest grossing films in Ma- in making horror movies sic . laysia for were horror films, and five out of six )n light of such success, this paper will examine in . Likewise, a substantial portion of the Thai the significant and continuing presence of Thai hor- DVDs availableMuay-Thai in Malaysian stores are marketed as ror films in Malaysia. Despite its considerable ex- horror films. They outnumber both romantic come- pansion since the late s, there is still very little dies and even boxing films. academic analysis of Thai cinema and even less at- Online Malaysian discussions indicate that these tention to the recent success of Thai cultural prod- Thai horror films have constructed a very definite ucts across Asia. Such success speaks of the recent and discernible presence and reputation, some- rise in economic prominence of Southeast Asia and thing that runs contrary to the previously noted ASEAN as a future economic and cultural hub. ASE- lack of awareness of ASEAN cultural products and AN appears to be carving out its own inter-Asian brands within this region. For instance, popular cultural flows and could potentially challenge both Malaysian forum www.lowyat.net—said to be Ma- the traditional Western, and more recent East laysia s largest online forum—has many discussion Asian, dominance. The paper will first address the threads attesting to the significant presence and rise of Thai horror cinema internationally, focusing popularity of Thai horror films among Malaysian on its cultivation of a pan-Asian image of urbaniza- viewers. )n a thread entitled What country punya tion which allows it to travel well. Through a com- horror movie gooding? sic Thailand is mentioned parison with Malaysian horror, ) will then propose again and again as having the best ghost stories. As a degree of cultural proximity between the horrif- one commenter put it: Thailand has improved a ic depictions by these two Southeast Asian indus- lot and their horro sic Shutter-K̀t-Dt̀t-Win-Yaan movies are often creative/ tries. This points to a particularly Southeast Asian Shutterand unique compared to the other countries sic . brand of the horror film, one based largely upon the The blockbuster effects it is concerned with eliciting. Despite these dir. Banjong Pisanthanakun and Parkpoom similarities, ) will then argue that in the changing Wongpoom is mentioned a number of times and complex problematic context of contemporary and appears to feed into a construction of Thai hor- Malaysia, Thai films may offer the urban Malaysian Shutterror used to promote new productions.Program )nna a winyanthread consumer a depiction of Southeast Asian modernity akatentitled/Coming Scariest Soon horror movie you have watched , perhaps more appropriate than that represented in is the first entry and the dominant incarnations of Malaysian horror. dir. Sophon Sakdaphisit There is the second, both of which are mentioned before any American or East Asian horror films. While this is actually a South Korea-Thailand-Singa- Such threads are largely in English and are written in local pore-USA coproduction, commentators notably refer to it colloquial dialects. purely5 as Thai, demonstrating this connection displaces any https://forum.lowyat.net/index.php?showtop- other association in both its marketing and reception. ic= &hl=thai+horror https://forum.lowyat.net/index.php?showtop- https://forum.lowyat.net/index.php?showtop- ic= &hl ic= &hl=thai+movie DORISEA Working Paper, ISSUE 23, https://forum.lowyat.net/topic/ 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 5
Any discussion of Thai-Malaysian relations in- come to have such a substantial presence through- evitably points towards the southern issue . This out the region. dominates Thai references to and representations Since the late s, when the so-called New of Malaysia on both an academic and popular lev- Thai Cinema was born, Thai film has moved away el. (owever, while the Thai construction of and from its position as lower-class provincial enter- attitude towards Malaysia is frequently analyzed tainment to a firm fixture in Bangkok multiplexes through this issue, there has been little research ad- and at festivals around the world. Through deploy-2499 dressing attitudes and constructions in the other di- Antapaning lavish Krong depictions Muang of/Daeng old Thailand Bireley and in high the Young qual- rection: that is, from Malaysia towards Thailand. )n- Gangstersity aesthetics, big budget productions suchNang as Nak deed, this is something which becomes significantly Bang Rajan more important given the increased movement of dir. Nonzee Nimibutr , both people and cultural products between these and dir. Tanit Jitnukul were able two countries. While Malaysia s state relations with to capitalise on the growth of cinemas in urban ar- Thailand have been less problematic and challeng- eas in the previous decade. )n so doing, they moved ing than its relations with )ndonesia and Singapore, Thai cinema to the more respectable swathe of ur- these bilateral relations remain very much un- ban middle-class consumers and, likewise, to inter-Nang der-developed Khalid and Yacob . They are Naknational festival audiences. (orror played a notable also changing fast due to increased ASEAN integra- role in this development. The ghost film tion under the emerging ASEAN Economic Commu- was the most successful Thai film made until nity. Trade between the two countries is growing, that point, and forged a definite turning point in the with tourism from Malaysia to Thailand increased development of Thai cinema. )t was also one of the by per cent from to , while Thailand first Thai films to achieve widespread international remains an important destination for Malaysian ex- acclaim, winning twelve awards at a variety of inter- ports to name just two examples. This article will national festivals. These new Thai films had signif- therefore contribute to a significantly under-re- icantly higher production values than earlier Thai searched geographical and inter-Asian cultural flow horror films, which had largely catered for rural and which is becoming increasingly important in the provincial viewers outside the target audience of contemporary age. sophisticated (ollywood productions Knee ; )ngawanij ; Knee and Chaiworaporn . THE INTERNATIONAL GROWTH AND URBANNESS )n the contemporary age, the increased experi- OF THAI CINEMA ence of Thai filmmakers and the decreasing price of film equipment enabled Thai film to become both better organized as an industry and more profitable as an enterprise Ancuta . Filmmakers now A study of the increased international presence of work within a well-organized, streamlined oligop- Thai horror, and Thai film in general, is likewise a oly similar to the classical (ollywood-style produc- study of the changes that Thai cinema has under- tion system. Due to low production costs, this sys- gone since the late s. These changes have made tem is increasingly functioning as an international Thai cinema a viable and profitable industry that hub for filmmaking, with facilities often hired by could be exported internationally, placing it very foreign, notably Chinese, companies. This is evi- much apart from other Southeast Asian film indus- dent in the formation of the major Thai film studios tries and beginning to explain how these texts have many of which are conglomerations of previous smaller companies , including GMM Tai (ub GT( ,
Five Star Production, Phranakorn Film, Sahamon- This refers to the southern Thai provinces which border gkol Film )nternational, and Kantana Group. Film- Malaysia. )n contrast to the majority of Thailand, provinces makers, producers, performers and writers work such as Yala, Pattani and Narathiwat are ethnicallyThainess Malay under the same roof for a company also responsible and Muslim, putting them in a difficult position next to the dominant state-defined Buddhist-led discourses of . for distribution. There is a small separatist movement which wishes to break With these developments, Thai film has argua- away from Thailand and many acts of violence have been bly become the most international of all Southeast committed in response to an, at times, quite violent process Asian film industries.mise-en-scene As it has become increasing- of suppression of internal cultural difference. While this sit- ly globalized in terms of distribution, the subject uation is complex, scholars understand economic disadvan- tage to be a major motivator of such a movement and con- matter and of its productions have tinuing anger at perceived discrimination and human rights also become definitively urban. Reflecting the envi- abuses . Notably, while references to Malaysia from within ronment and lifestyle of its new primary audience, Thailand from both popular and academic sources focus this depiction shifted away from both the earlier overwhelmingly on this situation and often blame Malaysia provincial village setting evident in pre- s pro- for instigating or supporting potential secession, there is lit- tle reference to or interest in what is considered an internal ductions as well as the heritage aesthetic that had Thai problem from within Malaysia itself other than warning kick-started the late- s industry. Productions be- potential tourists when violence flaresDORISEA up. Working Paper, ISSUE 23,gan 2016, to representISSN: 2196-6893 and engage with the lives of urban Competence Network DORISEA – Dynamics of Religion in Southeast Asia 6
professional characters, their lifestyles and their corporate urban-based issues into their depiction. environment, reflecting what had now become— )n particular we see a concentration on the new ur- through the network of urban multiplexes—the pri- ban professional young woman who is sexually ac- mary audience of Thai cinema. )ndeed, the changes tive, goes on many dates with men and struggles to on-screen reflect the economic changes that Thai- make relationships work while searching for a part- land and other East and Southeast Asian countries ner who is faithful, considerate, and compatible. have experienced since the late s. Most nota- Large parts of the films take place in the workplace, bly, these changes include the movement of rural with the heroine struggling to hold down a full time workers to the cities, the rise of suburban living and job and trying to succeed in the business world. the rise of the Thai middle-classes who have be- As a genre and a marketing label, Thai horror come the new urban elite Siriyuvasak . has also carved out a highly successful regional As well as representing general social changes market and international presence. These films within Thailand and the Asia region, the shift in are advertised through their filmmakers 4bia and stu-The Thai cultural products to address and depict the Swimmersdios connection to previous Thai horror films—as urban professional was also part of the successful shown in the international posters for and incorporation of East Asian aesthetics into Thai . This demonstrates how since the birth cultural products. (igh quality East Asian products of New Thai cinema, Thai horror has cultivated a had long targeted the urban, middle-class Asian recognizable and successful image through which it consumer. These products had travelled well due can promote future productions figure , figure . to the growing economic proximity of the East and Southeast Asian nations. Many such products are part of the much studied Korean Wave : the export- ing of Korean TV dramas, films, pop music and stars throughout the region during the mid-to-late s which replaced the previously dominant Japanese cultural products. Although suchDae products Jung Geum may/Jew- be elmost in thewell-known Palace through historical dramas such as the phenomenally successful dir. Lee Byung-hoonmise-en-scene - series, these texts also place a strong emphasis on depicting metropolitan life, an urban of coffee shops and offices as well as professional- ly competitive characters and, most significantly perhaps, the depiction of a new metrosexualized Asian masculinity which has led to much analysis of changing masculine and feminine depictions across East and Southeast Asia see Thu (a Ngo Figure 1. International poster for for more discussion of this . mise-en-sceneLikewise, Thai cultural bia products have also changed to depict such subject matter in terms of plots and . Notably, this change in depiction is most evident in Thai horror movies and romantic comedies, the contemporary incarnation of which 30+ are Soht notably On urban-basedSale/30+ Single and On deal Sale with issues facing city res- idents. Romantic comediesATM: such Er asRak Error/ATM dir. Bangkok Puttipong Traffic Pormsaka Love StoryNa-Sakonnakorn/Rot Fai Fa Ma , Ha Na Thoe dir. Mez Tharatorn and dir. Adisorn Tre- sirikasem are set largely within an urban city environment most often Bangkok and begin to in-
Kuan Meun Ho/Hello Stranger This impactLove can Sud be Jin very Fin directSugoi one: the popular Thai films dir. Banjong Pisanthanakun and dir. Thanwarin Sukhaphisit both depict protagonists who are obsessed with East Asian pop culture, even travelling to South Korea and Japan Figure 2. International Poster for / respectively to indulge their fantasies. This indicates that Southeast Asian industries and viewers are not passive re- Fak Wai Nai Kai Ther The Swimmers ceivers but are actively responding to and incorporating such signifiers into their own environment.DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 7
Rak Luang Lon/The Cou- ple Kon Hen Pee/The Eyes This also demonstrates how Thai horror has no- diary dir. )ssara Nadee , Chit sam tably changed from the heritage discourses and the phat dir./The Talent Second Team Sight , localized village-based comedies of the late s dir. Chukiat Sakwirakun , and to an urbanShutter modelBuppah which Rahtree fits alongsideBody...Sop recognizable 19/Body dir. Pornchai (ongrattanap- East Asian horror films. (igh-grossingLaddaland horror films orn . Phi Mak Phra such as , Cheuat Gon, Chim/Meat Grind- KhanongAncuta s/Pee argument Mak also fits films such Ban- er dir. Paween Purijitpanya , 4bia dir.Alone So- jong Pisanthanakun s blockbuster pon Sukdapisit , —which tells a well- dir. Tiwa Moeithaisong ,Nang Nak and known and often remade ghost story—despite the are different to the pre- s depiction of horror fact the film features a rural scenario and situation. and the heritage horrormise-en-scene film . Rather, )t is the long hair and perfect skin of Banjong s char- these newer productions are notably urban in both acters which attaches them to a modern, urban their subject matter and . Similar to Asian aesthetic and distances them from other, old- the contemporary romantic comedies they are set er versions of the story. This contrastmise-en- with the older in urban areas and address issues relevant to the sceneascetic is most evident when compared to Nonzee city-dweller: protagonists live in apartment blocks, Nimibutr s heritage film, with its must work or study hard and worry about how to of desolate rice-paddies and characters sport- pay the rent. The subject matter also addresses the ing the blackened teeth and helmet hairstyle of Thai inherent frustrations and unfairness of city life and, peasants. in particular, the hidden underside of exploitation Similar to romantic comedies, these urban Thai and oppression that horror can address so well. horror films also displayRingu /Ring stylistic influence from Recent theorists have specifically analyzed hor- East Asia Ju-on: which The can Grudge be traced to internationally ror as a genre through a branch of theory known successful Janghwafilms suchHongryeon/A as Tale dir. of Two(ideo Sis- Na- as Trauma Studies. Scholars such as Blake terskata , dir. Takashi Shimizu and Lowenstein seek to explain Thai hor- and , ror s focus on the difficulties of urban existence. dir. Kim Jee-woonShutter . )ndeed, these influ- They argue that due to their disturbing and dis- ences are particularly evident in the block- ruptive nature, horror texts are able to engage with buster success , which is lauded today both traumatic events that otherwise are suppressed. inside and outside Thailand as the scariest Thai For viewers then, the texts function as a means to movie ever. With its long-black-haired and white- mediate traumatic social events and upheaval. For faced vengeful female ghost, the film fits the East instance, Blake posits that horror films are able to Asian horror aesthetic which has had a substantial engage with and reopen wounds that otherwise influence on Thai horror Ancuta . Perhaps remain sealed and suppressed by the process of unsurprisingly, the film is also often mistaken for a nation building . Nation building, she argues, seeks Japanese film by non-Asian viewers. to erase any conflict and resistance in its quest for homogeneity and conformity. One recurring theme THAI HORROR IN MALAYSIA—CULTURAL within contemporary Thai horror is the return of an PROXIMITY AND A SOUTHEAST ASIA MODEL OF abused young woman to take revenge on her male HORROR? tormentors, a characteristic that can be attributed to the abuse suffered by Thai women,th rural dwell- ers and the lower-classes as part of the Thai eco- nomicBuppah boom Rahtree and Shutterbust in theBody late Fak century Wai Nai Ain- Kai While Thai films can travel well due to their interna- Therslie ./The Swimmers This is easily recognized in films such as tional image of Asian modernity and urban life, it is , , and Thai horror which is most visible in Malaysia. Stud- dir. Sopon Sukdapisit . ying horror films in Thailand and Malaysia indicates (owever, Ancuta also notes another shift in the de- that there are particular commonalities between velopment of Thai horror. She argues that contem- these products which make Thai horror films es- porary productions reconfigure the formula of the pecially appropriate to a Southeast Asian, and spe- Thai ghost story to incorporate and respond to the cifically Malaysian, context. Certainly, both the high difficulties and contradictions of being part of the quality global aesthetics and the pan-Asian urban- growing middle-classLaddaland in contemporary Thailand. )n ness of Thai horror seem particularly appropriate its depiction of Thai suburbia and the middle-class- to the social experiences of fellow ASEAN nations es, a film such as brings horror much such as Malaysia. As in Thailand, the urban Malay- closer to home, with characters trappedLaddaland within the sian population has increased substantially since temporality of a dream of social mobility and eco- the s, growing particularly rapidly throughout nomic success Ancuta . Like , a the s and s. The rate of urbanization and number of recentThe Thai Swimmers horror 4biafilms OTengage (Overtime) with the consumption is high, while the population is rela- difficulties of urban and middle-class protagonists. tively young and well-connected media-wise JWT These include , DORISEA, Working Paper, ISSUE 23,Asia 2016, Pacific ISSN: 2196-6893and A. T. Kearney . Moreover, Ma- Competence Network DORISEA – Dynamics of Religion in Southeast Asia 8
st laysia boasts a thriving and successful film industry Close analysis indicates that there is a possi- which has grown significantlyFree Malaysia in the Today century, ble degree of cultural proximity between Thai and in which horror films are especially popular. and Malaysian horror films. Cultural proximity Writing in , the website is a complex and controversial concept often used stated Three that of Malaysia’s six top-grossing films are to explain the success of the Korean Wave across fright flicks made in the past two years, and the East Asia. Scholars point to the shared Confucian genre made up more than a third of domestic values, urban setting and Pan-Asian depictions in movies in 2011”.9 these texts, all of which are common to East Asian societies which is the overwhelming market for these products as a significant part of their pan- Asian appeal. (owever, others indicate that such While such figures are difficult to verify, the na- conclusions do not account for the attraction of tional success of Malaysian horror films is impres- difference within this equation or the popularity sive. Pontianak of such products across other more culturally and Harum)n achieving Sundal Malam major/ Fragrant box office Night success Vampire and win- geographically distant nations. The application of ning several awards, the production this concept to Southeast Asia is likewise complex: dir. Southeast Asianness does not yet constitute a pop- Shuhaimi Baba —which followed a murdered ular or political category through which a cultural woman seeking revenge as a Pontianak ghost/spir- representation can be constructed. Yet close analy- it—was seen as ushering in a new era Jangan for Malaysian Pan- sis of Thai and Malaysian horror films indicates that horror.dang Belakang Since then the success of the horror film has both models of horror contain markedly similar de- continued to grow. The production pictions of the supernatural. As such, they begin to Congkak dir. Ahmad )dham held the re- suggest a possible framework for the constitution cord for the highest-grossing Malaysian film for three of a Southeast Asianmise-en-scene model of horror, one that is years. dir. Ahmad )dhamTwilight did similar- based largely upon structure and genre. ly well, reaching number on the box office Certainly, the and subject mat- chart and, notably, out-grossing dir. Cathe- ter of successful Thai and Malaysian horror films Janganrine (ardwicke Pandang . Belakang Capitalising Congkak /onDon’t the looksuccess back, of is decidedly Southeast Asian, with tropical foliage, Congkakthese two films, director Ahmad )dham then released beaches, wet markets, motorbikes, street vendors and characters wearing loose-fitting clothing and Ahmad )dham, . The film,Hantu a kak come li- sandals. These function as signifiers of everyday mahdy-horror-spoof balik rumah of/Kak the Limah’stwo films Ghost became Has Gonethe highest Home life, even when such productions are decidedly ur- grossing Malaysian film ever. )n ban-based. Moreover, Thai and Malaysian horror Zombi kampung Pisang/Zombies from Banana Village films contain depictions of the supernatural which dir. Mamat Khalid , a sequel to the smaller are in keeping with belief systems in both countries. These depictions may be representative of the wid- , wonNgangkung several Malaysian awards and is includ- er cultural position and development of the super- ed in lists of the top ten highest grossing MalaysianHantu natural in the region. Beliefs in various animistic Boncengfilms ever. dir. )smail Bob (asim spirits and their supernatural powers are common was the highest grossing film of , while across Southeast Asia, and indeed there are a num- dir. Ahmad )dham wasKhurafat: Malaysia s Per- ber of shared characteristics across Malaysia and janjianhighest syaitangrossing horror movie until that point, and Thailand in terms of both the spirits and their so- its third highest grossing film overall. cial effects. )n each country, local spirits which are dir. Syamsul Yusof , which tells familiar and recognizable across the country are the story of a community practicing black magic for often the protagonists in the films. )n Malaysia,Nang Naknu- their own gain, was also very successful. The popu- merous horror films depict (antuKrasue and Valentine Pontianak/ larity of horror is such that it is also deliberately used MalayGhost of spirits, Valentine while Thai films such as to garner high box office takings. Shariman notes dir.Baan Phii Nonzee Pop 2008 Nimibutr , how horror films are now a particularly important dir. Yuthlert Sippapak and source“Even of revenuea poorly inmade the Malaysianhorror movie film can industry: make lots dir. Bunharn Taitanabul of money if properly promoted. One good example also depict similar local Thai spirits and supernatu- was the recent low-budget Momok The Movie. It ral beings. Such spirits notably exist alongside dom- made RM2.1 million [approx. 600,000USD]”.10 inant )slamic and Buddhist beliefs in each country, with religious figures and places of worshipShutter featur- ing significantlyNang Nak as characters try to rid themselves of these beings. While Thai films such as Jan- and portray Buddhist monks and their http://www.freemalaysiatoday.com/category/na- gan Pandang Belakang Hantu Bonceng tion/ / / /horror-films-rise-from-the-dead-in-ma- chants to pacify spirits, Malaysian films such as laysia/ and use )s- http://malaysiacinema.blogspot.com/DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 9
lamic holy men for exorcisms and have protagonists Such an emphasis problematizes the existence chant verses from the Quran for protection. of horror as a genre in Southeast Asia, or at least Rather than seeking similarity through depic- horror as defined by both the Euro-American and tions of spirits, which have changed radically over East Asian models. These models typically focus on the decades and often have very different social suspense structures and clearly distinguish horror functions in films, the most concrete example of from other genres through their concentration on cultural proximity seems evident inHantu the growth Bonceng of generating the emotional effects of fear and disgust Ngangkungthe popular sub-genreHantu Kak horror-comedy Limah Balik Rumah in both in Carroll . Neale posits that answering much of countries. )n Malaysia, films such as , the confusion and dispute over genre as a term and and - set “(...)of categories thinking requiresof genres as ubiquitous, multifac- clude many instances of physical slapstick comedy, eted phenomena rather than as one-dimensional often mixing these with graphic horror. Filmmaker entities to be found only within the realms of Hol- Shuhaimi Baba argues this sub-genre makes Malay- lywood cinema or of commercial popular culture.” sian Our horror local somewhat horror films distinctive: are mainly comedy hor- (Neale 2000, 28) rors anyway… Real horror films don’t do well at the Malaysian box office. 11
This observation is particularly appropriate when considering both the function and composi- While it may have derogatory connotations, this tion of horror films in Southeast Asia. The region distinction between Malaysian horror and what may represent a new dimension to the horror film, Baba calls real horror suggests that filmmakers examination of which, as Blake argues, can tell us a recognize this as a significant characteristic of Ma- great deal about the culture from which such argu- laysian horror. )n Thai cinema, this combination ments or readings emerged , . tends to be most evident in productionsWor Mah Ba that Mahas- do not )ndeed, studying the historical development of travelanook widely outside of the country and which still entertainment within this region may offer an ex- depictBaan Phii rural Pop village 2008 life, such as ample of and source for the proliferation of hor- Buppah dir. Rahtree BunjongKhun Sinthanamongkolkul krabii hiiroh/Sars Wars and ror-comedy in both nations. )ronically, it may be the . Yet high-grossingMo 6/5 pak filmsma tha such phi as/ diversity of the region itself that is the main char- Make Me Shudder, Mathayom dir. acteristic of living in Southeast Asia. Like many of pakTaweewat ma tha Wantha Mae Nak , Pee the ASEAN nations, Thailand and Malaysia are di- Mak dir. Poj Arnon , vided by borders which are still relatively recent. dir. Poj Arnon and Both countries themselves are made up of diverse , all of which have been successful at the Malay- ethnic groups, all of which possess their own dis- sian box office, can also be described as horror-com- tinct languages, cultures, and religions which have mise-en-sceneedy. Even Shutter, a film which seems to leave local changed and blended over time. )n its early devel- characteristics behind in its decidedly East Asian opment, filmmaking across the region was faced still contains a surprising scene de- with the problem of overcoming internal differenc- picting a ladyboy joking about sex and defecation. es and bridging cultural barriers in order to become This indicates how comedy can be inserted liberally financially viable, especially in an unfunded and within the genre, even when films may seem to have then economically unstable industry. Visual enter- moved beyond a Southeast Asian aesthetic. Pee- tainment adapted to cater for the many diverse con- MakFurther connecting these two styles of filmmak- sumers within these nations. Films from the region ing, comments on Malaysian film blogs about can therefore often be distinguished by character- which was extremely successful in Malaysia istics such as the existence of a blended narrative laud“It’s the quite film s impressive mix of comedy how andthey horror: mesh the horror which incorporates elements from many different and romantic comedy genres in a movie. They use genres within a single text, and an increased em- the story of Nang Nak (a Thai tale of horror) as phasis upon visual display and excess as a source the base of the horror part while the buffoonery of stimulation. That is, characteristics associated of Nak’s four best friends are the core of comedy. with the horror genre are typically mixed with el- Every scene in the movie is so damn funny.”12 ements from traditional forms of entertainment throughout the region such as slapstick comedy, romance, action and other similarly visceral gen- res. Such characteristics are able to bridge linguis- tic and cultural barriers and overcome divisions that may otherwise problematize wide appeal in diverse nations. They also function well in rowdy https://sg.news.yahoo.com/malaysian-horror-controver- upcountry communal viewing scenarios which do sy- .html http://komplikasiduniawi.blogspot.com/ / /pee- not engender the close relationship between the mak.html DORISEA Working Paper, ISSUE 23,viewer 2016, ISSN:and 2196-6893text that is part of following a complex Competence Network DORISEA – Dynamics of Religion in Southeast Asia 10
suspense-based narrative. This blended narrative trated within one or two urban centers, but instead and its emphasis on excess is particularly evident in is much more evenly distributed spatially across horror-comedies which consistently meld graphic the country, with smaller urban towns scattered horror and slapstick comedy. )ndeed, a discernible around territories such as Selangor and Johor Jaa- Southeast Asian model of horror which stretches far . Notably, such towns are well-connected across the two countries may have emerged which by road to city centers, and many citizens travel helps explain the particular success of Thai horror to cities such as Kuala Lumpur for work or to visit in Malaysia. malls at the weekend. Urban amenities, such as cin- emas, are also much more accessible to the general DIFFERENCE AS ATTRACTION population many of whom live in situations that could be called suburban rather than urban , and are more spread across the states. )n contrast, Thai cinemas and their audiences are overwhelmingly Along with a degree of cultural proximity , the suc- concentrated within cities such as Bangkok Ancuta cess of Thai horror is may also be aided by its dif- , explaining the very definite urban nature of ference to local Malaysian horror films. Despite the high-grossing Thai horror productions. similar historical context and economic experience )n keeping with its wider audience, Malaysian in both countries, the social depictions and subject horror films tend to place less importance on dis- matter of high-grossing Malaysian horror films is tinguishing between rural and urban contexts. As very different to that of popular Thai horror films. such, these films are often set simultaneously with- Close examination and comparison suggests that in these different environments, with characters ex- Thai horror may offer an alternative depiction of pressing familiarity with both. )ndeed, there is very Southeast Asia for viewers who are perhaps not ad- little overt reference to the stresses kampung of city living, equately represented by the depictions which dom- something referenced with abundance in Thai films. inate Malaysian horror. Malaysian films appear able to depict vil- )n contrast to the international and pan-Asian lage life and a suburban environment without con- depictions of Thai horror, many high grossing Ma- structing it as a central politicized point as it is in so laysian horror films seem to be significantly less in- many Thai horror films. Films are often situated in ternational in subject matter, and more localized or make heavy reference to villages far away from in the depiction of a particular social group and sit- urban centers, as well as to suburban areas onHantu the uation. These films do not construct the same inter- Kakfringes Limah of cities. Balik ThisRumah is most evidentNgangkung in posters and nationalized and pan-Asian image of urban moder- DVD coversHantu for high-grossing Bonceng films such as nity we see in Thai horror films and, in keeping with figure , fig- its local depictions, do not have an established ure and Hantu Bonceng figure , which contrast presence beyond )ndonesia, Brunei, Philippines and markedly with the earlier Thai images in figures Singapore the latter in which it caters largely to the and . Notably, depicts the iconic Malay community and the former two in which it Petronas towers in the background, indicating the can rely upon linguistic and cultural similarities in protagonist s suburban status on the outskirts of a similar way to the relationship between Thailand, Kuala Lumpur. Laos and Cambodia . )t is difficult to find Malaysian films on the European and American DVD racks which Thai cinema has found a place on, and few festivals host Malaysian films beyond the niche in- dependent and art cinema from celebrated auteurs such as the late Yasmin Ahmad. While Malaysian horror films are not entire- ly set in rural areas, the depiction of distinct rural and urban areas is a less dominant theme. Moreo- ver, the audience for the films is not split between rural and urban viewers in the way it is for Thai cinema. )ndeed, the definition and understanding of what constitutes urban in Malaysia is quite dif- ferent to Thailand, and may explain the differences between filmic depictions from the nations. Unlike Thailand, the Malaysian population is not concen- Figure 3: While Thai cinema may seem to have left such a context far behind in its urban-audience and multiplexes, this infor- (antu Kak Limah Balik Rumah mal viewing context still continues. This is evidenced by the amount of talking, eating and walking around that still takes placed in an urban Thai cinema. DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 11
This association of Malaysian horror films with- in the depiction of rural areas is also evident in critiques from Malaysian authorities, who seem to interpret them as somehow low in quality due to their localized depiction. Former Prime Minister Mahathir Mohamad, who remains a highly influ- ential figure, criticized Malaysian horror films in when asked about a recent instance of hyste- ria amongst a group of female students. Mahathir described the depiction of ghosts and spirits in Malaysian films as counter-productive to building a society predicated upon science, suggesting that Figure 4: there is something backwards about films set in a rural context which engage with traditional spirits Ngangkung and beliefs. Norman Yusoff relates Mahathir s con- cerns to his modernization policy, arguing that hor- ror films do not adhere to and even potentially un- dermine the nation-building values that Mahathir wishes to see as dominant Yusoff . Yusoff interprets this as the recognition of the potential of Malaysian horror films to critique. (owever, it is difficult to detect such a critique given the subject matter of the films themselves lacks the overt en- gagement with urban lifestyles and pressures typi- cal of Thai films. Nonetheless, these films certainly reinforce suburban and rural life in a nation which emphasizes urbanization as part of a modernizing forward direction, and may indeed provide relief from official modernization discourses. Aside from the lack of focus on urban settings Figure 5: and issues, the dominant ethnic and cultural depic- (antu Bonceng tions of Malaysian horror may also explain the pop- ularity of the Pan-Asian and internationalized de- pictions of Thai horror. )n the multi-racial nation of )f, as Trauma Studies theorists suggest, horror Malaysia, successful contemporary Malaysian hor- functions to mediate and engage with suppressed ror films overwhelmingly concentrate on what Zu- traumatic social events and upheaval, then Malay- lkifli“After et al. nearly eight refer (8) to decades, as Malay-centric the Malaysian issues. hor- sian horror would seem to be engaging primarily ror movies largely still maintain its Malay-centric with the issues and contradictions associated with which evidence in the present of Malay language, contemporary village life and community. A com- characters and narratives despites being a mul- mon theme in films is defeating threats to a com- ti-racial and multi-cultural society sic . Zulkifli munity and maintaining the status quo, thereby re- et al. 2012, 175) affirming community and traditional ideas against the increasing fragmentation associated with the rorurbanization Hantu kak of limah Malaysia balik and, rumah in particular, the Ma- lay community. The successful comedy-hor- This Malay-centric focus makes such texts , set in the village problematic in terms of the image they construct Kampung Pisang, focuses its protagonist (usin s at- of Malaysia. These texts potentially exclude those tempts to find out what happened to his neighbor on who may be economically and ethnically removed his return to his village after working in Singapore. from Malay majority.kampung For the large, diverse and in- Such a depiction contrasts with recent Thai horror creasingly affluent urban population of Malaysia, films in which urban and rural life are often sepa- these staple Malay depictions are perhaps rated, with action taking place purely within one not so relevant and, alongside the pan-Asianness aswithout in Shutter much depiction of or reference to the other of imported products, may appear old-fashioned. unless this movement is a specific part of the plot Furthermore, a large percentage of the urban pop- . That is to say, as ) suggested above, ulation are not Malay. These urban viewers do not that the wounds addressed in Thai cinema are al- most exclusively associated with the pressures of Around percent of citizens in Malaysia are of Malay eth- existing in urban middle-class Thailand and so are nicity, with the other percent consisting mostly of )ndian associated strongly with modernity.DORISEA Working Paper, ISSUE 23,and 2016, Chinese ISSN: populations. 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 12
kampungs live in rural or suburban communities. laysian filmmaking. While seeming to critique the )nstead, they are more likely to be affected by the lack of originality of Thai film, he also expresses complex pressures of urban middle-class-living in frustration at how Malaysian films cannot yet stand the condos and gated-communities represented in alongside East Asian productions, indicating that he Thai horror films. views this international pan-Asian construction as )ndeed, online accounts indicate that some con- desirable:“When I go to Hong-Kong Filmart and see Thai sumers are embarrassed by Malaysian horror. )n films, (K films and Korean films, they all look making comparisons to Thai cinema, some viewers alike. )f you take the poster of a Thai film and express frustration at what they seeHantu as the kak inferior limah change the title into Korean, it could become a Ko- balikand less rumah advanced nature of Malaysian film. Malay- rean film. Same with Japanese films, they all look sian )MDB reviews of the film alike. Malaysia is worse. We haven’t even reached are split between lauding the local- the point where we have good mainstream cine- ized nature of this film particularly its jokes and ma.”20 also expressing anger at the low-budget, low-qual- ity special-effects which seem to embarrass some viewers. )n a thread on lowyat.net discussing the best country for horror movies, one commenter re- Likewise, in a lowyat.net thread discussing ferring“There to areMalaysian still some horror decent films ones butstates: most of them which horror film someone should watch, one com- are just stupid horror comedic/romantic types menter“Well states: for horror genre, i will go for Thai cause with cheesy scripts and poor quality directors. more surprise and plot twist, Malaysia horror Pontianak Harum SM had some great story de- film tend to be more straightforward and predict- spite mediocre scare factor, Jangam Pandang Be- able but as Malaysian, i will ask you to support lakang kind of a big change in our horror indus- local horror film sic . 21 try with its good use of sound effect and gloomy scenes, after that, its all rehashes of the same thing (sic)”.16 A post later in the thread states: Malaysia hor- Puen ror film lack those scary and eerie atmosphere yai jom salad/Queens of Langkasuka which we always see in Thai and Japan horror sic . )n a review of the historical fantasy Clearly however, the high-grossing nature of dir. Nonzee these Malaysian films indicates that they are still Nimibutr , a Malaysian blogger directly con- very popular and, in some cases, can stand along- trasts the Thai and Malaysian industries, expressing side major (ollywood productions at the box office. frustration as well as anger at the state of the Malay-This suggests that criticism of such films may be sian“Sadly film industry:it is not a Malaysian movie—it is a Thai more connected to their differences with the Pan- movie… When will we be able to produce an epic Asian depictions of Thai and East Asian horror than like this? No, please do not compare this movie it is to issues of low quality and their local nature. with Putri Gunung Ledang as doing so would in- )ndeed, the above quotes indicate that despite the sult the Langkasuka movie. Sad that we are more huge popularity of imported movies and TV dra- interested in trying to make movies about drift- mas, there is a significant and profitableHantu kak market limah for ing automobiles and mutant human cicaks, than suchbalik rumah local depictions within Malaysia and the rest something like this which really catches the eye of of the Malay world. )n a review of world cinema”. Story wise,, one the Malaysian movie is filled blogger with states funny takes on the administrations, the people and the Malay cul- ture itself. This is something that had rarely been done since the era of P. Ramlee’s movies and it felt Another commentator on the blog agrees: yes refreshing to see something like this appeared on ) m embarrassed that we wasted so much mon- movie screens once more (sic)”.22 ey utilizing CG) on movies with shit concepts like Brainscan and Cicakman. Prominent Malaysian filmmaker James Lee also laments the state of Ma- James Lee is a prolific and award-winning Malaysian film- maker who has been involvedHisteria in both avant-gardeClaypot art Curry pro- ductionsKillers and moreTolong! general Awek mass-released Aku Pontianak films. (e has di- http://www.imdb.com/title/tt /reviews?ref_=tt_ rected Malaysian horror films , urv and . https://forum.lowyat.net/index.php?showtop- http://film.culture .asef.org/magazine/interviews/dis- ic= &hl=thai+horror cussion-with-james-lee-on-the-dv-film-making-in-malaysia/ A story which they claim is Malaysian rather than Southern https://forum.lowyat.net/index.php?showtop- Thai. ic= &hl=thai+horror http://sayaanakwayang.blogspot.com/ / /thai-pro- http://www.ariefzainal.com/ / /hantu-kak-limah- duced-malay-movie.html DORISEA Working Paper, ISSUE 23,balik-rumah-a-review/ 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 13
kampung The reviewer evidently likes the way these films lay-centric political organizations was perceived to be emphasize Malay culture and life. )ndeed, it under threat. )n part as a responseketuanan to this, Melayu racist and is easy to understand how such Malay-centric subur- nationalistic voices appeared which reinvigorated ban and rural depictions can be appealing, especially and reinforced the concept of Ma- in an increasingly globalized world in which pan-AsianHantu lay supremacy , an agenda supported by the United productsBonceng such as Korean dramas have become ubiqui- Malays National Organisation UMNO . UMNO is a tous. The director of the successful film nationalist Malay party which often calls for Malay cites the depiction of Malay life as a major Muslims to unite , positioning itself as protecting both source (orror of appeal films behind have struck these a films: chord because they re- the sanctity of )slam and the Malay agenda , both of flect the country’s village culture and the tradition- which are intimately entwined as it is a constitution- al superstitions that trouble Malay hearts… Horror al requirement that all Malays are Muslim Ding and movies are the type that will be close to our culture.”23 Surin , . )n this current climate, targeting the depiction of ghosts, spirits, monsters and other supernatural constructions in popular media can be used to display pro-)slamic credentials. Constructing CENSORSHIP horror films as anti-)slamic, despite the long relation- ship between )slam and animist beliefs as well as the popularity of such Malay-centric films in the country, is another means by which to reinforce such an agen- The difference between the Thai and Malay models da. This is part of an increasingly performative state of horror is also exacerbated by the particular restric- )slam which fits in to a wider process of making )slam tions facing Malaysian film and horror films in particu- obvious and overwhelming in Malaysian public life lar. The wider social and political context of Malaysian Maznah Mohamad , . While Malaysian films horror potentially curtails the genre and its filmmak- and foreign imports are therefore heavily restricted ers in ways that would make it difficult for films to cul - in terms of sex and nudity as well as attitudes towards tivate the international Pan-Asian image so successful and depictions of )slam, horror films in particular are in Thai and East Asian horror. Subsequently, in engag- targeted. Fantasi ing with subject matter and situations which could be The genre itself was curtailed in , when the more problematic for local filmmakers, Thai horror horror film dir. Aziz M. Osman was may be able to offer an alternative social engagement initially banned, before being altered substantially for Malaysian viewers. for eventual release. Attributed to the rise in islamic As a genre concerned with the supernatural, Ma- sentiments since the s, this was the beginning of laysian horror occupies a particularly sensitive posi- a climate in which censors stopped approving scary tion within current religious, political and ethnic dis- movies and Malaysian horror films were effectively courses. As such, horror has had a problematic recent banned for celebrating the other-worldlyPontianak inHarum viola- history. While Thai film has historically always been Sundaltion of )slamicMalam/ Fragrant teachings Night. This Vampire ban was effectively subject to political censorship under laws which can lifted in with the success of be draconian, such as the controversial lese-majes- Shuhaimi ty laws, the depiction of ghosts and spirits has never Baba . This shift was in-keeping with the more been a specific cause for authoritarian concern. )n- relaxed attitude to popular culture at the end- of Ma deed, such beliefs appear to exist quite comfortably hathir s rule. After the election of Abdullah Badawi in alongside dominant Buddhist discourses. This was the space for liberal expression opened -up fur also true in Malaysia. Older animist discourses haveth ther. At that time, locally made horror re-emerged as a always existed alongside Malay )slam—which became genre and quickly became successful. the majoritybomohs religion in the country around the (owever, in recent years Malaysian horror has century—in the form of particular ghosts and spirits again been a target of religious authorities, indicating as well as witch-doctors , all of which are an the difficulties the genre and its filmmakers face in important part ofth social life and st the organization of the contemporary context. Following Mahathir s -com society. ments about the counter-productive Jabatan nature Kema of horror- )n the late and early centuries howev- juanfilms Islam which Malaysia were widely reported , UMNO called for er, such beliefs and practices have been targeted as the government to empower JAK)M anti-)slamic, and perhaps unsurprisingly in this , the Department of )slamic Devel- context horror films have become a target for gov- opment Malaysia to ban both the production and im- ernment censors.st While a new social space of liberal porting of horror, mystical and superstitious films, expression began to emerge in the middle of the first claiming such films can weaken the faith of Muslims decade of the century, this also spawned increas- ing political instability in which the dominance of Ma- http://www.freemalaysiatoday.com/category/na- tion/ / / /horror-films-rise-from-the-dead-in-ma- laysia/ http://beta.themalaysianinsider.com/showbiz/article/in- http://www.themalaysianinsider.com/showbiz/article/ malaysia-horror-films-rise-from-the-deadDORISEA Working Paper, ISSUE 23,in-malaysia-horror-films-rise-from-the-dead 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 14
in the country and do not carry any positive mes- boundaries which are not usually breached by other sage, but instead may destroy the faith . cultural products. What is more, internal pressures and Such controversies have impacted upon filmmakers sensitivities also impact upon filmmakers willingness readiness to engage with horrific subject matter in a way to innovate and explore the horror genre, leading to a that Thai horror has not had to contend with. Malaysian degree of frustration and criticism within the country. directors have to stick to conventional plots and cannot The urban focus of Thai film as well as its high quality be too innovative in the subjects they tackle. Notably, the look and feel are definite elements in its appeal and Film Censorship Board of Malaysia LPF must approve relevance to Malaysian viewers. With its carefully culti- all movies and horror films, in particular, must be seen to vated East Asian aesthetics and depictions of the pres- have )slam winning outThe in the Legend end ofover Langkasuka the supernatu states- sures of urban living, Thai film appears to fill a niche for ral . Viewers are aware of this situation. One comment contemporary consumers who may not feel adequately on a“I blog have post a feeling reviewing that if we ever produce something represented by or able to engage with Malaysian films. like this, the censorship board wouldn’t allow it to Moreover, close examination indicates that there be released. For they need to keep the illusion that are many similarities between the cultural products of melayu = Islam even if that means rejecting our these two nations. )n particular, the popularity and fre- rich legend and folklore.” quency of comedy-horror films across Southeast Asia invites further analysis as a possible version of horror particularly appropriate to the region. This sets these films apart from the more internationally dominant With regards to horror, one commentator states that East Asian model, and suggests that the horror genre pressure from the censorship board stunts a promising could represent a very specific form of cultural proximi- homegrown genre that faces competition from imported ty in the products of Malaysia and Thailand. (ollywood and other foreign blockbusters, and shackles As Thai horror appears to be the dominant rep- directors who need to think beyond the conventional resentation of Thai popular culture in Malaysia, its re- to expand their art . This illustrates how filmmakers ception deserves more in-depth examination as an ex- are aware of the difficulty of their own position and will ample of cultural exchange which has significant poten- engage in a degree of self-censorship differently from tial to shape relations between the countries. Research the way practiced by Thai filmmakers. For instance, re- must move beyond purely online sources, which can be cent targeting of the genre by Mahathir and UNMO was unreliable and difficult to verify. Direct interviews are evidently of such concern that the Malaysian Film Pro- needed to assess the relationship between Thai and ducers Association PFM held a press conference. Dur- Malaysian consumers during a period in which this is ing the conference filmmaker Shuhaimi Baba stated While that becoming increasingly significant, especially due to the there are attempts by several powerful groups who economic changes throughout this region. )ndeed, as- are eyeing to sanction horror films in Malaysia . sessing the relationship between cultural products and no guidelines from JAK)M were forthcoming even with consumer perceptions may prove to be a significant pressure from UNMO and the call to ban horror movies means by which to document the changes that the ASE- was met with widespread ridicule and no real support, AN region is currently undergoing. the incident serves as a poignant reminder that horror films remain controversial in Malaysia. MARY J. AINSLIE
CONCLUSION is (ead of Film and Television Pro- grams at the University of Nottingham Malaysia cam- pus. (er research specializes in the cinema of Southeast Asia and the intercultural links throughout this region. )t appears that due to the lack of a clear Pan-Asian The recipient of several international competitive re- urban depiction and a heavy focus on the society of a search grants, she has published papers on Thai and particular ethnic group, Malaysian horror does not en- Malaysian popular culture and organized the first sym- joy the same level of internationalization as Thai hor- posium to study the consumption and reception of East ror. )t is the Pan-Asian urban depictions common to Asian culture in Southeast Asia. She has conducted -re internationally successful Korean, Japanese and now search involving interviews, archival research, surveys Thai horror films which enable them to travel across and textual analysis and is regularly invited to present her work internationally. She is currently the Malaysian http://www.thestar.com.my/story/?- regional president for the World Association of (allyu file=% f % f % f % fnation% f Studies WA(S and a fellow of the Dynamics of Reli- http://www.themalaysianinsider.com/showbiz/article/ gion in Southeast Asia DOR)SEA network. in-malaysia-horror-films-rise-from-the-dead CONTACT [email protected] http://www.freemalaysiatoday.com/category/na- tion/ / / /horror-films-rise-from-the-dead-in-ma- laysia/ https://ph.news.yahoo.com/malaysian-horror-controver- sy- .html DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 15
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Colic/Dek Hen Pee The Swimmers/Fak Wai Nai Kai Ther
Coming Soon/Program , na dir.winyan Patchanon akat Thamma- A Tale of Two Sisters/Janghwa, Hongryeon , dir. So- jira pon Sukdapisit Congkak , dir. Tolong! Awek Aku Pontianak , TheSophon Couple/Rak Sakdaphisit Luang Lon Twilightdir. Kim Jee-woon , dir. Ahmad )dham Wor Mah Ba Mahasanook , dir. James Lee Daeng Bireley and the Young Gangsters/2499 , dir. Talent Anta- , dir. Catherine (ardwicke panTeam Krong Muang Zombies from Banana Village/Zombi , dir. Bunjong kampung Sin- Don’t look back, Congkak/Jangan Pandang Belakang Pisangthanamongkolkul Congkak , dir. Nonzee Nimibutr The Eyes diary/Kon Hen Pee , dir. Mamat Khalid , dir. Ahmad )dham Fantasi , dir. Chukiat Sak- Fragrantwirakun Night Vampire/Pontianak Harum Sundal Malam , dir. Aziz M. Osman Ghost of Valentine/Krasue Valentine , dir. Shuhaimi Baba Hantu Bonceng , dir. Yuth- Hellolert Stranger/Kuan Sippapak Meun Ho , dir. Ahmad )dham Histeria , dir. Banjong JanganPisanthanakun Pandang Belakang Jewel in the , Palace/Dae dir. James Jung Lee Geum , dir. Ahmad )dham Ju-on: The Grudge - , dir. KakLee Limah’s Byung-hoon Ghost Has Gone Home/Hantu kak limah balik rumah , dir. Takashi Shimizu Khon Len Khong Khurafat: Perjanjian , syaitan dir. Mamat Khalid , dir. Tanit Jitnukul Laddaland , dir. Syamsul Yu- Longsof Khong Long Khong , 2 dir. Sopon Sukdapisit Love Sud Jin ,Fin Sugoi dir. The Ronin Team , dir. The Ronin Team Make Me Shudder/Mo 6/5 , pak dir. ma Thanwarin tha phi Sukha- phisit Mathayom pak ma tha Mae Nak , dir. Poj Arnon Meat Grinder/Cheuat Gon Chim , dir. Poj Ar- non Momok: The Movie , dir. Tiwa NangMoeithaisong Nak Ngangkung , dir. M. Jamil OT (Overtime) , dir. Nonzee Nimibutr Pee Mak/Phi , Mak Phra dir. )smailKhanong Bob (asim , dir. )ssara Nadee Queens of Langkasuka/Puen yai jom , salad dir. Banjong Pisanthanakun Rahtree Flower of The Night/Buppah Rahtree , dir. Nonzee Nimibutr Ring/Ringu , Sarsdir. Wars/Khun Yuthlert Sippapak krabii hiiroh , dir. (ideo Nakata The Second Sight/Chit sam phat , dir. Taweewat Wantha Shutter/Shutter-K̀t-Dt̀t-Win-Yaan , dir. Pornchai (ongrattanaporn , dir. Ban- jong Pisanthanakun and Parkpoom Wongpoom DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893