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A Review of the Malaysian Film Industry: Towards Better Film Workflow

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A Review of the Malaysian Film Industry: Towards Better Film Workflow A REVIEW OF THE MALAYSIAN FILM INDUSTRY: TOWARDS BETTER FILM WORKFLOW ABDUL RIEZAL DIM A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol September 2016 ABSTRACT This thesis investigates the existing film workflow processes in Malaysia and aims to explore, review and reflect on the expectations, experiences, preferences and problems experienced by practitioners. In-depth examination of real practices of colour film workflow, investigating the common myth among Malaysian filmmakers that environmental colour temperature affects the image quality of Malaysian films. Analysis of this myth may help to establish why many Malaysian films have been processed through foreign laboratory. Evidences from film industry were recorded through qualitative video documentation, alongside quantitative data from filmstrip test. This mixed action research method forms the main approach collectively with participatory action research as a tool to narrate the development of the research. In justifying the data, an explanatory mixed method design has been applied. The cooperation with expert witnesses in finding a solution to the research problem brought to the circle of practice-based research processes that validated the research. This validation becoming a central of investigation about the Malaysian film workflow complication. The initial technique (pursing the myth of colour temperature variation) proved inadequate, and, consequently, a broader action research methodology was adopted. As such, the filmstrip test data were used more as a tool to enhance the contributions of the expert witnesses, thereby shifting the direction and strengthening the research findings. This research also proves that the method applied has created new evidence of knowledge transfer in historical and film development context and hoped it could transfer to solve other film industry problem. This development of new knowledge could provide a significant opportunity for future potential research, which will strengthen the colour workflow processes and lead to the development of film practices in Malaysia and the surrounding areas. Furthermore this research to suggest solutions to the current complications of workflow practices among educators, government agencies and filmmakers in the Malaysian film industry. i TABLE OF CONTENTS Page Abstract ii Table of Contents iii-vi List of Tables vii List of Figures viii Acknowledgement ix Chapters 1.0 Introduction 1 1.1 Research Background 1 1.1.1 Problem Statement 2-5 1.2 Research Aims and Objectives 5-6 1.3 Context of the Research 6-8 1.4 Purpose of the Research 8-9 1.4.1 Exploring Malaysian Film Workflow Development 9 1.4.2 Research Questions 9-10 1.4.3 Research Scope 10-11 1.4.4 Research Case Study 11 1.5 Research Methodologies 12 1.5.1 Action Research Approach 12 1.5.2 Social Approach 13 1.5.3 Technical Approach 13-15 1.5.4 Filmstrip Experimentation 15 1.5.5 Limitations of Randomized Filmstrip Experiment 15-17 1.5.6 Practice-based and Practice-led 17-18 1.6 Research Process 18-20 1.7 Existing Literature about Film Workflow 21 1.7.1 Introduction 21 1.7.2 Video, Film and Digital Influence 21-22 1.7.3 The Standardization of Film and Video 22-24 1.7.4 Early Colour Film Workflow 25-27 1.7.5 Colour Film Workflow Production in Malaysian Film 27-29 1.7.6 Knowledge Transfer in Malaysian Film Workflow 29-34 1.7.7 Research and Development in the Malaysian Film Industry 34-37 1.7.8 Government Policy concerning the Development of Film 37-41 Workflow 1.8 Colour and Light in Film Workflow 41-46 1.8.1 Tungsten and Daylight Colour Temperature 46-49 1.8.2 Lighting Colour Temperature 49-50 1.8.3 Colour and Light Measurement in Early Film 51-52 1.8.4 Summary of Overall Formal Literature 52-54 1.9 Organization of the Thesis 54 2.0 Research Methodologies 55 2.1 Methodologies for Electing the Requirement of the Research 55 2.1.1 Action Research 55-56 2.1.2 Participatory Action Research 56-57 2.1.3 Action Research Cycle Applied in this Research 58 ii 2.1.4 The Combination of Two different Methods 59-60 2.1.5 The Process of the Filmstrips Test 61 2.2 Methodology for Data Acquisition 62 2.2.1 Filmstrip Tests and Data Sampling 63 2.2.2 Colour Difference Measurements 64 2.2.3 Qualitative Research Data 64-66 2.2.4 Quantitative Research Data 66-68 2.2.5 Mixed Method Design 68-71 2.2.6 The Rationale for the Mixed Research Method 71-72 2.2.7 Explanatory Design 72-73 2.2.8 Circle of Practice Based Research 73-75 2.2.9 Quantitative Data in Filmstrip Experimentation. 75-78 2.3 The Setting of the Filmstrip Test 78-79 2.3.1 Colour Difference Measurements 79-80 2.3.2 Colour Perception 80-81 2.3.3 Malaysian Filmmakers' Perception of Colour 81-84 2.3.4 Researcher Technical Experimentation 84-85 2.3.5 Camera Set-up for Filmstrips Test 85-92 2.4 Methodologies for Evaluating the Results 93 2.4.1 Comparative Measurements 93-94 2.4.2 Colour Model 94-95 2.4.3 Filmstrip Test Colour Appearance Measurement 95-97 2.4.4 Processes of Filmstrip Analysis 97-100 2.4.5 Filmstrip Test Complication 100 2.4.6 Thematic Mapping and Coding of the Qualitative Data 100-101 2.5 Conclusion 101-102 3.0 Brief History of Malaysian Cinema and Current Situation of 103 Malaysian Film 3.1 An Introduction 103 3.2 Malaysian Cinema History 103 3.2.1 Malaysia: An Introduction 104 3.3 The Beginning of Malaysian Film History (1920-50s) 104-107 3.4 Brief history of Malaysian Film Production 107-109 3.5 The Global History of Colour Film Workflow 109 3.5.1 Tinting and Toning Processes 110 3.5.2 Additive Processes 110-112 3.5.3 Lenticular Additive Processes 112 3.5.4 Subtractive Processes 112-114 3.6 Chinese Capitalism and the History of Colour film Workflow in 114-118 Malaysia. 3.7 Decline of the Studio System (1960s) 118-121 3.7.1 The Renaissance of Malay Film (1970-80’s) 121-123 3.8 Current Situation of the Malaysian Film Industry (1990s- Present day) 123 3.8.1 Malaysian Film Development 124 3.8.2 Problems and Current Situation of Malaysian filmmakers 124-128 perspective. 3.8.3 Malay Film Identity 128-129 3.8.4 The Production of Malaysian Films 129-130 3.9 Conclusion 130 iii 4.0 Malaysian Film Workflow 131 4.1 Introduction 131 4.1.1 Introduction to the Malaysian Film Workflow 131-132 4.2 Standard Film Workflow Process 132-134 4.3 Environment Factor: Relationship with Nearby Tropical 134-136 Countries. 4.4 Structure of National Policy in Malaysian Film Industry 136 4.4.1 Licensing in the Malaysian Film Industry 136-137 4.4.2 Made in Malaysia Certificate (MIM) 137 4.4.3 Production Certificates 137 4.4.4 Compulsory Screening Scheme 138 4.4.5 Entertainment Duty 138 4.4.6 Film Art and Multimedia Fund 139 4.4.7 Feature Film Loan Fund 139 4.4.8 Film Production Fund Nationhood And Heritage Fund 140 4.4.9 Self-Funding 140-141 4.5 Technical Factors 141-145 4.5.1 Researcher Technical Experimentation 145-146 4.6 Social Attitude and Film Workflow Executions. 146-147 4.7 Interview with Malaysian Filmmakers regarding Malaysian 147-149 Film Workflow 4.8 Malaysian Film Workflow Practice and Comparison to other 149-153 Countries nearby 4.8.1 Existing practice in Malaysian film industry and what 153-155 Malaysian producers and directors perception of Malaysian film workflow and their challenges 4.9 Conclusion 155-156 5.0 Reflections and Data Validation 157 5.1 Introduction 157-159 5.2 Reflection on the History of Malaysian colour workflow. 159-163 5.3 Malaysian Filmmakers’ Reflections Towards Malaysian film 163-164 Workflow. 5.3.1 Malaysian Film Workflow Processes 164-165 5.3.2 Film Expertise 165-168 5.3.3 Malaysian and Foreign Laboratories 168-171 5.3.4 Malaysian Film Workflow Complication 171-172 5.4 Knowledge Transfer Challenges 172-177 5.5 Improvement and Development of Malaysian Film Workflow 178-190 5.6 One Stop Service Centre of the Malaysian Film Workflow 190-192 5.7 Open-Ended Question in the Survey 192-194 5.8 Malaysian Filmmakers’ Feedback from the Film Test Strip 195-196 5.8.1 Colour Differences 196-200 5.8.2 “Filem Kita Wajah Kita” 200-202 5.8.3 The Myth that Shooting in a Temperate Country is Better then 202-208 a Tropical one. 5.8.4 From Case Study to Tacit Knowledge 208-209 5.9 Thematic Analysis Toward the Conclusion 209 6.0 Conclusion, Future Plans and Recommendations 210 6.1 Introduction 210 6.2 Summary of the Study and its Finding 210-211 6.2.1 Main findings 211-216 6.3 Contribution to knowledge 216-217 6.4 Research Implications and Suggestions for Future Research 217 iv 6.4 Research Implication and Suggestions for Future Research 217 6.4.1 Practice Implications 217-218 6.4.2 Recommendations for Future Research 218-219 6.4.3 Recommendations on Reviewing and Changing Government 219-220 Policies. 6.4.4 Suggestions for Future Research 220 6.5 Conclusion 220-221 Bibliographic References 222-227 List of Appendices: Appendix 1: Survey Reflection Questionnaires 228-229 Appendix 2: Malaysian Film Workflow Research Facebook Group 230-235 Discussion Appendix 3: Transcribe DVD 1 – Malaysian Filmmakers video 236-237 interview highlights.
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