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Upin & Ipin: Promoting Malaysian Culture Values Through Animation
Upin & Ipin: Promoting malaysian culture values through animation Dahlan Bin Abdul Ghani Universiti Kuala Lumpur [email protected] Recibido: 20 de enero de 2015 Aceptado: 12 de febrero de 2015 Abstract Malaysian children lately have been exposed or influenced heavily by digital media entertainment. The rise of such entertainment tends to drive them away from understanding and appreciating the values of Malaysian culture. Upin and Ipin animation has successfully promoted Malaysian folklore culture and has significantly portrayed the art of Malaysian values including Islamic values by providing the platform for harmonious relationship among different societies or groups or religious backgrounds. The focus of this research is to look into the usage of Malaysian culture iconic visual styles such as backgrounds, lifestyles, character archetypes and narrative (storytelling). Therefore, we hope that this research will benefit the younger generation by highlighting the meaning and importance of implicit Malaysian culture. Key words: Upin and Ipin; animation; narrative; folklore; culture; character archetypes. Upin e Ipin: promoviendo la cultura malasia a través de los valores de la animación Resumen Recientemente los niños en Malasia están siendo fuertemente expuestos cuando no influenciados por los medios masivos de entretenimiento digital. Esto les lleva una falta de comprensión y apreciación de la importancia de los valores de su propia cultura. La serie de animación propia Upin & Ipin ha promovido con éxito las diferentes culturas de Malasia y obtenido valores culturales significativos que representan a su arte, incluyendo el islámico, y proporcionando así una plataforma de relación armónica entre los diferentes grupos que componen la sociedad en Malasia, ya sea civil o religiosa. -
Malaysian Child Rearing Practices and Its Relationship to Realth
Malaysian Child Rearing Practices and Its Relationship to Realth by Wazir-Jahan Karim A Research Project Funded by the International Developmsnt Research Centre 1981 RC FÉB2].1983 IDRC ; rrz^i 3 - p-- 79_ o cc 58- Acknowledgaments I vould like to express my appreciation and gratitude to thé International Development Research Centre for agreeing to fund this research project in 1978. Z also wish to thank UNICEF for providing me with financial assistance for the section of the research on traditional médical practitioners and village medicines conducted I' in Yen, Kedah. The assistance and co-operation of the Ministry of Realth has been a major factor in ensuring the emooth implémentation of the research in Seberang Prai and I would specifically like to thank Dr. Chee Chin Seang, the Deputy Director of Health in Penang, Sister Kvan, Dr. Raj Karim from the Maternai and Child Health Division in the Ministry and other médical and nursing personnel in Seberang Prai for providing me with continuous assistance during the period of my fieldwork. I would also litre to thank the management of Malakoff Estate at Thsek Glugor, in particular the Manager, Mr. Jones and Mr. Shankar for allowing me to conduct my research on the estate and also for assistance provided when the census survey was conducted. My sincereat thanks also to the KEMAS teacher at Junjong, Rokiah Ahmad and the teachers at the Malakoff Estate pre- school, for help rendered to my research assistants, Muniamah Kandasamy, Tengku Zainah and Susan Oorijitham, during the intensive field work period. Ficnaliy, I can quite confidentiy say that this research would not have been possible without the commitment and enthusiasm of my research assistants and the keen interest of e nutritionist from Minnesota University, Misa Mary-Pat Selvaggio, to conduct a The study has taken approximately two and e half years to be completed between its period of inception in mid 1978 to ite period of completion in November 1981. -
C NTENT 2018 L
17-30 SEPTEMBER C NTENT 2018 www.contentasia.tv l www.contentasiasummit.com Sony kicks off new HBO counts down to 7 Oct horror debut AGT season Series goes live with int’l film fest stamp of approval David Foster, Anggun & Jay Park return Folklore: Tatami (Japan) David Foster, Anggun and Jay Park Three international film festivals – includ- Ratanaruang (Samui Song). Sony Pictures Television Networks Asia ing the Toronto International Film Festival Folklore: A Mother’s Love is about a kicked off the third season of Asia’s Got (TIFF) – have given their stamp of ap- single mother and her young son who Talent at the weekend with a Facebook proval to HBO Asia’s original Asian horror discover dirty and underfed children liv- Live judges session at the Pinewood Is- series, Folklore, which premieres on the ing in a mansion’s attic. Returning them kandar Malaysia Studios. All three judges regional service on Sunday, 7 October to their families stirs the wrath of their from last year – David Foster, Anggun and at 10pm. adopted mother, Wewe Gombel. Jay Park – are back, along with hosts Alan The six episodes of the anthology, each Folklore: Pob is about a journalist who Wong and Justin Bratton. helmed by a different director, debuted meets with Thai ghost Pob, who con- The show airs on AXN across Asia in in pairs at three festivals. In addition fesses to a murder. Finally finding an early 2019. to TIFF, which wrapped this weekend, outlet for complaint, Pob explains how The announcement of this year’s judges episodes will screen at Spain’s SITGES the murder happened. -
Asian Horror: the Factors Driving Thai and Japanese Horror Film Industry: an Analysis Towards Ringu (1998) and Shutter (2004)
Conference Proceeding: 1st INTERNATIONAL CONFERENCE ON CREATIVE MEDIA, DESIGN & TECHNOLOGY (REKA2014) ASIAN HORROR: THE FACTORS DRIVING THAI AND JAPANESE HORROR FILM INDUSTRY: AN ANALYSIS TOWARDS RINGU (1998) AND SHUTTER (2004) Wong Siew Peng, Penny & Azizul Rahman Mahfudz Kolej IACT, MALAYSIA [email protected] [email protected] ABSTRACT This paper discusses theoretically on the factors driving the Thai & Japanese horror film industry. The appeal of horror films from these countries is due to the uniqueness of their culture, religious beliefs, as well as socio-political circumstances that helped shaping the film industry. Horror films resonate with cinemagoers in the sense that they connect with an individual‟s subconscious yet fundamental need to deal with the things or issues that frighten him or her. Derry (2009) stated, in the way they work upon the audience, films act as dreams while horror films are the nightmares. Kellner (1995) also stated that horror films unearth the “hopes and fears that contest dominant hegemonic and hierarchical relations of power” through the portrayal of both significant dreams and nightmares of a culture and that the culture is attempting to channel them to sustain its current copulations of power and domination. However, Asian countries possess their own unique set of traditions and superstition, urban legends, as well as religious beliefs that are fundamental elements of their national identities such as Buddhism in Thailand & Shintoism in Japan. Teo (2013) credits the global interest in Thai films to the filmmakers‟ ability to present horror as a combination of natural and supernatural force. Besides that, the popularity of the genre in the country is also partly rooted in the Buddhist belief of reincarnation. -
Thai Horror Film in Malaysia. Urbanization, Cultural
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. -
Brunei Malay Traditional Medicine: Persistence in the Face of Western
BRUNEI MALAY TRADITIONAL MEDICINE: PERSISTENCE IN THE FACE OF WESTERN MEDICINE AND ISLAMIC ORTHODOXY Virginie Roseberg Master of Anthropology from the University of Paris 1, Pantheon-Sorbonne, France. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social Sciences Anthropology and Sociology 2017 THESIS DECLARATION I, Virginie Roseberg, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by The University of Western Australia Human Research Ethics Committee. Approval no. RA/4/1/5585. The work described in this thesis was funded by an Australian Postgraduate Award and UWA Safety Net Top-up Scholarship. This thesis does not contain work that I have published, nor work under review for publication. -
Amityville Horror, the 23
A the shape of an awe-inspiring agency of guilt, Abjection the repressed fi gure of maternal authority ELISABETH BRONFEN returns either as an embodiment of the Holy Mary’s sublime femininity or as a monstrous As an adjective, “abject” qualifi es contemptible body of procreation, out to devour us and actions (such as cowardice), wretched emo- transform us into the site for further grotesque tional states (such as grief or poverty), and self- breeding. By drawing attention to the manner abasing attitudes (such as apologies). Derived in which a cultural fear regarding the uncon- from the Latin past participle of abicere, the trollability of feminine reproduction has con- word has come into use within Gothic studies sistently served as a source of horror, abjection primarily to discuss processes by which some- has proven a particularly resonant term for a thing or someone belonging to the domain of study of Gothic culture. the degrading, miserable, or extremely submis- The abject is not to be thought of as a static sive is cast off. Julia Kristeva’s Powers of Horror concept, pertaining to something monstrous (1982) fi rst introduced abjection as a critical or unclean per se. Instead, it speaks to a thresh- term. Picking up on the anthropological study old situation, both horrifying and fascinating. of initiation rites discussed by Mary Douglas in It involves a tripartite process in the course of her book Purity and Danger (1966), Kristeva which forces that threaten stable identities addresses the acts of separation necessary for come again to be contained. For one, abjection setting up and preserving social identity. -
DORISEA WP 23 Ainslie Thai Horror Film in Malaysia-2.Pdf (594.9Kb)
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 film in Malaysia. Urbanization, Cultural Proximity and a Southeast Asian model. In: DORISEA Working Paper Series, No. 23. Göttingen: Institute for Social and Cultural Anthropology. DOI: 10.3249/2196-6893-dwp-23 © 2016 by the author This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. http://creativecommons.org/licenses/by-nc/4.0 ISSN: 2196-6893 DOI: 10.3249/2196-6893-dwp-23 Research Network DORISEA Dynamics of Religion in Southeast Asia Project Office Georg-August-University Göttingen Institute of Social and Cultural Anthropology Theaterstr. 14 D - 37073 Göttingen Germany FUNDED BY: [email protected] www.dorisea.net Competence Network DORISEA – Dynamics of Religion in Southeast Asia 3 MARY J. -
Press Release Universal Studios Singapore Reveals First Look Inside Curse of the Naga and the Chalet Hauntings Haunted Houses at Halloween Horror Nights 9
CONTENT (INCLUDING IMAGES/VIDEOS) TO BE EMBARGOED TILL 12PM ON FRI, 6 SEP press release Universal Studios Singapore Reveals First Look Inside Curse of the Naga and The Chalet Hauntings Haunted Houses at Halloween Horror Nights 9 (Left) The elaborately adorned temple in Curse of the Naga, inhabited by the nefarious Serpentine Spirit herself. (Right) The bloodthirsty Langsuir awaits anyone unfortunate enough to venture into The Chalet Hauntings. PHOTO CREDITS: RESORTS WORLD SENTOSA. SINGAPORE, 6 September 2019 – Universal Studios Singapore at Resorts World Sentosa today unveils first look images from two key Asian-inspired haunted houses set to raise the horror meter at Universal Studios Singapore’s Halloween Horror Nights 9: Curse of the Naga and The Chalet Hauntings. From 27 September, fans will get to experience firsthand the terrors of the Serpentine Spirit in Curse of the Naga, an original haunted house from the directors of blockbuster Thai horror films Shutter and 4bia. They can also expect spine-chilling encounters with their darkest fears – from the Langsuir to the Toyol – in The Chalet Hauntings which will feature the most extensive collection of Southeast Asian ghosts in a single house. Drawing inspiration from Asian folklore and mythology, both haunted houses feature a combination of elaborate and authentic set designs, stunning special effects and original characters – all of which have been created to immerse guests in eerily-authentic environments. 1 Curse of the Naga – the Brainchild of Thai Masters of Horror Based on a man-versus-nature narrative, Curse of the Naga breathes life into the collective vision of Thai director duo Parkpoom Wongpoom and Gunn Purijitpanya, and the creative minds from Universal Studios Singapore. -
Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2010 Made in Thailand - Thainess, Performance and Narration in Contemporary Thai Cinema Böhler, Natalie Abstract: Her dissertation focuses on Thai cinema, nationalism and cultural globalization and contributes to an understanding of local cinema experience, as seen in the context of local exhibition practices, storytelling traditions and orality, and transnational media culture. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-132492 Dissertation Published Version Originally published at: Böhler, Natalie. Made in Thailand - Thainess, Performance and Narration in Contemporary Thai Cinema. 2010, University of Zurich, Faculty of Arts. Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema Thesis presented to the Faculty of Arts of the University of Zurich for the degree of Doctor of Philosophy by Natalie Boehler of Mellikon AG Accepted in the spring semester of 2010 on the recommendation of Prof. Dr. Christine N. Brinckmann and Prof. Dr. A. Riemenschnitter 2012 Natalie Boehler: Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema Table of Contents 1. Introduction 5 2. Contemporary Thai Film and Its Role as National Cinema 10 2.1 Post-1997 Developments in Thai Cinema 10 Transnationality 14 Outlook 18 The Economic Meltdown and the Resurgence of Thainess 19 Thainess, State Representation and Censorship 21 Independent Film 29 2.2 The Idea of the Nation in Contemporary Thai Film 33 Nang yon yuk and Folklore: Stories of the Nation 33 The Country, the City and the Golden Age: «Authenticity» and Nostalgia 37 Images of the Self and the Foreign Gaze 42 Mirroring the Foreign Gaze: Deconstructive Thainess 44 2.3 National Culture and the Global Market 51 Transnational Influences and Coproductions 51 Thainess «Goes Inter»: Self-Exoticization and Dual Readings 55 «Made in Thailand» – Ambivalence and Source of Inspiration 60 3. -
The Belief in Hantu in the Malay Culture from the Perspective of Islam
THE BELIEF IN HANTU IN THE MALAY CULTURE FROM THE PERSPECTIVE OF ISLAM ______________________________________________________________________________________ Mohd Zohdi Amin, Ishak Suliaman, Husniyah Salaeh, Mohamed Akhiruddin Ibrahim & Azlina Mohamed Nor Abstract The belief in “hantu” is the result of animism and dynamism among Malays before the arrival of Hindu, Buddha and Islam. Hantu is portrayed as the incarnation of evil souls wishing to harm humans. This belief is related to the concept of soul existence or “semangat” (essence) in everything including the human body. This ancient belief is integrated into their new religions through adaptation process. After embracing Islam, the belief in hantu is not totally dispelled since its features are similar to that of jinn and shaitan, whose existence are acknowledged in Islam. The belief is also supported by the concept of human soul in the afterlife, where it is deemed as immortal. Hantu is portrayed as the soul of the dead, dwelling in certain places and harming the humans. Based on the analysis of the texts of the Quran and Sunnah, it is found that the soul of the dead could never become hantu, as opposed to the Malays’ belief. It is because the soul of the dead is in barzakh, the impassible barrier between the world and the Hereafter. It is a place where the soul is either rewarded or punished for his or her deeds in the past life. The souls cannot act independently by themselves as they are under the control of Allah. Based on this, the belief in hantu is against the Islamic teachings. This belief is capable in affecting a Muslim’s faith as it indirectly leads to the denial of rewards and punishments in the afterlife. -
Mitologi Tentang Makhluk Supernatural Dalam Kalangan Etnik- Etnik Di Daerah Pitas Sabah: Tinjauan Menurut Perspektif Islam
GJAT | JULY 2019 | VOLUME 9 ISSUE 1 | 113 ISSN : 2232-0474 | E-ISSN : 2232-0482 www.gjat.my Mitologi Tentang Makhluk Supernatural Dalam Kalangan Etnik- Etnik di Daerah Pitas Sabah: Tinjauan Menurut Perspektif Islam Khairulnazrin Nasir Ishak Suliaman Department of the Quran and al-Hadith, Academy of Islamic Studies, University of Malaya Tel: +60133242865, E-mail: [email protected] Abstrak world. A significant entity in mythology is supernatural beings. Ethnics and races in Mitologi adalah suatu domain yang wujud dan Malaysia also believe in supernatural beings menjadi kelaziman dalam mana-mana budaya, including native tribes in Pitas district, Sabah bangsa, etnik dan komuniti di seluruh dunia. who are Muslims. Therefore, this research was Skalanya menjangkau alam nyata, sehingga conducted to identify mythology of supernatural ke alam ghaib. Entiti signifikan dalam mitologi beings in their community. The data collection antaranya adalah makhluk supernatural. Etnik method used was interview. Seven respondents dan bangsa di negara ini turut memiliki mitologi were selected among the community leaders. tentang makhluk supernatural, termasuklah Findings showed that mythology of supernatural etnik-etnik peribumi yang beragama Islam beings was influenced by animism. As a result, di daerah Pitas, Sabah. Oleh yang demikian, some community members involve in shirk, kajian ini dijalankan untuk mengenal pasti superstition, worshipping rituals and black mitologi tentang makhluk supernatural yang magic. Thus, this issue should be taken into terdapat dalam kalangan mereka. Kaedah consideration by authorities especially Islamic pengumpulan data adalah menggunakan metode Religious Departments and preachers in order temu bual. Seramai tujuh orang informan telah to protect the aqidah among the society. dipilih, yang terdiri daripada kalangan tokoh- tokoh masyarakat tempatan.