The pandemic of COVID19 and the Movement Control Order (MCO) has opened up the minds of local theatre players to be more creative in applying the suitable medium in showcasing their creative performances. Thus, emerged various forms of virtual theatre known as `online theatre’. No one ever imagined that theatre performances would be performed online but now, it is a practical approach in ensuring the sustainability of the theatre art itself. However, various questions arose about online theatre in Malaysia, such as confusion with the understanding of the terms, forms, and concepts of the performance. This study and writing are based on the online theatre performance ~Sel Akhir’ by the Seni Ceritera Association and King Lear by the KL Shakespeare Players (KLSP). Based on Aristotle's Dramatic Elements approach, the authors used observation and comparison methods to explain the approach used by these two presentations and propose to our Malaysian theatre players a method of online performance that suits the current capabilities and requirements, known as hybrid theatre.
Filem harus merakam dan mentafsir transformasi sosial dan sosiobudaya masyarakat. Elemen naratif seperti tema, mesej, watak dan perwatakan, latar tempat dan masa, konflik dan plot akan menggambarkan isu dan permasalahan yang berlaku dalam masyarakat. Ia menjadikan filem sebagai alat komunikasi bagi menyampaikan mesej tertentu. Sebagai cerminan sosial, mesej yang disampaikan dalam filem boleh digunakan untuk tujuan pendidikan dan panduan bagi menjadikan masyarakat yang lebih baik. Berdasarkan analisis secara historiografi terhadap filem-filem Melayu, didapati naratif filem Melayu juga memaparkan transformasi sosial dan sosiobudaya masyarakat Malaysia. Pengaruh hiburan dan idealogi Barat contohnya menyebabkan tema-tema filem Melayu ketika tahun 50-an dan 60-an banyak menyentuh isu sosial yang melibatkan hubungan kekeluargaan dan perbezaan kelas. Filem-filem seperti Ago go 67 (1967) dan Kaca Permata (1966) memaparkan kebimbangan penulis dan pengarahnya terhadap sikap golongan anak muda yang suka berhibur. Filem Penarek Becha (1956), Antara Dua Darjat (1960) dan Ibu Mertua-ku (1962) pula menyentuh perbezaan kelas antara golongan miskin dan kaya. Peristiwa 13 Mei 1969 menyebabkan Kerajaan Malaysia telah memperkenalkan Dasar Ekonomi Baru (DEB) bagi merapatkan jurang ekonomi antara kaum. Langkah ini menyebabkan berlakunya transformasi sosial dalam masyarakat Melayu yang mewujudkan perubahan cara pemikiran terhadap isu yang berlaku di sekeliling mereka. Isu berkaitan pendidikan, ekonomi dan kepimpinan disuarakan melalui filem Abang (1981) dan Matinya Seorang Patriot (1984). Pemikiran mengenai sikap negatif orang Melayu dan kepentingan agama juga telah dikritik melalui filem Kembara Seniman Jalanan (1986). Secara keseluruhannnya, walaupun terdapat filem yang menyentuh kesan transformasi sosial terhadap sosiobudaya masyarakat, tetapi bilangannya masih rendah. Kebanyakan filem Melayu yang dihasilkan masih berteraskan hiburan. Hal ini disebabkan pembikin filem dan produser masih menganggap bahawa filem adalah sebuah perniagaan berteraskan keuntungan. Film should capture and interprete social transformations and sociocultural aspects of a society. Narrative elements such as theme, character, setting, conflict and plot a part in portraying societal issues and challenges. These elements then become prime tools in delivering specific messages to the audience. Film thus becomes a social reflection - whereby messages portrayed in the film can be used to educate and guide audiences to become better representations of themselves in society as a whole. Based on historiography of Malay films, the narrative also showcased social transformation and sociocultural changes of Malaysian society. Factors of these transformations were influenced by the adoption of Western ideologies and entertainment lifestyle. To which, the themes surrounding Malay films in the 50’s and 60’s were social issues such as family relations and social class differences. Films such as Ago Go 67 (1967) and Kaca Permata (Precious Gem Stones, 1966) highlighted the writers’ and directors’ concern for the youths who actively engage in a party lifestyle. Penarek Becha (Trishaw Puller, 1956), Antara Dua Darjat (Between Two Classes, 1960) and Ibu Mertua-ku (My Mother-in-law, 1962) were films that touch upon the social stratification of the rich and poor. After the 13 May 1969 incident, the then ruling Malaysian government introduced the New Economic Policy (NEP) to minimise the economic gap between ethnic groups that caused social transformations in the Malay community. From then on, issues such as education, economics and leadership were raised in films such as Abang (Brother, 1981) and Matinya Seorang Patriot (A Patriot Is Dead, 1984). Even the negative perception of the Malays and importance of religion were critiqued in Kembara Seniman Jalanan (An Artist’s Journey, 1986). Despite films that address the impacts of social transformation towards a society’s socio-culture, it remains to be limited in number. Majority of Malay films are still produced for entertainment purposes resulting in filmmakers and producers to lean towards the notion that filmmaking is a thriving business industry whose sole focus is profit.
The form of communication of new media art serves as a vital link between the world of art and the society. The scenario for the advancements of new media art in our country is inadequate in respect of the intellectualism aspects of studies and the knowledge of projection art. As part of this study, projection art in Malaysia will be analysed to see how artists employ technology and visual art semiotics to convey their ideas to audiences effectively. This paper discusses the projection artworks produced by Hasnul Jamal Saidon titled Veil of an Artist and A Fictional Dialogue. The semiotics approaches which involve in constructing the content analysis semiology and in-depth interviews were utilised to analyse the projection artwork by Hasnul Jamal Saidon. Furthermore, this study aims to discover the value of message that embedded in the projection artworks of Hasnul as well as to interpret the signs and meanings included in each piece of art. According to the research, projection artwork of Hasnul demonstrates the new media and its always changing, intricate ways in which individuals express and interpret in different perspective of the value of the subject, and ideologies of nature, as well as social morality, and conventional standards. Study finding shows that artworks may effectively transmit the intended messages of the artist as well as themes and issues that they addressed regardless of the date or place in which they were produced.
This study examines the symbolism in first anthropomorphic Malaysian animated film, Seefood. It aims to analyse the symbolism of animal characters as a visual metaphor in the Malaysian animated film. This paper is based on research using the Semiotic Saussure Theory in analysing the data. This paper records that cultural factors and knowledge of myths, beliefs and social differences as key aspects of symbolism application can be applied into new media, especially in the field of animation. This makes the character easier to attract the attention of the audience due to the existence of understanding and coherence of social cultural representations that are synonymous in the audience.
The projection mapping painting work entitled 'Habitat' is a creative production through the
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